program - Alliance française de Bangkok

Transcription

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Reprise
INTERNATIONAL FILM
HERITAGE FESTIVAL
đìýÖćúöøéÖõćó÷îêøŤîćîćßćêĉ
PROGRAM
ēðøĒÖøö
BANGKOK
Feb. 26 - Mar. 6, 2015
© Roy Export SAS
ÖøčÜđìóĄ
26 ÖčöõćóĆîíŤ - 6 öĊîćÙö 2558
Free admission
ĕöŠöĊÙŠćđ×šćßö
Facebook : MemoryFilmFestivalThailand
MEMORY ! festival international du film de
patrimoine – reprise en Thaïlande :
un événement dédié aux films classiques,
une fenêtre ouverte sur le monde !
La première reprise du festival du film de patrimoine MEMORY ! en Thaïlande aura lieu du 26 février au 6 mars 2015.
Le festival du film de patrimoine MEMORY ! a été créé en 2012. Deux éditions se sont précédemment déroulées au
Cambodge en juin 2013 et 2014. Le succès d’un tel événement dédié aux films classiques a conduit l’équipe de
MEMORY ! à organiser une reprise de la programmation de 2014, autour du thème du « rire », dans d’autres pays de la
zone d’Asie du Sud-Est. Nous nous réjouissons d’accueillir en Thaïlande l’une de ces reprises de MEMORY !.
Le public thaïlandais pourra ainsi découvrir en exclusivité et gratuitement une sélection de onze films, tous soustitrés en langues thaïe et anglaise, en provenance des quatre coins du monde (Etats-Unis, Mongolie, France, Japon,
Royaume-Uni…), du 26 février au 6 mars prochain. Alors que certains de ces classiques jouissent d’une grande
notoriété à l’international, d’autres n’ont jamais quitté leur pays et sont diffusés pour la toute première fois à
l’étranger dans le cadre de cette manifestation.
A travers cette reprise de MEMORY ! en Thaïlande, nous vous proposons ainsi de voyager dans le temps. Vous
serez étonnamment surpris de voir à quel point tous ces chefs-d’œuvre historiques peuvent être modernes et
intemporels.
La mission première de ce festival dédié aux films de patrimoine s’attache à préserver la mémoire tout autant que
de rendre accessible cet héritage cinématographique au plus grand nombre ainsi qu’aux générations futures.
Les archives cinématographiques témoignent d’un patrimoine mondial tout autant que de la mémoire d’un pays et
de son peuple. Il est donc nécessaire d’agir en faveur de leur préservation par un travail de recherche, de collecte et
de conservation des copies à l’abri de l’humidité et de la chaleur, quel que soit le succès du film, son genre ou encore
son état d’aboutissement. Pour les plus chanceux, un rare travail de restauration numérique est entrepris. Il faut
toutefois noter que plus de 90% des films internationaux réalisés avant 1929 et 50% des films américains qui l’ont
été avant 1950, sont malheureusement perdus pour toujours.
Il existe très peu de festivals à travers le monde qui offrent une visibilité aux films de patrimoine. Jusqu’à présent,
la plupart d’entre eux prenaient place en Europe et aux États-Unis, tels que : Il Cinema Ritrovato à Bologna, Lumière
à Lyon ou encore MoMA Film Preservation Festival à New York. C’est pourquoi l’association MEMORY ! Cinema a décidé
de développer un festival annuel exclusivement dédié aux films de patrimoine pour la toute première fois en Asie.
La reprise en Thaïlande du festival du film de patrimoine MEMORY ! est organisée par l’association MEMORY Cinema
en partenariat avec la Film Archive (organisation publique), l’Alliance Française de Bangkok et avec le soutien de
l’Ambassade de France en Thaïlande.
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3JUSPWBUPǰ ìĊđę öČĂÜēïēúââćǰ đìýÖćúǰ -VNJªSFǰ ìĊđöČĂÜúĊâÜǰ ĒúąđìýÖćúǰ .P."ǰ 'JMNǰ 1SFTFSWBUJPOǰ 'FTUJWBMǰ ìĊđę öČĂÜîĉü÷ĂøŤÙǰ ĒúąîĊÝę Üċ đðŨîđĀêčñúüŠć
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MEMORY! International Film Heritage Festival
– Reprise in Thailand:
an event dedicated to classics,
an open window on the world!
The first MEMORY! International Film Heritage Festival – Reprise in Thailand will take place in Bangkok, from February
26 to March 6, 2015.
MEMORY! International Film Heritage Festival was created in 2012. Two main editions took place in Cambodia in June
2013 and 2014. The success of such an unusual event dedicated to classics, led the Memory! festival team to set a
“Reprise” – meaning a selection of the 2014 programming around the theme of Laughter – in other ASEAN countries.
And we are delighted that Thailand welcomes one of these MEMORY! reprises.
MEMORY! Film Heritage Festival is proud to offer an outstanding selection of eleven classic movies, all subtitled
both in Thai and English languages, from around the world (USA, Mongolia, France, Japan, United Kingdom etc), from
February 26 to March 6, 2015. It will last 9 days, with free admission for all. Some of those films may be considered as
blockbusters since they have been shown in many countries. Some others seldom left their own country and have
been watched abroad for the first time as part of this event.
Through this MEMORY Reprise in Thailand, we propose a journey to the past. And you’d be surprised how modern and
young those “old” films still are.
The motivation for creating such an event dedicated to film heritage relies on the importance to preserve memory
and enable access to this nation and humanity heritage. Future generations should be able to have access to it.
No matter if they are minor or major works, fictions or documentaries, newsreel footage or rushes, all films need
to be taken care of. That means collecting them, searching for them when they are considered to be lost and
preserving them in safe locations (notably by respecting humidity and heat control). For the few lucky ones, they
will benefit from a full restoration. It must be noted that, over 90% of films around the world made before 1929 are
lost forever, as well as half of all American films made before 1950.
There are very few film festivals in the world dedicated to film heritage. Most of them took place in Europe and
America such as: Il Cinema Ritrovato in Bologna, Lumière in Lyon and MoMA Film Preservation Festival in New York. This
is why MEMORY! International Film Heritage Festival was co-created in 2012 by NGOs MEMORY Cinema Association and
Technicolor Foundation for Cinema Heritage in order to set up an annual event dedicated to cinema heritage in Asia
for the first time.
The MEMORY! Reprise in Thailand is organized by NGO MEMORY Cinema Association in partnership with Film Archive
(Public Organization), Alliance Française Bangkok and with the support of the Embassy of France in Thailand.
3
Circus (The)
Charlie Chaplin
USA - 1928
Cast
Charlie Chaplin
(Charlie),
Allan Ernest Garcia
(The Rngmaster),
Merna Kennedy
(The Circus Rider),
Harry Crocker (Rex),
Henry Bergman
(The Old Clown)
Screenplay
Charlie Chaplin
Cinematography
Roland Totheroh
Synopsis
Music
At a circus midway, the penniless and hungry Tramp (Charlie) is Charlie Chaplin
mistaken for a pickpocket and chased by both the police and the Production
real crook (the latter having stashed a stolen wallet and watch in Charlie Chaplin
the Tramp’s pocket to avoid detection). Running away, the Tramp
stumbles into the middle of a performance and unknowingly Language silent
with English interbecomes the hit of the show.
titles
Notes about the film
Duration 70 mn
Go ahead and be funny! The Circus is a comedy about comedy.
Accordingly, it generates a somewhat dizzying reiteration of Color Black & White
duplication; like finding yourself in a Mirror Maze, you are faced with
Thanks MK2
an unending recession of images, each a reflection of all the others
and consequently itself. This kaleidoscope vision is vividly explored
and brought to light in one of the most self-conscious movements
of The Circus: the « Try-Out » sequence. Although we encounter the
Tramp in his usual dire straits, after a series of misunderstandings
and coincidences he is once more being offered a job, this time as a
circus performer. In the ensuing sequence, the Tramp attempts to
replicate the spectacle of the circus clown with disastrous effect:
the Ringmaster declares him « awful! » and tells him to « Get out and
stay out! » an archetypal fist brandished in the air. While he might
fail to crack a smile on the face of his prospective employer, we, the
audience, find the Tramp’s performance hilarious.
Natasha Wolf
4
Charlie Chaplin (1889-1977)
« A day without laughter is a day wasted. » Charlie Chaplin
Charlie Chaplin is one of the most legendary iconic figures in the history of film. Whether
as an actor, director, or simply a comedian, Chaplin rates among the most celebrated
and beloved figures of all of cinema. Chaplin was born in England and started off in
theater as a young child. During the early 1910s, Chaplin toured in the United States
with a group of stage comedians. Here he was seen by one of D.W. Griffith’s partners and
was offered to work in films. Chaplin made his film debut with the Keystone Company
in 1914’s Making a Living. Chaplin was very disappointed with the results as Keystone
wanted to use Chaplin simply for his psychical comedy. Chaplin wanted to add more
character and some of his next Keystone films displayed this as in 1914’s Kid Auto Races
at Venice he incorporated what would become his signature character of the silent era:
« The Tramp ». Chaplin made 35 films in 1914, and he directed 19 of them. By 1915 Chaplin
began writing, directing, usually editing, and sometimes composing all of his films. Over
time and with success Chaplin began to get more and more creative freedom. The result
was evident as his films became more and more structured as a narrative rather than
just a series of comedic gags. Through his Tramp character Chaplin would ultimately
(in a variety of ways) examine the contradictions of a human society. In fact the tramp
was a metaphoric contradiction - an optimist that feared and hated the deceptions of
society yet at the same time desired the praise and benefits society offered through
deception. This examination became increasingly clear as Chaplin evolved with his
5
feature films. While Griffith was well known for establishing the director voice in film,
Chaplin’s films marked an influential change on the performer within the film. Simply
put, he made audiences remember and appeal to the performers of the film. Chaplin
feature filmmaking debut came in 1921 with The Kid. His next film 1923’s A Woman of
Paris was a change of direction into drama and the result was a rare box office failure
(simply because audiences didn’t want to see a Chaplin film without laughs). A scandal
followed Chaplin during the production of his next film The Gold Rush which Chaplin
returned the tramp character and regained success with audiences. In 1928 Chaplin
made his last « true » silent film (The Circus) and it marked a personal masterpiece of
both his career and the silent era. Chaplin was totally against the invention of sound
and felt « talkie pictures » were just a fad. While his next features would use some
sound, they could still be considered silent films. Chaplin remained one of the very last
filmmakers to make the transition into talking pictures. His masterpiece 1931’s City
Lights began with a muffled opening speech which poked fun at talkies. His last « silent
film » Modern Times was made in 1936 (nearly 10 years after the invention of sound).
