Download I Found It at the Movies: Reflections of a Cinephile by Philip French PDF

By Philip French

For almost part a century, Philip French's writing on cinema has been crucial examining for filmgoers, cinephiles, and an individual who enjoys witty, clever engagement with the large monitor. This assortment brings jointly the very best of French's movie writing from 1964 to 2009 and explores various subject matters, together with British cinema, the Addams kin, Satyajit Ray, Doris Day, Hollywood, and Hitchcock. A beneficiant and enthusiastic compilation, this e-book is an illuminating spouse to the realm of cinema.

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Additional resources for I Found It at the Movies: Reflections of a Cinephile

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British film critics are indeed forever proclaiming a renaissance, and this time they must be heartened at finding that for once they’re not standing alone. Yet each impending new birth has usually turned out to be a hysterical pregnancy. Whenever the cautious are tempted into optimism, they usually live to regret it. During 1962 for instance, Penelope Gilliatt had seen no sign of a rebirth and picked only one British film (The Loneliness of the Long Distance Runner) among the year’s ten best. Yet she felt something stirring and wrote (and I would forbear from quoting her, were it not for the fact that her end-of-the-year comments are preserved between hard covers): I’m looking forward to the thrillers we are going to produce next year; directors like Cliff Owen (who made the pungent A Prize of Arms) are pulling them up by the bootstraps.

While the censor is rarely troubled in this way by imports from the United States, around two out of three American films leave on his floor a few hundred feet of violence of a kind that would scarcely disturb a sensitive youth in Dubuque, Iowa. Violence on the screen tends, I have said, to take its character and form (if often obliquely) from the mood of the time and place in which it originates. This operates in two ways. On one level is the creative artist responsive to the undercurrent of the society in which he works and reflecting it in his personal vision.

They also share another quality that is not so superficial: no other medium could have presented what is contained in these initial scenes so rapidly or with such impact – before, in fact, we had any knowledge of the characters or the story other than that which we bring from other films. I have dealt at such length with these two pictures because they highlight many of the ways in which violence is handled in the contemporary cinema, and because they help explain why there is and has been so much violence in the movies.

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