By Andre Bazin, Bert Cardullo
Bazin's effect on movie paintings, as theorist and critic, is taken into account to be more than that of any unmarried director, actor, or manufacturer. he's credited with virtually single-handedly developing the learn of movie as an approved highbrow pursuit, in addition to with being the non secular father of the French New Wave. Bazin at Work is the 1st English selection of disparate Bazin writings because the visual appeal of the second one quantity of What Is Cinema? in 1971. It comprises paintings from Cahiers le cinema (which he based and that is the main influential unmarried severe periodical within the historical past of the cinema) and Esprit. He addresses filmmakers together with Rossellini, Eisenstein, Pagnol, and Capra and recognized motion pictures together with La Strada, Citizen Kane, Scarface, and The Bridge at the River Kwai.
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Extra resources for Bazin at Work: Major Essays and Reviews From the Forties and Fifties
The mise en scene in this film, then, concentrated wholly on the actors. The space filled by the individual actor, already cut off and limited by the frame of the screen, was additionally robbed by Wyler of significance in and of itself, so that the entire dramatic spectrum polarized by the actors would attract the focus. Almost all Wyler’s shots are built like an equation, or perhaps better, like a dramatic mechanism whose parallel ogram of forces can almost be drawn in geometrical lines. This may not be an original discovery on my part: to be sure, every true director orga nizes the movement of his actors within the coordinates of the screen according to laws that are still obscure but whose spontaneous perception is part of his talent.
If I’m not mis taken, the films about Lenin did not come out until after his death,2 whereas Stalin appeared on screen as early as the war in historical films that did not consist of documentary footage. The actor Mikhail Gelovani, who incarnates Stalin, so to speak, in The Vow (1946; dir. Mikhail Chiaureli), is a specialist whom the Russians had already seen several times in this role starting in 1938, in particular in Siberians (1940; dir. Lev Kuleshov), Valeri Chkalov (1941; dir. Mikhail Kalatozov), and The Defense ofTsaritsin (1942; dir.
The link between these two dramatic areas is provided by March, who, with the viewer, is the only one that knows what is going on in the telephone booth and who, according to the logic of the scene, is impressed, like us, by the musical prowess of the crippled seaman. From time to time, March turns his head slightly and glances across the room, anxiously scrutinizing the behavior of Andrews. Finally, the latter hangs the telephone up and, without turning to the men at the piano, suddenly BAZIN ON DIRECTORS AND ON CINEMA disappears into the street.
Bazin at Work: Major Essays and Reviews From the Forties and Fifties by Andre Bazin, Bert Cardullo