André Bazin

cardullo, robert

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André Bazin

An Annotated Bibliography

Literature Review, 2015, 406 Pages

Film Science

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Cardullo, Robert: André Bazin: An Annotated Bibliography, Hamburg, Anchor Academic

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Table of Contents

1. Defining the Real: The Life and Work of André Bazin ... 3

2. Divining the Unreal: The Film Theory and Criticism of André Bazin ... 14

A BAZIN BIBLIOGRAPHY ... 18

Books by André Bazin in French (arranged chronologically, from the latest publication to the

earliest) ... 18

A Comprehensive Bibliography of Articles and Reviews by Bazin in Their Original Language

(arranged alphabetically) ... 19

Books by Bazin Translated into English (arranged chronologically, from the latest publication

to the earliest) ... 363

Articles by Bazin, in Journals or Books, Translated into English (sorted alphabetically

by article title, with each entry arranged chronologically, from the earliest publication

of the article to the latest)... 364

Bio-Critical Works on Bazin Written in, or Translated into, English... 374

Dissertations and Theses on Bazin Written in English ... 388

Journal Articles by Bazin, or Book Articles by Bazin, Translated into a Language Other

than English; and Journal Articles about Bazin, or Book Articles about Bazin,

Written in a Language Other than English ... 390

INTRODUCTION

André Bazin: Two Views

Defining the Real: The Life and Work of André Bazin

"A modest fellow, sickly, slowly and prematurely dying, he it was who gave the patent of

royalty to the cinema just as the poets of the past had crowned their kings." So wrote Jean Renoir

of the great French critic and theorist André Bazin (1918-1958), nine years after he had suc-

cumbed to leukemia a few months past his fortieth birthday. The occasion was the 1967 publica-

tion of volume one of What Is Cinema?, the first selection of his articles and reviews to be

translated into English (volume two followed in 1971), and Renoir added the following in his

preface: "There is no doubt about the influence that Bazin will have in the years to come."

This prophecy was amply fulfilled, though (as is often the case with prophecies) not quite

in the way Renoir had imagined. It's no exaggeration to say that Bazin is the single thinker most

responsible for bestowing on the cinema the prestige both of an object of knowledge and of an

art form--what has become the art form of our visual age in that it incorporates all others and in

that, more and more, via DVDs and the Internet, it is the most widely available one. While

scattered attempts had been made before to define the "essence" of cinema (most notably in the

works of Rudolf Arnheim and Siegfried Kracauer), Bazin's ideas were to prove the decisive ones

in establishing its credentials as a separate and legitimate field of intellectual inquiry, and one that

has become even more legitimate now that so many of us satisfy so much of our intellectual

curiosity, let alone our aesthetic craving, through visual rather than print media. In one of his

essays from the 1940s Bazin himself projected that distant day when film studies would enter the

university curriculum--and it was Bazin more than anyone else who played the role of midwife.

André Bazin was born on April 18, 1918, in the city of Angers in northwest France, but

moved with his family to the western seaport of La Rochelle when he was five years old. Since he

had wanted from an early age to become a teacher, he studied first at the École normale of La

Rochelle (1936) and the École normale of Versailles (1937-38), then at the École normale

supérieure of Saint-Cloud (1938-41). Bazin graduated from Saint-Cloud with the highest honors

(after he was called up for military service in 1939, then demobilized in mid-1940) but was

disqualified from teaching in French schools because of a stutter. The failed teacher quickly

turned into a missionary of the cinema, his passion for which was part of his general passion for

culture, aesthetic truth, and moral or spiritual sensibility.

In 1942, during the German Occupation, Bazin became a member of an organization in

Paris--the Maison des Lettres--that was founded to take care of young students whose regular

scholastic routine had been interrupted by the war. There he founded a cinema club where he

showed politically banned films in defiance of the Nazi authorities and the Vichy government.

During World War II, in 1943, Bazin also worked at the Institut des hautes études cinématogra-

phiques (I.D.H.E.C.), the French film school; there he was appointed director of cultural services

after the war; and there he first began to crystallize his ideas in oral presentations and debates.

Bazin came to film criticism by way of his collaboration with Travail et Culture, a semi-

official body concerned with cultural activities among working-class people, for whom he

organized innumerable screenings. After the Liberation, he was appointed film critic of a new

daily newspaper, Le Parisien libéré--a large-circulation daily tabloid with lots of sports coverage

and "human-interest" stories but little politics. Thus began Bazin's formal or official life as a

public critic and with it the development of a new type of movie reviewing--one of his singular

achievements being the ability to make his insights understood by readers on all levels without

any concessions to popularizing. Yet Bazin never entirely lost sight of his educational ambitions,

evidenced in an heuristic style of argument that implies more than it states and forces readers to

think for themselves.

Bazin's blend of the logical and the poetical (though never the political, despite the fact

that he himself belonged to the left) drew the attention of Jean-Paul Sartre, who commissioned

him to write essays for the distinguished philosophical journal Les temps modernes. Thereafter his

name became associated with a staggering array of popular and specialist magazines, the most

notable being L'Écran français, France-Observateur, Radio-Cinéma-Télévision, La Revue du cinéma,

Critique, L'Éducation Nationale, Esprit--and finally the historically momentous Cahiers du cinéma,

which he founded with Lo Duca and Jacques Doniol-Valcroze in 1951. In all Bazin is said to

have penned something approaching 2,600 pieces, including contributions to foreign magazines

(mainly Italian) as well as French ones. (He needed to be prolific since by this time he had a

family to support: his wife, Janine, and a small son, Florent.)

The remainder of his life was an uneventful round of festivals, conferences, and associa-

tion or editorial meetings, all of them progressively overshadowed by the illness with which he

was diagnosed in 1954. Bazin died at Nogent-sur-Marne on November 11, 1958. At the time he

was completing a book-length study of Jean Renoir (later edited for publication by his loyal

disciple François Truffaut) and working on the script for Les Églises romanes de Saintonge, a short

documentary about Romanesque churches that he planned to direct himself. Indeed, there was

always something a little medieval and monkish about Bazin, who himself was a practicing

Catholic. Renoir compared him to one of the saints pictured in the stained-glass windows at

Chartres; Truffaut went so far as to call him a creature from the time before original sin. Nearly

everyone acquainted with Bazin eulogized his wisdom together with his personal goodness--and

couched both in terms drawn from religious asceticism.

While the merest rumor of the transcendent is enough to scandalize most film theorists, it

helps to explain Bazin's enduring appeal among those at least open to the possibility of the

divine. Reading Bazin, one never has the sense of a professional flogging his secular academic

specialty in return for institutional preferment. Instead, one comes into contact with a person--

or, more correctly, a soul--bound by a sacred charge to inquire after truth. The luminous quality

of Bazin's writing can no doubt be attributed in part to his chronic frail health, for reality stands

out in colors all the more radiant for being contemplated under the shadow of death. But, even

though it comprises the biggest stumbling block even for critics otherwise congenial to Bazin,

there is no denying the primary source of his inspiration: faith. I'd like to emphasize that in this

introduction, because Bazin was an intellectual and a Christian--better, a Christian intellectual--

when it was still possible publicly to be both and at the same time to be taken seriously. Obviou-

sly, I don't think this is true anymore--certainly not in the United States--and I lament that fact,

for the sake of intellectuals as well as Christians.

At the heart of Bazin's strictures on cinematic realism lies the conviction that the movie

camera, by the simple act of photographing the world, testifies to the miracle of God's creation.

It is sanctioned to do so precisely--and paradoxically--because it is an invention of science.

Throughout the ages, Bazin argues, mankind has dreamed of being able to see the surface of the

world faithfully copied in art (see "The Ontology of the Photographic Image," 1945, translated in

volume 1 of What Is Cinema?). He ascribes this wish to what he calls the "mummy complex"--an

innate human need to halt the ceaseless flow of time by embalming it in an image. But it was not

until the development of photography in the nineteenth century that this appetite for the real

could be fully satisfied. For Bazin, a photograph holds an irrational power to persuade us of its

truth because it results from a process of mechanical reproduction in which human agency plays

no part. A painting, however lifelike, is still the obvious product of human craft and intention,

whereas the photographic image is just what happens automatically when the light reflected from

objects strikes a layer of sensitive chemical emulsion.

"Photography," Bazin writes, "affects like a phenomenon in nature, like a flower or a

snowflake whose vegetable or earthly origins are an inseparable part of their supernal beauty." In

Bazin's view, it's this objective quality of the photograph--the fact that it is first of all a sensory

datum and only later perhaps a work of art--which gives the medium its privileged relationship

with the real. It follows that both photography and its spawn, the motion picture, have a special

obligation toward reality. Their principal responsibility is to document the world before attemp-

ting to interpret or criticize it. And for Bazin, this moral duty is ultimately a sacred one--the

photographic media being, in effect, preordained to bear endless witness to the beauty of the

cosmos.

