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Le Horla [The Horla] (Jean-Daniel Pollet, 1966)
Aug
19
violet
The narrator enters a violet-blue room via a lavender-purple corridor (via). DP: Jean-Jacques Rochut.
Violet: a building or structure *
“Is it the form of the clouds, or the tints of the sky, or the colours of the surrounding objects which are so changeable, which have troubled my thoughts as they passed before my eyes? Who can tell?”
– Guy de Maupassant, Le Horla, 1887 (via)
Objects and rooms have distinct colours ranging from the deepest blues and violets to a pale lavender, a muted silver and shocks of yellow. The usage of colour in Le Horla is striking throughout and reminds me of how Van Gogh's paintings became increasingly colourful as his madness enveloped him.
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Procès de Jeanne d'Arc [The Trial of Joan of Arc] (Robert Bresson, 1962)
Aug
17
forgiveness
Jeanne (Florence Delay) bound to the stake. DP: Léonce-Henri Burel.
Holi: someone is forgiven (forgiveness being an important aspect of Holi)*
“Pray for me. I forgive the evil done me.”
– Jeanne d'Arc
Jeanne trusts her delusions to forgive the people who brought her to justice.
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La carrière de Suzanne [Suzanne's Career] (Éric Rohmer, 1963)
Aug
13
thé
A woman reaches for a silver teapot. We only see her hand. DP: Daniel Lacambre.
“I know. I know you. I know you very well.”
– Suzanne
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Il deserto rosso [Red Desert] (Michelangelo Antonioni, 1964)
Aug
12
green
Valerio (Valerio Bartoleschi) and his mother Giuliana (Monica Vitti) in an arid industrial landscape. Giuliana wears a brilliant green coat, its shade between pea and moss, depending on the drabness of her surroundings. DP: Carlo Di Palma.
Green, in food or fashion*
“She'd discovered a small beach far from town, with crystal-clear water and pink sand. She loved that spot. The colors of nature were so beautiful, and there was no noise. She'd leave only when the sun did too.”
– Giuliana
Antonioni's first film in colour beautifully utilises Vitti's brilliance – of her auburn hair, her porcelain teint, her vivid costumes (by Paola Carloni) – against the drab landscape.
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Mitt hem är Copacabana [My Home Is Copacabana] (Arne Sucksdorff, 1965)
Aug
2
The favela children on the beach, playing with kites and mingling with the rich kids. DP: Arne Sucksdorff.
Favela kids steal kites and sell them on in this Copacabana-set Nordic drama.
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Paparazzi (Jacques Rozier, 1963/1964)
Jul
29
A character has a camera or takes photos*
It buzzes on the set of Le mépris. These mosquitos, the Italians say paparazzi, swarm La Bardot, make it merely impossible for anyone – themselves included – to do their job. But Bardot knows them, too well, and gives them what they want, when she wants it.
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La boulangère de Monceau [The Bakery Girl of Monceau] (Éric Rohmer, 1963)
Jul
28
un gâteau
A young woman in an apron grabs a French cookie. DPs: Bruno Barbey & Jean-Michel Meurice.
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Il sorpasso [The Easy Life] (Dino Risi, 1962)
Jul
26
a boys' night out
Bruno (Gassman) and Roberto (Trintignant) driving along Italy in their sports car (via). DP: Alfio Contini.
A boys' night out: men having fun on their own*
“Bruno, I've spent the best two days of my life with you… I mean it!”
– Roberto Mariani
Serious law student Roberto (Jean-Louis Trintignant) goes on an accidental road trip with bon vivant Bruno (Vittorio Gassman).
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La vérité [The Truth] (Henri-Georges Clouzot, 1960)
Jul
25
Bardot and two men in a café. She has her head on Sami Frey's shoulder while the other man kisses her arm. The table in front of them holds a full ashtray and small coffee cups. DP: Armand Thirard.
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Sedmikrásky [Daisies] (Věra Chytilová, 1966)
Jul
25
a girls' night out
Marie I and Marie II (Jitka Cerhová and Ivana Karbanová respectively) having a heck of a time. DP: Jaroslav Kučera.
A girls' night out: women having fun on their own[???]*
Marie II: “But I'm happy.”
Marie I: “I'm so happy, too.”
Two young women called Marie pull destructive, anarchist pranks.