The story of the couple from the very first meeting to break up told from a view of a man, Jean-Marc. The film shares the same plot with “Françoise ou La vie conjugale”, that tells the same story from another perspective.

Jean-Marc ou La Vie Conjugale.1964.576p.BDrip-AVC.ZONE.mkv

General
Container:  	Matroska
Runtime: 	1 h 40 min
Size: 	2.26 GiB
Video
Codec: 	x264
Resolution: 	1024x434 
Aspect ratio:  	2.35:1
Frame rate: 	24.000 fps
Bit rate: 	3 000 kb/s
BPP: 	0.281
Audio
#1:  	French 2.0ch AC-3 @ 224 kb/s

https://nitro.download/view/FE9C0758B3F1AF4/Jean-Marc_ou_La_Vie_Conjugale.1964.576p.BDrip-AVC.ZONE.mkv

Language(s):French
Subtitles:English, French

The post André Cayatte – Jean-Marc ou La vie conjugale AKA My Days with Jean-Marc (1964) first appeared on Cinema of the World.

A countess married to Russia’s envoy to the court of Louis XVI is a gambling addict and doesn’t seem to mind that she loses nightly at the card table.Until a mysterious count entrusts her with a dangerous secret.

The.Queen.of.Spades.1965.DVDRIP.x264.AC3.KJNU.mkv

General
Container:  	Matroska
Runtime: 	1 h 21 min
Size: 	1.25 GiB
Video
Codec: 	x264
Resolution: 	656x572 ~> 915x572
Aspect ratio:  	16:10
Frame rate: 	24.000 fps
Bit rate: 	2 000 kb/s
BPP: 	0.222
Audio
#1:  	French 1.0ch AC-3 @ 192 kb/s

https://nitro.download/view/C31C746EE4FA4BF/The.Queen.of.Spades.1965.DVDRIP.x264.AC3.KJNU.mkv

Language(s):French
Subtitles:English

The post Léonard Keigel – La dame de pique AKA The Queen of Spades (1965) first appeared on Cinema of the World.

Quote:
Le Petit Soldat is an early Jean-Luc Godard film that was made on a shoestring budget. Michel Subor (who would surface years later in Claire Denis’ Beau Travail [1999] to great critical acclaim), stars here as Bruno Forestier, a young revolutionary living in Geneva who is fighting against French involvement in the war in Algeria. He meets and falls in love with rival revolutionary Veronica Dreyer (Anna Karina, soon to be Godard’s wife), and the mutual recriminations begin. Shot like a newsreel, much of the film is photographed with a hand-held camera, with sound post-synchronized; a “film noir” narration holds the film together, but the narrative, as is usual with Godard, is slight. It is some measure of Godard’s political commitment, even this early in his career, that he would forsake the proven commercial formula that had brought him such success with Breathless (1960) and create a brooding, moody, often violent film, complete with explicit sequences of torture, patterned after the actions of the occupying French forces in Algeria. These scenes resulted in the movie being banned by the French government for some time, but it is now readily available on DVD. Breathless now seems like a light, affectionate take on the American gangster film (which is what it always was; Godard himself referred to it as “Alice in Wonderland”), but Le Petit Soldat has much greater artistic conviction when viewed in light of contemporary events (substitute the war in Iraq for the French occupation of Algeria, and you begin to get the idea). Viewed in this light, the film has a pressing claim on our collective memory, and signals the beginnings of Godard as a mature political artist. Raw, unpolished, and deliberately downbeat, Le Petit Soldat marks the beginning of Godard’s engagement with issues of personal responsibility in times of war, and is also, surprisingly, one of the most accessible films of his long career. It is highly recommended.

2.11GB | 1 h 28 min| 784×576 | mkv

https://nitroflare.com/view/EC7008E36EC1D79/Jean-Luc_Godard_-_%281963%29_The_Little_Soldier.part1.rar
https://nitroflare.com/view/2A9904DED237406/Jean-Luc_Godard_-_%281963%29_The_Little_Soldier.part2.rar
https://nitroflare.com/view/F9E9C2682BDCC50/Jean-Luc_Godard_-_%281963%29_The_Little_Soldier.part3.rar

Language(s):French
Subtitles:English

The post Jean-Luc Godard – Le petit soldat AKA The Little Soldier (1963) first appeared on Cinema of the World.

Meanwhile, he meets and falls in love with Véronica Dreyer, who helped the FLN. Bruno plans to leave with her for Brazil, but is captured and tortured by Algerian revolutionaries.

