Quote:
Au revoir les enfants tells a heartbreaking story of friendship and devastating loss concerning two boys living in Nazi-occupied France. At a provincial Catholic boarding school, the precocious youths enjoy true camaraderie—until a secret is revealed. Based on events from writer-director Malle’s own childhood, the film is a subtle, precisely observed tale of courage, cowardice, and tragic awakening.

Quote:
There is such exhilaration in the heedless energy of the schoolboys. They tumble up and down stairs, stand on stilts for playground wars, eagerly study naughty postcards, read novels at night by flashlight, and are even merry as they pour into the cellars during an air raid. One of the foundations of Louis Malle’s “Au Revoir, les Enfants” (1987) is how naturally he evokes the daily life of a French boarding school in 1944. His central story shows young life hurtling forward; he knows, because he was there, that some of these lives will be exterminated.

The film centers on the friendship of two boys of 12, Julien Quentin and Jean Bonnet. They are played by Gaspard Manesse and Raphael Fejto. They had never acted before and barely acted again. Julien’s father is always absent at his factory; his glamorous mother wants him safely away from Paris, and sends him by train to a Catholic school for rich children. Here he will find priests and teachers he respects, and classrooms where the students actually seem happy. One day after Christmas, a new student arrives: Jean.

Of course the others pick on the newcomer, and Julien joins in. Sometimes at that age fights are a form of expressing friendship, and often enough they end in laughter. They both love to read. Gradually, through a series of signs so subtle the other boys never pick up on them, Julian learns that Jean is concealing a secret. Is it the way he avoids questions about his family? The fact that he doesn’t recite the prayers with everyone else, and skips choir practice? Julien notices that when Jean kneels at the altar rail, the priest quietly passes without giving him a communion wafer. In Jean’s locker, Julien finds a book from which the name has not entirely been removed. The name is Kippelstein.

Julien knows almost nothing about Jews. “Why do we hate them?” he asks his older brother, Francois. “They’re smarter than we are, and they killed Jesus.” Julien doesn’t understand: “But it was the Romans who killed Jesus.” He does, however, feel some envy after he fails a piano lesson with the pretty Mlle. Davenne (Irene Jacob), and then Jean sits down and begins to play with ease and beauty. From time to time, the single awkward notes of Julien’s tortured piano lesson will be heard on the soundtrack, as when Jean gets a better essay score than Julien. When Julien sits for a long time in a bathtub, in closeup, we hear the notes again as the camera focuses on his face. We imagine he is piecing together everything he knows, and deciding to keep Jean’s secret.

It is near the end of the war. Marshal Petain’s collaborationist French government has lost popularity and an American invasion seems imminent. “Nobody likes Petain anymore,” someone says during parents’ weekend. Nazis patrol the district but are not always monsters. Julien asks his mother to invite Jean to join them and Francois at lunch, and when an old Jewish man at another table is confronted by French fascists, German officers at another table order them out of the room and tell the old man to continue with his meal.

In the film’s most important sequence, Julien is involved in a treasure hunt in a forest of deep shadows, large rock outcroppings and an ominous early twilight. He gets lost, and it feels a little like “Picnic at Hanging Rock.” He finds the treasure in a dark, hidden cave, and then he finds Jean. “Are there wolves in this forest?” Jean asks. They encounter a boar, who snuffles at them and waddles away. Walking home after curfew, they are seen by two Germans in a car. Jean begins to run, but the Germans catch both boys, give them a blanket to stay warm and return to them to the school. “You see, we Bavarians are Catholics also,” they say.

Yes, but the long day in the forest is the story of Julien’s year, the story of lost wandering, surrounded by unnamed dangers. He competes with the other students, is isolated, discovers a secret, and can share it with only one other student, Jean Bonnet. The two boys never talk about Julien keeping Jean’s secret; it doesn’t need saying. “Are you ever afraid?” Julien asks. “All the time,” says Jean.

“Au Revoir, les Enfants” is based on a wartime memory of Louis Malle (1932-1995), who attended this very school, le Petit-College d’Avon, which was attached to a Carmelite monastery near Fountainebleau. The school, like many Catholic schools and other organizations, took in Jewish children under assumed names to shelter them from the Nazis; partly as a result, some 75 percent of French Jews survived the war, according to an essay by Francis J. Murphy.

Malle never forgot the day when Nazis raided the Petit-College and arrested three Jewish students and the headmaster (Father Jacques in life, Father Jean in the film). The students and their teachers lined up in the courtyard as the little group was marched off the grounds; the priest looked back at them and said, “Au revoir, les enfants.” Goodbye, children. The three boys died at Auschwitz. The priest, whose birth name was Lucien Bunuel, nursed others and shared his rations at the Mauthausen camp, where he died four weeks after the war ended.

I remember the day “Au Revoir, les Enfants” was shown for the first time, at the 1987 Telluride Film Festival. I had come to know Louis Malle a little since a dinner we had in 1972; he was the most approachable of great directors. I was almost the first person he saw after the screening. I remember him weeping as he clasped my hands and said, “This film is my story. Now it is told at last.”