Chaplin would go on to make very good sound films, among them is one of his greatest
achievements 1952’s Limelight. One aspect that made Chaplin’s films so endearing is
the masterful and sometimes poetic way in which they ended. The final shots of his
greatest film City Lights are among the loveliest in film history; the final shots of The
Circus and Limelight are among the most beautifully poetic of his career; and in Modern
Times he gives his famous Tramp character a memorable final goodbye. Chaplin is one
of the most important figures in the history of film and hopefully his films will continue
to be as cherished and enjoyed for generations to come.
Selective filmography
The Kid (1921),
City Lights (1931),
Modern Times (1936),
The Great Dictator (1940),
Limelight (1952),
A King in New York (1958)
6
The Circus
Charlie Chaplin
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7
Before Rising Up the Rank
(Zereg nemehiin omno)
Lodongiin Tudev
Mongolia - 1965
Cast
Z. Dorjsuren
(Düvchinmijidbalbigombo Layers),
B. Sodnom (Boroldoi),
D. Jamiyanjav
(Doldoi)
Synopsis
This Mongolian classic has touched the hearts of generations
and the lovable likenesses of characters Boroldoi and Doldoi are
burned into the national imaginary. It is a road movie; a « silk road »
comedy, which follows three companions as they travel across
the wilderness towards the Winter Palace of the Bogd Khan in Ulan
Bator to offer their fabrics. In this barren setting, circa the early
Director 1900s, the leftovers of feudal mentality quickly give way to the
Lodongiin Tudev egalitarianism of the road.
Music
Luvsanjamba Murdorj
Sets Ya. Ürjnee
Language Mongolian
with English subtitles
Duration 66 mn
Color Black & White
Production The Shaman Prince (Zogsoolon Dorjsuren) and his assistants, the Thanks General
Dendev Chimed-Osor circus actor Boroldoi (Bat Sodnom) and the tall and thin Doldoi Archival Authority of
(Danzansharav Jamiyanjav), form a quixotic trio that encounters all Mongolia
Cinematography
sorts of colorful fellow wanderers and has to overcome a series of
B. Demberel
adversities along their never-ending journey.
Before Rising Up the Rank is a black and white comedy film with
7 acts, produced and released by Mongol Kino Production, under the
approval of the Ministry of Culture, in 1965. The original script was
written by Lodongiin Tudev and the three main actors were very
renowned artists in Mongolia: Zogsoolon Dorjsuren (the Shaman
Prince), Bat Sodnom (the circus actor Boroldoi) and Danzansharav
Jamiyanjav (Doldoi).
8
Notes about Bat Sodnom
Based on folk humors and satirical speeches on greedy
aristocrats and witty servants, the film narrates an
adventure of a prince, who travels with two servants,
one witty and the other obedient, to the capital city to
attend the court of Bogd Khan in expectation of having
his rank raised up by offering silver bars to the king. This
journey shows the greedy nature of the prince, which is
teased by the two servants.
Born in Zaamar (Tov province), Bat Sodnom’s family
moved to Ulan Bator in 1928 where his father taught him
Alphabet. Disciple in a monastery, he studied Mongolian
traditional scripts and then was a teacher for youth
lamas. In 1934, Bat Sodnom joined the « Bombogor
Nogoon » theatre and the « Youth theatre » as an actor,
assistant-producer, producer and deputy director.
Between 1941 and 1943, Bat Sodnom used to work at
the theatre of Bayan-Ôlgii (Uvs and Zavkhan provinces)
until he became a circus actor in the State circus. He
was the one whom created more than 200 main roles
in the humor circus style. Bat Sodnom played some
leading roles in these following films: Before Rising Up
the Rank, Tarvagan tahal and Hunii mor. He was awarded
State Meritorious Artist in 1958.
The producer of the film, Dendev Chimed-Osor, was
also a renowned actor and famous film director. As the
music director, Luvsanjamba Murdorj, he is awarded
People’s Artist of Mongolia.
Notes about Zogsoolon Dorjsuren (1916-1972)
Born in 1916 in Ulan Bator, Zogsoolon Dorjsuren studied
education between 1930 and 1933. He started his
career as a teacher in Dalanshand (Dundgovi province).
Until Zogsoolon Dorjsuren became a music conductor
at the 5th battalion of Bayantumen of Dornod province,
he studied music and music direction. Zogsoolon
Dorjsuren wrote short folk songs with the famous
singer Dorjdagva in 1935 but also with the State
Merit author Ch. Lkhamsuren (Ijildee gants sharga).
Zogsoolon Dorjsuren has worked as teacher of music
theory at the Music and Arts Institute of Mongolia.
Notes about Danzansharav Jamyanjav (born in 1937)
Born in Eroo (Selenge province), Danzansharav
Jamyanjav studied art and music at the Musical
Institute of Sofia, Bulgaria (1951-1954) where he was
trained as a classical opera singer. He was also a solo
singer at the State Opera and Ballet theatre of Mongolia
between 1962 and 1992. He used to teach at the
Mongolian Art and Cultural University since 1992.
Danzansharav Jamyanjav was awarded State
Meritorious Artist of Mongolia, one of the highest honors
awarded by the Mongolian state, in 1981. Throughout
his operatic career, he has performed a vast selection
of the classical repertoire and led the main role in more
than ten operas.
Lodongiin Tudev (born in 1938)
Lodongiin Tudev was born in Naram (Govi-Altai province). He studied at the Mongolian
University for Teacher between 1953 and 1956, then at the Humanitarian Academy in
Moscow city (1963- 1967). He became a « candidate of science » in 1967 (dissertation’s
theme: « Policy in People`s Revolution Party of Mongolia’s literature » and Ph.Doctor of
Linguistic Science (theme: « Nationalist and Internationalist character in Literature of
Mongolia ». Moscow, 1983).
He used to work as a teacher in the secondary school of Govi Altai province between
1956 and 1969, and as Bureau Chief of « Central magazine and newspaper » between
1960 and 1996. He was also the first Secretary of « Central Committee of Mongolian
Youth and Children Union ». Furthermore, in 1970, he was Chief Editor of « Dal », the first
fantastic newspaper in Mongolia.
He wrote his initial poems named Altai, Spring and Growth in 1951. His first book was Hello
Children in 1955, followed by two famous novel Movement and Sitting and Gill (awarded by
State Prize). Another famous book written by Lodongiin Tudev is called History Regarding
of the Introduction With the Earth, or Govi Khyangand tulaldsan ni and, of course, Before
Rising Up the Rank (Zereg nemehiin omno).
In 1974 he published a strong non-fiction novel about the leadership of Mongolia’s
agriculture establishment entitled Nomadic-Sedentary. Then, he wrote an artdocumentary story about Damdinii Sükhbaatar, a founding member of the Mongolian
People’s Party and leader of the Mongolian Partisan Army who was enshrined as Father
of the Revolution, remembered today as one of the most important figures in Mongolia’s
struggle for independence.
9
Notes about Dendev Chimed-Osor (1912-1988)
Born in Ulziit (Arkhangai province), Dendev Chimed-Osor
worked first as a domestic helper in the household of a
wealthy family and then was a postman until he turned
his 20. Dendev Chimed-Osor was the first fireman in
his province, between 1932 and 1934. He enrolled in
the army between 1934 and 1936 until he worked at
the Central theatre. In 1937, he started studying at
the second temporary school and graduated the same
year. He played his first role (Oidov’s role) in a drama
written by Sh. Ayush, Exact 18. He used to teach at the
Art school between 1942 and 1948, theatre of Dornod
province (1948-1950) and Arkhangai province (19501956). From 1960 to 1981, he produced many movies
such as: Dispised Woman, Good Luck and Sins, Before
Rising Up the Rank, Daughter of Tamir, Khoninii nair at the
Mongolian Film. He was awarded the State Meritorious
Artist in 1981.
10
Before Rising Up the Rank
(Zereg nemehiin omno)
Lodongiin Tudev
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11
Ladykillers (The)
Alexander Mackendrick
Great-Britain - 1955
Cast
Alec Guinness
(Professor Marcus),
Cecil Parker (Claude),
Herbert Lom (Louis),
Peter Sellers (Harry),
Danny Green (OneRound),
Jack Warner (The
Superintendent),
Katie Johnson (The
Old Lady)
Synopsis
The original Ladykillers, before the recent one starring Tom Hanks
and directed by the Cohen brothers, was released fifty years prior,
and it is also about a group of thieves who convince an old lady (Katie
Johnson) that they are nothing more than a band of musicians who
need a place to rehearse. The leader of the group (Alec Guinness)
and his accomplices (Peter Sellers, Herbert Lom & Danny Green)
concoct a plan for a heist. The robbery is successful, but the old lady
finds out the truth and the « musicians » decide to silence her for
good before she runs to the police; but no matter how much they
try, they soon learn that they have more than met their match.
Screenplay
William Rose
Cinematography
Otto Heller
Music Tristram Cary
Sets Jim Morahan
Production
Michael Balcon
Language English
Duration 91 mn
Released in 1955, the black comedy The Ladykillers was the last Color Color
of the great Ealing comedies (although two more, very minor,
comedies were released before the studio was wrapped up). It was Thanks Tamasa
also director Alexander Mackendrick’s last film in Britain before
leaving to plough even darker waters in Hollywood with his cynical
masterpiece The Sweet Smell of Success (1957).
The story - five criminals, posing as musicians, successfully carry
out a robbery, then find themselves defeated by their apparently
harmless landlady, and ultimately driven to destroy each other came in a dream to writer William Rose, who also wrote Mackendrick’s
previous film, The Maggie (1954), and Mackendrick was immediately
12
The Ladykillers was a big success in Britain and in the
US, where it was nominated for the Best Screenplay
Oscar. Rose, however, left the production midway,
following arguments with Mackendrick and producer
Seth Holt, leaving them to complete the script from his
notes. When he finally saw the film, three years later,
he was forced to admit that the results improved on his
own vision.
taken by its dark humor. Alec Guinness gives probably his
finest comic performance as the increasingly unhinged
criminal mastermind Professor Marcus. The role was
originally intended for Alastair Sim, and Guinness plays
the part with more than a hint of Sim about him. But the
film really belonged to the 77-year-old Katie Johnson
as the apparently dotty but utterly indefatigable Mrs.
Wilberforce. The casting is perfect across the board:
Herbert Lom, in his first comic role, brings genuine
menace as hard man Louis (as Mackendrick noted, « he
acted as though he didn’t know he was funny »), while
Cecil Parker as the Major and the huge ex-boxer Danny
Green as ex-boxer One-Round seem so right it’s hard to
imagine others in the roles. Peter Sellers got his first
major film part as Teddy Boy Harry (he also voiced Mrs.
