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Author: Hugo Frey

This book introduces readers to the cinema of Louis Malle. Malle needs little further preliminary discussion here. His is a body of work that most film critics around the world recognise as being one of the most productive in post-war international cinema, including as it does triumphs such as Ascenseur pour l'échafaud; Le Feu follet; Lacombe Lucien; Atlantic City USA, and Au revoir les enfants . Malle's work attracted intense public controversy, with a new Malle film being just as likely to find itself debated on the front page of Le Monde or Libération as reviewed in the film section of those newspapers. Malle's four major films of the 1970s represent a fusion of the youthful bravado and confidence of the 1950s combined with the new political questioning adopted in the late 1960s. Le Souffle au cœur, Lacombe Lucien, Black Moon, and Pretty Baby were made in relatively quick succession and each engaged in controversial and divisive themes. The book analyses Malle's political journey from the cultural right-wing to the libertarian left, to explain how Le Souffle au cœur marked a radical break with the 1950s by speaking of that era through a comic mode. It explores how Lacombe Lucien works as a film, to discuss its core rhetorical devices and what they mean today. The book also demonstrates that Malle is too complex to be explained by one theory or interpretation, however tempting its conclusions.

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Hugo Frey

surround the political or artistic merits of Lacombe Lucien . Instead, I prefer to analyse how Lacombe Lucien works as a film, to discuss its core rhetorical devices and what they mean today. Here important comparisons will also be made with the equivalently ambiguous rhetorical strategies deployed by Malle in Pretty Baby . That film is important because it throws a powerful sidelight on the nature of Malle’s better

in Louis Malle