Friday, March 27, 2020

Favorite (four), sixty-five

Just like in my other sixty-four posts in this series, I want to take a second to single out the highlights of my recent film viewing.  Most of the films I have been glad to see but only a very few have stayed with me.  This series is my filter for those and my hope is one or two will be good to you as well.

Maurice Pialat's L'amour existe
Pialat's early short film is already the work of a master even though the style is closer to Nouvelle Vague than the rigorous naturalism of Pialat's features.  It deserves to be seen by anyone interested in the New Wave, the short film form, Pialat or French cinema.  

Allan Dwan's Driftwood
What a great surprise this was.  From seeing Natalie Wood as a child actor to the overall feeling Dwan gives the whole film.  Reminds me of Walsh's Strawberry Blonde in its depiction of the wonderful community aspect that can come out in small towns.  I know Dwan has a big reputation.  If this any indication, I certainly need to seek out more of his work.  

Chloe Zhao's The Rider
I was completely surprised by this one, particularly impressive was its sensitivity, confidence in silence, and the acting by its main character.  Zhao finds a way to inject newness into the western genre, showing us towns, lives and feelings we have never quite experienced before in the western tradition and structure.

Blake Edwards' Experiment in Terror
Until now, I thought Edwards was a filmmaker who was pretty adept at making light, entertaining trifles.  But this film proves he could also do dark and moody when he set out to.  I could feel the New Wave's influence as Edwards does an extraordinary job capturing authentic San Francisco streets and homes and venues.  An ignored film from this period that deserves a much larger reputation.