Wilberforce’s parrots). Sellers and Lom would later play
against each other in several Pink Panther films.
Mark Duguid
Like Mackendrick’s earlier The Man in the White Suit
(1951) and Mandy (1952), the subtext of The Ladykillers
was the stultifying conservatism of contemporary
Britain. Mrs. Wilberforce and her similarly aged friends
represent the continuing weight of Victorian England
holding back progress and innovation (that this
innovation is represented here as robbery and murder
gives some indication of the ambiguity of Mackendrick’s
vision).
Alexander Mackendrick (1912-1993)
Alexander Mackendrick was born in Boston, Massachusetts, but was raised by his
grandfather in Glasgow, Scotland. After attending Hillhead High School between 1919
and 1926, Mackendrick enrolled at the Glasgow School of Art for three years before
moving to London to take up a job at the advertising agency J. Walter Thompson (JWT).
In the 1930s he scripted and storyboarded cinema commercials which were shot
in Technicolor by the stop-puppet animator George Pal, then during the early years
of the war – like many film industry professionals – he contributed to the war effort
with the making of propaganda films. When the war ended, Mackendrick set up Merlin
Productions with MacDougall, making documentaries for the Ministry of Information.
When the company ran into financial difficulties, Mackendrick sought work at Ealing
Studios and in 1946 was taken on as scriptwriter and production designer on Basil
Dearden’s Saraband for Dead Lovers (1948). This was the start of a new phase in his
career: he stayed at Ealing for nine years, directing five films, establishing himself as a
key figure in Britain’s post-war film industry and acquiring a considerable international
reputation.
Mackendrick’s first film at Ealing, Whisky Galore! (1949), ranks high among the comedy
classics of British cinema. Mandy (1952), the only non-comedy in Mackendrick’s Ealing
output, is about the struggles of a deaf-mute child to learn - in the face of her parents’
obtuseness as well as her own disability - to speak. A collision between awareness
and unawareness is written in the film’s organization of spaces: walls, windows and
doors figure as markers of isolation, and of freedom. The extraordinary performance
13
Mackendrick elicited from child actress Mandy Miller in the title role helped Mandy win
the Special Jury Prize at the 1952 Venice Film Festival, but this powerful and moving
film remains surprisingly underrated in Mackendrick’s oeuvre. Most of Mackendrick’s
Ealing films are distinguished by consistent flair and mastery of narrative technique;
and as an oeuvre, represent the most distinctive and stimulating body of work of any
of the studio’s directors. In different modes and genres, all five films develop variations
on the themes of unawareness and misperception, innocence as a destructive force,
and the outsider versus the community. Mackendrick was now ready to tackle more
challenging projects than a declining Ealing Studios could offer, and by 1955 had left
Britain for Hollywood. For the remainder of his directorial career he moved between
Hollywood and London, completing just four further films, including the one commonly
rated his masterpiece: his debut Hollywood assignment, the acridly brilliant Hecht-HillLancaster (HHL) production, Sweet Smell of Success (1957). Its making was a fraught
affair - Mackendrick’s perfectionism brought him into conflict with his producers,
and disagreements with HHL dogged him on his return to England to make The Devil’s
Disciple for the company. He was dismissed a month after shooting began - a severe
blow to Mackendrick’s confidence, « from which his career as a director - hitherto set on
a strongly rising curve - never wholly recovered » (Philip Kemp).
In late 1969, faced with the prospect of having to return to Hollywood if he wanted to
continue directing films, Mackendrick was offered, and accepted, the Deanship of the
Film School of the newly-established California Institute for the Arts (CalArts). This
proved to be a highly successful career change, and he remained in post as Dean until
1978, when he stepped down and became a Fellow of the Institute, continuing with his
teaching. Alexander Mackendrick never looked back after he stopped directing films. A
perfectionist in an industry devoted to profit, his filmmaking career faltered after he
left Ealing and set up as a freelance director on the open market. It was both his luck
and his misfortune to have served apprenticeships in large organizations (JWT, the
Army, Ealing Studios), where he was insulated from the hard-edged, deal-making side
of the creative industries: « I’ve always been happiest in these big organizations », he
once said, « where I’m free to make mischief from within - where I get all the centralized
support, but I’ve got enough skill to exploit it for my own benefit ».
The Man in the White Suit (1951),
The Ladykillers (1955),
14
The ‘Maggie’ (1954),
Sweet Smell of Success (1957)
The Ladykillers
Alexander Mackendrick
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15
Good Morning
(Ohayô)
Yasujirô Ozu
Japan - 1959
Cast
Koji Shidara Koji
(Minoru),
Masahiko Shimazu
(Isamu),
Chishu Ryu (the
father, Keitaro
Hayashi),
Kuniko Miyake
(Mrs. Tamiko
Hayashi),
Haruko Sugimura
(Mrs. Kikue
Haraguchi),
Screenplay
Yasujirô Ozu
Cinematography
Yûharu Atsuta
Synopsis
Good Morning is a clever, humorous, and lighthearted glimpse
into contemporary Japanese life, as seen through the eyes of the
Hayashi brothers: Minoru and Isamu. In a close knit suburban village
of 1950’s Japan, there is only one television set in the neighborhood,
and the children religiously make an after school pilgrimage, often
at the expense of their English lessons, to catch their daily dose
of sumo wrestling. Returning home, their dinner conversations
inevitably turn to incessant please and temper tantrums for their
parents to buy them a television. But their father is against buying
one, believing that its presence in the Japanese home will spawn
« 100 million idiots ». When the boys are ordered by their father to
remain silent about their tireless campaign, they vow not to speak
to anyone. However, their protest is mistaken for an intentional
snub when a neighbor, Mrs. Haraguchi, assumes that their silence
is associated with an earlier misunderstanding with Mrs. Hayashi
regarding payment of club dues. Soon, news of Mrs. Haraguchi’s
«pettiness» over personal grudges spreads through the village,
and the neighbors collectively take turns to visit Mrs. Hayashi and
return all their borrowed items. Meanwhile, things prove to be
equally difficult at school, as Isamu’s signal for permission to talk
is construed by his teacher as a request to go to the bathroom, and
Minoru is punished for refusing to read a passage aloud in class.
When Minoru’s teacher stops by the Hayashi home after school to
16
Music
Toshirô Mayuzumi
Production
Shochiku
Language
Japanese with
English subtitles
Duration 94mn
Color color
Thanks Shochiku &
National Film Center
adult world of empty conversation and, conversely,
double-speak. In addition, it should be noted that the
storytelling in Good Morning is divided into two blocks:
the parents and the children. Within the parental block,
the wives and the husbands are further given separate
treatment, while the children are left as a single unit,
seeing that they are, oddly enough, only comprised of
young boys.
inquire about the boys’ refusal to talk, Minoru and Isamu
decide to run away to avoid being scolded.
Notes about the Film
Were one to try and define the common element within
all Ozu films, they would discover that he had an eye
for human tales about daily life. In choosing to capture
this quality, Ozu used many diverse genres and their
conventions to highlight specific points he was trying
to make. Though perceived as being a filmmaker with
a penchant for slow moving, conventionally lensed
films, the reality proves to be far different. While it
is true that Ozu has largely made dramas, he also
shows, in Good Morning, that he is a skilled director of
comedy. Naturally, the comedy has a larger emphasis
on character interaction and quirks, as opposed to
slapstick and absurdist humor, but it is unique in its
depth of view into human nature.
The action begins with the wives embroiled in a debate
about who embezzled the Wives’ Club dues. Fingers are
pointed and friendly allegiances are abandoned over
misconstrued actions and comments. The husbands, on
the other hand, are happily oblivious, instead meeting
up at a local snack shop and getting blotto together.
Concurrent with this, the children in the neighborhood
would rather not do their homework, but instead
watch sumo at the neighboring young hipster couple’s
house, which had the lone television in the community.
Naturally the parents disapprove of this shirking of
homework responsibilities, but they additionally object
to the young hipsters’ lifestyle and fashion, and, as a
result, they keep the children from going there to watch
TV. After begging, pleading and yelling, Minoru and Isamu
are admonished for making such a big fuss and talking
too much about such frivolity as a TV. They, in turn,
complain that adults fill their day with useless small
talk and refuse to speak directly to one another about
Shot in primary colors and filled with Ozu’s trademark
rigid framing, Good Morning tells of a small workingclass community and their interactions in (then)
contemporary Japan. The majority of the action is set
in and around the bright blue roofed community houses
that are clustered under looming high-power lines. The
story, while ostensibly being about two boys, Isamu
and Minoru, and their silence strike to pressure their
parents into buying a television set, it is also about the
Yasujirô Ozu (1903-1963)
Ozu was born in the Fukagawa district of Tokyo. In 1927 he directed his first film,
« Sword of Penitence ».
Ozu became widely recognized internationally when his films were shown abroad, at the
end of the 60’s. Ozu is probably as well known for the technical style and innovation of
his films as for the narrative content. He did not conform to Hollywood conventions.
Also, rather than using the typical over-the-shoulder shots in his dialogue scenes,
the camera gazes on the actors directly, which has the effect of placing the viewer in
the middle of the scene. Ozu did not use typical transitions between scenes, either. In
between scenes he would show shots of certain static objects as transitions, or use
direct cuts, rather than fades or dissolves. Most often the static objects would be
buildings, where the next indoor scene would take place. It was during these transitions
that he would use music, which might begin at the end of one scene, progress through
the static transition, and fade into the new scene. He rarely used non-diegetic music
in any scenes other than in the transitions. Ozu moved the camera less and less as his
career progressed, and ceased using tracking shots altogether in his color films. He
invented the « tatami shot », in which the camera is placed at a low height, supposedly
at the eye level of a person kneeling on a tatami mat. Actually, Ozu’s camera is often
even lower than that, only one or two feet off the ground. He used this low height even
when there were no sitting scenes, such as when his characters walked down hallways.
In narrative structure, Ozu was an innovator in his use of ellipses, in which many major
events are left out, leaving only the space between them.
Banshun (1949),
Bakushû (1951),
Tôkyô monogatari (1953),
Higanbana (1958), Akibiyori (1960),
Sanma no aji (1962)
17
important issues. As a result, Isamu and Minoru vow to
not speak again until their wish for a TV set is granted.
that this change will be permanent or complete. Like a
good artist, he shows the audience the world around us
and then allows us to consider how we can change it.
The parents are confident that the silence strike will
be short-lived. When it becomes apparent that the
children are serious and will not renege on their vow
of silence - to such an extent that they cause trouble
for themselves both in and out of school - the parents
become aware of their own use of empty conversation
in their daily lives. Once the children go missing, the
parents realize that they have to address their children
directly and not ignore them. And that maybe they can
learn something from the children after all.