Bazin's criticism is not remotely doctrinal in its Catholicism, however; it is fundamentally

holistic, its source lying elsewhere than in aesthetic dissection. His true filmmaker attains power

through "style," which is not a thing to be expressed but an inner orientation enabling an

outward search or quest. Such spiritual sensitivity and its enablement through film are central to

Bazin's view of film as obligated to God, to honor God's universe by using film to render the

reality of the universe and, through its reality, it mystery-cum-musicality. This view led Bazin to

certain specific espousals--of Italian neorealism, the technique of deep focus, and more--but

these were all secondary consequences for him of the way that film could best bear witness to the

miracle of the creation. Éric Rohmer, who became a filmmaker in the Bazinian tradition but who

in the 1950s was a critical-editorial colleague of Bazin's, has said: "Without a doubt, the whole

body of Bazin's work is based on one central idea, an affirmation of the objectivity of the

cinema."

Since Bazin's general idea was to discover in the nature of the photographic image an ob-

jectively realistic feature, the concept of objective reality as a fundamental quality of the cinematic

shot in fact became the key to his theoretical and critical work. For him, the photographic origin

of film explains the novelty of and fascination with the cinema. The picture is a kind of double of

the world, a reflection petrified in time but brought back to life by cinematic projection; in other

words, everything that is filmed once was in reality. A rapt Bazin thus speaks of the ontological

realism of the cinema, and, according to him, the camera is naturally the objective tool with

which to achieve it.

He granted this camera a purifying power and a superhuman impassiveness that could

restore the virgin object in all its purity to the attention and love of the viewer. And he saw

almost perfect examples of this "brute representation" of the cinema in documentary as well as

scientific films, in which the filmmaker interferes or tampers very little with nature. Bazin saw

such brute representation additionally in the deep-focus mise en scène of William Wyler's films,

which tended toward a neutrality or objectivity that was eminently moral and liberal, hence

perfectly characteristic of American freedom and democracy. For him, only ontological realism of

this type was capable of restoring to the object and its setting the spiritual density of their being.

Predictably, Bazin's thesis has been assailed for placing the metaphysical cart before the

materialist horse. And, as if resolved to tweak the noses of his Marxist opponents, Bazin pro-

pounds the fanciful notion that technical change arises less as the outcome of economic and

historical forces than from an ineffable "something" one can only call spiritual will (see "The

Myth of Total Cinema," 1946, translated in volume 1 of What Is Cinema?). Photography and

cinema, together with such innovations as color stock, sound recording, anamorphic lenses, and

3-D, are thus successive responses to an obscurely planted desire for an ever more perfect

approximation of the real. Although Bazin is generally too discreet a writer to let his theological

slip show, it's clear that here he conceives of such artistic and industrial gains as prompted by an

esoteric design. His thought in this instance betrays its sizeable debt to the science-cum-

mysticism of the radical Catholic visionary Pierre Teilhard de Chardin, who projected an evolu-

tionary spiraling of human consciousness until it fuses with divine revelation. (In more secular

terms, there's also a tinge of Sartrean existentialism in Bazin's emphasis on a cinema of "being"

in the act or process of "becoming.")

Still, Bazin sets a hypothetical limit to his "myth of total cinema." If the cinema ever

could succeed in becoming the exact double of reality, it would also fail--since it would then

cease to exist as cinema. Like a mathematical asymptote, filmic representation is always doomed

to fall a little short of its goal. But if cinema never quite merges with life, that's what allows it to

be an art form whose mission is to reveal life. Bazin concedes that there is no art without artifice

and that one must therefore surrender a measure of reality in the process of translating it onto

celluloid. The cinematic staging or rendering of the real can be carried out in untold ways,

however, so it would be more suitable to speak of filmic "realisms" than of a single, definitive

realist mode. And in this respect Bazin comes closer to endorsing the postmodern shibboleth of

pluralism than his adversaries tend to realize--though he happily foregoes postmodernism's

nihilism.

Yet his pristine vision of an aesthetic reality remains, strictly speaking, the inaccessible al-

pha and omega of the movie medium, since it is inevitably contaminated by human subjectivity.

Individual films and filmmakers all carve up the unbroken plenitude of the real, imposing on it

style and meaning. But the crucial distinction for Bazin is (in an oft-quoted phrase from "The

Evolution of the Language of Cinema," 1950-55, translated in volume 1 of What Is Cinema?)

between "those directors who put their faith in the image and those who put their faith in

reality." He took a notoriously dim view, for example, of Robert Wiene's The Cabinet of Dr.

Caligari (1920) and other films made in the German expressionist style, because he judged their

elaborate manipulations of lighting and décor to be a willful attempt to bend reality out of shape

and force it to reflect perverse states of mind. What Bazin objected to in the work of Sergei

Eisenstein was precisely how the Soviet director splintered reality into a series of isolated shots,

which he then reassembled through the art of montage.

Indeed, Bazin's basic position cannot be understood except as a strong reaction against

principles of filmmaking that had prevailed before then: of subjectivity, of an arrangement and

interpretation of the world--what might be called Eisenstein-Pudovkin principles (different

though those two men were) in editing. Bazin was opposed to such an approach as "self-willed"

and "manipulative," as the imposition of opinion where the filmmaker should try, in effect, to

stand aside and reveal reality. By contrast, the first line of Pudovkin's Film Technique (1929) is:

"The foundation of film art is editing." Bazin upheld mise en scène against editing or montage because,

to him, the former represented "true continuity" and reproduced situations more realistically,

leaving the interpretation of a particular scene to the viewer rather than to the director's

viewpoint through cutting. Consistent with this view, he argued in support of both the shot-in-

depth and the long or uninterrupted take, and commended the switch from silent to talking

pictures as one step toward the attainment of total realism on film.

The Russians themselves had derived their methods from American movies, especially

those of D. W. Griffith, and American cinema had continued in the "editing" vein. In Hollywood

pictures and, through their example, in most pictures everywhere, the guiding rule was to edit the

film to conform to the flow of the viewer's attention, to anticipate and control that attention. The

director and editor or cutter chose the fraction of space that they thought the viewer would most

want to see each fraction of a second: the hero's face when he declares his love, then the he-

roine's reaction, then the door when someone else enters, and so on, bit by bit. Now the Rus-

sians' use of montage had much more complex aims, aesthetic and ideological, than presumed

audience gratification of the Hollywood kind, but technically it, too, was a mosaic or disconti-

nuous approach to reality.

Bazin disagreed strongly and, one can legitimately say, religiously. He distrusted montage

on the ground that its dynamic juxtaposition of images hurtles the viewer along a predetermined

path of attention, the aim being to construct a synthetic reality in support of a propagandist or

partial (in both senses of the word) message. To Bazin this was a minor heresy, since it arrogated

the power of God, who alone is entitled to confer meaning on the universe. But inasmuch as

God absents himself from the world and leaves it up to us to detect the signs of his grace, Bazin

valued those film artists who respected the mystery embedded in creation.

One such director was the Italian neorealist Vittorio De Sica, who in films such as Bicycle

Thieves (1948) and Umberto D. (1952) humble renounced the hubristic display of authorial perso-

nality and thus enabled his audience to intuit the numinous significance of people, things, and

places. "The mise en scène seems to take shape after the fashion of a natural form in living matter,"

Bazin wrote in 1951 in "De Sica: Metteur en scène" (translated in volume 2 of What Is Cinema?). He

recognized that film art always condenses, shapes, and orders the reality it records, but what he

looked for in filmmakers was what he found in De Sica's work: a kind of spiritual disposition

toward reality, an intention to serve it by a scrupulous effacement of means and a corresponding

unwillingness to do violence to it through ideological abstraction or self-aggrandizing technique.

The best director, then--Orson Welles, Roberto Rossellini, Renoir, and F. W. Murnau al-

so rank high for Bazin--is the one who mediates least, the one who exercises selectivity just

sufficiently to put us in much the same relation of regard and choice toward the narrative as we

are toward reality in life: a director who thus imitates (not arrogates), within his scale, the divine

disposition toward man. Other than such an anomalous director as Miklós Jancsó, to whom one

reel equals one shot, most modern movie directors, of course, use the reality of the held,

"plumbed" shot as well as the mega-reality of montage. One need look no further than the work of

Bazin's venerator Truffaut for an example of this. And such a balance between montage and mise en

scène in film practice doesn't smugly patronize Bazin, since no one before him had spoken up so

fully and influentially for his side of the question.

