No.1093
Jean Renoir won by the majority of the votes in the French poetic realism poll (surprise, surprise). The Lower Depths based on the play with the same title by a soviet writer Maxim Gorky are a fairly good example of a quite underrated, yet very watchable film from Renoir's filmography that at the same time encapsulates most of the most common themes of the movement rather well.
Here's a short info on what the film is about:
>A charismatic thief makes friends with a bankrupt baron who comes to live in the thief's slum. Meanwhile the thief seeks the love of a young woman, who is held emotionally captive by her slumlord family.
Objectives of the thread:
>watching the movie and sharing your thoughts about it in the thread (duh)
>possibly discussing other films by Renoir if anybody feels inclined
>discussing the future form of the film club
>suggesting the new themes and film movements for the next week
____________________________
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No.1094
>watching the movie and sharing your thoughts about it in the thread (duh)
I'm going to eat my dinner now but I'll download it and watch it tomorrow.
>discussing the future form of the film club
Nothing much to suggest as per the future. I just wanted to say thanks to OP for doing this.
>suggesting the new themes and film movements for the next week
Indian New Wave/Parallel Cinema maybe?
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No.1098
If you liked Les Bas-fonds and want to watch more Renoir and don't know which films to pick (based on these that I've seen):
Four most famous films (might end up appearing in
>>329) tier:
La règle du jeu
La grande illusion
Boudu sauvé des eaux
La bête humaine
I still don't get what this French poetic realism thing is all about tier:
Toni
Le crime de Monsieur Lange
I really liked La bête humaine tier:
La chienne
I want to know about the origins of mumblecore:
Une Partie de Campagne
A really cool silent short that you should totally check out tier:
La petite marchande d'allumettes
Muh patriarchy of silent cinema tier:
La fille de l'eau
Une vie sans joie (bonus: really neat dream sequence with a giant lizard)
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No.1117
I'll download it tomorrow. For suggestions I might add adding imdb link and/or a pastebin of trackers. If you're on multiple private trackers,
use this
https://greasyfork.org/scripts/3967-imdb-scoutand configure the settings to what trackers you are on. Not all trackers are supported but many major ones are. Of course you'll need greasemonkey or whater the chrome equivalent is
>>1098all those categories are turning me off
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No.1118
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No.1188
I don't see why you should be in direct control of this.
Several other Renoir films were suggested. You knew a simple poll would have sufficed, but of course your choice had to be on top.
The board is still in it's infancy yet you somehow have the gall to write yourself off as some master patrician and connoisseur of film.
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No.1189
>>1188I think he's doing us a favour, tbh. He knew that people would vote for the most well known director (Renoir), so he probably assumed that we'd also pick his most famous films, like The Rules of The Game or The River, so in a way he's doing us a favour by opening our minds to Renoir's other work.
This is a new board so let's not try to get into that patrician-plebeian dichotomy because we're all here to enjoy film without boasting.
Perhaps OP could give us a poll of Renoir's films, but if he doesn't then I'm sure his choice is suitable enough.
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No.1190
>>1188I'm the connoisseur.
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No.1201
>>1188If you are bothered feel free to make a separate thread about regle du jeu because if there's a poll on Renoir's films, that's what's going to win since people will vote for the one they are most familiar with by name, just like it went with Renoir in director's poll.
I'm not the person who initially suggested French poetic realism, if you think there are some other Renoir films that will give people a better idea of the film movement then once again feel free to remake the thread :^)
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No.1230
OK, just finished watching it. When will we discuss the film?
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No.1238
>>1230Now probably, share your thoughts and hopefully somebody else who has watched it will reply.
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No.1250
OK, here goes my mish mash of commentary. I apologise in advance for the randomness in regards to chronology of my comments as I'm writing this impromptu while my food gets cold.
I found the relationship between the Baron and Pepel weird at first, but after a while it made sense. Putting their class differences to one side, you realise they're 2 peas in a pod; they're both thieves. Pepel steals from houses, and the Baron steals from casinos. Pepel is supposed to be a thief, who you imagine to be cruel and evil but he's not really evil at all. We see that his profession is a product of his upbringing as his father was a thief also. As I watched, I was a little disappointed that their endearing relationship wasn't the main focus of the story.
