PLOT: A red balloon with a mind of its own follows a little boy around the streets of Paris.

Le.ballon.rouge.1956.Albert.Lamorisse.576p.BluRay.AAC1.0.x264.mkv

General
Container:  	Matroska
Runtime: 	34 min 23 s
Size: 	735 MiB
Video
Codec: 	x264
Resolution: 	788x576 
Aspect ratio:  	4:3
Frame rate: 	23.976 fps
Bit rate: 	2 836 kb/s
BPP: 	0.261
Audio
#1:  	French 1.0ch AAC LC @ 147 kb/s

https://nitro.download/view/93F9DC5A2E8AC51/Le.ballon.rouge.1956.Albert.Lamorisse.576p.BluRay.AAC1.0.x264.mkv

Language(s):French
Subtitles:English

The post Albert Lamorisse – Le Ballon rouge AKA The Red Balloon (1956) first appeared on Cinema of the World.

Quote:
Most of French director Albert Lamorisse’s films celebrate the miracle of flight, but few were as landmark as his 1956 short subject The Red Balloon. The story, told with a minimum of dialogue, concerns a little boy (played by the director’s son Pascal) who comes across a helium-filled balloon. As he plays with his new acquisition, the boy discovers that the balloon seemingly has a mind of its own. The little red orb follows its new “master” all through the streets of Paris, then dogs the boy’s trail into the schoolroom, which drives the teacher to comic distraction. Towards the end, it seems as though boy and balloon will be parted forever….but director Lamorisse has a delightful surprise in store for us. In an unusual move, The Red Balloon in its American TV premiere was introduced by Ronald Reagan as an episode of the CBS anthology G.E. Theater on April 2, 1961.

2.19GB | 34mn 17s | 1440×1080 | mkv

https://nitroflare.com/view/BCC4C8598E8837E/The.Red.Balloon.1956.SUBBED.1080p.part1.rar
https://nitroflare.com/view/B1088E20B229228/The.Red.Balloon.1956.SUBBED.1080p.part2.rar
https://nitroflare.com/view/94F89FD061E7E1D/The.Red.Balloon.1956.SUBBED.1080p.part3.rar

Language(s):French
Subtitles:English

The post Albert Lamorisse – Le Ballon rouge AKA The Red Balloon (1956) (HD) first appeared on Cinema of the World.

PopMatters Review :
Renowned French filmmaker Albert Lamorisse is best known for his brilliant 1956 film, The Red Balloon, winner of both an Oscar (for screenplay) and the Palme d’Or award at the 1956 Cannes Film Festival. It is a short, whimsical and adventurous children’s fable about a young Parisian boy who happens upon a large, seemingly lost, red balloon and the playful, friendship, love, and dependency that develops between the two. The Red Balloon, while simple in concept, is a story suffused with the expansive wonder and pure innocence of a child’s imagination.

Less well known but equally as captivating and inspired is Lamorisse’s earlier children’s film White Mane, which actually won the filmmaker his first Palme d’Or at Cannes in 1953. The film is set in Camargue, a remote region in the southwest of France. With its heavy marshes and lush, uncultivated landscape, it is a dichotomous environment, for it is filled with an immense natural beauty that inspires awe and admiration, but renders those who work and inhabit its land with dangerous, isolating hardships that betray the region’s innate splendor.

The central story of White Mane concerns a wild horse and his refusal to be tamed by a group of local ranchers. Amongst a herd of brown and black horses, this beautiful white horse stands out not only for his color, but also for his temper, independence, and complete unwillingness to be reigned in. He is a natural leader and enjoys the freedom of running with the pack, but is also proudly separate and fiercely self-sufficient.

The inability to capture White Mane is both a source of great frustration and maddening confusion for the herders. He is not especially large or strong, but his willful nature is befuddling to these men whose job it is to suppress individuality for the benefit of the larger group. Watching the ranchers’ struggle with this wild horse is a young boy named Folco (Alain Emery), who lives nearby in a tiny, remote fishing village with his grandfather and younger brother. Folco, much like White Mane himself, is resourceful and defiant but, also, quietly confident, gentle and loving.

Folco is transfixed by the beauty, strength, and powerful nature of this wild horse. Even though the ranchers have failed time and again in their pursuit of capturing the horse Folco believes that he has the ability to calm and claim White Mane as his own. The film is an exploration of this journey as the young boy and the untamed horse come to trust, befriend, love, and protect each other.

With minimal narration and a pencil-sketched outline of a plot White Mane is an enigmatic film that relies heavily on difficult and ambiguous imagery to convey its story. The energy, tension, and excitement of the movie develop organically from both the simple narrative and the rugged landscape in which the film was shot. White Mane is as much an exquisite nature documentary as it is a spellbinding fairy-tale. The blending of the natural with the fantastical is truly remarkable and elevates the film from simple child’s play to high art.

Lamorisse’s most celebrated fictional work—he devoted most of his remaining years to documentaries—always lands in the children’s section of the film library. That categorization is both appropriate and misleading, for his films speak not only to children, but also to the young that remains in us all. That may sound like a packaged cliché, but the gentle beauty and unforced wonder of Lamorisse’s work is a rarity that has delighted audiences for more than half a century.