Given Bazin's passionate advocacy of this cinema of "transparency," it may seem

puzzling that he is likewise remembered in film history as an architect of the celebrated politique

des auteurs. Under his tutelage, the younger journalists at Cahiers championed such previously

patronized talents as Alfred Hitchcock, Howard Hawks, and Douglas Sirk, thereby shifting the

critical goalposts forever. (Since many of Bazin's reviewing colleagues, Truffaut, Jean-Luc

Godard, Rohmer, Claude Chabrol, and Jacques Rivette among them, went on to direct their own

films--and thus become the first generation of cineastes whose work was thoroughly grounded

in film history and theory--he is also often regarded as the spiritual father of the nouvelle vague.) If

Bazin's criticism constitutes a cine-theology, it might almost be said that his ideal auteur fulfills the

role of saint--an inspired intercessor in or with reality.

Bazin's stake in the politique can probably be traced back to his involvement in the 1930s

Christian existential movement known as personalism, which posited the creative individual who

takes risks, makes choices, and exercises his or her God-given faculty of free will. It should be

added, however, that Bazin eventually distanced himself from the priestly cult of the director-

author because he felt it ignored the commercial context in which most movies were produced--

a context where the work of art is not necessarily stamped with the personality of its creator, in

which the director may not be the one above all who gives a film its distinctive quality. A keen

observer of Hollywood cinema (who "classical" adaptability he was among the first to appre-

ciate), he nonetheless set its gifted practitioners on a lower rung than those masters who answe-

red to his chaste and simple ideals: Renoir, Charlie Chaplin, De Sica, Rossellini, Carl Dreyer, and

Robert Bresson.

Despite differences in stylistic approach, these film artists converge on the same enigma-

tic reality like the radii of a mandala. If anything joins them more specifically, it's a concern to

find the technical means for a concrete rendering of space and time. And this is another charge

that Bazin brought against montage: its sacrifice of the dimensional integrity of the photographed

event. Though we live in duration and extension, montage can only cheat on our experience since

it is an art of ellipsis. In the name of a higher realism, then, Bazin celebrated the long, uninter-

rupted take for its capacity to simulate the most elemental aspect of nature--its continuousness.

Though Bazin knew, of course, that the camera must restrict itself to slicing out a tiny portion of

space, he thought a tactful deployment of the mise en scène could sustain the illusion of life spilling

over the borders of the frame.

His great hero in this regard was Renoir, who, significantly for Bazin, combined long

takes with the technique of deep-focus cinematography. Bazin considered this not just one

aesthetic option among others but in fact the very essence of modern cinematic realism. For him,

the incalculable virtue of deep focus is its ambiguity: since everything in the film frame can be

seen with equal clarity, the audience has to decide for itself what is meaningful or interesting.

While a director such as Welles or Wyler (to whose 1941 film The Little Foxes Bazin would return

again and again) may provide accents or directions in the composition of the image, each

nonetheless opens up the possibility that the viewer can, so to speak, do the editing in his or her

own head. In short, deep-focus cinematography invites an awareness of both personal freedom

and ethical responsibility; in cinema as in life, we must be free to choose our own salvation.

Possibly the best example of Bazin's advocacy of the long take, photographed in depth,

occurs in his essay "The Technique of Citizen Kane" (1947, translated in Bazin at Work: Major

Essays and Reviews From the Forties and Fifties [1997]), in particular his analysis of the famous scene

depicting Susan Alexander Kane's attempted suicide and its immediate aftermath--a scene that

takes place entirely in one shot, in deep focus. Traditional editing, the five or six shots into which

this scene could be divided, would give us, according to Bazin, "the illusion of being at real

events unraveling before us in everyday reality. But this illusion conceals an essential bit of deceit

because reality exists in continuous space and the screen presents us, by contrast, with a succes-

sion of fragments called `shots.'" Instead, Welles presents the experience whole, in order to give

us the same privileges and responsibilities of choice that life itself affords. In "The Evolution of

the Language of Cinema," Bazin says further that "Citizen Kane is unthinkable shot in any other

way than in depth. The uncertainty in which we find ourselves as to the spiritual key or the

thematic interpretation we should put on the film is thus built into the very design of the image."

On his death, an obituary notice in Esprit cited Bazin as predicting that "the year 2000 will

salute the advent of a cinema free of the artificialities of montage, renouncing the role of an `art of

reality' so that it may climb to its final level on which it will become once and for all `reality made

art.'" But in this as in so much else, Bazin the jubilant millenarian has been proved exactly wrong.

At no other period in its history, in fact, has the cinema been so enslaved by escapist fantasy--

and never have we been less certain of the status of the real. Now the digitalization of the image

threatens to cut the umbilical cord between photograph and referent on which Bazin founded his

entire theory.

Moreover, the particular forms of "transparency" that he admired have themselves

grown opaque in just a few decades. Italian neorealism increasingly yields up its melodrama and

fakery to all those who would look beneath its surface, while the mannered and rigid mise en scène

of deep focus betrays the theatricality of its proscenium-like full shot. In the end, every living

realism petrifies, to become a relic in the museum of obsolete artistic styles. Yet, as Bazin might

have said (of himself above all), the certainty of failure doesn't rule out the necessity for each

artist to strive to honor reality according to his or her own lights and those of the time. All it

requires is a leap of faith.

Realist or not, unlike all the other authors of major film theories, Bazin was a working or

practical critic who wrote regularly about individual films. He never left a systematic book of

theory, instead preferring to have implicit theoretical dialogues with filmmakers and other critics

through his critical writing in a number of journals. Indeed, it has been suggested that the best of

his criticism has been lost because it occurred in the form of oral presentations and debates at

such places as I.D.H.E.C. That may be the case; however, the most important of his essays--

some sixty of them culled from the many pieces he wrote for various magazines--were collected

in the posthumously published Qu'est-ce que le cinéma? (1958-62). Then there are Bazin's books on

Renoir, Welles, and Chaplin, all published after his death, like the four volumes of Qu'est-ce que le

cinéma?.

Bazin based his criticism on the films actually made rather than on any preconceived aes-

thetic or sociological principles; and film theory for the first time became, with him, a matter not

of pronouncement and prescription, but of description, analysis, and deduction. He tried to

answer the question, not "Is the movie worth the money?" but rather, "If a film is worth seeing,

why is it worth seeing as a film?" And while the fragmentary method of Bazin's writing may have

prevented him from organizing a fully elaborated system like Kracauer's in Theory of Film (1960), it

gives to his criticism a density of thought, as well as a constructive dependence on examples, that

is absent from Kracauer's work.

Bazin's usual procedure was to watch a film closely--more than once, if possible--

appreciating its special values and noting its difficulties or contradictions. Then he would imagine

the kind of film it was or was trying to be, placing it within a genre or fabricating a new genre for

it. He would then formulate the laws of this genre, constantly reverting to examples from this

picture and others like it. Finally, these "laws" would be seen in the context of an entire theory of

cinema. Thus Bazin begins with the most particular facts available in the individual movie before

his eyes, and, through a process of logical yet imaginative reflection, he arrives at a general theory

of film art.

In this he showed himself to be a college graduate accustomed to the rigors of scientific

analysis, bringing to the study of motion pictures a mind of unremitting objectivity and going

about his work very much in the manner of a geologist or zoologist in front of his microscope.

Without forgetting the special quality of cinema as an art form, moreover, he never lost sight of

film as a social document that reflects its times--not like a mere carbon copy, but more like an

X-ray, penetrating the surface of reality so as to bring out the pattern that lies underneath.

Using only fair or mediocre works as a starting point--The Battle of Stalingrad (1949-50)

and The Man in the Gray Flannel Suit (1956), for example--Bazin could write exemplary criticism

about the insights they provided into the less familiar aspects of the Soviet and American ways of

thinking. His long essay "The Myth of Stalin," which appeared in Esprit in the summer of 1950

(and is translated in Bazin at Work: Major Essays and Reviews From the Forties and Fifties), acquired a

prophetic note in the light of Nikita Khrushchev's famous secret report; and Darryl F. Zanuck's

lengthy, tedious super-production of Sloan Wilson's novel provided the occasion for a devasta-

ting analysis of the modern American obsession with success at any price.

Every movie, then, even a bad one, is an opportunity for Bazin to develop an historical or

sociological hypothesis, or to postulate about the manner of artistic creation. Bazin founds his

critical method on the fecundity of paradox--dialectically speaking, something true that seems

false and is all the truer for seeming so. Starting from a film's most paradoxical aspect, he

demonstrates its utter artistic necessity. Bresson's Diary of a Country Priest (1951) and Jean Coc-

teau's Les Parents terribles (1948), for instance, are all the more cinematic for the former's scrupu-

lous faithfulness to its novelistic source and the latter's strict adherence to its dramatic antece-

dent; thus for Bazin they are instances of "impure" or "mixed" cinema. A special effect, for him,

is most effectively fantastic when it is also the most realistic; films are most sacred when they

mostly work against the medium's affinity for religious iconography; and a picture like Federico

Fellini's I vitelloni (1953), Bazin argues, reveals most about the souls of its characters as it focuses

most exclusively on appearances. He even anticipates deconstructive analysis by justifying the

shortcomings or anomalies of so-called masterpieces, maintaining that they are as necessary to

the success of these works as their aesthetic virtues.

