The irony in a way is that Messiaen used this great romantic organ for his most modern experiments. For Messiaen, this was a great sort of sonic paintbox, if you like, and he would come here and experiment with the extraordinary sounds that he could conjure out of this amazing instrument. [more inside]
"The Threat to Proust" by Roger Shattuck: When Proust’s novel fell into the public domain in 1987, three Paris publishing houses were ready with new editions that had been in preparation for several years. They all carry the same basic 3,000-page text with few variations. The differences lie in packaging and presentation. Laffont-Bouquins chose to publish three fat volumes prefaced by elaborate historical and biographical materials. Garnier-Flammarion produced ten pocket-sized volumes competently edited by Jean Milly. The new Pléiade edition, published by the original copyright holder, Gallimard, made the boldest, most ambitious, and most expensive bid to claim the market. In a combination of editorial, literary, and commercial decisions, Gallimard proposed to influence the way we read Proust and, to some degree, the way we approach all great literary works. [more inside]
Both an ingeniously choreographed crime film and a moral drama influenced by Dostoyevsky’s Crime and Punishment, Pickpocket marks the apotheosis of Bresson's stripped-down style. There’s little or no psychological realism or conventional drama at work in Martin La Salle’s portrayal of a master thief who plies his trade at the Gare de Lyon and easily outwits the cops who seek to ensnare him. See it once to appreciate the spare elegance of the pickpocketing scenes, and then a second time to appreciate how subtly Bresson accomplishes the story of a man’s self-willed corruption, his liberation through imprisonment and his redemption through love, all in less than 80 minutes.
Reading Blaise Cendrars is like stepping into another universe. His fiction is unlike anything else I've ever read. His poetry influenced the mighty Guillaume Apollinaire and helped shape the face of modernism. But it is his mockery of biographical detail and the very notion of literature that fascinates me the most. If, like me, you're not a fan of autobiography, then Blaise Cendrars is the memoirist for you.
The French romantic thriller “Diva” dashes along with a pellmell gracefulness, and it doesn’t take long to see that the images and visual gags and homages all fit together and reverberate back and forth. It’s a glittering toy of a movie... This one is by a new director, Jean-Jacques Beineix... who understands the pleasures to be had from a picture that doesn’t take itself very seriously. Every shot seems designed to delight the audience. - Pauline Kael, 1982 [more inside]
Pierre Bonnard died in 1947, after a lifetime of producing a great many intense and beautiful paintings, in keeping with his philosophy of domestic bliss, idealised and frozen in time if not realised in real life. A calm and intelligent man, he pursued his purpose doggedly and left behind an enduring legacy of visual joy. Surely as great an achievement as any painter could wish for. [more inside]