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04/22/15 9:09am
04/22/2015 9:09 AM |

Brigitte Fossey and Georges Poujouly in René Clément's FORBIDD

Forbidden Games (1952)
Directed by René Clément
Forbidden Games was doubtless touched by some great luck to cast then five-year old Brigitte Fossey for the role of Paulette. Charmed, beguiling, and grief-racked, Fossey’s Paulette belongs among the great child roles, kin to Jean-Pierre Léaud’s Antoine Doinel and Tatum O’Neal’s Addie Loggins. Paulette is inexplicably orphaned by German aircraft firing on hers and other families fleeing the front lines in early WWII, and then stumbles upon the Dollés, a comically dysfunctional farming family—their father brawls with a neighbor in a fresh grave; Michel, the youngest son, steals crosses to create a secret (and forbidden) cemetery for Paulette. But truly it is Clément that makes his own luck. Boldly weaving the cruel, humorous, and unfathomable into Forbidden Games’s fairytale-dabbled, traumatized daydream, Clément conjures innocence as few ever have: magical, morbid, and desperately half-aware. Jeremy Polacek (Apr 24-May 7 at Film Forum; showtimes daily)

04/15/15 6:29am
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04/15/2015 6:29 AM |

full moon in paris

Full Moon in Paris (1984)
Directed by Éric Rohmer
The fourth and most emotionally tumultuous of the elder statesmen of the nouvelle vague’s “Comedies and Proverbs” series leans closer to the moralistic than the humorous half its thematic epithet. An at times uncomfortable look at the nuances and negotiations inherent to romance, the film follows Louise (Pascale Ogier) and Rémi (Tchéky Karyo), an unmarried couple whose plan for living together grows complicated when the former chooses to keep her Parisian apartment as a pied-à-terre for nights of metropolitan partying. Meanwhile, Louise’s best guy and girlfriend (Fabrice Luchini and Virginie Thévenet) are both harboring secrets related to the couple which slowly tug at the seams of an already fraying relationship. Shot in Rohmer’s typically unadorned style, with an emphasis on dialogue and situational irony rather than decorous mise-en-scène, the film arrives very subtly at a climax all the more devastating for its inevitability. Jordan Cronk (Apr 17-30, showtimes daily at the Film Society of Lincoln Center; new DCP restoration part of “Éric Rohmer’s Comedies and Proverbs”)

02/04/15 2:16pm
02/04/2015 2:16 PM |

joeversusthevolcano

Joe Versus the Volcano (1990)
Directed by John Patrick Shanley

Before Shanley was the Pulitzer-winning playwright of Doubt (but after he was the Oscar-winning screenwriter of Moonstruck), he wrote and helmed this big-budget comic-fairy-tale curiosity, whose narrative plays out like Woody Allen’s filmmaking evolution in reverse: it starts as smart, existential black comedy and ends in broad, zany caricature. Seemingly so insecure directing the Doubt movie 18 years later, with its attention-seeking camera angles and soaring musical cues, Shanley here is a confident cinematic master; it’s an Allenish film not just in tone but also in its sophisticated, superwidescreen cinematography (by Stephen Goldblatt), as terrible a victim of pan-and-scan as Manhattan. The excellent cast features not just Tom Hanks at his youthful best and classic character actors in bit parts (Dan Hedaya!) but also Meg Ryan, in three roles in three hair colors in three acts as three love interests. Her versatility will impress even a jaded New York cinephile who long ago wrote her off as romcom bullshit. Henry Stewart (Feb 4, 8pm, at IFC Center’s “Celluloid Dreams,” with Shanley in person)