French New Wave cinema from 60 years ago
It is used to express love
Director Truffaut wrote countless love letters to the film through the camera
Just to tell you that "movies are better than life"
This unprecedented wave of films
It is also used to praise women
They're in the movie
Independence of will, freedom of heart
Their beauty
Originated from that era
Also independent of it
Become the most beautiful love letter to the movie
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1. Outpost of sexual rebellion – Brigitte Bardot
Film: [God Created Women] 1956
Role: Juliet
Rebellion was a blowback of New Wave cinema to the "quality films" of France at that time.
The start of this fightback was created by 22-year-old actress Bardot and her 28-year-old director husband, Roger Vadim.
Juliet in "God Created Woman" is entangled among three men in the hot air of southern France.
▲ She is a "pure sinner", consciously autonomous and physically free
"Oh, the future, they created the future to stop the pleasures of our immediate eyes."
Bardot's sexy posture, with direct and frank lines, had an unprecedented impact on the conservative morality of France at that time.
Sexual liberation, physical pleasure.
Bardot's new female figure violates conventions and sexual taboos.
God created women, and BB (Bardot nickname) defines innocence and seductive sensuality
She created a new type of woman for the audience, and since then the young actresses in the New Wave have been using and developing it.
▲ That is to create a new trend with youth, sex and mysterious French elegance
The film's implications for young new wave filmmakers are:
Movies don't need to tell stories anymore, they just need to tell their first love and carry the camera to the beach.
Shortly thereafter, Truffaut took the camera to the beach to capture the classic moment of Antoine's look back at the end of "Four Hundred Hits".
2. The façade of the New Wave – Bernard Laffon
Film: [Naughty Ghost] 1957
Role: Unnamed fiancée
The short film "Naughty Ghost" is a love letter written by fan director Truffaut to the history of cinema.
One summer day, a group of boys ride their bikes to chase a couple and spy on their love affair.
Laffon, who was already husband and wife at the time, and her husband Gérard Bran (left) starred in the couple
Truffaut pays homage to Lumiere's "Watering Gardener" with footage of a boy stepping on a water pipe;
The boys are used to sit behind a fence and watch the drawings of Rafine, a similar composition in Rossellini [Rome, the undefended city].
Truffaut, as the helmsman of the New Wave, admired Lafeng.
Unlike the elite women of the time, Lafeng was plump and frank.
She was young and beautiful in [Naughty Ghost], and the girl in the white dress became the first New Wave girl on the screen.
▲ Lafeng is not only the first love of the boys in the short film, but also the first muse of the entire New Wave film
Subsequently, she starred in the first true New Wave film, [Pretty Sergi] directed by Chabrol.
And Laffon has always been the first beautiful woman in all Of Truffaut's films.
▲ In 1972, he collaborated again with the directors of the film "Beauty Like Me" Truffaut and Rafon
3. The muse of the New Wave – Jeanne Moreau
Film: [Lovers] 1958
Role: Jeanne
Simply placing Jeanne Moro in the sequence of New Wave girls is somewhat condescending.
He entered the industry at the age of 20 and only became famous in 1958 at the age of 30 with louis mahler's "Elevator to the Gallows."
Unlike the bright sadness of young girls, Morrow interprets a complex woman who is struggling in love
Compared to Bardot's natural and unrestrained new feminine posture, Morrow's complex and deep beauty allows her to find her own role in art films all over the world.
She has charmed italian director Antonioni and even collaborated on six films with the troublesome Ochin Wells.
Even in terms of the New Wave alone, Louis Mahler and Truffaut were lost in the excavation of Morrow's riches and could not control them.
In [Zhan & Zu], Truffaut borrows the character's mouth and says, "She [Jeanne Morrow] cannot be possessed by any man." ”
And after the film [Lovers], Louis Mahler really let go of Mauro.
▲ The two (two or three from left) fall in love in [the elevator to the gallows], and then break up after [lovers] kill each other
In the film, Jeanne, a middle-class wife, crosses the realm of the French middle class in the 1950s, breaking the patience of centuries-old traditions.
She was disappointed in her husband, and after getting to know her lover, she resolutely decided to drive away with her lover.
▲ The white horse in the last shot of the film is a gift from Louis Mahler to Jeanne
Turn back and leave again. The correspondence between the inside and outside of the play truly restores the French romance.
4. She is love – Emma Niva
Film: [Love Hiroshima] 1959
Role: Unnamed French actress
Emma Niwa, who came from the drama stage, played the role of an actress, which is very reasonable.
