shortfilmmasterpieces:

The Saddest Boy in the World

Fantastically well made, touching and full of beautiful frames. One of my favourites shorts so far.

Le Monde du Silence

”Quelques scènes du film sont particulièrement critiquables aux yeux du public du xxie siècle : massacre de requins, pêche à la dynamite, lacération de cachalots, destruction de corail, conduites mettant en danger des tortues marines en les empêchant de remonter respirer… Mais il faut replacer tout ceci dans le contexte de la découverte de l’univers marin par le grand public et bien avant les débats sur l’écologie et la protection des espèces marines. Parmi les autres scènes étonnantes, le doublage d’un indigène des Maldives ou des Seychelles en « français petit-nègre » ”

”Jacques-Yves Cousteau entreprit le projet de mener un périple d’exploration marine et de tournage d’un film en juillet 1953, en s’adressant d’abord à l’IDHEC (Institut des hautes études cinématographiques), à la recherche d’un étudiant qui l’assistât dans la réalisation du tournage. La direction de l’école lui proposa Louis Malle, âgé alors de 21 ans, qui avait de bonnes aptitudes à la nage et pouvait être plus facilement formé à la plongée en scaphandre autonome. Ainsi, pendant tout l’été 1953 Malle se soumit, avec les plongeurs de la Calypso, à un stage de plongée au Grand Congloué (Île de Riou)”

Le Monde du Silence - Jacques Yves Cousteau / Louis Malle - (1956)

The second and third pictures feature ‘Jojo’ (a grouper/mérou in french) a fish that befriended the crew of the Calypso divers. A veritable star!

Le Monde du Silence - Jacques Yves Cousteau / Louis Malle - (1956)

Le Monde du Silence - Jacques Yves Cousteau / Louis Malle - (1956)


"The fact is, there’s an enigmatic relationship between Max and myself. He has meant a tremendous amount to me. Stravinsky once said something good. I heard Blomdahl and him discussing Alban Berg’s Lulu. They were discussing a singer. Stravinsky said she was a bad Lulu, because she was so vulgar. But then Blomdahl, as I remember it, said: ‘But Lulu’s the vulgarest female alive.’ And Stravinsky said: ‘Yes, and that’s why she must be played by an actress who hasn’t a trace of vulgarity in her—but can play it.’ I suppose that’s exactly what I find in Max von Sydow. As an actor, Max is sound through and through. Robust. Technically durable. If I’d had a psychopath to present these deeply psychopathic roles, it would have been unbearable. It’s a question of acting the part of a broken man, not of being him. The sort of exhibitionism in this respect which is all the rage just now will pass over, I think. By and by people will regain their feeling for the subtle detachment which often exists between Max and my madmen.”
— Ingmar Bergman | 1968
"Mr. Bergman was a man of great working discipline. He forced everyone to concentrate when it was important. No disturbing noise during rehearsal. A code of silence. But in between, when [the camera and lighting] was being changed and re-rigged, there were a lot of laughs and a lot of fun. He had a great sense of humor. He had a talent of making people feel that they were participating in something important and something aspiring. He created teamwork. Mr. Bergman had a great imagination and saw the possibilities within every one of his actors, and he gave us great challenges. It was very inspiring. Whatever good I have done on screen I owe to him. I have learned discipline. I have learned concentration and the joy of acting."
— Max von Sydow | 2013

"The fact is, there’s an enigmatic relationship between Max and myself. He has meant a tremendous amount to me. Stravinsky once said something good. I heard Blomdahl and him discussing Alban Berg’s Lulu. They were discussing a singer. Stravinsky said she was a bad Lulu, because she was so vulgar. But then Blomdahl, as I remember it, said: ‘But Lulu’s the vulgarest female alive.’ And Stravinsky said: ‘Yes, and that’s why she must be played by an actress who hasn’t a trace of vulgarity in her—but can play it.’ I suppose that’s exactly what I find in Max von Sydow. As an actor, Max is sound through and through. Robust. Technically durable. If I’d had a psychopath to present these deeply psychopathic roles, it would have been unbearable. It’s a question of acting the part of a broken man, not of being him. The sort of exhibitionism in this respect which is all the rage just now will pass over, I think. By and by people will regain their feeling for the subtle detachment which often exists between Max and my madmen.”

Ingmar Bergman | 1968

"Mr. Bergman was a man of great working discipline. He forced everyone to concentrate when it was important. No disturbing noise during rehearsal. A code of silence. But in between, when [the camera and lighting] was being changed and re-rigged, there were a lot of laughs and a lot of fun. He had a great sense of humor. He had a talent of making people feel that they were participating in something important and something aspiring. He created teamwork. Mr. Bergman had a great imagination and saw the possibilities within every one of his actors, and he gave us great challenges. It was very inspiring. Whatever good I have done on screen I owe to him. I have learned discipline. I have learned concentration and the joy of acting."

Max von Sydow | 2013

(Source: strangewood)

magictransistor:

Georges Méliès. The Monster. 1903.

Un jour, un destin: Serge Gainsbourg (2012) - Florent Chevolleau

"

Le problème de l’homme moderne n’est pas sa méchanceté. Au contraire, il préfère, dans l’ensemble, pour des raisons pratiques, être gentil. Simplement il déteste s’ennuyer. L’ennui le terrifie alors qu’il n’y a rien de plus constructif et généreux qu’une bonne dose quotidienne de temps morts, d’instants chiants, d’emmerdement médusé, seul ou à plusieurs. Octave l’a compris : le vrai hédonisme, c’est l’ennui. Seul l’ennui permet de jouir du présent mais tout le monde vise le contraire : pour se désennuyer, les Occidentaux fuient par l’intermédiaire de la télé, du cinéma, d’Internet, du téléphone, du jeu vidéo, ou d’un simple magazine. Ils ne sont jamais à ce qu’ils font, ils ne vivent plus que par procuration, comme s’il y avait un déshonneur à se contenter de respirer ici et maintenant. Quand on est devant sa télé, ou devant un site interactif, ou en train de téléphoner sur son portable, ou en train de jouer sur sa Playstation, on ne vit pas. On est ailleurs qu’à l’endroit où l’on est. On n’est peut-être pas mort, mais pas très vivant non plus. Il serait intéressant de mesurer combien d’heures par jour nous passons ainsi ailleurs que dans l’instant. Ailleurs que là où nous sommes. Toutes ces machines vont nous inscrire aux abonnés absents, et il sera très compliqué de s’en défaire. Tous les gens qui critiquent la Société su Spectacle ont la télé chez eux. Tous les contempteurs de la Société de Consommation ont une carte Visa. La situation est inextricable. Rien n’a changé depuis Pascal : l’homme continue de fuir son angoisse dans le divertissement. Simplement le divertissement est devenu si omniprésent qu’il a remplacé Dieu. Comment fuir le divertissement ? En affrontant l’angoisse.

Le monde est irréel, sauf quand il est chiant.

"

Frédéric BEIGBEDER : 99 F (2000) ; pgs. 151-152