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70-593: Malle's most famous works include the crime thriller Elevator to the Gallows (1958), the romantic drama The Lovers (1958), the World War II drama Lacombe, Lucien (1974), the period drama Pretty Baby (1978), the romantic crime film Atlantic City (1980), the dramedy My Dinner with Andre (1981), and the autobiographical Au revoir les enfants (1987). He also co-directed the landmark underwater documentary The Silent World with Jacques Cousteau , which won

140-406: A three-week tour of Europe as a solo artist. Davis had just abandoned his first great quintet of 1955–56, including saxophone player John Coltrane , due to their addiction to heroin. He was beginning to try and live a healthier life, although he was still using cocaine. Additionally, Davis, during his time performing, had been experiencing an immense amount of racism and enjoyed the chance to leave

210-509: A quality " and in December 1962 published a list of 162 film directors who had made their feature film debut since 1959. Many of these directors, such as Edmond Agabra and Henri Zaphiratos, were not as successful or enduring as the well-known members of the New Wave and today would not be considered part of it. Shortly after Truffaut's published list appeared, Godard publicly declared that the New Wave

280-472: A commercial release until 2008. Truffaut, with The 400 Blows (1959), and Godard, with Breathless (1960) had unexpected international successes, both critical and financial, that turned the world's attention to the activities of the New Wave and enabled the movement to flourish. Part of their technique was to portray characters not readily labeled as protagonists in the classic sense of audience identification. The auteurs of this era owe their popularity to

350-491: A dictatorial plot-line . They were especially against the French "cinema of quality", the type of high-minded, literary period films held in esteem at French film festivals, often regarded as "untouchable" by criticism. New Wave critics and directors studied the work of Western classics and applied new avant-garde stylistic direction. The low-budget approach helped filmmakers get at the essential art form and find what was, to them,

420-521: A fresh look to the cinema with improvised dialogue, rapid changes of scene, and shots that broke the common 180° axis of camera movement . In many films of the French New Wave, the camera was used not to mesmerize the audience with elaborate narrative and illusory images, but rather to play with audience expectations. Godard was arguably the movement's most influential figure; his method of filmmaking, often used to shock and awe audiences out of passivity,

490-400: A much more comfortable and contemporary form of production. Charlie Chaplin , Alfred Hitchcock, Orson Welles, Howard Hawks , John Ford, Sam Fuller and Don Siegel were held up in admiration. French New Wave is influenced by Italian Neorealism and classical Hollywood cinema . In a 1961 interview, Truffaut said that "the 'New Wave' is neither a movement, nor a school, nor a group, it's

560-522: A new means of expression on the same level as painting and the novel ... a form in which and by which an artist can express his thoughts, however abstract they may be, or translate his obsessions exactly as he does in the contemporary essay or novel. This is why I would like to call this new age of cinema the age of the caméra-stylo. " Some of the most prominent pioneers among the group, including François Truffaut , Jean-Luc Godard , Éric Rohmer , Claude Chabrol , and Jacques Rivette , began as critics for

630-443: A piano be brought to his hotel room. Over the next two weeks, he began to improvise some themes that would be used in the film. Davis chose to use musicians he had been performing with on his European tour: saxophonist Barney Wilen , pianist René Urtreger , bassist Pierre Michelot and drummer Kenny Clarke . They had only been informed about the project a couple of days prior and went into the session unprepared, having not even seen

700-482: A plan to kill Florence's husband Simon, a wealthy French industrialist who is also Julien's boss. Staying late at the office one Saturday, Julien, an ex- Foreign Legion parachutist and veteran of the Indochinese and Algerian wars, uses a rope to climb up the outside of the building to Simon's office and shoots Simon with Simon's own gun, staging his death as a suicide. He then makes his way back to his office and leaves