Instead, our main focus was on the "flophouse" and its many colourful inhabitants. We have 2 sisters, 1 evil and impure called Vassilisa (which means queen in Greek, btw), the other innocent and beautiful called Natasha. Pepel, naturally, falls for Natasha, much to the disappointment of Vassilisa who seems to have a weird nonreciprocating obsession over Pepel. Vassilisa is married to an old man who owns the flophouse. In one of the opening scenes, Vassilisa tries to convince Pepel to murder the old man, but to no avail which further alludes that Pepel is not a malicious character.
Other characters included a wise old man, a man with a harmonica (I think that's what it was), an alcoholic actor, and a bookworm woman.
The whole film is quite gritty and seedy, full of poverty and corruption, which our main character, Pepel, wishes to leave behind in his conversation with the Baron while they lay in the grass beside a river.
Vassilisa realises that Pepel does not love her, instead he has fallen for her sister, Natasha, who she mistreats terribly.
An interesting question is, who killed the old man? Pepel was standing over the body, but the whole mob of flophouse inhabitants attacked him, so we don't really know who delivered the killer blow. Also, what was the significance of the actors suicide?
Anyway, I can't think of anything else as my mind is on my food. I do like how the film ended on a happy note, showing Pepel and Natasha together at last.
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No.1252
>>1250Oh, btw, I tried to spoiler this, but it just didn't work, so sorry to anyone who hasn't seen the film yet
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No.1270
>>1189This, polls will always boil down to a directors highest critically acclaimed film. I had no clue Les Bas-Fonds even existed until it was mentioned by OP. Fuck that inconnu for being so retarded.
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No.1278
I have a suggestion for the film club, tell me what you think.
We could have a monthly theme, with one film a week as voted for by us. So let's say we start in October with Horror, and choose four classic/modern horrors to watch and discuss.
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No.1383
>>1278I agree with this idea. It would add a lot of variety to the type of films we watch.
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No.1446
Spoilers ahead…
The actor and "philosopher" characters were the most interesting, I'd expect that in the original Gorky play they would be better developed but apart from a few lines and the tragic ending we get to see very little of them. The actor especially reminded me of the fool's character in King Lear by Kozintsev, which is one of the best adaptations of a play I've ever seen. But again, there was too little of him to make an impact.
The other interesting relationship that could have been better developed is the one between the Baron and Pepe', especially I would have liked to know more about the Baron. His motivations comes through a bit in the part where he's talking about his "uniforms", about going through life doing what he's told to do and what he knows to do, instructed to take his role in the upper class, the role he's expected to take. His inability to fit into the cogs of society leads to his desperation and the careless squandering of his money. (the interactions between him and his lackey were the funniest of the whole film). What's interesting is that he doesn't seem to care at all, and embraces the new lifestyle to its fullest, sitting on grass, meddling with the lower class and so on, but I don't know if the film wants us to take away that he's finally happy (at the beginning he specifically asks Pepe' if he's happy stealing, and he says sometimes, which is more than he can say for himself), particularly after the actor's suicide.
Going back to the actor, he was tricked by the 'philosopher' into believing in a better world or reality (represented by the marble palace, without any dust –I wonder if the dust is symbolic here–) and the discovery that such a happy place does not exist leads to him killing himself. This is in contrast with the Baron's expectation too (of the possibility to live happily in misery), and very much in contrast with the happy ending of the film. I just imagine the two lovers walking happily towards their destiny, they get married, get a bunch of kids, pepe loses is job and starts drinking, they have no money and no way to feed their kids, Pepe starts stealing again and gets arrested this time for good, and that could have very well been the actual 'real life' ending. Maybe I'm wrong but I feel the actor's suicide is of particular importance and may very well override the actual last scenes of the film.
On a side note I don't know how Pepe' got out of jail so quickly after alledgedly killing the old man, maybe they didn't have enough proof? Or maybe somehing got cut off from the play, but for a second I honestly thought they were going to hang him, but after a couple of scenes he was already out of jail.
The by-the-numbers love story was unfortunately at the forefront, and the somewhat (naively) optimistic ending seemed contradictory, those half-interesting characters weren't developed enough and there's very little dialogue to go on about, so for me this was a bit of a miss.