As with most classic children’s stories, whether in literature or on screen, White Mane is a tale that is both enjoyed by children and treasured by adults. Kids will be enchanted by the loyal friendship and deep love that grows between Folco and the wild horse. And adults will cherish the fact that there is more than canned truisms and simple nostalgia in this tale of innocence, independence, and danger.

White Mane is clearly informed by an adult’s perspective and there is a wistful sadness, cynicism, and longing that persists throughout the story. The unique strength and talent of Lamorisse as an artist is in the blending of his adult’s eye with the simple, tender, and expansive nature of a child’s imagination. It is a marriage that Lamorisse pulls off with a seamless ease and engrossing style.

Lamorisse’s reputation as a great filmmaker was first established with White Mane and then cemented by the success of The Red Balloon. What is often overlooked in all of this cinematic praise is the recognition of Lamorisse as a masterful and subtle poet. For his movies are less films than deceptively simple and deeply ruminative poems translated into the visual language of cinema. His ability to restrain or limit his telling of the narrative is invaluable for it allows the audience to truly be an engaged observer, which opens us up to the experience of the story.

http://nitroflare.com/view/9A9B374DCBA32A4/Albert.Lamorisse.1953.Crin.Blanc.Le.cheval.sauvage.720p.BluRay.x264-KG.mkv

Language(s):French
Subtitles:English (hardcoded)

The post Albert Lamorisse – Crin blanc: Le cheval sauvage AKA White Mane (1953) first appeared on Cinema of the World.

Quote:
This is Albert Lamorisse’s last film. At the last stages of finishing the shooting in Iran, his helicopter crashed in the mountains of northern Iran, and the extremely talented and poetic filmmaker got killed immediately. Lamorisse, “Under the auspices of Iran’s Ministry of Culture and Art, produced the poetic film “Lovers’ Wind” (1969). Eighty-five percent of this dramatically visual film is shot from a helicopter, providing a kaleidoscopic view of the vast expanses, natural beauty, historical monuments, cities and villages of Iran. The “narrators” of the film are the various winds (the warm, crimson, evil and lovers’ winds), which according to folklore, inhabit Iran. They sweep the viewers from place to place across the Iranian landscape, introducing the incredible variety of life and scenery in Iran. The camera, defying gravity, with smoothness and agility, provides a bird’s eye view, caressing minarets and domes, peeking over mountain tops beyond, gliding over remote villages to reveal the life enclosed within the high mud-brick walls, bouncing along with the local wildlife, following the rhythmic, sinuous flow of the oil pipelines and train tracks, and hovering over the mirror-like mosaic of the rice paddies that reflect the clouds and sky. The film is a testimonial to the Iranian landscape and people over which so many dynasties and kings have ruled and have, in turn, passed away. Ironically, on the tenth anniversary of the completion of the film, yet another seemingly powerful dynasty (Pahlavi) has fallen, leaving, as the film points out, the land and the migrating tribal nomads who have survived more or less intact for centuries. Upon completion of the film, the Ministry of Culture and Art decided that Lamorisse had not sufficiently emphasized the industrialization of Iran. So he was called back to film additional sequences documenting that progress. This task was never completed, because the helicopter crashed while filming the Karaj Dam near Tehran, plunging Lamorisse and his crew to their deaths. This film, whose storybook style of narration is often contrived, does not purport to be a social document on Iran; nevertheless, it has never been shown publicly in theaters in Iran.” — Hamid Naficy

http://nitroflare.com/view/DA2E4F8483F821C/Albert_Lamorisse_-_%281978%29_The_Lovers%27_Wind.mkv

Language(s):Persian
Subtitles:English

The post Albert Lamorisse – Bade-h Saba AKA Le vent des amoureux AKA The Lovers’ Wind (1978) first appeared on Cinema of the World.

Quote:
The story of a boy and his toy, The Red Balloon is widely praised for its narrative and visual “purity,” but not enough is said about the movie’s delightful manipulation. A quasi-silent comedy with musical cues straight out of the Charlie Chaplin tradition, Albert Lamorisse’s film plays a game with its audience, just as the little boy (Pascal Lamorisse) and his glowing red orb cling to, fall away from, and chase each other throughout the 34-minute running time. With its many stairs and sloping alleyways, the blue-gray Ménilmontant neighborhood of Paris is like a maze, constantly threatening to come in between the boy and his new pal, but like a magnet or a dog starved for attention, the balloon always comes back to him. He lets go of it on his apartment balcony and watches it fall to him downstairs. He directs it to “wait here” while he buys a treat at the local bakery. A group of neighborhood bullies chase the balloon through a perilously narrow corridor, throwing rocks as it tries to escape. The honeymoon is short-lived, but Lamorisse suggests that kids are always keenly attuned to the objects of the world around them: After the boy loses his red friend, a montage of balloons across the city shows them flying to his side and, in the final shot, launching him into the sky. For Lamorisse, then, the pleasures of childhood are as fleeting as they are ecstatic.

http://nitroflare.com/view/5BA9802E0A4BB0B/Albert_Lamorisse_-_%281956%29_The_Red_Balloon.mkv

Language(s):French
Subtitles:English (hardcoded)

The post Albert Lamorisse – Le ballon rouge AKA The Red Balloon (1956) first appeared on Cinema of the World.