770-449: A post-World War II France, filmmakers sought low-budget alternatives to the usual production methods, and were inspired by the generation of Italian Neorealists before them. Half necessity and half vision, New Wave directors used all that they had available to channel their artistic visions directly to the theatre. Finally, the French New Wave, as the European modern Cinema , is focused on

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840-480: A precursor to the young couple in Jean-Luc Godard 's Breathless (1960). In a 2016 article, New Yorker film critic Richard Brody claimed the film is more important for its place in French film history than for its own artistic merits, with the exception of Davis's score, which he said "is worth hearing entirely on its own. It's better than the film itself, by far, and there are better ways to hear it than in

910-399: A review of the film's 2005 theatrical re-release, Roger Ebert observed that Moreau's face when Florence is pondering Julien's whereabouts "is often illuminated only by the lights of the cafes and shops that she passes; at a time when actresses were lit and photographed with care, these scenes had a shock value, and influenced many films to come." He further argued that Louis and Véronique were

980-521: A sultry soundtrack." Metacritic , which uses a weighted average , assigned the film a score of 94 out of 100, based on 16 critics, indicating "universal acclaim". There have been two film adaptations of Calef's novel since Malle's version: Shikeidai No Erebêtâ (2010), by Japanese filmmaker Akira Ogata , and Weekend (2013), by Russian filmmaker Stanislav Govorukhin . Nouvelle vague The New Wave ( French : Nouvelle Vague , French pronunciation: [nuvɛl vaɡ] ), also called

1050-463: A trance, replies that she did what she did for love and she and Julien will one day be reunited. Jean-Claude Brialy makes an uncredited appearance as a motel guest. This low-budget black-and-white production was 24-year-old Louis Malle 's first feature film. He had previously worked with Jacques Cousteau for several years, and was credited as co-director of the documentary The Silent World (1956). Malle cast Jeanne Moreau after seeing her in

1120-532: Is about collaboration with the Nazis in Vichy France during World War II. The second of these earned Malle his first (of three) Oscar nominations for "Best Writing, Story and Screenplay Based on Factual Material or Material Not Previously Published or Produced". Malle visited India in 1968, and made the seven-part documentary series L'Inde fantôme: Reflexions sur un voyage and the documentary film Calcutta , which

1190-607: Is based on the 1956 novel of the same name by Noël Calef. Associated by some critics with film noir , and introducing new narrative, cinematographic, and editing techniques, the film is considered an important work in establishing the French New Wave and the New Modern Cinema . The improvised soundtrack by Miles Davis and the relationship the film establishes among music, image, and emotion were considered groundbreaking. Lovers Florence Carala and Julien Tavernier devise

1260-542: Is empty. He and Véronique return to Paris in the Mercedes and hide in Véronique's apartment. Convinced they will be caught and separated, Véronique persuades Louis to commit suicide with her, so they both take phenobarbital pills. Because Véronique registered at the motel using the names "Mr. and Mrs. Julien Tavernier" to avoid problems for Louis, who is wanted for petty crimes, and Julien's car, gun and raincoat are found next to

1330-481: Is often considered one of the most influential movements in the history of cinema . The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cinéma in the late 1950s and 1960s. These critics rejected the Tradition de qualité ("Tradition of Quality") of mainstream French cinema, which emphasized craft over innovation and old works over experimentation. This

1400-518: Is stolen by Louis, a young small-time crook, and his girlfriend Véronique, a flower shop assistant. Waiting for Julien at a nearby café, Florence sees the car go by, with Véronique leaning out the window. Assuming Julien could not go through with their plan and has picked up Véronique, she wanders the Paris streets despondently all night, searching for him in local bars and clubs. Louis puts on Julien's coat and pockets Julien's revolver, which Véronique finds in

1470-551: The Cinémathèque Française , were the dual father figures of the movement. These men of cinema valued the expression of the director's personal vision in both the film's style and script. Truffaut also credits the American film Little Fugitive (1953) by Ruth Orkin , Ray Ashley and Morris Engel with helping to start the French New Wave, when he said: "Our New Wave would never have come into being, if it hadn't been for

