The 100 best French films: 10-2

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10-2

10

La Belle et la Bête (1946)

Cocteau's fairytale set standards in fantasy which few other film-makers have reached. Despite the Vermeer-like compositions, he has some trouble capturing the right tone for the 'realistic' scenes, but the sequences in the enchanted castle - wonderfully designed by Christian

9

The 400 Blows (1959)

Write about what you know, they say. So in 1959 François Truffaut, neglected son, passionate reader, delinquent student and cinephile, wrote and filmed one of the first glistening droplets of the French New Wave: ‘The 400 Blows’, in which Antoine Doinel (Jean-Pierre Léaud)

8

L'Atalante (1934)

Some filmmakers have a lifetime in which to develop their art, to explore their themes, to express their world view. Others do it in a single film. 1934’s ‘L’Atalante’ is the single feature from the then 29-year-old French master Jean Vigo and was made as its director

7

Contempt (1963)

If Godard could be reduced to a single genius idea — essential to his filmmaking if obviously not the whole story — it might go something like this: To love cinema is to love life. He is the original movie geek, swaddling his films in adoring reference, and embracing,

6

Playtime (1967)

Tati's Hulot on the loose in a surreal, scarcely recognisable Paris, tangling intermittently with a troop of nice American matrons on a 24-hour trip. Not so much a saga of the individual against an increasingly dehumanised decor, it's more a semi-celebratory symphony to Tati's

5

Eyes Without a Face (1959)

An incredible amalgam of horror and fairytale in which scalpels thud into quivering flesh and the tremulous heroine (Scob) remains a prisoner of solitude in a waxen mask of eerie, frozen beauty. Having crashed the car which destroyed her face, her doctor father (Brasseur)

4

Pierrot le fou (1965)

Jean-Paul Belmondo mooches up to Samuel Fuller at a cocktail party and, naturally, asks him his thoughts on cinema. Fuller replies: ‘Film is like a battleground. Love. Hate. Action. Violence. Death. In one word: Emotions.’ His succinct and, let’s be honest, utterly hip

3

Les Enfants du Paradis (1943)

In Marcel Carné’s rich, literary romance from 1945 ('France's answer to "Gone with the Wind'!"), four men tussle for the affections of one woman, the conflicted, sphinx-like Garence (Carné regular Arletty), an ice maiden in the league of Marlene Dietrich who, in nearly every

2

The Mother and the Whore (1973)

Three-and-a-half hours of people talking about sex sounds like a recipe for boredom; in Eustache's hands, it is anything but. There is no 'explicitness': the film is about attitudes to, and defences against, sex and the body. Using dialogue garnered entirely from real-life

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James Knox
James Knox

i haven't seen almost all of these