He escapes, and agrees to kill Palivoda for the French in exchange for passage to Brazil for himself and Veronica. However, the French discover Veronica’s ties to the FLN, and torture her to death. (Wikipedia)

Quote:

“Le Petit Soldat” was Jean-Luc Godard’s second film, made in 1960 when “Breathless” was creating a sensation and the French New Wave made the cover of Time. It wasn’t much of a success. Godard, it was said, had lost the light touch of his first film and gotten bogged down in politics. And his shooting and writing styles, alas, bordered on anarchy.

So “The Little Soldier” was dismissed by the critics, who were busy doing cartwheels for Truffaut’s “Jules and Jim” and Resnais’ “Hiroshima, Mon Amour.” And Godard began a period of four years in which his films, one after another, were criticized for not fulfilling the promise of “Breathless.”

But “Breathless” seems a little dated in 1969. We are no longer quite that interested in a facile, flashy editing style; Godard himself has educated us out of that infatuation. A decade later, “Breathless” is a period piece, the “The Maltese Falcon” of the 1950s. And gradually it becomes clearer that, starting with “Le Petit Soldat,” Godard was forging his own individualistic art and becoming the most relevant director of our time.

Part of that relevance involves Godard’s politics. Although “Le Petit Soldat” was attacked as “too political,” it is refreshingly undoctrinaire in 1969 while “Hiroshima, Mon Amour” collapses into what Pauline Kael calls liberal soap opera. Godard, in 1960, making a film about the Algerian War, was portraying the sort of intellectual and moral confusion that good men have when they confront senseless events. And the 1960s have been full of them.

Godard’s hero, his little soldier, is a Frenchman in exile in Switzerland. He gets mixed up with both Arab and French revolutionary groups, is caught in the middle, and tries to commit murder to avoid being sent back to France. He also undergoes torture (but not because he especially believes in any cause) and, like all Godard heroes, talks to a girl about politics and love.

The nature of the hero’s involvement reminds us of “Pierrot le Fou” and “Masculine-Feminine” (but not of “La Chinoise” and “Weekend” (1968), in which the revolutionaries are much more sure of themselves — usually for the worse). It becomes clear during the film that nothing the hero does is going to make much difference; forces are in motion that would just as soon kill him, but for no good reason. Photographs of previous victims are casually displayed, but without much feeling. The trouble with wars like Algeria and Vietnam is that death loses its significance (except to its tragic victims).

Given this attitude, it might seem strange that “Le Petit Soldat” is funny. But it is, for long stretches. And usually the laughs are grisly; we wince at the same time. Godard understands how funny the automobile is, for example. No other director gets so much humor out of the way we identify our cars with our egos (remember the opening scenes of “Weekend”?). He gives us a chase in which the hero, trying to kill the driver of another car, is constantly stymied by oncoming traffic. And the other car is one of those dumpy late-1950s compact Nashes, referred to by brand name. Somehow you get the feeling you’ve wandered into a Raymond Chandler novel.

Godard was getting laughs from self-conscious scripts in 1960, too. At one point the narrator says: “She lit a cigarette and asked me, why?” And then Anna Karina lights a cigarette, exhales, looks at the camera and says: “Pourquoi?” This is humor that can best be understood by Bob and Ray fans — but humor nonetheless.

Roger Ebert

4GB | 1 h 28 min | 982×720 | mkv
http://nitroflare.com/view/1635AC976AB6E38/Le_Petit_Soldat.1963.720p.BluRay.AVC-mfcorrea.part1.rar
http://nitroflare.com/view/F6DF8F2B304D929/Le_Petit_Soldat.1963.720p.BluRay.AVC-mfcorrea.part2.rar
http://nitroflare.com/view/BB3268686DC51B0/Le_Petit_Soldat.1963.720p.BluRay.AVC-mfcorrea.part3.rar
http://nitroflare.com/view/05F45E0F0931085/Le_Petit_Soldat.1963.720p.BluRay.AVC-mfcorrea.part4.rar

Language(s):French
Subtitles:Japanese, English, Brazilian Portuguese

The post Jean-Luc Godard – Le petit soldat AKA The Little Soldier (1963) (HD) first appeared on Cinema of the World.

Quote:
“De Gérard Blain, on se souvient d’abord de l’acteur qui accompagna les débuts de la Nouvelle-Vague, que ce soit chez Chabrol (le beau Serge , les cousins) ou Truffaut (les mistons). On oublie un peu trop vite qu’il fut également un cinéaste passionnant, laissant une œuvre (huit films) marginale et secrète qu’on aimerait pouvoir découvrir plus facilement.