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1540-652: The Palme d'Or at the 1956 Academy Awards and Cannes Film Festival , respectively. He assisted Robert Bresson on A Man Escaped ( Un condamné à mort s'est échappé ou Le vent souffle où il veut , 1956) before making his first feature, Ascenseur pour l'échafaud in 1957 (released in the U.K. as Lift to the Scaffold and in the U.S. originally as Frantic , later as Elevator to the Gallows ). A taut thriller featuring an original score by Miles Davis , Ascenseur pour l'échafaud made an international film star of Jeanne Moreau , at

1610-572: The 1956 Palme d'Or and the 1957 Academy Award for Best Documentary . Malle is one of only four directors to have won the Golden Lion twice. His other accolades include three Césars , two BAFTAs , and three Oscar nominations. He was made a Fellow of the British Academy of Film and Television Arts in 1991. Malle was born into a wealthy industrialist family in Thumeries , Nord , France,

1680-467: The French New Wave , is a French art film movement that emerged in the late 1950s. The movement was characterized by its rejection of traditional filmmaking conventions in favor of experimentation and a spirit of iconoclasm . New Wave filmmakers explored new approaches to editing , visual style, and narrative, as well as engagement with the social and political upheavals of the era, often making use of irony or exploring existential themes. The New Wave

1750-468: The " new sincerity " subculture within the U.S. that involve deliberately defying certain critical expectations in filmmaking. Alexandre Astruc 's manifesto "The Birth of a New Avant-Garde: The Camera-Stylo", published in L'Écran on 30 March 1948, outlined some of the ideas that were later expanded upon by François Truffaut and the Cahiers du cinéma . It argues that "cinema was in the process of becoming

1820-458: The 21st century. The movies featured unprecedented methods of expression, such as long tracking shots (like the famous traffic jam sequence in Godard's 1967 film Weekend ). Also, these movies featured existential themes, often stressing the individual and the acceptance of the absurdity of human existence. Filled with irony and sarcasm, the films also tend to reference other films. Many of

1890-539: The Benckers' corpses, the police name Julien as the prime suspect. Officers search his office, escorted by the security guard, who eventually discovers Simon's body. Meanwhile, with the building's power back on, Julien finally escapes from the elevator. Unaware his picture is in the morning newspapers in connection to the Bencker case, he goes to the café to have breakfast, but is quickly recognised, arrested and charged with killing

1960-408: The Benckers, the police refusing to believe his alibi of being stuck in an elevator. Florence, determined to exonerate Julien, obtains Véronique's address from the florist. She finds Véronique and Louis drowsy, but alive, and accuses the young couple of murdering the Benckers, before calling the police with an anonymous tip. Louis believes he has gotten away with murder after seeing Julien's picture in

2030-468: The French New Wave films were produced on tight budgets, often shot in a friend's apartment or yard, using the director's friends as the cast and crew. Directors were also forced to improvise with equipment (for example, using a shopping cart for tracking shots. ) The cost of film was also a major concern; thus, efforts to save film turned into stylistic innovations. For example, in Jean-Luc Godard 's Breathless ( À bout de souffle ), after being told

2100-570: The Gallows Elevator to the Gallows ( French : Ascenseur pour l'échafaud ), also known as Frantic in the US and Lift to the Scaffold in the UK, is a 1958 French crime thriller film directed by Louis Malle , starring Jeanne Moreau and Maurice Ronet as illicit lovers whose murder plot starts to unravel after one of them becomes trapped in an elevator. The screenplay by Roger Nimier and Malle

2170-427: The Gallows witnessed Davis's theory of modal jazz being developed. Modal jazz became highly influential in the late '50s and '60s, switching from the chorally dense sound of bebop . Davis opened up a new gateway between composition and improvisation in this soundtrack, a pathway which he would explore in the 1959 modal jazz album Kind of Blue . This style of music would influence not only future jazz musicians but

