mysophobia 潔癖

Nastiness Diagnosis. Anthropology. Religion. Gender. Justice. A Personal Notepad For the General Public.

Shoot the pianist by François Truffaut

The Funnist Truffaut. The male-centered loniless of life. The ganster mascuilinity. the pianist femininity ("la timidité")

Yes, noir, yes Hollywood French New Wave version.

David Ehrenstein :

"A wild mixture of gangster thriller, slapstick comedy, and bittersweet romance, Shoot the Piano Player was one of the signal works of the French “New Wave,” but it took a while for some critics and audiences to get used to a film that flew in the face of traditional dramatic expectations so broadly and mixed genre elements so freely."

(smart Wiki abstract)

The film shares the novel’s bleak plot about a man hiding from his shattered life by doing the only thing he knows how to do, while remaining unable to escape the past. However, Truffaut’s work resolves itself into both a tribute to the American genre of literary and cinematic noir and a meditation on the relationship between art and commercialism.


 
Strangers talk about love and his wife.

One of the Kidnappers talk about the love for women, and his father’s death by looking at some girl while driving.

Mother drop dead.

Fighting with knife and telephone.

"Don’t stop fighting. People are watching."

Down There "passes at a certain point beyond the usual gangster novel, and becomes a fairy tale". He cast Charles Aznavour as the lead, having admired the scrawny singer’s ability to play vulnerable in Georges Franju’s Head Against the Wall. As the female lead he cast an unknown, musician Marie Dubois.

to shoehorn camera tricks, jokes and mickey-takes into proceedings; he added split-screen and self-referential gags, raucous songs (notably Boby Le Pointe’s song about breast enhancement, Vanilla and Raspberries). As a result, his film is considerably lighter than Goodis’s doom-laden original.

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This entry was posted on June 22, 2013 by in 【Post-Film Posts】 and tagged .
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