Above all, one principle lies at the basis of every piece Bazin ever penned. It can be called

"the tactful principle," and this for two reasons. First, he had a way of criticizing films that he did

not like which was firm and without concessions, but which was also devoid of any bitterness or

meanness. This made him appear to be the kind of man "you would love to be criticized by," to

paraphrase an expression applied to Bazin by no less than Erich von Stroheim. Second, this

principle of tact in fact characterizes a method of subtle analysis and differentiation applied to the

complex and varied living organisms that were films to Bazin--organisms whose delicate

mechanisms he tried to discern without losing sight of or even obscuring their general

movement. His development of a critical argument, his caution and reservations, the frequent

"granted," "to be sure," "you will object," "and yet"--none of these betray any negative spirit or

mediocre taste, but instead a nuanced attitude bent on discovering purer and purer qualities and

distinctions.

There is in Bazin's thought and writing no Byzantine attitude, no ornamental preciosity,

no tendency to "split hair," for which some of his critical opponents reproached him (or if he did

so, it was horizontally). There was only an artistic, even clinical inclination to deconstruct

complex constructions, to join together separate lines here and there, or to disassociate those

lines only in order to reassemble them some place else. Henri Bergson's influence is implicit here

and explicit in Bazin's famous essay on the ontology of the photographic image, as well as in his

excellent article on Henri-Georges Clouzot's 1956 film The Picasso Mystery (a piece actually titled

"A Bergsonian Film"; translated in French Cinema from the Liberation to the New Wave, 1945-1958

[2012]). This influence is equally present everywhere in Bazin's work, it must be said, as when he

contemplates the notions of time and memory or confronts the forces of change and flux.

If most of Bazin's articles--the long theoretical essays together with the short analytical

ones--relentlessly pose the question "What is cinema?" it is not because motion pictures were

for him the objects of a mechanical, secondary application of some pre-existing theory, but

because he had first designed and refined a rigorous method consisting of a series of questions to

put to the cinema, even if this meant that a picture forced him to change his initial hypothesis on

account of its aesthetic novelty (as happened in the case of Renoir's American films). In an article

from Cahiers du cinéma titled "The Sum of André Bazin" (1959), Éric Rohmer aptly noted the

partial provenance of Bazin's method: the fields of geology, botany, zoology, physics, and

chemistry, on which he leaned heavily for a series of splendid metaphors that recur throughout

his writing.

That is to say, precisely the fields where the most powerful and transforming movement

of time is the most obvious: slow, invisible ripenings that change the landscape or sudden,

instantaneous transmutations that alter this or that state (like the crystallization of an oversatu-

rated solution in response to a minor shock or jolt). The cinema is the field par excellence of such

unstable balances, of fragile or even fatal symbioses. And Bazin waited with a simultaneously

vexed and excited attention--almost a morbid anxiety--for the appearance of catalysts that

could alter "the purity of filmic purity" at any particular moment or gradually, over the course of

a movie's length.

And do I need to recall here Bazin's unfailing ability to detect, analyze, and of course ad-

mire new things? He supported Welles in his time against the resistance of puzzled technicians

and the conservatism of his timorous fellow filmmakers; he supported neorealism, in its ideal

form, against the advocates of "classical" moviemaking style; he supported Rossellini against

those who, as of Europe '51 (1952), were ready to burn him at the stake; he supported the ever

resilient will of Chaplin against those who wanted to bury him with the character of the Tramp;

and he supported Renoir's seemingly confused changes of direction against those who wanted

merely to see Toni (1935) over and over again.

But Bazin also supported the marginal forms of cinema (scientific or geographical, touris-

tic or travel, amateur or non-professional) against the harsh defenders of standard filmic formats;

he supported the advent both of CinemaScope and of television; finally, shortly before his death,

he supported the emergence of filmmakers who were bringing with them a new artistic freedom

(Astruc, Marker, Resnais, Rouch, Vadim, Varda, Chabrol, and Truffaut). To renew Bazin's legacy

today, then, is not simply to write the umpteenth essay on this or that film, theory, or critic, but

to apply some of his strength, sharpness, and humor to the chaos of composite, "impure"

pictures that come out everywhere, every day. It is to distinguish original cinematic experiment

from falsely inventive sham, in the way that Bazin did--could not help but do--with every fiber

of his being.

Truly mourned by many--among them filmmakers such as Renoir, Truffaut, Visconti,

and Bresson--André Bazin died just ahead of the movement that placed cinema in college

classrooms. He did his teaching in film clubs, at conferences, and in published articles. Yet while

many people now make their livings teaching film (and far better livings than Bazin ever enjoyed),

some teachers look back with longing to that era when reflection about the movies took place in

a natural arena rather than in the hothouse atmosphere common to universities. Film theory as

well as criticism is for the most part now an acquired discipline, not a spontaneous activity, and

the cinema is seen as a field of "research" rather than as an aesthetic activity--indeed, a human

reality. Current film scholars, including those hostile to his views, look in wonder to Bazin, who

in 1958 was in command of a complete, coherent, and thoroughly humanistic view of the cinema.

Though he didn't live to see the first flowering of academic film theory in the late 1960s,

the pedagogic side of Bazin would doubtless have been gratified that cinema was no longer a

trivial pursuit but henceforth would be a serious discipline calling for the most concentrated

attention and rigor on the part of its adherents. Yet the poet in him--the fecund wielder of figure

and metaphor, who drew on the fathomless well of his own imaginative intuition--would just as

surely have experienced a sense of loss. For the scholarly discourse of cinema soon developed a

pomp and rigidity that increasingly excluded those dazzling imaginative leaps that were at the

heart of Bazin's prose style.

It was his good fortune, then, to write in the period just before film studies congealed in-

to an institution. As a working critic, contributing irregularly and--so he thought--ephemerally

to the pages of Cahiers du cinéma, Bazin could allow his mind free play in an atmosphere as yet

unhampered by Jesuitical nit-picking. He enjoyed the privilege of being a critic able to cut to the

quick of an argument with no other justification than his own unerring instinct. In consequence,

Bazin's thought is infinitely more concrete, nimble, and flexible than the lucubrations of those

obliged to flag each theoretical moved with a sheaf of footnotes.

Yet it was for his very virtues that Bazin came under attack by the budding generation of

film pedants--and, ironically, almost at the same moment as he was being canonized as a classic.

Bazin, it was claimed, refused to follow due process. His vaunted theory of realism amounted to

little more than a loose patchwork of ideas that never coalesced into a stringent system, but

instead remained dangerously impressionistic and often flatly contradictory. Professional intellec-

tuals who jumped on Bazin's alleged incoherence, however, also underrated the profoundly

dialectical nature of his thinking. To put it another way, they were stone-blind to Bazin's poetic

genius--his ability to hold contrary terms in a state of paradoxical suspension that transcends

mere theory and approaches mystical comprehension.

But there was worse to come. For Bazin, a rhapsodist of the cinema and a true believer in its

perfectibility, had replied to his own sweeping question "What is cinema?" with a resoundingly

affirmative answer--whereas the new breed of theorists responded to the same question increa-

singly in the negative. In the wake of the '60s counterculture, film-studies departments across

Europe as well as the United States were transformed into hubs of self-styled revolutionary

activity. Fueled by the absolutist views of the French structuralist and Marxist Louis Althusser

(who proclaimed the function of the mass media to be an endless endorsement of ruling-class

values), radical academics came not to praise cinema but to bury it. And deconstructionists,

structuralists, semioticians, Marxists, and other such fellow travelers of the left reductively reviled

Bazin with lethal epithets like "bourgeois idealist," "mystical humanist," and "reactionary

Catholic."

Perhaps it was impossible to avoid a head-on collision between Bazin's meditative humanism

and a knee-jerk dogmatism that saw popular cinema as an ideological apparatus--an efficient

mechanism for turning out docile citizens of oppressive nations. As the most eminent critic of

the preceding decade of the '50s in France, Bazin became a figurehead for the establishment, and

the militant new régime at Cahiers hammered him for his supposed political complicity (an

Oedipal rebellion if ever there was one). Crossing over to Great Britain by way of the influential

theoretical journal Screen, the sport of Bazin-bashing proliferated throughout the 1970s and

1980s. How could anyone be fool enough to suppose that the cinema was capable of recording

reality directly, when the reciprocal insights of semiotics and Lacanian psychoanalysis had

demonstrated that human perception is always mediated by language? It might almost be said that

the whole Byzantine edifice of contemporary theory sprang out of an irresistible desire to prove

Bazin wrong.