From a technical standpoint the craft is solid in the
film. The production design, make-up, and costume
design are first rate and the entire color palate seems
to have been derived from a box of crayons. The lighting
is subtly beautiful at times and practical at others, but
it never gets in the way of the storytelling by drawing
attention to itself. The formality of the shot framing and
mise-en-scène is typical of an Ozu film and the editing
is comprised of simple broad cuts primarily based on
who is speaking and which direction they are coming
from, and montage. Ozu’s penchant and incredible skill
in jumping the 180-degree line is almost like magic
at points. Though long a no-no of basic filmmaking,
Ozu’s films are a good argument for how it can be done
successfully without totally disorienting your audience.
I was impressed with the craft of this film, how all of
the elements existed primarily to tell the story, and the
value of the story that was told. This is great filmmaking.
Parts of what makes Good Morning so amusing are the
fantastic performances of the two young boys who play
Isamu and Minoru. Children can be the best and worst
aspect of a film about family. On the one hand, children
are natural actors due to their penchant for make
believe, but due to the amount of time, repetition, and
distractions inherent in making a film, guaranteeing
that one will be able to get a good performance out of
a child is extremely difficult to do. Children’s attentions
flag easily and if they aren’t having a good time on
set, then tough luck, there won’t be any more good
scenes with them. Ozu obviously has a gift for working
with child actors, as illustrated by the number of films
with children in them, and Good Morning is certainly a
triumph in this regard. The children in the film are, by
and large, incredibly sincere in their performances.
What we find amusing are the little truths that we spot
about growing up, the things that are important to kids,
and what they’ll do to acquire them. Further detailing
this quality in the film is a hilarious take on the oddball
fixations of little boys. For me it was snails, spiders
and the like; for Minoru, Isamu, and friends it’s eating
pumice rock shavings to help them fart. They idolize
one of the dads for his incredible ability to pass gas and
ridicule a boy who soils his pants when he tries to break
wind on command - some, it seems, just don’t have
what it takes. Rather than being treated as a simple
fart joke and left at that, Ozu shows it as an adolescent
bonding mechanism, illustrating to what extent boys
will compulsively go to do the thing they love. In this
case it’s eating rock shavings.
Jasper Sharp
In so far as the silence strike is concerned, as a result of
watching it for a large portion of the film, the audience
becomes more sensitive to the nature of adult
conversation and, quite frankly, the inanity of some of
it. In a particularly profound moment towards the end of
the film, we see how inept adults can be in trying to make
imaginative conversation, when they are aware of how
bereft of substance much of their casual conversation
actually is. The adults are too self-conscious and Ozu
leaves us wondering whether people can really change
how they talk and interact, and whether adults are
capable of a quality conversation.
Ozu seems to feel that some change is better than no
change, but he never goes so far as to show explicitly
18
Good Morning (Ohayô)
Yasujirô Ozu
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19
Safety Last
Fred C. Newmeyer & Sam Taylor
USA - 1923
Cast
Harold Lloyd
(The Boy),
Mildred Davis
(The Girl),
Bill Strother
(The Pal),
Noah Young
(The Law),
Westcott Clarke
(The Floorwalker),
Mickey Daniels
(The Kid),
Anna Townsend
(The Grandma),
Synopsis
Harold Lloyd plays a small-town bumpkin trying to make it in the
big city so that he can impress his girlfriend and eventually marry
her and makes good. He eventually finds employment as a lowly
department-store clerk, but when he calls his girl, Mildred, he
pretends to be a store manager. In a panic to impress the real store
manager, he comes up with a wild publicity stunt to draw attention
to the store, resulting in an incredible feat of derring-do on that
gets him started on the climb to success.
Cinematography
Walter Lundin
Production
Hal Roach
Language
Silent with English
intertitles
Duration 64 mn
Color Black & White
It is by general agreement the most famous shot in silent comedy: Thanks Park Circus
a man in a straw hat and round horn-rim glasses, hanging from the
minute hand of a clock 12 stories above the city street. Strange,
that this shot occurs in a film few people have ever seen. Harold
Screenplay Lloyd’s Safety Last (1923), like all of his films, was preserved by the
Hal Roach, comedian but rarely shown.
Sam Taylor,
Tim Whelan Lloyd played an early would-be Chaplin character named Lonesome
Luke, then saw a silent film where the character calmly replaced his
glasses after an action scene, and adopted the glasses as his own. To
the degree Lloyd’s famous character has a name at all, it is « Glasses,
» and in Safety Last, he is billed merely as The Boy. The glasses make
distinct a face that is otherwise pleasant, even handsome, but not
remarkable in the way that Keaton’s deadpan gaze and Chaplin’s
20
toothbrush moustache are distinctive. Nor was Lloyd’s
character remarkable not in the sense of Chaplin’s Little
Tramp, whose every movement expressed an attitude
toward life, or Keaton’s characters, always on the run,
always deadly earnest about goals of overwhelming
importance. The Glasses character in Safety Last would
have blended with the background of the department
store where he worked if it had not been for action
imposed upon him. But what action! The Boy poses as
the manager of the store, is exposed and decides to
risk everything for a $1,000 prize offered to anyone
who can lure more traffic to the store. His idea: having
his roommate (Bill Strother), a human fly, climbing the
building. However, the Boy is forced to substitute as
the climber. When Lloyd climbs, it looks real. That is the
whole point. It seems to really be Harold Lloyd, really
climbing the building, over a real drop that would be
fatal. Kerr emphasizes in his book: « virtually every shot
in it keeps the street below in view. »
Well, was it Lloyd? It certainly wasn’t special effects,
which were not capable in 1923 of creating such
illusions. In many shots, it is clearly Lloyd because we
can see his face. In longer shots, as Kerr points out,
the climber is certainly not the shorter and stockier
Strother, who was a human fly in real life.
he had a platform with mattresses on it placed one,
two or three stories below him. After his death in 1971,
according to the critic Dennis Schwartz, « It was finally
revealed that the famous climb up the 12-story building
was done with the aid of a stuntman. » With the aid. What
exactly does that mean? Having seen a high-resolution
35mm print in which I am clearly looking at Harold Lloyd
much of the time, I am prepared to believe that certain
shots may have been doubled, but that in others the
star himself was in mortal danger.
Analysis of the camera angles suggests that the height
was exaggerated by using a building on a hill and by
selecting dramatic camera angles. Lloyd himself said
That was not unique for the period. Buster Keaton did
virtually all of his own stunts, allowing a building to fall
around him in a hurricane, running on the top of a train,
Harold Lloyd (1893 – 1971)
Harold Lloyd began as an extra by mingling with a crowd of other extras returning from
their lunch break. He met another extra named Hal Roach, later to become a giant
among early producers, and was assigned by Roach to be a comedian. He made dozens
of shorts before finding his rhythm and footing. He worked steadily to establish his
character, had no time for Chaplin’s perfectionism, and had a better head for business
than the dreamy Keaton.
Lloyd was « the third genius », the silent film historian Kevin Brownlow declared in a
documentary of the same name. Lloyd’s films outcrossed those of Chaplin and Keaton
in the ‘20s, if only because he made many more than Chaplin, and his everyman
appealed to a wider audience than Keaton. But he is not a genius in their sense, creating
comedy out of inspiration and instinct and an angle on the world. « He had to think it
all out, » Walter Kerr says of Lloyd in his invaluable 1975 book The Silent Clowns. « Lloyd
was an ordinary man, like the rest of us: ungrotesque, uninspired. If he wanted to be
a successful film comedian, he would have to learn how to be one, and learn the hard
way. »
Safety Last (1923),
The Freshman (1925),
The Kid Brother (1927),
Welcome Danger (1929),
The Milky Way (1936),
The Sin of Harold Diddlebock (1947)
21
In a way that later films could never duplicate, silent
films, especially comedies, have a documentary level
beneath their fictions: They’re often shot on real
locations and use the locations, and the backgrounds
are often unrehearsed and real. Into this actual
universe steps a character who for reasons of his own
will do extraordinary things.
dangling over a waterfall. I accept without question that
there were times in Safety Last when Harold Lloyd could
have fallen to his death. The question becomes: Is that
funny?
I didn’t find myself laughing, but I watched in fascination.
I don’t love the Glasses character with the intensity I
reserve for Buster and the Little Tramp. But I was there
with him every inch of the way up that building, and I
shared the physical joy of his triumph at the top.
Roger Ebert, edited by Jessica Austin
I could understand why Lloyd outgrossed Chaplin and
Keaton in the 1920s. Not because he was funnier or
more poignant, but because he was merely mortal and
their characters were from another plane of existence.
Lloyd is a real man climbing a building; Keaton, as he
stands just exactly where a building will not crush him,
is an instrument of cosmic fate. And Chaplin is a visitor
to our universe from the one that exists in his mind.
22
Safety Last
Fred C. Newmeyer & Sam Taylor
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23
PlayTime
Jacques Tati
France - 1967
Cast
Jacques Tati
(Mr. Hulot),
Barbara Dennek
(Barbara),
John Abbey
(Mr. Lacs),
Henri Piccoli
(VIP at the airport)
Synopsis
It is the age of “Economic Airlines” and some Americans are on a
guided tour that includes visiting one capital city per day. When
they land in Paris, they realize that the airport is exactly the same
one they have just left in Rome, that the roads are identical to those
in Hamburg and that the lamp posts are strangely reminiscent of
those in New York. So similar that the set actually hasn’t changed
at all from one city to the next. This international décor they move
through really exists - I didn’t make it up. Gradually they meet some
Screenplay French people. Their personal relations are warm, meaning that,
Jacques Tati, even if they are not in Paris itself, they can at least spend 24 hours
Jacques Lagrange with some Parisians, one of whom is Monsieur Hulot.