Louis Malle was a pioneer of the French New Wave. His “Elevator to the Gallows” (1958) followed Jeanne Moreau through Paris using available light and a camera on a bicycle, which were then-revolutionary techniques. His “The Lovers” (1958) and “Zazie in the Metro” (1960) were simultaneous with the other early New Wave films. Later in his career, he made powerful but more conventional narrative films like “Au Revoir, les Enfants,” “Murmur of the Heart” (1971), “Pretty Baby” (1978), and “Atlantic City” (1980). His “Lacombe, Lucien” (1974), about a working-class youth who falls in with the Nazis, may have been inspired in part by the character of Joseph, the kitchen helper in “Au Revoir.” As he gained worldwide success, Malle fell out of favor with some French critics because his films were popular and accessible, and also because he married Candice Bergen, although their love was true and she was his rock as he died in 1995 of lymphoma. Until the end, he was willing to experiment, as in “My Dinner with Andre” (1981), and the remarkable “Vanya on 42nd Street” (1994), a film about a rehearsal that Stanley Kauffmann thinks is the best Chekhov ever filmed.

It is difficult to say exactly what Malle thought Julien’s role (or his own) was in the capture of the Jewish students. In the film, a Nazi enters the classroom and demands to know if there are any Jews present. Julien unintentionally betrays Jean. I wrote in my original review: “Which of us cannot remember a moment when we did or said precisely the wrong thing, irretrievably, irreparably? The instant the action was completed or the words were spoken we burned with shame and regret, but what we had done never could be repaired.” Yes, but it is not clear that Julien is entirely responsible for Jean’s capture. “They would have caught me, anyway,” he tells Julien, giving him his treasured books.

The film ends in a long closeup of Julien, reminding us of the last shot of Truffaut’s “The 400 Blows,” and we hear Malle’s voice on the soundtrack: “More than 40 years have passed, but I’ll remember every second of that January morning until the day I die.” After the speech ends, the camera stays on Julien’s face for 25 more seconds, and on the soundtrack, the piano is heard once again, this time quiet, sad and correct.

Au.revoir.les.enfants.1987.1080p.BluRay.x264-Q0S.mkv

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Language(s):French
Subtitles:English, French

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When two women – both named Maria – accidentally invent the striptease circa 1910 they become such a hit that enthusiastic audiences strip along with them! But when one of the Marias falls for a handsome revolutionary she finds that she has unwittingly embroiled the two of them in an armed peasant revolt!

Viva Maria.1965.576p.BDRip-AVC.ZONE.mkv

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Container:  	Matroska
Runtime: 	1 h 56 min
Size: 	2.63 GiB
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Codec: 	x264
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https://nitro.download/view/863F2CA0BEF33FC/Viva_Maria.1965.576p.BDRip-AVC.ZONE.mkv

Language(s):French
Subtitles:English, French, German, Spanish, Portuguese, Russian

The post Louis Malle – Viva Maria! (1965) first appeared on Cinema of the World.

Depressed Alain Leroy leaves the clinic where he was detoxified. He meets friends, acquaintances and women, trying to find a reason to continue living. Will this help him?

3.17GB | 1h 48m | 956×576 | mkv

https://nitro.download/view/4D54220072A9705/Le.Feu.Follet.AKA.The.Fire.Within.1963.576p.BluRay.x264.mkv
or
https://nitro.download/view/E276D0FF91B205A/Le.Feu.Follet.AKA.The.Fire.Within.1963.576p.BluRay.x264.part1.rar
https://nitro.download/view/22E21AC79DDB03B/Le.Feu.Follet.AKA.The.Fire.Within.1963.576p.BluRay.x264.part2.rar
https://nitro.download/view/81425A42F5DD49B/Le.Feu.Follet.AKA.The.Fire.Within.1963.576p.BluRay.x264.part3.rar
https://nitro.download/view/CAB0FC07C0886F2/Le.Feu.Follet.AKA.The.Fire.Within.1963.576p.BluRay.x264.part4.rar

Language(s):French
Subtitles:English,French

The post Louis Malle – Le feu follet AKA The Fire Within (1963) first appeared on Cinema of the World.

As France is nearing the end of the first Indochina War, an open-minded teenage boy finds himself torn between a rebellious urge to discover love, and the ever-present, almost dominating affection of his beloved mother.

2.85GB | 1h 58m | 956×576 | mkv

https://nitroflare.com/view/90FEFF060453B32/Le.Souffle.Au.Coeur.AKA.Murmur.of.the.Heart.1971.576p.BluRay.AAC.x264.mkv

Language(s):French,Italian
Subtitles:English,French

The post Louis Malle – Le Souffle Au Coeur AKA Murmur of the Heart (1971) first appeared on Cinema of the World.