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2240-644: The Left Bank filmmakers). Roud described a distinctive "fondness for a kind of Bohemian life and an impatience with the conformity of the Right Bank, a high degree of involvement in literature and the plastic arts , and a consequent interest in experimental filmmaking ", as well as an identification with the political left . The filmmakers tended to collaborate with one another. Jean-Pierre Melville , Alain Robbe-Grillet , and Marguerite Duras are also associated with

2310-456: The New Wave directors in that they practiced cinematic modernism . Their emergence also came in the 1950s and they also benefited from the youthful audience. The two groups, however, were not in opposition; Cahiers du cinéma advocated for Left Bank cinema. Left Bank directors include Chris Marker , Alain Resnais , and Agnès Varda (Varda's husband, Jacques Demy , is sometimes grouped with

2380-469: The New Wave was to some extent an exercise by the Cahiers writers in applying this philosophy to the world by directing movies themselves. Apart from the role that films by Jean Rouch have played in the movement, Chabrol's Le Beau Serge (1958) is traditionally (but debatably) credited as the first New Wave feature. Agnès Varda 's La Pointe Courte (1955) was chronologically the first, but did not have

2450-458: The New Wave way of filmmaking often presented a documentary style. The films exhibited direct sounds on film stock that required less light. Filming techniques included fragmented, discontinuous editing, and long takes. The combination of realism, subjectivity, and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not answered in the end. Although naturally associated with Francophone countries,

2520-527: The Paris stage production of Tennessee Williams ' Cat on a Hot Tin Roof . She had already been in a number of films, but her role in this film is often considered her breakthrough. Malle filmed her without the heavy makeup and extreme lighting that previous directors had demanded. Scenes of Moreau wandering down the Champs Elysees at night were shot on fast film from a baby carriage using only available light from

2590-479: The U.S., 1990) in French. Just as his earlier films such as The Lovers helped popularize French films in the U.S., My Dinner with Andre was at the forefront of the rise of American independent cinema in the 1980s. Towards the end of his life, cultural correspondent Melinda Camber Porter interviewed Malle extensively for The Times . In 1993, the interviews were included in her book Through Parisian Eyes: Reflections On Contemporary French Arts And Culture . Malle

2660-608: The United States for a while. Marcel Romano, promoter and jazz enthusiast, picked Davis up from the airport in November 1957 with the initial intention of telling him he would feature in a film about jazz. However, this plan fell through before Davis even arrived. Instead, film technician Jean-Claude Rappeneau, whom Romano had hired for the project, mentioned that he had been working on a feature film with young director Louis Malle who had an interest in jazz music. Romano told Davis about

2730-431: The audience directly , were radically innovative at the time. Classic French cinema adhered to the principles of strong narrative, creating what Godard described as an oppressive and deterministic aesthetic of plot. In contrast, New Wave filmmakers made no attempts to suspend the viewer's disbelief; in fact, they took steps to constantly remind the viewer that a film is just a sequence of moving images, no matter how clever

2800-419: The building with a secretary and security guard, who are to be his alibis. When he gets into his convertible , he glances up and sees he left the rope hanging from the building. Leaving the engine running, he rushes back into the building and boards the elevator. As it ascends, the security guard switches off the power and locks up for the weekend, trapping Julien between floors. Shortly afterwards, Julien's car

2870-516: The concentration camp at Mauthausen . Malle depicted these events in his autobiographical film Au revoir les enfants (1987). As a young man, Malle studied political science at Sciences Po from 1950 to 1952 (some sources incorrectly state that he studied at the Sorbonne ) before turning to film studies at IDHEC . Malle worked as co-director and cameraman with Jacques Cousteau on the documentary The Silent World (1956), which won an Oscar and