& Art Buchwald
Cinematography
At the time of its making, PlayTime was the most expensive film
Jean Badal &
in French history. Tati filmed it in « Tativille, » an enormous set
Andreas Winding
outside Paris that reproduced an airline terminal, city streets,
high rise buildings, offices and a traffic circle. Tati made PlayTime
without a story, with dialogue (mostly in English) that is inaudible or
disposable, and without a hero. His film is about how humans wander
baffled and yet hopeful through impersonal cities and sterile
architecture. It doesn’t observe from anyone’s particular point of
view, and its center of intelligence resides not on the screen but just
behind the camera lens. Tati filmed his movie in 70mm, that grand
epic format that covers the largest screens available with the most
24
Music
Francis Lemarque
Editing
Gérard Pollicand
Production
Bernard Maurice &
René Silvera
Language French
Duration 124 mn
Color Color
Thanks
Les Films de Mon
Oncle
detail imaginable. He shot entirely in medium-long and
long shots; no close-ups, no reaction shots, no over the
shoulder. He shows us the big picture all of the time and
our eyes dart around it to find action in the foreground,
middle distance, background and half-off screen. It is
difficult sometimes to even know what the subject of a
shot is; we notice one bit of business but miss others,
and the critic Noël Burch wonders if « the film has to be
seen not only several times, but from several different
points in the theater to be appreciated fully. » And
Rosenbaum writes: « It directs us to look around at the
world we live in (the one we keep building), then at each
other, and to see how funny that relationship is and how
many brilliant possibilities we still have in a shoppingmall world that perpetually suggests otherwise; to look
and see that there are many possibilities and that the
play between them, activated by the dance of our gaze,
can become a kind of comic ballet, one that we both
observe and perform... »
themselves as belonging to an airline terminal. A tour
group of American women arrives down an escalator.
A clerk on a stool with wheels scoots back and forth
to serve both ends of his counter. Impenetrable
announcements boom from the sound system. Mr.
Hulot’s entrance is easy to miss; while babbling tourists
fill the foreground, he walks into an empty space in the
middle distance, drops his umbrella, picks it up and
walks off again. The bang of the umbrella directs our eye
to the action. The whole sequence is alert to sounds,
especially the footfalls of different kinds of shoes and
the flip-flops of sandals. Looking and listening to these
strangers, we expect to see more of Mr. Hulot, and we
will, but not a great deal.
Consider how this works in the extended opening scene.
We see a vast, sterile concourse in a modern building.
In the foreground, a solicitous wife is reassuring her
husband that she has packed his cigarettes and
pajamas, and he wearily acknowledges her concern.
We understandably conclude that this is the waiting
room of a hospital; a woman goes by seeming to push
a wheelchair, and a man in a white coat looks doctorlike. Nuns march past in step, their wimples bobbing up
and down in unison. Only slowly do these images reveal
Jacques Tati (1907-1982)
It’s rare for a director’s physical appearance to be as iconic as Jacques Tati’s is. Not
just the writer and director of a series of beloved French comedies—including M. Hulot’s
Holiday, Mon oncle, PlayTime, and Trafic — but their star, Tati embodied the befuddled,
eternally umbrella-carrying and trench-coated Monsieur Hulot, perennially unable to
adjust to a rapidly modernizing world, with empathy and a delightful comic precision.
The latter trait was undoubtedly due to his early career as a mime in French music halls;
when he switched to film, he adapted his penchant for mute comedy not only to his character but also to his directing style. There’s very little audible dialogue in Tati’s films,
and their spare use of sound contributes to the overall sense they create of a forbidding, contemporary world in which Hulot feels adrift and superfluous. Add Tati’s brilliant
knack for composition, expertise at choreographing deadpan slapstick, and grandiose
vision (his 70 mm PlayTime, one of the most expensive French productions in history to
that point, bankrupted him), and you’ve got one of the most enjoyable, singular oeuvres
in film.
Jour de fête (1949),
Mr. Hulot’s Holiday (1953),
Mon Oncle (1958)
25
Tati’s famous character, often wearing a raincoat and
hat, usually with a long-stemmed pipe in his mouth,
always with pants too short and argyle socks, became
enormously popular in the director’s international hits
Mr. Hulot’s Holiday (1953) and Mon Oncle (1958, winner of
the Oscar for best foreign film).
But to explain or even recount these moments is to miss
the point. They aren’t laugh-out-loud gags, but smiles
or little shocks of recognition. The last long sequence
in the film involves the opening night of a restaurant
at which everything goes wrong, and the more it goes
wrong, the more the customers are able to relax and
enjoy themselves. The sequence involves a multitude
of running jokes, which simultaneously unfold at all
distances from the camera; the only stable reference
point is supplied by a waiter who rips his pants on the
modern chairs and goes to hide behind a pillar. There
he is implored by other waiters to lend them his clean
towel, his untorn jacket, his shoes and his bowtie, until
finally he is a complete mess, an exhibit of haberdashery
mishaps.
But nearly 10 years passed before Tati found uncertain
financing for the expensive PlayTime, and he wanted
to move on from Hulot; to make a movie in which the
characters might seem more or less equal and - just
as important - more or less random, the people the
film happens to come across. Mon Oncle has an ultramodern house as its setting, and in PlayTime, we enter
a world of plate glass and steel, endless corridors, work
stations, elevators, air conditioning. Hulot goes to call
on a man in a modern office and is put on display in a
glass waiting room, where he becomes distracted by
the rude whooshing sounds the chair cushions make.
He takes an elevator trip by accident. A man approaches
the building guard to get a light for his cigarette and
doesn’t realize a glass wall separates them. Glass walls
are a challenge throughout the film; at one point, Hulot
breaks a glass door and the enterprising doorman
simply holds the large brass handle in midair and
opens and closes an invisible door, collecting his tips
all the same. Other characters are mistaken for Hulot
in the film, a double is used for him in some scenes,
and Hulot encounters at least three old Army buddies,
one of whom insists he visit his flat. This generates a
wonderful scene; the apartment building has walls of
plate-glass windows, and the residents live in full view
of the street. We see four apartments at once, and in
a sly visual trick, it eventually appears that a neighbor
is watching Hulot’s army buddy undress when she is
actually watching the TV.
PlayTime is a peculiar, mysterious, magical film.
Roger Ebert
26
Play Time
Jacques Tati
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27
Happy Anniversary
(Heureux anniversaire)
Pierre Étaix
France - 1962
Cast
Pierre Étaix (the
husband),
Laurence Lignières
(the wife)
Synopsis
A woman is preparing a romantic dinner for two for her and her husband to
celebrate their wedding anniversary. Her husband is out running a series of
errands, most of his stops to pick up anniversary gifts for his wife. But the
anti-anniversary Gods seem to be working against him as Paris traffic and
Screenplay other problems at each stop seem to be holding him up from getting in and
Pierre Étaix & out and to home on time for dinner. Meanwhile, his wife has no idea what
Jean-Claude Carrière has happened to her husband. Will it still be a happy anniversary by the time
he makes it home?
Cinematography
Pierre Levent
28
Music
Claude Stiermans
Production Capac
Language French
Duration 12 mn
Color Black & White
Thanks
Pierre Étaix
& Technicolor
Foundation
Great Love (The)
(Le Grand amour)
Pierre Étaix
France - 1969
Cast
Pierre Étaix (Pierre),
Annie Fratellini
(Florence),
Nicole Calfan
(Agnès),
Louis Maïs (M. Girard)
Screenplay
Pierre Étaix &
Jean-Claude Carrière
Cinematography
Jean Boffety
Synopsis
Music
Claude Stiermans
Pierre married Florence, the only daughter of a small industrialist.
15 years later, he is the boss, but his middle-class life worries him Editing Henri Lanoë
a lot. When a new young and lovely secretary comes, he starts
Production Capac
dreaming.
Language French
Comic cinema was born in France with the advent of film and Méliès.
Duration 85 mn
It is reborn with Pierre Étaix. The long ascension of this filmmaker,
patient and carefully, thought out, is a real phenomenon. With no Color Color
need for swashbuckling or swordplay, scandal or gossip, Pierre Étaix
has captured his audience. He has no particular secret, apart from Thanks
the talent due to a heightened sensibility, an acute vision of the Pierre Étaix
world, of people... and love in its human form. If Le Soupirant was & Technicolor
a tribute to silent cinema, Yo Yo an account of ambition and Tant Foundation
qu’on a la santé a vigorous critique of false progress (the so-called
consumer society), Le Grand Amour returns to a more human scale,
that of poetry, dream and man’s struggle against conformity. We
are far removed, here, from American style comedy, which has
much to commend it, and which has contributed so much to the
art of film. Le Grand Amour is distinguished by a certain simplicity,
that of the rich in spirit. Everything unfolds on that fragile border
which separates dream from reality, escape from conditioning. A
man, who had no particular intention of marrying, marries a nice
little bourgeois girl who provides all the comforts of home in the
29
occupants dream or have nightmares and even collide
with one another, or the successive phases of the
protagonists’ marriage, etc. Pierre Étaix, rather than use
seasoned actors, (apart from himself, Annie Fratellini
and the young actress from La Comédie Française,
Nicole Calfan), has, for the supporting roles, opted to
employ circus performers who are more conversant with
everyday gestures : Rolf Zavatte, Louis Maïs, Loriot, etc,
who have the advantage of immediately understanding
what is required of them. A great film? A film unique
of its kind, a discovery, a morsel of tenderness and
warmth. Solace and hope.
tranquil life of a provincial town (Pierre Étaix and Annie
Fratellini). But one cannot accept such an unfulfilling
life, whose smoothness gradually turns sour, like a
good wine that, once uncorked, stands forgotten on
the kitchen table. It’s too easy to be happy. The most
difficult thing of all is to reinvent happiness on a daily
basis. On this premise, Pierre Étaix and Jean-Claude
Carrière have constructed a portrait of family life that
is both tender and blistering, eschewing showiness
and, above all, what is really remarkable, without any
borrowing from existing films. If one invented the term
comic new wave, Le Grand Amour would suit it perfectly.
There is more talk than in Pierre Étaix’ previous films.
Talk, not only in the dialogue, but in visuals, and the
gags are not a battle between man and object (as with
Chaplin, Keaton, Mack Sennett’s protagonists), but
rather between the characters and their imaginations.