Dans mon petit manuel du critique néophyte désireux de briller à peu de frais en société , il est conseillé d’associer au cinéma de Blain l’adjectif « Bressonien ». Il est vrai que Le rebelle débute par une série de gros plans sur des mains faisant circuler de l’argent (hommage transparent à Pickpocket) et qu’il se termine aux environs d’une salle de cinéma où est projeté Mouchette. Même si la mise en scène de Blain doit effectivement beaucoup à Bresson (nous y reviendrons) , il me paraît néanmoins opportun de noter ce qui les oppose totalement. Autant l’auteur du Diable probablement , indépendamment des chefs-d’œuvre qu’il a pu signer, était un fieffé bigot ; autant Blain resta toujours un anarchiste individualiste de la plus belle espèce.

Synopsis. A la suite de la mort de leur mère ; Pierre, jeune homme solitaire et révolté, se retrouve seul avec sa petite sœur et veut assurer sa garde. Pour cela, il devra surmonter son dégoût de l’esclavage salarié et trouver un travail fixe afin que l’assistance publique ne lui ôte pas cette garde. Il rencontrera un riche promoteur (Michel Subor, parfait dans le rôle de l’odieux PDG capitaliste) qui lui proposera de l’aider en échange d’une relation homosexuelle…

Le film est, à l’image de son héros, une boule de rage rentrée qui finit par exploser. Un brûlot qui refuse tout discours pour ne retenir que la révolte brute et la rage froide. Avec un sujet pareil, nous pouvions craindre le discours larmoyant sur les pauvres et éternels opprimés, sur la cruauté du monde où l’homme n’est plus qu’un loup pour l’homme. Il n’en est rien. Aucun naturalisme dans le rebelle : Blain épure son style (à la manière de Bresson, donc), gomme la psychologie et se contente de filmer des actes. Ses plans sont coupants comme des lames de rasoir et l’émotion n’en ai que plus intense car retenue.

Cette écriture rigoureuse permet au cinéaste d’arracher au réel (le quotidien dans une cité HLM de Maisons-Alfort à l’aube des années 80) des accents de vérité. Vérité sur cette « nouvelle-société » française convertie au « réalisme » suite à la crise économique. C’est la montée du chômage (et l’opportunité d’une belle carotte pour les exploiteurs en profitant pour fourguer des contrats miteux sous prétexte que « c’est mieux que rien » !) et la fin des utopies révolutionnaires (il faut voir la réunion des bonnets de nuit communistes, ralliés sans problème aux simagrées du jeu électoral).

Pierre oppose à ce monde sinistre sa révolte brute. A la réunion du PC, il trouble la liturgie d’un beau parleur et l’écoute béate des brebis en affirmant qu’il « faut tout foutre en l’air ». A ceux qui lui demandent pourquoi il ne travaille pas, il réplique qu’il refuse d’ « engraisser un porc empli de charcuterie et de beaujolais » pour un salaire de misère. Et à la violence de l’exploitation capitaliste garantie par les chiens de garde étatiste (un flic à chaque coin de rue, on ne dira jamais combien ce film est actuel !) ; Pierre désire répliquer par la violence individuelle et l’action directe (de ce point de vue, le film est intéressant car il s’inscrit au moment où l’histoire des luttes se scindent entre le reflux pure et simple des idéologies –entériné dès l’année suivante par l’accès des socialos au pouvoir-, et le durcissement d’une certaine tendance révolutionnaire qui débouchera sur le terrorisme).

Au-delà de tout embrigadement (les gauchistes qui semblaient partager ses vues finiront par abandonner Pierre), Blain esquisse un portrait de révolté absolu où va se nicher un romantisme noir qui m’a rappelé celui de certains films de mon cher Mocky (mes préférés : Solo, l’albatros).

Après avoir montré de manière assez subtile les mécanismes de l’exploitation (la question des rapports d’argent est déportée du côté de l’intime et du corps. Par son pouvoir, le promoteur cherche à disposer entièrement du corps de Pierre. L’argent est avant tout un rapport social qui oblige les exploités à se prostituer…), le cinéaste fait preuve d’une rage et d’une colère salvatrices dont la violence laisse pantois lorsqu’on la prend en pleine figure 25 ans après, dans une époque aussi veule et molle que la nôtre.

Peu de cinéastes mettent de cette manière leurs tripes sur l’écran. Blain l’a fait avec Le rebelle, œuvre ravacholesque et écorchée vive que je ne saurais trop vous conseiller de (re)découvrir…”

(author : Dr Orlof @ drorlof.over-blog.com)

https://nitro.download/view/923010DAE88F923/Le_Rebelle_(1980).avi
https://nitro.download/view/E9A9DF380D67A79/Le_Rebelle_(1980)_ENG_V3.srt

Language(s):French
Subtitles:English

The post Gérard Blain – Le Rebelle AKA The Rebel (1980) first appeared on Cinema of the World.