Cahiers Du Cinéma

Cahiers Du Cinéma

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  • The Wild One
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  • Black Orpheus

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  • Black Orpheus

    Black Orpheus 1959

    Watched by Cahiers Du Cinéma 01 Jul 1959

    Brazil seen from Billancourt
    (Le Brésil vu de Billancourt by Jean-Luc Godard - Cahiers du Cinema 97, July 1959)

    What would the clarinet concerto be without Mozart? what would the turbaned girl be without Vermeer? and Rousseau's musings without Jean-Jacques, Beethoven's music without Beethoven, Aragon's prose without Aragon? in short, what would Orpheus' song be (have you seen Orpheus?) without Orpheus? or again: what would poetry be without a poet?

    Well, it would be Orfeu Negro, in which the Cannes…

  • High Noon

    High Noon 1952

    Watched by Cahiers Du Cinéma 01 Oct 1952

    A man walks in betrayal
    (Un homme marche dans la trahison by Jacques Doniol-Valcroze - Cahiers du Cinema 16, October 1952)

    High Noon is the last Stanley Kramer film distributed by United Artists, before Kramer's deal with Columbia. We are pleased that its excellence confirms the theses we put forward in our number 15 about Kramer's production system, perfectly attractive in itself, but whose best justification is ultimately the percentage of good films it produced. Now we have seen seven…

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  • Vertigo

    Vertigo 1958

    Watched by Cahiers Du Cinéma 01 Mar 1959

    L'hélice et l'idée by Eric Rohmer (Cahiers du Cinema, March 1959, N° 93)

    Itself, by itself, solely ONE everlastingly, and single. – Plato

    We would have gladly pardoned Alfred Hitchcock for following the austere The Wrong Man with a lighter work, more of a crowd pleaser. Such was perhaps his intention when he decided to bring the novel by Boileau and Narcejac, D’entre les morts, to the screen. Now, the esoteric nature of Vertigo, so they say, repelled Americans. French…

  • Johnny Guitar

    Johnny Guitar 1954

    Watched by Cahiers Du Cinéma 01 Apr 1955 1

    Francois Truffaut: 'A Wonderful Certainty'

    ('L'Admirable Certitude', Cahiers du Cinema 46, April 1955, written under the pseudonym Robert Lachenay)

    We made our discovery of Nicholas Ray seven or eight years ago with Knock on Any Door. Then at the 'Biarritz Rendez-vous' we had a dazzling confirmation in They Live By Night, which is still unmistakably his best film. Later In a Lonely Place, On Dangerous Ground and The Lusty Men were released in Paris at one time or another -…

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