Nowadays, of course, it is a truth universally acknowledged that reality is a construction, and

Bazin's reputed innocence on this score no longer raises sectarian hackles--more like a condes-

cending smile instead. Admittedly, his earnest belief in the intrinsically realist vocation of film

puts him on the far side of postmodern relativism and doubt. Yet insofar as a compulsive

skepticism and a jaded cynicism have become the orthodoxies of our age, this may be the

moment to start rehabilitating reality--and André Bazin. All the more so because Bazin's

formalist and spiritualist enterprise may have aimed, finally, less at discovering a conservative

synthesis, communion, or unity in art as in life, than at freeing aesthetic pleasure from dramatur-

gical exigency alone, at implicating the viewer in an active relationship with the screen, and at

freeing cinematic space and time from slavery to the anecdotal. As such, Bazin was, as if

anything, a species of transcendentalist, a kind of cinematic Hegel, who proposed to discover the

nature of filmic reality as much by investigating the process of critical thought as by examining

the artistic objects of sensory experiences themselves, among which he would have welcomed

digital film and web-movies, even as he welcomed the advent of television in the 1950s (in

addition to writing about this then-new medium in his final years).

Despite Bazin's tragically premature death of leukemia in 1958, he left much material behind--in

his four-volume Qu'est-ce que le cinéma? as well as in such magazines as Esprit, L'Écran français, and

France-Observateur. This work was--and is--aimed not only at scholars, teachers, and critics of

film, but also at educated or cultivated moviegoers and students of the cinema at all levels. In his

modesty and simplicity André Bazin considered himself such a student, such an "interested"

filmgoer, and it is to the spirit of his humility before the god of cinema, as well as to the stead-

fastness of his courage in life, that this book is dedicated.

2. Divining the Unreal: The Film Theory and Criticism of André Bazin

André Bazin (1918-1958) may well be the most influential critic ever to have written

about cinema. He is credited with almost single-handedly establishing the study of film as an

accepted intellectual pursuit; and he can also be considered the principal instigator of the equally

influential auteur theory: the idea that, since film is an art form, the director of a movie must be

perceived as the chief creator of its unique cinematic style. Bazin contributed daily reviews to

Paris's largest-circulation newspaper, Le Parisien libéré, and wrote hundreds of essays for weeklies

(Le Nouvel observateur, Télérama) as well as for such esteemed monthly journals as L'Esprit and

Cahiers du cinéma (which he co-founded in 1951), the single most influential critical periodical in

the history of the cinema. A social activist, he also directed ciné-clubs and, from 1945 to 1950,

worked for the Communist outreach organization Travail et Culture. Moreover, Bazin befriended

Jean Renoir, Roberto Rossellini, Orson Welles, and Luis Buñuel and was a father figure to the

critics at Cahiers who would create the New Wave just after he died: François Truffaut, Jean-Luc

Godard, Jacques Rivette, and Claude Chabrol. He even adopted the delinquent Truffaut, who

dedicated Les quatre cents coups (The 400 Blows, 1959) to him. Bazin's influence spread to critics and

filmmakers in Latin America, Eastern Europe, and Asia, where today, for instance, Jia Zhangke

salutes Bazin as formative to his approach.

One of Bazin's first essays, "The Ontology of the Photographic Image" (1945, translated

in volume 1 of What Is Cinema?), anchors much of what he would produce. It legitimates his taste

for documentaries, for neorealism, and for directors who don't use images rhetorically but instead

to explore reality. Criticized by communists for writing "The Myth of Stalin in the Soviet

Cinema" (1950, translated in Bazin at Work: Major Essays and Reviews From the Forties and Fifties

[1997]), he would be posthumously attacked by Marxist academics for his presumed naïve faith in

cinema's ability to deliver true appearances transparently. Bazin was influenced, not by Marx, but

by Bergson, Malraux, and Sartre. He specialized in literature as a brilliant student at the École

normale supérieure, where he also was passionate about geology, geography, and psychology.

Indeed, metaphors from the sciences frequently appear in his articles.

While many of Bazin's acolytes are "humanists" or, in particular, devotees of the auteur

theory, it is increasingly clear that Bazin attends equally in his published work to systems within

which films are made and viewed, including technology, economics, and censorship. Of this

published work--between 1943 and 1958, Bazin wrote around 2,600 articles and reviews--only

150 pieces or so are easy to access in anthologies or edited collections, be they in French,

English, or another language. He personally collected sixty-four of his most significant pieces in

the four-volume French version of What Is Cinema? (Qu'est-ce que le cinéma?, 1958-62). Additional

collections appeared later thanks to Truffaut, Éric Rohmer, and other devotees. Obviously, then,

most of those who have written about Bazin have done so knowing only a fraction of his output.

Still, that output is considered consistent, rich, and consequential. And Bazin's impact will

undoubtedly grow as more of his writing becomes available.

When the idea of "truth" encounters that of "cinema," the first name that naturally comes

to mind is that of Bazin. But over the past few decades, as pointed out above, this French film

critic and theorist has generally been viewed as a naïve realist, someone for whom the essence of

cinema lay in its mechanical, photographic ability to bring the "truth" to the screen without the

all-too-partial and non-objective intervention of humans. As Noël Carroll wrote in 1996 in

Theorizing the Movie Image, "Bazin held that the image from a film was an objective re-presentation

of the past, a veritable slice of reality." Carroll was by no means alone in identifying Bazin as

someone who believed in the objectivity of the imprint that empirical reality automatically leaves

on film. Jean Mitry, Christian Metz, 1970s Screen-magazine theorists, and most scholars adhering

to semiological or cognitivist approaches have all dismissed Bazin's ontological belief in film's

immediate access to, and correspondence with, empirical reality. Casting a retrospective glance at

this almost unanimous rejection of Bazin, Philip Rosen has more recently argued, in "Change

Mummified": Cinema, Historicity, Theory (2001), that such a repudiation was a veritable collective

obsession that allowed the then-new subject of film studies to be established as a consistent

discipline in its own right. In other words, Bazin's rejection was itself a kind of founding act.

Nowadays, it is perhaps easier to look back and discover what the writings by the co-

founder of Cahiers du cinéma were really about. Yet, to repeat, these writings are still basically little

known to date. Not long ago, Dudley Andrew and Hervé Joubert-Laurencin revived scholarly

interest in this huge amount of neglected work by organizing, on the occasion of the ninetieth

anniversary of Bazin's death in 2008, two international conferences on the topic of "unknown

Bazin." One took place at Yale University ("Opening Bazin") and the other at the Université

Paris VII-Diderot ("Ouvrir Bazin"); and two-and-a-half years later, an edited collection (Opening

Bazin) was published that gathered most of the talks given at those venues.

Indeed, reading the large number of "unknown"--unanthologized or untranslated--

articles by Bazin leaves no doubt: he was not a naïve theorist. His was not a shallow and simplis-

tic faith in some magical transubstantiation of reality directly on screen. Indeed, much of his

writing prefigures the very theoretical movements, from the 1970s and after, which--importing

concepts from disciplines like psychoanalysis, gender studies, anthropology, literary theory,

semiotics, and linguistics to fashion structuralist, post-structuralist, Marxist, and feminist film

theories--opposed what they saw as Bazin's exclusively realist bias. Thus we can now dismiss the

standard opinion according to which Bazin advocated cinema's photographic ability to reproduce

reality--a dismissal that has in fact already been validly formulated in various places by several

scholars. One of the most interesting attempts to do so is Daniel Morgan's "Rethinking Bazin"

(2006), a careful review of all the excerpts in Bazin's written works that talk about cinema's

photographic, replicative dimension. Morgan noticed that, on this subject, Bazin says different

things in different places. Whatever definition of cinema we can infer from Bazin's writings,

photographic objectivity has no essential place in it.

What is perhaps more important is that Bazin himself repeatedly stigmatized the so-called

"photographic objectivity" of the cinema. His articles are replete with warnings like the following:

"It is not enough to shoot in the streets to `make it real.' All in all, the script is more important

than the fetishism of natural décor" (Le Parisien libéré, 18 May 1949); "Artifice and lie can walk

down the streets as well as they can haunt the studios, because reality is not just in the appearance

of things, but in man's heart. Ultimately, it is also a matter of the screenplay" (Le Parisien libéré, 16

November 1949); "The realist destiny of cinema--innate in photographic objectivity--is

fundamentally equivocal, because it allows the `realization' of the marvelous. Precisely like a

dream. The oneiric character of cinema, linked to the illusory nature of its image as much as to its

lightly hypnotic mode of operation, is no less crucial than its realism" (Les Lettres françaises, 25 July

1947).