Quote:
Malle’s first feature, a straightforward but classy thriller about an ex-paratrooper’s attempt to dispose of his mistress’ tycoon husband in a perfect murder. It became associated with the early excitements of the nouvelle vague mainly through the performances of Ronet (playing a prototype of the disgruntled Vietnam veteran) and Moreau (who does some moody solo wandering in the streets searching for her missing lover). The ingenious plot, using a malfunctioning lift as its deus-ex-machina, has one carefully plotted murder conjure another as its shadow image. But the cement holding the film together is really the splendid jazz score improvised by Miles Davis.

“I was split between my tremendous admiration for Bresson and the temptation to make a Hitchcock-like film,” is how director Louis Malle described his debut feature, made in black and white when he was just 24. Adapted from Noel Calef’s pulp novel by Malle and the writer Roger Nimier, “Lift to the Scaffold” is an intelligent thriller that served as an important precursor in the late 1950s to such New Wave classics as “Breathless” and “The Four Hundred Blows”.

Ex-paratrooper Julien Tavernier (Ronet) and his mistress Florence (Moreau) come up with a plan to murder her industrialist husband Carala, who is also Tavernier’s boss. Having carried out the killing however, the former soldier finds himself trapped on his own in the office lift and fails to make the agreed rendezvous with Florence. Meanwhile, two teenagers, Louis (Poujouly) and Veronique (Bertin), steal Tavernier’s sports car and end up shooting a German tourist at a motel. All the evidence points to one man…

Cleverly structured – the two main lovers are kept apart from one another throughout – “Lift to the Scaffold” is also atmospherically shot on real life locations by cinematographer Henri Decae. Yet, as the camera scours the capital’s rain-swept streets, the film is more than an exercise in noir style because there’s a significant political context to the drama.

The disgruntled veteran Tavernier has served duty in the French wars in Algeria and Indochina, whilst the businessman Carala has greatly profited from these colonial adventures without risking his own life. Malle also depicts a generational conflict in the interactions between the middle-aged German businessman and the young two delinquents, symbols of a new, modern France. And accompanying the tightly controlled performances of Malle and Ronet is a wonderful improvised jazz score from Miles Davis.

1.51GB | 1h 30m | 790×576 | mkv

https://nitroflare.com/view/AE43E1576664153/Louis_Malle_-_(1958)_Elevator_to_the_Gallows.mkv

Language:French,German
Subtitles:English

The post Louis Malle – Ascenseur pour l’échafaud AKA Elevator to the Gallows (1958) first appeared on Cinema of the World.

Quote:
Malle later said that the film was his most personal work and the one he was most proud of, it is widely regarded as the crowning achievement of his career. It was initially inspired by a two-month trip to India in late 1967 that Malle made on behalf of the French Ministry of Foreign Affairs to present a selection of “new French cinema” throughout the country. Filming took place between January 5, 1968 and May 1, 1968 with a crew of two, a cameraman and a sound recordist. Malle arrived in India with no particular plans and financed the trip himself. The resulting 30 hours of footage was then edited down to the 363 minutes of Phantom India. The 105-minute long Calcutta used the footage he had recorded over his three-week stay in that city. Phantom India was shown on French television and the BBC in the UK in 1969.[2][3] Many British Indians and the Indian Government felt that Malle had shown a one-sided portrait of India, focussing on the impoverished, rather than the developing, parts of the country. A diplomatic incident occurred when the Indian government asked the BBC to stop broadcasting the programme. The BBC refused and were briefly asked to leave their New Delhi bureau.

9,08GB | 5h 55mn | 764×576 | mkv

https://nitroflare.com/view/45FBD3A94B0E7C5/L’Inde_fantome_-_Louis_Malle_(1969)_I._Episodes_1-4.mkv
https://nitro.download/view/E9C0EBB95B9956D/L’Inde_fantome_-_Louis_Malle_(1969)_II._Episodes_5-7.mkv

Language(s):French
Subtitles:English

The post Louis Malle – L’Inde fantôme aka Phantom India (1969) first appeared on Cinema of the World.

In 1917, in the red light district Storyville, New Orleans, the prostitute Hattie lives with her twelve year-old daughter Violet in the fancy brothel of Madame Nell, where she works. Photographer Ernest J. Bellocq has an attraction to Hallie and Violet and he is an habitué of the whorehouse. One day, Madame Nell auctions Violet’s virginity and the winner pays the fortune of US$ 400 to spend the night with the girl. Then Hattie marries a wealthy client and moves to Saint Louis, leaving Violet in the brothel alone. Violet decides to marry Bellocq and she moves to his house. Until the day that Hattie, who has overcome her past, comes to Bellocq’s house with the intention to take Violet with her.

1.69GB | 1h 49min | 1013×570 | mkv

https://nitroflare.com/view/990819481E8DA97/Pretty.Baby.1978.DVDRIP.x264.AC3.KJNU.mkv

Language:English
Subtitles:English, Danish, Dutch, Finnish, French, German, Italian, Norwegian, Spanish, Swedish

The post Louis Malle – Pretty Baby (1978) first appeared on Cinema of the World.