Best better, the viewer is pulled in and enticed to let
himself go, to use his own imagination... in fact, to find
himself on the screen. Hence the viewer finds himself
with a permanent smile on his face, because laughter
is not only something that is peculiar to man, it is
also his intelligence and a necessity. All human beings
are made for happiness: Le Grand Amour is a quest for
happiness, and a film that far from soothing the viewer
for a mere ninety minutes of fun opens up a salutary
space for reflection on each individual’s attitude to
this indispensable happiness, like the dream. Le Grand
Amour is also brimful of visual invention, such as the
country road where cars are replaced by beds, whose
Samuel Lachize, « L’Humanité », March 19, 1969
Pierre Étaix (born in 1928)
1954 Meets Jaques Tati
1958-1961 Pierre Étaix performs in different cabarets and music-halls
1958 Illustrations for the book, Les Vacances de Monsieur Hulot, written by Jean-Claude
Carrière
1961 Directs his first short, Rupture
1963 Oscar for best short to Heureux Anniversaire
1963-1970 Pierre Étaix directs five features: Le Soupirant, Yoyo, Tant qu’on a la Santé,
Le Grand Amour and Pays de Cocagne
1971 Tours with the Cirque Pinder et Annie Fratellini
1973 Pierre Étaix founds the École Nationale de Cirque with Annie Fratellini
1985 Writes his first play L’Âge de Monsieur est avancé and acts in Nagisa Oshima’s film,
Max mon Amour
1989 Pierre Étaix directs his first Omnimax fiction film, J’écris dans l’espace
2001 Publishes several albums of texts and drawings, including Critiquons la Caméra
and Il faut appeler un clown, un clown
2006 Actor in Otar Iosseliani’s Jardin en Automne
2009 Publishes Textes et textes-Étaix and acts in Jean-Pierre Jeunet’s Micmacs
2010 Pierre Étaix actor for Otar Iosseliani (Chantrapas) and Aki Kaurismäki (Le Havre)
Le Soupirant (1963),
Yoyo (1965),
Tant qu’on a la santé (1966),
Pays de Cocagne (1971)
30
30
Happy Anniversary
Pierre Étaix
The Great Love
Pierre Étaix
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31
General (The)
Buster Keaton & Clyde Bruckman
USA - 1927
Cast
Buster Keaton
(Johnnie Gray),
Marion Mack
(Annabelle Lee)
Screenplay
Buster Keaton,
Clyde Bruckman
& Al Boasberg,
based on The Great
Locomotive Chase by
William Pittenger
Synopsis
Music Joe Hisaishi
Western & Atlantic Railroad train engineer Johnnie Gray (Keaton) is
in Marietta, Georgia to see one of the two loves of his life, his fiancee
Annabelle Lee (Marion Mack) - the other being his locomotive, The
General - when the American Civil War breaks out. He hurries to be
first in line to sign up with the Confederate Army, but is rejected
because he is too valuable in his present job; unfortunately, Johnnie
is not told this reason and is forcibly ejected from the office when
he tries to enlist surreptitiously. On leaving, he runs into Annabelle’s
father and brother, who beckon to him to join them in line, but he
sadly walks away, giving them the impression that he does not want
to enlist. Annabelle coldly informs Johnnie that she will not speak to
him again until he is in uniform.
Language
English intertitles
Cinematography
Bert Haines & Notes about the Film
Devereaux Jennings
« The General is the greatest comedy ever made, the greatest Civil
Editing War film ever made, and perhaps the greatest film ever made »
Buster Keaton - Orson Welles. « Consider an opening sequence in The General
& Sherman Kell (1927), his masterpiece about a Southern railway engineer who
has « only two loves in his life » - his locomotive and the beautiful
Production
Annabelle Lee. Early in the film, Keaton, dressed in his Sunday
Buster Keaton &
best, walks to his girl’s house. He is unaware that two small boys
Joseph Schenck
are following him, marching in lockstep - and that following them
is Annabelle Lee herself (Marion Mack). He arrives at her door. She
watches unobserved. He polishes his shoes on the backs of his
32
Duration 75 mn
Color Black & White
Restoration
MK2 (2004)
Thanks MK2
pants legs, and then knocks, pauses, looks about, and
sees her standing right behind him. This moment would
have inspired an overacted double-take from many
other silent comedians. Keaton plays it with his face
registering merely heightened interest. They go inside.
He sits next to her on the sofa. He becomes aware that
the boys have followed them in. His face reflects slight
unhappiness. He raises, puts on his hat as if to leave
and opens the door, displaying such courtesy you would
think the boys were his guests. The boys walk out and he
closes the door on them.
He is not a man playing for laughs, but a man absorbed
in a call on the most important person in his life. That’s
why it’s funny. That’s also why the movie’s most famous
shot works - the one where, rejected by his girl, he sits
disconsolately on the drive-rod of the big engine. As it
begins to move, it lifts him up and down, but he does
not notice, because he thinks only of Annabelle Lee.
This series of shots establishes his character as a man
who takes himself seriously, and that is the note he will
sound all through the film. We don’t laugh at Keaton, but
identify with him.
The General is an epic of silent comedy, one of the
most expensive films of its time, including an accurate
historical recreation of a Civil War episode, hundreds
of extras, dangerous stunt sequences, and an actual
locomotive falling from a burning bridge into a gorge
far below. It was inspired by a real event; the screenplay
was based on the book “The Great Locomotive Chase”,
written by William Pittenger, the engineer who was
involved.
Buster Keaton (1895-1966)
Born in 1895, the same year as the cinema, Buster Keaton grew up in a vaudeville family.
As part of the act, he was literally thrown around the stage; like W.C. Fields, he learned
his physical skills in a painful childhood apprenticeship. He started in films with Fatty
Arbuckle in 1917 and directed his first shorts in 1920. In less than a decade, from 1920
to 1928, he created a body of work that stands beside Chaplin’s (some would say above
it), and he did it with fewer resources because he was never as popular or well-funded
as the Little Tramp. Then the talkies came in, he made an ill-advised deal with MGM that
ended his artistic independence, and the rest of his life was a long second act - so long
that in the 1940s he was reduced to doing a live half-hour TV show in Los Angeles. But it
was also long enough that his genius was rediscovered.
According to a frequently-repeated story, Joseph Frank Keaton acquired the nickname
« Buster » at about eighteen months of age. Keaton told that Houdini happened to
be present one day when the young Keaton took a tumble down a long flight of stairs
without injury. After the infant sat up and shook off his experience, Houdini remarked,
« That was a real buster! » According to Keaton, in those days, the word « buster » was
used to refer to a spill or a fall that had the potential to produce injury. After this, it was
Keaton’s father who began to use the nickname to refer to the youngster.
Our Hospitality (1923),
The Navigator (1924),
Go West (1925),
The Cameraman (1928)
33
As the film opens, war has been declared and Johnnie
Gray (Keaton) has been turned down by a rebel enlisting
officer (he is more valuable as an engineer, although
nobody explains that to him). “I don’t want you to speak
to me again until you are in uniform,” Annabelle declares.
Time passes. Johnnie is the engineer of the General, a
Southern locomotive. The train is stolen by Union spies,
and Johnnie chases it on foot, by sidecar, by bicycle and
finally with another locomotive, the Texas. Then the two
sides switch trains, and the chase continues in reverse.
Annabelle was a passenger on the stolen train, becomes
a prisoner of the Union troops, is rescued by Johnnie
and rides with him during the climactic chase scenes
that end with the famous shot of the Texas falling into
the gorge (where, it is said, its rusted hulk remains to
this day). It would seem logically difficult to have much
of a chase involving trains, since they must remain on
tracks, and so one must forever be behind the other one
- right? Keaton defies logic with one ingenious silent
comic sequence after another, and it is important to
note that he never used a double and did all of his own
stunts, even very dangerous ones, with a calm acrobatic
grace. The train’s obvious limitations provide him with
ideas. An entire Southern retreat and Northern advance
take place unnoticed behind him, while he chops wood.
Two sight gags involve his puzzlement when rail cars he
thought were behind him somehow reappear in front
of him. He sets up the locations along the way, so that
he can exploit them differently on the way back. One
famous sequence involves a cannon on a flat car, which
Keaton wants to fire at the other train. He lights the
fuse and runs back to the locomotive, only to see that
the cannon has slowly reversed itself and is now pointed
straight at him.
Today I look at Keaton’s works more often than any
other silent films. They have such a graceful perfection,
such a meshing of story, character and episode that
they unfold like music. Although they’re filled with gags,
you can rarely catch Keaton writing a scene around a
gag; instead, the laughs emerge from the situation; he
was « the still, small, suffering center of the hysteria
of slapstick » wrote the critic Karen Jaehne. And in an
age when special effects were in their infancy, and a
« stunt » often meant actually doing on the screen what
you appeared to be doing, Keaton was ambitious and
fearless. He had a house collapse around him. He swung
over a waterfall to rescue a woman he loved. He fell from
trains. And always he did it in character, playing a solemn
and thoughtful man who trusts in his own ingenuity. «
Charlie’s tramp was a bum with a bum’s philosophy »
he once said. « Lovable as he was, he would steal if he
got the chance. My little fellow was a workingman, and
honest ». That describes his characters, and it reflects
their creator ».
Roger Ebert
One inspiration builds into another: To shield himself
from the cannonball, he runs forward and sits on the
cowcatcher of the speeding Texas, with no one at the
controls and a big railroad tie in his arms. The Union
men throw another tie onto the tracks, and Keaton,
with perfect aim and timing, knocks the second off by
throwing the first. It’s flawless and perfect, but consider
how risky it is to sit on the front of a locomotive hoping
one tie will knock another out of the way without either
one smashing your brains out.
Between chase scenes, he blunders into a house where
the Northern generals are planning their strategy, and
rescues Annabelle Lee - but not before Keaton creates
a perfect little cinematic joke. He is hiding under the
dining table as the Northerners confer. One of them
burns a hole in the tablecloth with his cigar. Annabelle
Lee is brought into the room, and we see Keaton’s eye
peering through the hole - and then there’s a reverse
shot of the girl, with Keaton using the hole in the cloth
to create a “found” iris shot - one of those shots so
beloved of Griffith, in which a circle is drawn around a
key element on the screen (…).
34
The General
Buster Keaton & Clyde Bruckman
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×Ă×ĂïÙčèǰǰ.,ǰïĎøèąĔî
35
Sugar Is Not Sweet
(Nam Tan Mai Wan)
Rattana Pestonji
Thailand - 1965
Cast
Saneh Komlarachun
(Jaroenkesa),
Sombat Methanee
(Manas),
Metta Rungrattana
(Sugar)
Screenplay
Rattana D. Pestonji
& Roy Rithiron
Cinematography
Sunt Pestonji
Editing
Rattana D. Pestonji
Production
Rattana D. Pestonji
Synopsis
Music
Preecha Mettrai
Chaokun Charoenkesa, the owner of a shop that sells hair-loss
treatments, wants to pay back his debt of kindness to a friend, Language
whose formula is responsible for the Chaokun’s prosperity. So he Thai with English
arranges for his good-for-nothing son, Manas, to marry Sugar, the subtitles
daughter of his dear friend.