In a word, cinema functions in such a way that we can believe (to some extent) that what

we see on screen is true. But this does not mean that cinema can reproduce truth; on the contra-

ry, its innate realism cannot be separated from its potential to create believable illusions. Hence,

cinematic realism is not a naïve acknowledgement of what reality actually is; rather, it is dialecti-

cally linked to illusion--i.e., to its own fundamental condition. Indeed, in his one and only essay

explicitly revolving around the subject of photography, "The Ontology of the Photographic

Image," Bazin defines it as intrinsically surrealist because it is a hallucination that is also a fact.

Only ostensibly the ultimate realist, the author of Qu'est-ce que le cinéma? has in fact often

been accused of being an idealist critic. This is not incorrect: in many ways Bazin does share the

philosophical perspective of idealism, according to which matter does not exist in its own right; it

is in fact a product of mind, and therefore all objects are mental creations and the whole world

itself--the sum of all objects--is a mental construction. But the view that Bazin is an idealist is

not correct enough, either, since one should assume all due consequences from such a premise.

The most obvious (but also the least negligible) of these is that, precisely as an idealist, Bazin's

notion of reality is by no means simple. It is not limited simply to what can be found "out there,"

either in the "real" world or the world as the mind projects it. Indeed, Bazin's idealism quickly

becomes a form of Catholic phenomenology, according to which any attempt at a faithful

reflection of reality is really just a prerequisite--ultimately merely a pretext--for finding a

transcendental or even theological truth that purportedly exists in reality and is "miraculously"

revealed by the camera.

Despite common opinion from the 1960s through the 1980s--opinion that the 2008

Yale/Paris conferences, followed by the 2011 publication of their proceedings, have played a

strong role in countering--Bazin paid a lot of attention to social, cultural, political, and economic

contexts in his consideration of individual films. He frequently mentions in this volume, for

example, the effect of the profit motive on the artistic quality of Hollywood productions and

how, "despite its initially private character, filmmaking behaves, by reason of the target audience

at which it ultimately aims, nearly like state radio." Bazin also describes how technological

developments change the expectations of audiences and how, as a result, one artistic form can

become more convincing than another.

If cinema seems to be the quintessential realistic medium, according to Bazin, this is pre-

cisely because it can grasp economic, cultural, political, and psychological realities--every reality,

in short, connected to the fact of human beings living together in one society. In other words,

cinema's ontological realism is not a matter of reproducing empirical reality as such; "reality" is

much more than the sum of its empirical parts. As Bazin himself writes in "For a Realistic

Aesthetic," translated in French Cinema of the Occupation and Resistance (1981), "The cinematic

aesthetic will be social, or else will do without an aesthetic." Hence in the essay "Death on the

Silver Screen" (1949, translated in Bazin on Global Cinema, 1948-1958 [2014]), one can read of

being forced "into a state of consciousness and then responsibility" in the face of impending

death--the origin, according to Bazin, of both time and life--and clearly perceive the social

underpinnings of postwar Sartrean existentialism. And the reader of Bazin on Global Cinema will

find new relevance in Bazin's humorous defense of a 1950, American-made version of the

French classic Cyrano de Bergerac, so common has it become in the twenty-first century for the

artists of one society or culture to recycle the artistic icons from another, sometimes quite

different, one.

Related to this matter of cross-fertilization, and to return to a point I made earlier, Bazin

loved to probe the system that brought films into being and sustained them in the cultural

imagination, for as a daily critic he took in every sort of movie imaginable, if mainly mediocre

features. Rather than try to filter from these a few crystals, he aimed to understand the entire

process by which they got made, attained their shape, and achieved their value--whatever that

might be. This meant genre study in the broadest sense. What psychological knot does each genre

pick at? How have later variants grown out of earlier examples in the genre or drawn on contem-

poraneous types? What pre-cinematic avatars connect these films to longstanding cultural

concerns? When, for example, in a 1951 article in L'Esprit titled "Marcel Carné and Disembodi-

ment" (translated in French Cinema from the Liberation to the New Wave, 1945-1958 [2012]), Bazin

wrote about this auteur on the occasion of his forgettable film Juliette ou la clef des songes (Juliet, or the

Key to Dreams, 1951), it was not as a transcendent artist whose themes and sensibility deserved

deep reflection; instead he used Carné's career to ponder how genres and styles move into and

out of phase with history and with the public taste.

To Bazin the cinema was thus a vast ecological system that was endlessly interesting in its

interdependencies and fluctuations. He was always ready to celebrate the creativity of the

director, but "the genius of the system" he found even more fascinating. Only an interdisciplinary

or comparative approach could begin to understand why even modest directors made such

satisfying films during the so-called classical period, a period that Bazin could sense was on its

way out. His protégés might exercise an elitist politique des auteurs, but he shamed them with their

obligation to keep in mind technology, economics, sociology, and, yes, actual politics, alongside

the usual approaches to film criticism borrowed from literary studies and art history.

Bazin knew quite a lot about each of these subjects and methods, but his particular genius

lay in identifying some revealing textual attributes of whatever film was before him, then using

these to leverage a weighty understanding of the work as a whole, or the filmmaker, or the genre,

or the general conditions of filmmaking and reception. In effect, he searched for the questions to

which films appear to stand as answers, letting stylistic details in the pictures themselves call up

his extraordinary range of knowledge. No one before him, and no one since, has ever written

about film in quite the same way, or on quite the same level. Indeed, Bazin can be regarded as the

aesthetic link between film critics and film theorists. During his relatively short writing career, his

primary concern, again, was not to answer questions but to raise them, not to establish cinema as

an art but to ask, "What is art?" and "What is cinema?"

In this Bazin was the quintessential teacher, ever paying attention to pedagogy, as his "lec-

ture" or "presentation" on Carné's Le Jour se lève (Daybreak, 1939)--translated in Bazin on Global

Cinema--shows. Himself having failed to pass the French state licensing exam, after which he

would have become an actual classroom teacher, Bazin was nonetheless teacherly in his belief

that film criticism should help audience members to form their own critical conscience, rather

than providing a ready-made one for them or merely judging films in the audience's place.

Through a kind of sociological psychoanalysis as much as through critical analysis, the film critic

should educate moviegoers to deal consciously and responsibly with the "dreams" on screen that

are offered to them as their own. (As a rule, Bazin's "social psychoanalyses" through film were

generated by a relevant and enlightening but barely discernible detail detected in the film's

texture, which then stimulated a more general "diagnosis" on his part.) And this is possible only

if viewers get to know how those dreams, with their secret reality, work--that is, how they are

expressed through every formal, technical, social, and aesthetic aspect of the cinema.

In other words, film criticism should not simply unveil how a cinematic text and the

grand cinematic machine work; it should investigate how social myths and ideological formula-

tions are foreign and intimate to the viewer at the same time. Such myths and formulations, albeit

illusory, are "real" or "true" because they concretely affect the life and feelings of people, who

respond accordingly. Hence the aim of postwar film culture in general, according to Bazin, was

"to defend the public against this form of abuse of consciousness, to wake the audience from its

dream . . . to render the public sensible to the needs or illusions that were created in it as a

market, for the sole purpose of providing the opium sellers with an outlet for their drug" (Les

Lettres françaises, 25 July 1947).

What follows, in André Bazin: An Annotated Bibliography, is a comprehensive, descriptive

Bazin bibliography--for the first time in print. This reference tool thus represents a testament to

the continuing influence of one of the world's pre-eminent critical thinkers, as well as a substan-

tial contribution to the still growing academic discipline of cinema studies.

A BAZIN BIBLIOGRAPHY

Books by André Bazin in French (arranged chronologically, from the latest publication to

the earliest)

Bazin, André. Le Cinéma français de la Libération à la Nouvelle Vague (1945-1958). Paris:

Éditions de l'Étoile, 1983. Reissued by Cahiers du cinéma in the collection "Petite

Bibliothèque"

(1998).

Bazin, André. Le Cinéma de la cruauté: Erich von Stroheim, Carl-Theodor Dreyer, Preston

Sturges, Luis Buñuel, Alfred Hitchcock, Akira Kurosawa. Paris: Flammarion, 1975.

Reissued by Flammarion in 1987.

Bazin, André. Le Cinéma de l'Occupation et de la Résistance. Paris: Union Générale d'éditions,

1975.

Bazin, André, et Éric Rohmer. Charlie Chaplin. Paris: Éditions du Cerf, 1973. Re-issued by

Ramsay Poche Cinéma, Paris, in 1985, and then by Cahiers du cinéma in the collection

"Petite Bibliothèque" (2000).

