Customer Reviews

Cahiers du Cinéma: The 1950s: Neo-Realism, Hollywood, New Wave (Harvard Film Studies) (v. 1)

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What a wonderful collection of essays written by one of the most intelligent groups ever to write (and some direct) about film. This book includes the staff of Cahiers du Cinema polemically discussing aesthetics, what creates an auteur, and debating the best directors of their time. (Each writer has their personal favorites of course, Bazin-Anthony Mann's westerns) All the essays are incredibly intellectual and strong knowledge of films of the 50s is necessary to even comprehend what they are speaking about. If you are familiar with the works of Renoir, Nicholas Ray, Robert Aldrich, Joseph Mankiwicz, Vittorio De Sica, Vincente Minnelli, Alan Resnais, Hawks, and Hitchcock, here is the place to find trenchant analysis into their works.
Some of the most brilliant essays, of course, comes from Andre Bazin, whom in certain circles is contested as the father of film theory (my favorites from Bazin in this collection are 'On the politique des auteurs' and his defense of Kurosawa's Living, following Luc Molluet's thorough trashing of the now considered classic).
Also this volume can contribute to your 'movies to see' lists for those real film buffs out there (if you can find them). The back of the book contains the Cahiers annual Best Films Listing from 1955-59.
For all the French-film lovin', director wannabees, artsy fartsy, snobbish, 'they don't make 'em like they use to' people like me this is a great book to pick up anytime. Just to read sober, intelligent essays on the art of filmmaking, and what these directors where trying to achieve decades ago. I personally read these essays with a smile, getting simple pleasures out of the high-brow ideologies these young writers/directors once had, and how they went on to change the face of cinema, forever.
This is truly a historical collection of essays. 5 out of 5.

Cahiers Du Cinema most far and away the most important film magazine during the 50's and 60's. It contained the film theories of Bazin, Truffaut, Godard, Rivette, and all the other pioneers who forged the New Wave. This collection contains excellent and extensive intellectual essays on Rossellini, Mizoguchi, Mann, Hitchcock, and many other directors who made the 50's such an extraordinary and rich period of cinematic creativity. Jacques Rivette has a magnificent essay on the dimensions of cinemascope, and Godard has such an enthusiastic piece on Nicholas Ray, it probably contributed to his belated stardom as an auteur.

This is an important collection for any serious film student.

For anyone who considers himself a cinephile, this is an urgent compilation. This now legendary group of critics scrutinized every scene to fall in front of a camera before getting behind one themselves.

The original magazine was written in French, and if like me you're weary of translations you can take comfort in the fact that the translations are both highly readable, and retain the voice of their original authors. An extensive explanation on translating methods is offered at the start of the book.

Blessed with insight, passion, and historical context, my only regret is that we have but a fraction of English interpretations from the Cinema du Cahiers.