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No.1718
>>1383>>1278Agreed, and I know you probably hate reddit but we could use the /r/truefilm way of themes. They get one monthly theme (the current is pre-code hollywood), then pick one subcategory of the theme every 3 days where they live stream two films from that category. Followed by a thread to discuss the subcategory/films.
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No.1723
Yeah, although we're still figuring this all out, October pretty much has to be horror-themed in some way.
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No.1744
>>1718Maybe we should livestream the films a few times so that everybody will get a chance to join in with it?
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No.1755
>>1744That would probably be best. I could do the streaming for Australian time zones.
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No.1763
>>1093I saw
La Règle du Jeu a few days ago but ultimately didn't really get anything out of it. The film was obviously satire yet Renoir makes a point of saying it wasn't satire in the beginning? Was it only to appease executives or what?
The film felt like a 2 hour long Made in Chelsea episode and none of it felt realistic. Literally everyone was cheating on one another and when
André gets shot nobody even gives a shit.
It was ridiculous how Schumacher got none of the blame for
shooting André, and how everyone was helping his wife run away and cheat on him. Like, I get the guy is meant to be a stern, tough character but it doesn't mean we should be rooting for his wife to run away with another man. The poor guy did nothing wrong (at that point).
Maybe me disliking these people was the whole point of the film, but I really didn't feel like I learned anything because of it. Okay, upper class societies are petty and silly, so what?
I thought the line of Marceau dreaming of being a servant was pretty powerful and the rabbit hunting scene was well done, but other than that I don't see what the fuss is about. In no way is it the 5th best film of all time (according to They Shoot Pictures, Don't They?)
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No.1764
No, this board is already going to shit, this is going to be another failed film club if we let plebs decide what they want to see.
We have to do what somebody suggested in the previous thread, we patricians need to get full reins on this and you will watch what we tell you.
It's october so horror right? Wrong you fucking serfdom, this is not your reddit high school club.
Everyone always complains about how we patricians never share our knowledge, well now it's time for you to get that knowledge, if you prefer to do this in your own way you'll get nothing out of it yet again. Fucking Renoir, like that is something you can't watch on your own.
I'm willing to step up and take the reins until this boards fills up with more people, for now we will do it like this because the front page already looks like shit and everything plebs touch turn into shit.
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No.1766
So which horror movie should we watch?
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No.1774
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No.1790
>>1764When you hear "horror", do you think of post-50s slashers, Mr " patrician"?
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No.1795
I don't see any shame in watching or discussing horror.
As for the future of film club: do we want to collectively choose titles/themes each time, or simply take turns organizing it?
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No.1803
Maybe we can meet midway and watch some patrician horror films?
You know, something along the lines of Poison by Haynes, LA Zombie by LaBruce, something by Anger and whatnot?:-DD
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No.1804
>>1803yuck, polish
If we really have to let's avoid b-movies… Possession, Angst, Arrebato are pretty much bordering on that, albeit not as retarded as the typical horror, they're just too famous maybe
Henning Carlsen's Klabautermannen was somewhat horror-ish, anyway to me this would just be a waste of another month where we could be watching something good instead
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No.1805
>>1804If Possession is ~too mainstream~ I would go with Żuławski's Diabeł, maybe Dans Ma Peau for some edgy new french extremity that isn't Grandrieux, and if that isn't edgy enough, a faint breeze of rotterdamcore with the uncut version of Gogal would be nice too.
Of course we can't miss the movie where Gallo bites some chick's vagina either.
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No.1807
Kladivo na čarodějnice AKA Witchhammer (1970) is another one for consideration, well worth watching if you haven't seen it.
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No.1808
>It's october so horror right? Wrong you fucking serfdom
I agree with this part but "we patricians" makes you sound like a complete pleb
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No.1816
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No.1830
>>1808>tfw /film/ is ruining the word "patrician" for me Disclaimer: this post and the subject matter and contents thereof - text, media, or otherwise - do not necessarily reflect the views of the 8kun administration.
No.1831
>>1805We already had Zulawski (On the silver globe) and Dans ma peau was ok but not great (better than all the other nfe films I've seen), haven't seen Gogal but could be an option.