Bazin, André. Orson Welles. Paris: Éditions du Cerf, 1972. Reissued by Ramsay Poche Cinéma,

Paris, in 1985; by Cahiers du cinéma/Éditions de l'Étoile in 1998; and then by Cahiers du

cinéma again in the collection "Petite Bibliothèque" (2003).

Bazin, André, et al. La politique des auteurs, Entretiens Avec Dix Cineastes. Paris: Éditions

Champ libre, 1972. Reissued by Éditions de l'Étoile in 1984.

Bazin, André. Jean Renoir. Paris: Éditions Champ libre, 1971.

Bazin, André. Qu'est-ce que le cinéma? In four volumes: I. Ontologie et langage (1958); II. Le

Cinéma et les autres arts (1959); III. Cinéma et sociologie (1961); IV. Une Esthétique de

la réalité: le néoréalisme (1962). Paris: Éditions du Cerf, 1958-1962 (reissued in a new

edition, 2003). Abbreviated edition, Qu'est-ce que le cinéma? Paris: Éditions du Cerf,

1975 (in one volume containing 27 of the original 64 articles; rpt. 2000).

A Comprehensive Bibliography of Articles and Reviews by Bazin in Their

Original Language (arranged alphabetically)

Bazin wrote, in total, around 2,600 articles, essays, and reviews, in Le Parisien libéré, L'Esprit,

France-Observateur (L'Observateur), Cahiers du cinéma, Radio-Cinéma-Télévision (Télérama), L'Éducation

nationale, Arts, D.O.C. Éducation Populaire (Peuple et Culture), L'Écran français, Les Temps modernes,

Ciné-club, L'Information universitaire, L'âge nouveau, Revue du cinéma, Courrier de l'étudiant, Poésie 45, and

Revue des lettres modernes, among other journals, magazines, newspapers, and weeklies. Because he

made his living from journalism, Bazin would often review the same film for multiple

publications (occasionally within a day of each other)--sometimes with only minor variations,

sometimes with major changes or additions; then, some time later, he would publish an extended

essay on the very same film in yet another journal or magazine. Although frowned upon today,

such a practice was not uncommon in the 1940s and 1950s: James Agee, for example, reviewed

the same films for The Nation and Time. As late as the 1960s, Stanley Kauffmann was reviewing

the same films for The New Republic and Playboy, but for the latter magazine he used a pseudonym.

(Bazin's pseudonym was "Florent Kirsch," an amalgam of his son's first name and his wife's

maiden name.) I have recorded all such instances of Bazin's "repeat" reviews, for the sake of

openness, clarity, and comprehensiveness.

Some of the following citations are incomplete because I did not have every article in hand as I

was preparing this bibliography: a number of them therefore either do not have a page range or

the volume or issue number is missing. In all cases, however, the article can be located on the

basis of the information provided. When films are cited, the French title is given first and then

the film's title in its original language, if that language is not French; the film's title is followed by

its director's name and the year of release (or the year of the film's making, if the date of release is

followed by another date in parentheses).

"À Biarritz." Le Parisien libéré, 1521 (August 4, 1949), 2,000 characters.

directors cited: Cocteau, Jean; McLaren, Norman.

"À Biarritz Cocteau joue du tambour pour les paysans basques et participe activement aux débats

publics [L'Homme du Sud (The Southerner)]." Le Parisien libéré, 1519 (August 2, 1949), 2,000 charac-

ters.

film analyzed: Homme du Sud (L')/The Southerner, Renoir, Jean, 1945.

films cited: Lumière d'été, Grémillon, Jean, 1942; Règle du jeu (La), Renoir, Jean, 1939; Et tournent les

chevaux de bois/Ride the Pink Horse, Montgomery, Robert, 1947.

directors cited: Cocteau, Jean; Montgomery, Robert.

"À Bruxelles: Après quinze jours de compétition les dés sont jetés." Le Parisien libéré, 862 (June

25, 1947), 1,700 characters.

films cited: Diable au corps (Le), Autant-Lara, Claude, 1947; Silence est d'or (Le), Clair, René, 1947;

Plus belles années de notre vie (Les)/The Best Years of Our Lives, Wyler, William, 1946; Jody et le faon/The

Yearling, Brown, Clarence, 1947; Vie est belle (La)/It's a Wonderful Life, Capra, Frank, 1946; Étoile des

étoiles (L')/Down to Earth, Hall, Alexander, 1947; À chacun son destin/To Each His Own, Leisen,

Mitchell, 1946; Défunt récalcitrant (Le)/Here Comes Mr. Jordan, Hall, Alexander, 1941; Perla (La)/La

perle, Fernández, Emilio, 1947; Mésalliance/The Courtneys of Curson Street, a.k.a. Kathy's Love Affair,

Wilcox, Herbert, 1947; Cavalcade, Lloyd, Frank, 1933; Païsa/Paisà, Rossellini, Roberto, 1946;

Sciuscià, De Sica, Vittorio, 1946.

"À Bruxelles, William Wyler . . . fait du cinéma et le festival révèle les paysages." Le Parisien libéré,

859 (June 21, 1947), 1,300 characters.

films cited: Plus belles années de notre vie (Les)/The Best Years of Our Lives, Wyler, William, 1946; Bush

Christmas, Smart, Ralph, 1947; Émile et les détectives/Emil und die Detektive, Lamprecht, Gerhard,

1931; Route est ouverte (La)/The Overlanders, Watt, Harry, 1946.

"À Cannes Le Ballon rouge est le héros du Festival officiel; Buñuel et Orson Welles justifient le

Festival officieux." Le Parisien libéré, 3623 (May 5, 1956), 2,000 characters.

films cited: Walk into Hell, a.k.a. Walk into Paradise/Odyssée du Capitaine Steve (L'), Robinson, Lee,

and Pagliero, Marcello, 1956; Cheval fantôme (Le)/Maboroshi no uma, Shima, Koji, 1955; Ballon rouge

(Le), Lamorisse, Albert, 1956; Crin blanc: Le cheval sauvage, Lamorisse, Albert, 1953; Cela s'appelle

l'aurore, Buñuel, Luis, 1956; Dossier secret, a.k.a. Monsieur Arkadin/Confidential Report, a.k.a. Mr.

Arkadin, Welles, Orson, 1955; Citizen Kane, Welles, Orson, 1941.

"À Cannes, le cinéma monte au ciel mais la pluie en tombe [Montée au ciel (Subida al cielo)]." Le

Parisien libéré, 2378 (May 7, 1952), 3,400 characters.

film analyzed: Montée au ciel (La)/Subida al cielo, Buñuel, Luis, 1952.

film cited: Olvidados (Los), a.k.a. Les Réprouvés and Pitié pour eux/Los Olvidados, Buñuel, Luis, 1950.

"À Cannes, deux chefs-d'oeuvre [Quand passent les cigognes (Letyat zhuravli); Mon Oncle

]." L'Éducation

nationale, 20 (May 29, 1958), 5,800 characters.

films analyzed: Quand passent les cigognes/Letyat zhuravli, Kalatozov, Mikhail, 1958; Mon Oncle, Tati,

Jacques, 1958.

films cited: Goha, Baratier, Jacques, 1958; Visages de bronze, Taissant, Bernard, 1958; Empire de Soleil

(L')/Impero del sole (L'), Gras, Enrico, 1956; Au seuil de la vie/Nära livet, Bergman, Ingmar, 1958;

41ème (Le)/Sorok pervyy, Chukhrai, Grigori, 1956; Malva, Braun, Vladimir, 1957; Vacances de

Monsieur Hulot (Les), Tati, Jacques, 1953; Jour de fête, Tati, Jacques, 1949; Temps modernes

(Les)/Modern Times, Chaplin, Charles, 1936; À nous la liberté, Clair, René, 1931.

"À Cannes, entre une réception et un incident technique Jean-Pierre Aumont et Maria Montez

cherchent à faire oublier l'absence des autres vedettes internationales [María Candelaria]." Le

Parisien libéré, 658 (September 25, 1946), 1,400 characters.

film analyzed: María Candelaria, Fernández, Emilio, 1943.

films cited: Partie de campagne (Une), Renoir, Jean, 1946 (1936); Donald's Double Trouble, Disney,

Walt, 1946; Pluto's Kid Brother, Disney, Walt, 1946; Poison (Le)/The Lost Weekend, Wilder, Billy,

1945; Symphonie pastorale (La), Delannoy, Jean, 1943.