Duration 134 mn
Notes about the Film
Color Color
This Thai romantic comedy film was the Pestonji’s final feature
Thanks
film. It centers around the family of Jaroenkesa (Saneh KomlaraThai Film Foundation
chun), a wealthy Thai Chinese who has made his fortune with
a hair growth tonic called « Boon Treatment. » The formula for
Jaroenkesa’s cash cow was the work of his late business partner,
a resident Indian whom Jaroenkesa chooses to honor by marrying
off his own layabout son, Manas (a young Sombat Methanee), to
say partner’s orphaned daughter, Sugar (Metta Rungrattana). By
this means, Jaroenkesa hopes to both provide financially for Sugar
while, at the same time, putting a permanent wedge between the
dissolute Manas and his gold-digging girlfriend Watchari (played by
Preeya Rungrevang). Manas, for his part, is none too happy about
having to marry a « Roti » (the movie presents an interesting crosssection of inter-Asian prejudice without seeming to comment upon
it much), but is more than pleased by the two million baht that his
father offers in return – as is Watchari, whom Manas has promised
to share the loot with once the marriage has been officiated. Once
36
follows through with a presentation that is resolutely
theatrical in its staging. Most of Sugar’s interior scenes
are filmed statically from a removed angle that takes
in the entirety of the set, with very few close-ups or
reaction shots. This conservative approach is offset
by a wild use of color that makes many of those sets
look like an explosion in a paint factory, albeit a paint
factory that only produces varying shades of red and
pink. Added to that are moments of giddy irreverence,
such as the repetition ad absurdum of the dippy
Boon Treatment jingle, which, as elements of manic
consumerist satire, suggest the influence, like that
seen in Japanese director Yasuzo Masumura’s Giants
and Toys, of Frank Tashlin.
the innocent Sugar arrives from Bombay, Manas makes
no secret to her of his relationship with Watchari, and
tells her in no uncertain terms that theirs is to be a
marriage in name only, after which he banishes the girl
to the separate living quarters that have been provided
her. Little does Manas know, however, that Watchari is
herself having an affair with Thawin (Ruj Ronaphop), the
singing spokesman for Boong Treatment’s ubiquitous
television commercials, and has made a pact to leave
Manas for him once she receives her share of the
wedding graft. Despite being played by the handsome
and charismatic star Sombat Methanee, Manas is about
as repellent a center for a romantic comedy as one
could imagine. Yet it is indeed Manas who functions as
our protagonist, with the infinitely more sympathetic
Sugar afforded nowhere near the same amount of
screen time. (Which, to be fair, could also be the result
of Metta Rungrattana’s noticeably less sure-footed acting chops.) Given this, it goes without saying that the
plot’s greatest pleasures comes during that portion
of the film in which Sugar manages to turn the tables
on Manas, and we see his life incrementally unraveling
around him.
Sugar Is Not Sweet is unquestionably an important film
in the history of Thai cinema, as is Pestonji an important
director.
Pestonji also lets us know right off (via a prologue in
which an off-screen narrator introduces both the
characters and the actors playing them) that this is
going to be a production heavy on artifice, and then
Rattana Pestonji (1908-1970)
Rattana Pestonji (also sometimes referred to as R. D. Pestonji or Ratt Pestonji) was born
in 1908 in Bangkok. At an early age, he showed an avid interest in photography. He was
so adept at dismantling and reassembling his camera, that it was decided he should
study engineering at the University of London.
In 1937, Pestonji shot his first film, a short called Tang, about a young Thai girl.
In 1951, he formed his own studio, Hanuman Films Company. He directed his first feature
film, Dear Dolly (1951). In each of his films, Pestonji sought to experiment and raise the
standard of production. At a time when post-dubbed 16 mm films were the industry
standard in Thailand, he wanted to use 35 mm stock, which was more expensive and
technically difficult to work with, but it allowed for the sound to be recorded along with
the image. His first 35-mm film was the drama, Santi-Weena, on which he worked as
cinematographer only. It was directed by Tawee na Bangchang. It was among the first
Thai films to be sent to an overseas competition, the 1954 Asia Pacific Film Festival
in Tokyo. Pestonji continued his work, working as cinematographer. As director on
Rongraem Narok, he employed the use of one camera on a single set (as Hitchcock’s
1948 film, Rope). His first color film was 1958’s Sawan Mued (Dark Heaven). Next was Prae
Dum (Black Silk), which is regarded as Thailand’s first film noir. It is regarded as Rattana’s
best work. Prae Dum was included in competition at the 11th Berlin International Film
Festival in 1961. His final film was made in 1965, Nam Tan Mai Wan (Sugar Is Not Sweet).
A romantic farce, it is a vibrant film that takes visual cues from the pop-art style of
Western films of the time.
Tukkata Jaa (1951), Santi-Weena (1954),
Chuafah Din Salai (1955), Rongraem
37
Narok (1957), Sawan Mued (1958),
Phrae Dum (1961)
Sugar Is Not Sweet
îšĞćêćúĕöŠĀüćî
øĆêîŤǰđðÿêĆî÷Ċ
ĕì÷ǰıǰóýǰ
đøČęĂÜ÷ŠĂ
đøČęĂÜøćü×ĂÜÙøĂïÙøĆüđÝøĉâđÖþćǰöĀćđýøþåĊßćüÝĊîìĊęøćŠĞ øü÷ÝćÖÖćøÙšć÷ćðúĎÖñö÷ĊęĀšĂǰĶ÷ćðčŞÜķêšĂÜÖćøÝąêĂïĒìîïčâÙčè×ĂÜđóČęĂîßćüĂĉîđéĊ÷ǰđÝšć×ĂÜ
ÿĎêø÷ćðčŞÜǰ ÝċÜĔĀšöîĆÿǰ úĎÖßć÷ñĎšĕöŠđĂćëŠćîǰ ĒêŠÜÜćîÖĆïîšćĞ êćúǰ úĎÖÿćü×ĂÜđóČęĂîǰ ĒêŠöîĆÿǰ ÖĘöĊĒôîÿćüĂ÷ĎŠĒúšüǰ ñĎšßöÝąóïüŠćõćó÷îêøŤđøČęĂÜîĊĚǰ đêĘöĕðéšü÷
ßĆĚîđßĉÜ×ĂÜÖćøîĞćđÿîĂǰ đøĉęöđÿĊ÷Üïøø÷ć÷ìĊęĒîąîĞćïčÙúĉÖ×ĂÜêĆüúąÙøĒêŠúąêĆüǰ êćööćéšü÷ÖćøĒÿéÜĂĆî÷Ăéđ÷Ċę÷öǰ ĒúąđîČĚĂĀćìĊęđÿĊ÷éúšĂĂÙêĉìĊęöĊêŠĂÖĆî
ðäĉđÿíĕöŠĕéšđú÷üŠćǰ õćó÷îêøŤêúÖđøČęĂÜîĊĚđðŨîñúÜćîÖĞćÖĆïßĉĚîÿčéìšć÷×ĂÜǰ øĆêîŤǰ đðÿêĆî÷Ċǰ ĒúąđðŨîõćó÷îêøŤìĊęöĊÙüćöÿĞćÙĆâêŠĂüÜÖćøõćó÷îêøŤĕì÷đøČęĂÜ
ĀîċęÜ
õćþćǰǰĕì÷ǰöĊÙćĞ ïøø÷ć÷õćþćĂĆÜÖùþ
×Ă×ĂïÙčèǰöĎúîĉíĉĀîĆÜĕì÷
38
Organization
About MEMORY! Cinema
MEMORY! Cinema is a non-profit entity, acting worldwide in the field of preservation and
promotion of film heritage but also in educational programs related to film heritage. Among its
main actions: Enable access to film heritage in the frame of cinema events open largely to the
public such as film festivals, restoration programs, lost films programs, educational
programs, etc. The structure created in 2013 founded the MEMORY! International Film Heritage Festival, the sole
international festival in Asia fully dedicated to Classics. After 2 editions in Cambodia, the festival is now based in
Yangon (Myanmar), preparing its 3rd edition (May 29- June 7, 2015). MEMORY! Cinéma Association coordinates the
partial rerun (Reprise) of the 2nd edition in 5 ASEAN countries (Myanmar, Thailand, Vietnam, Singapore and Philippines).
Team members:
Gilles Duval and Séverine Wemaere: Co-General Delegates - Julien Badon: Film Officer - Pascale Bouillo:
Accreditations and Guests - Madjid Benhemam: Design and graphics.
www.memoryfilmfestival.org
About the Technicolor Foundation for Cinema Heritage
Created in 2006, the Technicolor Foundation for Cinema Heritage is a non-profit entity, acting
worldwide in the field of preservation and promotion of film heritage. The Technicolor
Foundation operates worldwide with four types of programs: film restoration, operational
support to film archives, festival support and educational programs for universities and film
schools. In 2013, the Foundation co-created and co-conducted, alongside MEMORY! Cinema, the
very first international festival dedicated to Film Heritage in Asia: MEMORY! International Film Heritage Festival,
which achieved two editions since then. Among the key restorations conducted by the Foundation: Lola Montès by
Max Ophüls, Mr Hulot’s Holiday by Jacques Tati, the Complete Film Works of Pierre Étaix, A Trip to the Moon, in color,
by Georges Méliès, Lola by Jacques Demy, Tell Me Lies by Peter Brook, Hiroshima Mon Amour, by Alain Resnais and…
Marriage Italian Style by Vittorio de Sica, which premiered at Cannes in May 2014.
www.technicolorfilmfoundation.org
About Alliance Française Bangkok
Alliance Francaise Bangkok, more than a language center offering a broad range
of classes (French, Thai and Burmese), is also an art center that provides art
courses to receive a grounding in various arts disciplines: fine and applied art,
fashion, dance and music. Besides, it is also a cultural center with a vibrant
program that highlights French as well as Thai productions (films screenings, theatre plays, concerts, exhibitions,
conferences, dance performances, readings...). Alliance Francaise has furthermore a public library with much
topical and general information on various media in French, English and Thai.
Team members:
Marine Ilharragorry, Head of Cultural Department - Stéphane Phimmasone, Head of Communication & Marketing
Department - Nontaya Pongpakai, Press relations and Community Manager - Warittha Kraiwee, Assistant to head
of Cultural Department.
www.afthailande.org
About Film Archive (Public Organization), Thailand
Film Archive (Public Organization) is the national archive in preserving films, audiovisuals, and other
related subjects which aims to meet world standard, includes being the center of knowledge and
serving its target users to their utmost benefits.
The main missions of the Film Archive are seeking and collecting films, audiovisuals, and other
related subjects to preserve as intellectual properties and national heritages. The Film Archive
conducts research to build knowledge on films, audiovisuals, and other related subjects. Finally, the
Film Archive also offers public service for education and research on films as well as encourages and
promotes the use of films to its utmost potential.