You're talking about Trouble every day? I'd rather kill myself than watch that movie twice tbh
>>1807This film sounded better than it actually was, it's extremely slow and actually boring apart from the few cool scenes
So far we have:
>Diabel/Possession (Zulawski)good options but pretty famous, plus we already had Zulawski
>Dans ma peau/Trouble every daynew french extremity sucks
>Witchhammer/Haxanwitch related stuff… meh
more options of strictly 'horror' films:
>Vampyr/The fall of the house of Husher/The Pit and the Pendulum (1964) these are great films but either too long or too short imo
>Onibaba/Ugetsu/Kwaidangood films but they're in every horror list ever
>The Cremator/The woman who powders herself/Valerie and her week of wondersThe cremator could actually be a good one, entertaining and awesome and I'm sure not many people have seen it
This is what I have if we're going for strictly horror. The patrician way would be to pick something less literal (something dark and with an ominous feel without it strictly being horror) which would be a better way to go in my opinion.
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No.1832
If it were up to me we'd be watching this instead.
Through and Through (1973) Grzegorz Królikiewicz
>Narrative of "Na Wylot" is a subjective reconstruction of a crime, based on a true story that happened in 1930s. Married couple, named Malisz cannot find their place in social reality of the time. They originally meet in a drinkers' den. He loses his job and they are expelled from the family house. Lack of understanding and poverty lead them to commit a crime. They rob and murder tree elderly and helpless people and for the money they spend the night in a luxury hotel. They are quickly busted and get death sentence. At the trial, their stance is extraordinary, they both plead quilty, but try to convince the court of partner's innocence.
"Na wylot" is an extraordinary film. Such was also its reception. The critic were ecstatic. Królikiewicz's first full-feature was compared to Dostoyevski's "Crime and Punishment" or to Bergman's oeuvre. It was considered equally great as Wajda's films. "Na Wylot" won three prizes (for best sound, best music and best male actor) in National Feature Film Festiwal in Lagow. It was as well mentioned by the jury of prestigious film festival in Mannheim.
Audience's reaction couldn't be more different from that of the critics. First screenings saw extreme discontent. Had the director been present on them, he'd likely be lynched. The film was mostly immediately dropped from schedules. Cursings and swearings at the director and producers were rife. All that since "Na Wylot" is not an easy film to watch. It is an execution of "space out-of-film-frame" theory, earlier formulated by Królikiewicz. According to the director, the space in the film was supposed to deepen the layer of meaning of the film and not only serve to develop the story. That led to methods of composing the frame in a way providing of narration also be developed out of the frame.
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No.1834
or this
Szürkület (1990) György Fehér
>Originally released in 1990 but still unavailable on DVD, Szürkület (Twilight) stars Péter Haumann and Béla Tarr cast regular János Derzsi in a mysterious tale of detectives hunting for a child killer amid the eldritch, forest-wreathed villages of the misty Hungarian countryside. Such a plot could be well rendered as a hardboiled crime thriller, but this hypnotic, black and white mood piece favours atmosphere and contemplation over narrative drive, hence the deliberately paced tracking shots and soul-searching long takes, soundtracked by lowering drones and glacial chorale.
Every scene has the quality of a vision. Suspensions and pauses set the pace of every sequence, while the camera pans and halts, peeps through interstices, doors and windows, like possessed by the eye of a dreamer. After a while the spectator’s sight adjusts to rules of stimulation offered by the film, forgetting about expectations normally triggered by laws of causality. The eye of the camera silently explores the actors’ faces like they were landscapes and landscapes like they were actors. Lights, shadows, lines, shapes, faces, broken words: all are like elements in somebody’s dream the viewer is given the opportunity to observe from an uncommon position.
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No.1835
Eh, since so many people apparently want a horror movie, I would stick to something you could actually call that, otherwise we might end up watching Tarr for halloween.
I think a cool idea would be to pick ~patrician~ films that would subvert to an extent some of the common horror themes.
For example:
zombies - Osobisty pamietnik grzesznika przez niego samego spisany
vampires - White Epilepsy
exploitation - Viva la muerte
and so on
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No.1836
Pardon me,
exploitation - Trouble Every Day, because we're totally watching that now :-DD
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No.1837
>otherwise we might end up watching Tarr for halloween
how is that a bad thing
>because we're totally watching that now
"no"
okay then, it's decided, it's going to be The city of pirates. Vampires, zombies, monsters, creepy shit, you name it and it's entry level enough that anybody can enjoy it
>mfw
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No.1838
Let's wait one or two more days for other people's suggestions and make a strawpoll then, but preferably without the biggest titles that are bound to win based on the name recognition alone.