The French actress who fell in love with a German soldier in [Hiroshima Love] has an emotional entanglement with a Japanese man who meets in Hiroshima.
Set against the backdrop of the Atomic Bombing of Hiroshima during World War II, the trauma of the past is mixed with reality, and the memories are painful.
▲ The woman in the movie is difficult to defend the posture, and is torn between the subject and object of love
She is almost crazy, a lost and mournful character.
Director Aaron René ultimately chose Emma René because of her voice, and her lines sound hypnotic or sleepwalking.
The dream texture of stream-of-consciousness is in line with the atmosphere of "Hiroshima Love".
▲ In 2012, Emma Niwa returned to the public eye with [Love] and won the Venice Film Queen Award
In January 2017, she fell into a permanent slumber.
The two most important works of Riva's life are related to love.
Love is her name.
5. Hey! Precious – Jane Sissy
Film: [Exhausted] 1960
Role: Patricia
An American actress who left the most beautiful film of her life to French films.
Before starring in "Exhausted", Sibel had already played the romantic, individualistic and somewhat evil girl in the movie "Hello, Sorrow", written by the French female writer Françoise Sagan.
Patricia (left) in [Exhausted] continues the character and image of [Hello, Sad] Cecil (right).
Patricia is attracted to the outlaw Michelle's mixed tone and unspoken sensuality, but hesitates at the request to go with him;
She is contradictory.
Patricia had the ambition to become a journalist, even spending the night with the magazine editor and informing the police of Michelle's movements.
Eventually, she appeared in front of Michelle and persuaded him to leave. Although tragedy eventually occurred, Michelle died.
Godard, who doesn't play his cards according to common sense, turns [Exhaustion] into a loose film noir.
▲ Xi Bao has become the most annoying modern snake and scorpion beauty
Short hair, playfulness, a pair of moving eyes, walking freely on the street, her bad and cute are a combination of not to be rejected.
6. The matrix of all fantasies – Anuk Aimé
Film: [Lola] 1961
Role: Lola
In New Wave movies, in addition to the playful, rebellious and individual female characters, "waiting for the love of women" is also a kind.
▲ Anouk Aime plays the dancer Lola ([Lola]) and widow Anna ([a man and a woman]), both represented
In director Jacques Demi's underrated work [Lola], Anouque Aimé takes her son to become a cabaret dancer while waiting for her husband's return.
Her ex-boyfriend Roland meets her again, but does not get a response from Lola's love.
Lola, as a mother, makes Roland have a sense of distance, which is deeply revered;
At the same time, Lola was romanticized into an eccentric, ethereal life form.
So Lola is a "place that is both jealous and irritating." ”
Aimé's name was given to her by the French poet and poetic realist playwright Jacques Prevvité.
Prior to this, Aimee had played a major role in Dolce Vita.
Her moving and clumsy performances are in line with the New Wave's pursuit of a simple and natural performance style.
8. The Sorrows of the Left Bank – Corinne Marshan
Film: [Chio at 5-7] 1962
Role: Chio
Male directors of the New Wave are keen to chase women in the camera and photograph their beauty and uniqueness.
But only under the lens of "New Wave grandmother" Agnès Varda, we see the existence of women themselves.
From five to seven o'clock in the afternoon in Paris, the female singer Chio anxiously awaited the results of the hospital examination
A woman's current real anxiety is the fact that the film wants to tell the audience in a tracked documentary shooting.
The two lines of Chiao's spiritual growth and physical crisis go hand in hand, making this film an important female film masterpiece.
As a female singer, Chio struggles between flirtatious style and the painful experience of life, showing sincerity for the first time.
▲ In the first half of the film, Chio is mainly in a white dress, pampered and watched; in the second half, she changes into black and decides to go out and see the world with her own eyes
The year before, Corinne Marchand, who had just played a minor role in Varda's husband Jacques Demi's [Lola], became Chio.
Although she herself is completely different from Chio's temperament and style, she is deeply fascinated by the role.
Corinne also grasped The Transformation of Chio from a fragile doll to facing everything herself.
There are many actors who can be called "New Wave Girls" by us.
For example, Anna Karina, Mary Dubwa, Defiin Selig, and so on.
They leave the most beautiful moments and characters to the times.
We admire the shadows of that era, and we also think about the courage that the New Wave of French cinema has brought to countless filmmakers in the past 60 years.