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2940-572: The decision, finding that the film was not obscene and hence constitutionally protected. But the court could not agree on a definition of "obscene", with Justice Potter Stewart famously saying, " I know it when I see it ". Malle is sometimes associated with the nouvelle vague , but his work does not directly fit in with or correspond to the auteurist theories that apply to the work of Jean-Luc Godard , François Truffaut , Claude Chabrol , Éric Rohmer and others, and he had nothing to do with Cahiers du cinéma . But Malle's work does exemplify some of

3010-495: The famous film magazine Cahiers du cinéma . Cahiers co-founder and theorist André Bazin was a prominent source of influence for the movement. By means of criticism and editorialization, they laid the groundwork for a set of concepts, revolutionary at the time, which the American film critic Andrew Sarris called auteur theory . (The original French La politique des auteurs , translated literally as "The policy of authors".) Bazin and Henri Langlois , founder and curator of

3080-425: The film and said that Davis seemed interested in the project, so they organised a private screening for him. Davis took notes, asking questions about the relationships between the characters and explanations of the plot. He later wrote in his autobiography that he agreed to the job because he had never written music for a film before and it would be "a great learning experience". While touring Europe, Davis asked that

3150-409: The film was too long and he must cut it down to one hour and a half he decided (on the suggestion of Jean-Pierre Melville ) to remove several scenes from the feature using jump cuts , as they were filmed in one long take. Parts that did not work were simply cut from the middle of the take, a practical decision, and also a purposeful stylistic one. The cinematic stylings of the French New Wave brought

3220-506: The film-maker passes "the essay attitude, thinking – in a novelist way – on his own way to do essays." The corresponding "right bank" group is constituted of the more famous and financially successful New Wave directors associated with Cahiers du cinéma ( Claude Chabrol , François Truffaut , and Jean-Luc Godard ). Unlike the Cahiers group, Left Bank directors were older and less movie-crazed. They tended to see cinema akin to other arts, such as literature. However, they were similar to

3290-512: The film. On 4 December 1957 at 10 p.m., Davis and his band went to the Le Poste Parisien studios to record the score. The band drank together for an hour, played for four hours, then took two hours of editing, and left the studio by 5 a.m. the next day having finished the score for the film. The soundtrack features eight of Davis's extended improvisations, all recorded in the four-hour session. The only song that had been mapped out in detail

3360-487: The glovebox. They drive back and forth on the highway for hours, until some Germans in a sporty Mercedes challenge Louis to a race. He follows them to a motel just off the highway, and the German driver, the jovial Horst Bencker, invites Louis and Véronique to have a drink with him and his wife Frieda. Both couples check in and, while they chat, Frieda takes a few pictures of Louis and her husband with Julien's camera. She finishes

3430-468: The movement has had a continual influence within various other cinephile cultures over the past several decades inside of many other nations. The United Kingdom and the United States , both of them being primarily English-speaking , are of note. " Kitchen sink realism " as an artistic approach intellectually challenging social conventions and traditions in the U.K. is an example, as are some elements of

3500-626: The movement's characteristics, such as using natural light and shooting on location, and his film Zazie dans le Métro ( Zazie in the Metro , 1960, an adaptation of the Raymond Queneau novel ) inspired Truffaut to write Malle an enthusiastic letter. Other films also tackled taboo subjects: The Fire Within centers on a man about to commit suicide, Le souffle au cœur (1971) deals with an incestuous relationship between mother and son, and Lacombe, Lucien (1974), co-written with Patrick Modiano ,

3570-421: The movement. Politically and financially drained, France tended to fall back on the old popular pre-war traditions. One such tradition was straight narrative cinema, specifically classical French film. The movement has its roots in rebellion against the reliance on past forms (often adapted from traditional novelistic structures), criticizing, in particular, the way these forms could force the audience to submit to