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No.1843
How about some silent horror as well?
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No.1971
Well, it looks like no one has any other suggestions. Want to vote for the next film or just dice roll it?
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No.1982
>>1831The Cremator might be a good choice.
Also:
>>1835Osobisty pamietnik grzesznika przez niego samego spisany since I haven't seen it, and it looks cool!
I'll throw in some suggestions of my own as well:
Matka Joanna od aniolów
Panna a netvor (haven't actually seen this one, maybe some of you can say if it's any good?)
Trzecia czesc nocy
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No.1988
>>1982
> Panna a netvorI was a little underwhelmed. It's okay but nothing special, certainly doesn't approach the Cocteau film.
I do really like Morgiana though, it was a nice surprise.
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No.1992
>>1988Thanks for the reply. And that was disappointing to hear. And I can always just watch Cocteau's again! Hehe.
Cool, thanks for rec. I'll put it on my watchlist. Looking forward to getting more into Herz
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No.2075
In the interest of forward momentum, the nominees are:
Poison (Todd Haynes, 1991)
L.A. Zombie (Bruce La Bruce, 2010)
Dans ma peau / In My Skin (Marina de Van, 2002)
Kladivo na čarodějnice / Witchhammer (Otakar Vávra, 1970)
Osobisty pamietnik grzesznika przez niego samego spisany / Memoirs of a Sinner (Wojciech Has, 1986)
White Epilepsy (Philippe Grandrieux, 2012)
Viva la muerte / Long Live Death (Fernando Arrabal, 1971)
Trouble Every Day (Claire Denis, 2001)
Spalovac mrtvol / The Cremator (Juraj Herz, 1969)
The Cat and the Canary (Paul Leni, 1927)
La ville des pirates / City of Pirates (Raoul Ruiz, 1983)
Matka Joanna od aniolów / Mother Joan of the Angels (Jerzy Kawalerowicz, 1961)
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No.2076
Zulawski was omitted since he was featured in a previous film club iteration.
Review the list and vote here:
http://strawpoll.me/2777761 Disclaimer: this post and the subject matter and contents thereof - text, media, or otherwise - do not necessarily reflect the views of the 8kun administration.
No.2108
Memoirs of a Sinner seems to be the favorite.
Poland, are you still here? You can start the Film Club thread since your suggestion won. Otherwise I'll do it.
We might as well do 2nd place City of Pirates next, to close out "horror" October. Unless there's strong objection.
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No.2119
>>2108Will they be streamed?
I ask because I'm a plebe without a KG account
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No.10339
BUMP!
I found this interesting thread at the tail end of the catalog and decided to watch The Lower Depths. It's kind of stupid to respond to an ancient thread where everyone is gone, and most of the thread isn't even about the film in question, but I'm doing it anyway.
Renoir is fine although not one of my favorites. I haven't cared to explore his deep cuts. I doubt I'd ever watch this film if it weren't mentioned here. I liked doing a "forced exposure" viewing for the first time in a while.
The story dragged for me at first. I thought the contrast of the noble bum vs. the bum noble would dominate the film, but soon it gave way to the domestic drama. At that point the drama became more engaging imo.
>>1250
>Baron steals from casinos
I don't think the baron was a thief because he only lost money
Gabin and Jouvet are awfully friendly and affectionate with each other. I assume modern critics, looking to say something, would say theirs is some kind of gay relationship.
There's an Otto Preminger shot in this film - zoom on a room's window, several hours pass, zoom out to show the same room. Renoir used a cut for the time change where Preminger usually did it smoothly, one fluid take. This must be one of the earliest examples of that idea in a film. Preminger used it frequently.
I saw Renoir stylistic signatures - in particular the use of multiple layers of activity on the screen. There were many examples in the second half where characters would talk on a balcony overlooking people walking in the courtyard.
It seemed odd that the characters were dressed completely in black for the happy ending. You'd think that was foreshadowing doom.
I'm surprised that no one mentioned there's a later version of this story directed by Akira Kurosawa.
>>1832
love this director
>>1834
sounds interesting
>>1831
>it's extremely slow and actually boring apart from the few cool scenes
completely disagree, I enjoyed every minute
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