Team members:
Chalida Uabumrungjit, Deputy Director – Sanchai Chotirosseranee, Deputy Director - Winai Sombunna, Head of
Programming and Museum.
www.fapot.org
39
With the support of
ÿîĆïÿîčîēé÷
AMBASSADE DE FRANCE
EN THAÏLANDE
Thanks
×Ă×ĂïÙčè
MEMORY! International film Heritage Festival
wishes to express its deepest gratitute to
Embassy of France in Thailand - H.E Mr Thierry Viteau, Ambassador of France in Thailand - Pierre Colliot, Counsellor
for Culture and Cooperation - Sophie D’Ambroso, Audiovisual Attaché - Nicolas Dumail, Communication & Marketing
Department - Piangfha Pakdeepromma, Communication & Marketing Department – Institut Français - Loïc Wong,
Regional audiovisual attaché (Myanmar, Cambodia, Laos, Thailand & Vietnam) - Alliance Française Bangkok Christian Merer, Director - Mélanie Monier, Deputy Director - Film Archive (Public Organization) - Dome Sukvong,
Director - Pierre Étaix - Odile Étaix - Jérôme Deschamps - Macha Makeïeff - Philippe Gigot - Bilguun Ganbataar - Anne
Coutinot - Stéphanie Rabourdin - Graham Fulton - Chiaki Omori & Azusa Taki - Margot Rossi - Antoine Ferrasson.
40
Practical Information
×šĂöĎúìĊęđðŨîðøąē÷ßîŤ
Alliance Française de Bangkok
ÿöćÙöòøĆÜę đýÿÖøčÜđìó
179 Thanon Witthayu, Lumpini, Pathum Wan, Bangkok 10330
ǰëîîüĉì÷čǰúčöóĉîĊǰðìčöüĆîǰÖøčÜđìóǰ
By MRT: Lumpini Station - Exit n° 3
Ploe
nc
hit ro
ad /
À¥
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Chidlom
station
By car: on Witthayu road, turn into the Soi at the corner
of the Embassy of Japan (Parking for 42 places)
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ēé÷øë÷îêŤǰÝćÖëîîúčöóĉîĊđúĊĚ÷üđ×šćàĂ÷ÝšćÜėÿëćîìĎêâĊęðčśîǰ
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Film Archive (Public Organization) ĀĂõćó÷îêøŤǰĂÜÙŤÖćøöĀćßî
94, Moo 3, Phutthamonthon Sai 5 Road, Salaya, Phutthamonthon, Nakornpathom 73170
ǰĀöĎŠǰǰëóčìíöèæúÿć÷ǰǰêýćúć÷ćǰĂóčìíöèæúǰÝîÙøðåöǰ
From Bangkok city you can catch an air-conditioned bus
number 515 in front of Ratchawithi (or Rajaviti) Hospital on
Ratchawithi Road at Victory Monument (The bus fare is TBH 23)
The bus passes Samsean Road, Dusit Zoo, Tang Hua Seng
(Thonburi) and Baromrachchonni Road.
øëðøąÝĞćìćÜìĊęñŠćîĀĂõćó÷îêøŤǰÙČĂǰøë÷ĎēøǰǰÝćÖĂîčÿćüøĊ÷Ť
ßĆ÷ÿöøõĎöĉǰĀîšćēøÜó÷ćïćúøćßüĉëĊ
ǰàċęÜøëÝąñŠćîǰëîîÿćöđÿîǰ
ÿüîÿĆêüŤéčÿĉêǰêĆĚÜăĆęüđÿĘÜǰíîïčøĊ
ǰëïøöøćßßîîĊ
Contact
êĉéêŠĂÿĂïëćö
Email: [email protected]
facebook: www.facebook.com/MemoryFilmFestivalThailand
Alliance Française de Bangkok: 66-2 670 4222, Film Archive (Public Organization) : 02-482-2013 Ext 111
ÿöćÙöòøĆęÜđýÿÖøčÜđìóǰēìøǰǰǰǰǰĀĂõćó÷îêøŤǰĂÜÙŤÖćøöĀćßî
ǰēìøǰǰêŠĂǰ
41
MEMORY! Film Heritage Festival in Thailand:
Reprise Feb 26-March 6, 2015 SCHEDULE
SCREENING
DATES
TIME
VENUE
TITLE
DIRECTOR
YEAR COUNTRY DURATION
Feb 26
Opening
Evening
6.30 PM
Alliance
Française
Bangkok
Trip to the Moon
&
The Circus
Georges Méliès
&
Charlie Chaplin
1902
&
1928
France
&
USA
16’
&
70’
Feb 27
7.30 PM
Alliance
Française
Bangkok
The Ladykillers
Alexander
Mackendrick
1955
GB
91’
English
Feb 28
1.00 PM
Film
Archive,
Salaya
Happy Anniversary
&
The Great Love
Pierre Etaix
1962
&
1969
France
12’
&
85’
French with
English
subtitles
Feb 28
3.00 PM
Film
Archive,
Salaya
Before Rising Up
The Ranks
Mongolia
66’
Mongol with
English
subtitles
March 01
1.00 PM
Film
Archive,
Salaya
PlayTime
France
124’
French with
English
subtitles
March 01
3.00 PM
Film
Archive,
Salaya
The General
USA
75’
English
March 02
7.30 PM
Alliance
Française
Bangkok
Sugar is not Sweet
Rattana
Pestonji
1965
Thailand
134’
Thai with
English
subtitles
March 03
7.30 PM
Alliance
Française
Bangkok
Happy Anniversary
&
The Great Love
Pierre Etaix
1962
&
1969
France
12’
&
85’
French with
English
subtitles
March 04
1.00 PM
Film
Archive,
Salaya
Safety Last
Fred C.
Newmeyer
& Sam Taylor
1923
USA
64’
English
March 04
3.00 PM
Film
Archive,
Salaya
Sugar is not Sweet
Rattana
Pestonji
1965
Thailand
134’
Thai with
English
subtitles
March 05
7.30 PM
Alliance
Française
Bangkok
Good Morning
;CUWLKTQñ1\W
1959
Japan
94’
Japanese
with English
subtitles
March 06
7.30 PM
Closing Film
Alliance
Française
Bangkok
PlayTime
Jacques Tati
1967
France
124’
French with
English
subtitles
Lodongiin Tudev 1965
Jacques Tati
1967
Buster Keaton
1927
&
Clyde Bruckman
ALL FILMS ARE WITH THAI SUBTITLES
Free admission.
Please book your seats online: www.facebook.com/MemoryFilmFestivalThailand
or over the phone: 02 670 4222 – Alliance française Bangkok
02 482 2013 Ext 111 – Film Archive (Public Organization)
42
LANGUAGE
Silent
&
English
MEMORY!ǰđìýÖćúöøéÖõćó÷îêøŤîćîćßćêĉ
26ǰÖčöõćóĆîíŤǰ6ǰöĊîćÙöǰ2558 êćøćÜõćó÷îêøŤ
üĆîìĊÞę ć÷
đüúć
ÿëćîìĊę
đøČĂę Ü
ñĎÖš ćĞ ÖĆï
Trip to the Moon Georges Méliès
ǰÖó ǰî ÿöćÙöòøĆÜę đýÿ
&
&
üĆîđðŗéđìýÖćú
ÖøčÜđìó
The Circus
Charlie Chaplin
ðŘ
ðøąđìý Ùüćö÷ćü
õćþć
ĕì÷ǰıǰóýǰ
1902 &
1928
òøĆÜę đýÿ
ĂđöøĉÖć
16’
&
70’
õćó÷îêøŤđÜĊ÷ï
ïøø÷ć÷ĂĆÜÖùþ
ĕì÷ǰıǰóýǰ
ĂĆÜÖùþ
91’
ĂĆÜÖùþ
òøĆÜę đýÿ
12’
&
85’
òøĆÜę đýÿïøø÷ć÷
ĂĆÜÖùþ
ǰÖó
ǰî
ÿöćÙöòøĆÜę đýÿ
ÖøčÜđìó
ǰÖó
ǰî
ĀĂõćó÷îêøŤ Happy Anniversary
&
ýćúć÷ć
The Great Love
Pierre Etaix
ǰÖó
ǰî
ĀĂõćó÷îêøŤ
ýćúć÷ć
Before Rising Up
The Ranks
Lodongiin
Tudev
ĕì÷ǰıǰóýǰ
1965
öĂÜēÖđúĊ÷
66’
öĂÜēÖđúĊ÷
ïøø÷ć÷ĂĆÜÖùþ
ǰöĊÙ
ǰî
ýćúć÷ć
PlayTime
Jacques Tati
ĕì÷ǰıǰóýǰ
1967
òøĆÜę đýÿ
124’
ĂĆÜÖùþ
ǰöĊÙ
ǰî
ýćúć÷ć
The General
Buster Keaton
&
Clyde Bruckman
ĕì÷ǰıǰóýǰ
ĂđöøĉÖć
75’
ĂĆÜÖùþ
ǰöĊÙ
ǰî
ÿöćÙöòøĆÜę đýÿ Sugar is not Sweet
ÖøčÜđìó
Rattana
Pestonji
134’
ĕì÷ïøø÷ć÷
ĂĆÜÖùþ
ǰöĊÙ
ǰî
ÿöćÙöòøĆÜę đýÿ Happy Anniversary
&
ÖøčÜđìó
The Great Love
Pierre Etaix
òøĆÜę đýÿ
12’
&
85’
ĂĆÜÖùþ
ǰöĊÙ
ǰî
ýćúć÷ć
ĂđöøĉÖć
64’
ĂĆÜÖùþ
ǰöĊÙ
ǰî
ĀĂõćó÷îêøŤ Sugar is not Sweet
ýćúć÷ć
134’
ĕì÷ïøø÷ć÷
ĂĆÜÖùþ
ǰöĊÙ
ǰî
ÖøčÜđìó
ǰöĊÙ
õćó÷îêøŤ ǰî
ÖøčÜđìó
ðŗéđìýÖćú
The Ladykillers
Safety Last
Alexander
Mackendrick
Fred C.
Newmeyer
& Sam Taylor
Rattana
Pestonji
1955
ĕì÷ǰıǰóýǰ
1962 &
1969
1927
ĕì÷ǰıǰóýǰ ðøąđìýĕì÷
1965
ĕì÷ǰıǰóýǰ
1962 &
1969
ĕì÷ǰıǰóýǰ
1923
ĕì÷ǰıǰóýǰ ðøąđìýĕì÷
1965
Good Morning
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1959
âĊðę îśč
94’
âĊðę îśč ïøø÷ć÷
ĂĆÜÖùþ
PlayTime
Jacques Tati
1967
òøĆÜę đýÿ
124’
ĂĆÜÖùþ
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43
“A day without laughter is a day wasted.”
Charlie Chaplin
ĶüĆîìĊęĕöŠöĊđÿĊ÷ÜĀĆüđøćąǰđðŨîüĆîìĊęÿĎâđðúŠćķ
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AMBASSADE DE FRANCE
EN THAÏLANDE