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3640-467: The movie—namely, by listening to a CD that features the entire studio sessions from which the score was edited." On the review aggregator website Rotten Tomatoes , the film holds an approval rating of 93% based on 60 reviews, with an average rating of 8.1/10. The website's critics consensus reads, "Louis Malle's hypnotic debut is a noir with genuine soul, infusing its tale of best laid plans gone awry with wistful performances, swooning cinematography, and

3710-445: The newspaper, until Véronique reminds him of the roll of film. He rushes to the motel's photo lab, tailed by Florence, but finds the pictures have already been developed, and he is arrested. Florence enters the lab, and the police show her the photographs of her and Julien that were on the roll as evidence of the two lovers' crime. Commissaire Cherrier informs Florence she will probably get a harsher sentence than Julien, but she, almost in

3780-432: The roll, so Véronique drops the film off at the motel's photo lab. After the Benckers go to bed, Louis, worried because Horst had figured out he is not Julien Tavernier and annoyed because Horst had not taken him more seriously, attempts to steal the Mercedes, but Horst catches him and threatens him with a cigar tube held like a gun. Louis impulsively shoots and kills both Horst and Frieda with Julien's gun, firing until it

3850-408: The son of Françoise (Béghin) and Pierre Malle. During World War II , Malle attended a Catholic boarding school near Fontainebleau. As an 11-year-old he witnessed a Gestapo raid on the school, in which three Jewish students, including his close friend, and a Jewish teacher were rounded up and deported to Auschwitz . The school's headmaster, Père Jacques , was arrested for harboring them and sent to

3920-527: The sound of film noir itself. Richard Brody highlights this in his article, writing, "The use of jazz and jazz-derived soundtracks became so predominant, that jazz came to seem like the natural backdrop for high-speed chases, mass mayhem, and cold-blooded murder, because the films for which jazz players were enlisted were uniformly violent." For Time , journalist Barry Farrell wrote: Moreau had 20 forgettable films behind her. ... Malle put Moreau under an honest light and wisely let his camera linger. The film

3990-416: The soundtrack is described as generally "dour and somber", but the pace is picked up on tracks such as "Dîner au Motel". The songs "Générique" and "L'Assassinat de Carala" feature Davis's distinctive trumpet style that is echoed through dire straits or death wish motifs. Phil Johnson further described the soundtrack as a "powerfully expressive, highly concentrated, freely inspired performance". Elevator to

4060-525: The street and shop windows. Miles Davis 's score for the film is considered by many to be groundbreaking, with jazz critic Phil Johnson describing it as "the loneliest trumpet sound you will ever hear, and the model for sad-core music ever since. Hear it and weep." Richard Brody , film critic and writer for The New Yorker , wrote that the score itself is "better than the film, by far". In 1957, Davis, an already well known and highly regarded jazz performer and composer, received an invitation to perform in

4130-474: The support they received from their youthful audience. Most of these directors were born in the 1930s and grew up in Paris, relating to how their viewers might be experiencing life. With a high concentration on fashion, urban professional life, and all-night parties, the life of France's youth was exquisitely captured. The French New Wave was popular roughly between 1958 and 1962. The socio-economic forces at play shortly after World War II strongly influenced

4200-412: The technique as style itself. A French New Wave film-maker is first of all an author who shows in its film their own eye on the world. On the other hand, the film as the object of knowledge challenges the usual transitivity on which all the other cinema was based, "undoing its cornerstones: space and time continuity, narrative and grammatical logics, the self-evidence of the represented worlds." In this way

4270-462: The time a leading stage actress of the Comédie-Française . Malle was 24 years old. Malle's The Lovers ( Les Amants , 1958), which also starred Moreau, caused major controversy due to its sexual content, leading to a landmark U.S. Supreme Court case about the legal definition of obscenity. In Jacobellis v. Ohio , a theater owner was fined $ 2,500 for obscenity. The Supreme Court overturned

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4340-429: The use of light and shadow. The result is a set of oddly disjointed scenes without an attempt at unity; or an actor whose character changes from one scene to the next; or sets in which onlookers accidentally make their way onto camera along with extras, who in fact were hired to do just the same. At the heart of New Wave technique is the issue of money and production value. In the context of social and economic troubles of

4410-485: The young American Morris Engel who showed us the way to independent production with [this] fine movie." The auteur theory holds that the director is the "author" of their movies, with a personal signature visible from film to film. They praised movies by Jean Renoir and Jean Vigo , and made then-radical cases for the artistic distinction and greatness of Hollywood studio directors such as Orson Welles , John Ford , Alfred Hitchcock and Nicholas Ray . The beginning of

4480-427: Was "Sur L'Autoroute", and Davis gave minimal instructions to the band for the rest of the soundtrack. He gave them two chordal structures, D minor and C seventh chords, and they improvised around these. Scales rather than chords took precedence, maintaining harmonic simplicity and fragmenting the themes. Michelot said in a 1988 interview, "What characterised the session is the absence of a defined theme." The mood of

4550-407: Was abnormally bold and direct. Godard's stylistic approach can be seen as a desperate struggle against the mainstream cinema of the time, or a degrading attack on the viewer's supposed naivety. Either way, the challenging awareness represented by this movement remains in cinema today. Effects that now seem either trite or commonplace, such as a character stepping out of their role in order to address

4620-592: Was apparent in a manifesto-like 1954 essay by François Truffaut , Une certaine tendance du cinéma français , where he denounced the adaptation of safe literary works into unimaginative films. Along with Truffaut, a number of writers for Cahiers du cinéma became leading New Wave filmmakers, including Jean-Luc Godard , Éric Rohmer , Jacques Rivette , and Claude Chabrol . The associated Left Bank film community included directors such as Alain Resnais , Agnès Varda , Jacques Demy and Chris Marker . Using portable equipment and requiring little or no set up time,

4690-696: Was married to actress Anne-Marie Deschodt from 1965 to 1967. He later had a son, Manuel Cuotemoc Malle (born 1971), with German actress Gila von Weitershausen , and a daughter, filmmaker Justine Malle (born 1974), with Canadian actress Alexandra Stewart . From mid-1977 until early 1980, he was in a relationship with Susan Sarandon . Malle married actress Candice Bergen in 1980. They had one child, Chloé Françoise Malle, on 8 November 1985. Malle died of lymphoma, aged 63, at their home in Beverly Hills, California, on November 23, 1995. Short film Feature film Acting credits As himself Elevator to

4760-427: Was more exclusive and included only Truffaut, Chabrol, Rivette, Rohmer, and himself, stating that " Cahiers was the nucleus" of the movement. Godard also acknowledged filmmakers such as Resnais, Astruc, Varda, and Demy as esteemed contemporaries, but said that they represented "their own fund of culture" and were separate from the New Wave. Many of the directors associated with the New Wave continued to make films into

4830-492: Was nothing special, but it did accomplish one thing: it proposed a new ideal of cinematic realism, a new way to look at a woman. All the drama in the story was in Moreau's face—the face that had been hidden behind cosmetics and flattering lights in all her earlier films. When Malle [made] The Lovers the following year, it was obvious who his woman would be. For one thing, he had discovered her, and for another, they were in love. In

4900-960: Was released in cinemas. Concentrating on real India, its rituals and festivities, Malle fell afoul of the Indian government, which disliked his portrayal of the country, in its fascination with the pre-modern, and consequently banned the BBC from filming in India for several years. Malle later said his documentary on India was his favorite film. Malle later moved to the United States and continued to direct there. His later films include Pretty Baby (1978), Atlantic City (1980), My Dinner with Andre (1981), Crackers (1984), Alamo Bay (1985), Damage (1992) and Vanya on 42nd Street (1994, an adaptation of Anton Chekhov 's play Uncle Vanya ) in English; and Au revoir les enfants (1987) and Milou en Mai ( May Fools in

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