"À Cannes: Faute de se battre pour les films, on s'est mitraillé avec des fleurs

[Bienvenue Monsieur

Marshall (Bienvenido Mr. Marshall)

]." Le Parisien libéré, 2679 (April 24, 1953), 3,500 characters.

film analyzed: Bienvenue Monsieur Marshall/Bienvenido Mr. Marshall, Berlanga, Luis García, 1952.

films cited: Salaire de la peur (Le), Clouzot, Henri-Georges, 1953; Vacances de Monsieur Hulot (Les),

Tati, Jacques, 1953; Sans peur, sans pitié/O Cangugaceiro, Barreto, Victor Lima, 1953; Renne blanc

(Le)/Valkoinen peura, Blomberg, Erik, 1952; Enfants d'Hiroshima (Les)/Gembaku no ko, Shindo,

Kaneto, 1952; Lili, Walters, Charles, 1953.

"À Cannes, les Américains avec La Loi du seigneur [Friendly Persuasion] ont abattu leur dernière

carte." Le Parisien libéré, 3941 (May 14, 1957), 1,800 characters.

films cited: Condamné à mort s'est échappé (Un), ou Le vent souffle où il veut, Bresson, Robert, 1956; Loi

du seigneur (La)/Friendly Persuasion, Wyler, William, 1956; Complainte du sentier (La)/Pather Panchali,

Ray, Satyajit, 1955.

"À Cannes, l'Italie marque un nouveau point et les jeux seront bientôt faits [Le Manteau (Il

cappotto)]." Le Parisien libéré, 2380 (May 9, 1952), 3,100 characters.

film analyzed: Manteau (Le)/Il cappotto, Lattuada, Alberto, 1952.

films cited: Miracle à Milan/Miracolo a Milano, De Sica, Vittorio, 1951; Umberto D., De Sica,

Vittorio, 1952; Deux sous d'espoir/Due soldi di speranza, Castellani, Renato, 1952; Gendarmes et

voleurs/Guardie e ladri, Monicelli, Mario, and Steno (a.k.a. Stefano Vanzina), 1952; Atterrissage

forcé/Nødlanding, Skouen, Arne, 1952; Pour une nuit d'amour, a.k.a. Passionnelle, Gréville, Edmond T.,

1947; Petit monde de Don Camillo (Le), a.k.a. Don Camillo, Duvivier, Julien, 1952.

"À Cannes, les jeux sont faits: Les jurés auront à choisir entre les grandes et les petites nations."

Le Parisien libéré, 3317 (May 11, 1955), 2,800.

films cited: À l'Est d'Eden/East of Eden, Kazan, Elia, 1955; Carmen Jones, Preminger, Otto, 1954;

Racines/Raices, Alazraki, Benito, 1954; Stella, femme libre/Stella, éleftéri yénéka, Cacoyannis, Michael,

1955.

directors cited: Dassin, Jules; Vasilyev, Sergei.

"À Cannes, journée consacrée au néo-réalisme franco-américain avec le Rififi et Marty qui ont

remporté un vif succès." Le Parisien libéré, 3308 (April 30, 1955), 1,600 characters.

films cited: Du rififi chez les hommes, a.k.a. Rififi, Dassin, Jules, 1954; Héros de Chipka/Geroite na

Shipka, Vasilyev, Sergei, 1954; Princesse Sen/Sen-hime, Kimura, Keigo, 1954; Porte de l'enfer

(La)/Jigokumon, Kinugasa, Teinosuke, 1953; Marty, Mann, Delbert, 1955; Cité sans voiles (La)/The

Naked City, Dassin, Jules, 1948; Homme est passé (Un)/Bad Day at Black Rock, Sturges, John, 1954.

directors cited: McLaren, Norman; Fischinger, Oskar; Lye, Len.

"À Cannes, Leslie Caron et Jacques Tati: Lili et Les Vacances de Monsieur Hulot." Le Parisien libéré,

2678 (April 23, 1953), 3,100 characters.

films analyzed: Lili, Walters, Charles, 1953; Vacances de Monsieur Hulot (Les), Tati, Jacques, 1953.

films cited: Américain à Paris (Un)/An American in Paris, Minnelli, Vincente, 1951; Enfants

d'Hiroshima (Les)/Gembaku no ko, Shindo, Kaneto, 1952.

"À Cannes on cherche encore le candidat à la palme d'or." Le Parisien libéré, 3938 (May 10, 1957),

1,800 characters.

films cited: Ils aimaient la vie/Kanal, Wajda, Andrzej, 1957; Moulin de la chance (Le)/La `Moara cu

noroc', Iliu, Victor, 1955; Quivitoq, Balling, Erik, 1956; Rashomon, Kurosawa, Akira, 1950; Sept

samouraïs (Les)/Shichinin no samurai, Kurosawa, Akira, 1954; Vivre/Ikiru, Kurosawa, Akira, 1952;

Riz amer/Riso amaro, De Santis, Giuseppe, 1949; Espoir (L')/Sierra de Teruel, Malraux, André, 1945

(1939); Fille du fleuve (La)/La donna del fiume, Soldati, Mario, 1955.

"À Cannes, où la France triomphe Bilan du festival international." Le Parisien libéré, 672 (October

10, 1946), 3,800 characters.

films cited: Revenant (Un), Christian-Jaque, 1946; Farrebique (ou Les quatres saisons), Rouquier,

Georges, 1946; Macadam, Blistène, Marcel, 1946.

"À Cannes, où l'on attend toujours de bons films: Pétanque et pêche à la ligne occupent le

festival." Le Parisien libéré, 2374 (May 2, 1952), 1,200 characters.

film cited: Banquet des fraudeurs (Le), Storck, Henri, 1952.

"À Cannes: Quand la haute couture fait concurrence au cinéma." Le Parisien libéré, 663 (October

1, 1946), 1,000 characters.

film cited: Symphonie pastorale (La), Delannoy, Jean, 1943.

"À Cannes, triomphe de la couleur: Affaire de vie ou de mort [A Matter of Life and Death] et Henry V."

Le Parisien libéré, 933 (September 17, 1947), 2,600 characters.

films analyzed: Affaire de vie ou de mort/A Matter of Life and Death, a.k.a. Stairway to Heaven, Powell,

Michael, and Pressburger, Emeric, 1946; Henry V, Olivier, Laurence, 1944.

films cited: Défunt récalcitrant (Le)/Here Comes Mr. Jordan, Hall, Alexander, 1941; Jeux sont faits (Les),

Delannoy, Jean, 1947; Diable au corps (Le), Autant-Lara, Claude, 1947; Passion de Jeanne d'Arc (La),

Dreyer, Carl-Theodor, 1928; Hamlet, Olivier, Laurence, 1948.

"À chacun selon sa faim." Radio-Cinéma-Télévision, 405 (October 20, 1957), 1,000 characters.

directors cited: Mann, Anthony; Truffaut, François.

"À cor et à cri [Hue and Cry]." Le Parisien libéré, 1185 (July 7, 1948), 700 characters.

film analyzed: À cor et à cri/Hue and Cry, Crichton, Charles, 1946.

films cited: Émile et les détectives/Emil und die Detektive, Lamprecht, Gerhard, 1931; Nous les gosses,

Daquin, Louis, 1941.

"À deux jours du palmarès la France et l'U.R.S.S. demeurent les seuls prétendants sérieux." Le

Parisien libéré, 4255 (May 17, 1958), 1,500 characters.

director cited: Duras, Marguerite.

"À l'Est d'Eden [East of Eden]: Si Genèse savait." Le Parisien libéré, 3461 (October 27, 1955), 1,600

characters.

film analyzed: À l'Est d'Eden/East of Eden, Kazan, Elia, 1955.

"À l'Est d'Eden [East of Eden] et Je suis un sentimental." France-Observateur, 286 (November 3, 1955),

3,900 characters.

films analyzed: À l'Est d'Eden/East of Eden, Kazan, Elia, 1955; Je suis un sentimental, Berry, John,

1955.

films cited: Marty, Mann, Delbert, 1955; Ça va barder, Berry, John, 1954; Femmes s'en balancent (Les),

Berry, John, 1955.

directors cited: De Sica, Vittorio; De Filippo, Eduardo.

"À Jean Gabin, le prix citron de la télévision." Radio-Cinéma-Télévision, 160 (February 8, 1953),

2,000 characters.

"À Knokke-le-Zoute, Gérard Philipe se passionne pour les films expérimentaux." Le Parisien

libéré, 1497 (July 7, 1949), 2,000 characters.

films cited: Gigi, Audry, Jacqueline, 1949; Maison des braves (La), a.k.a. Je suis un nègre/Home of the

Brave, Robson, Mark, 1949; Petit noir tranquille (Le)/The Quiet One, Meyers, Sidney, 1949; Quartet,

Annakin, Ken, Crabtree, Arthur, French, Harold, and Smart, Ralph, 1948; Kalpana, Shankar,

Uday, 1948; Olivia, a.k.a. Quality Street, Stevens, George, 1937; Jeunes filles en uniforme/Mädchen in

Uniform, Sagan, Léondine, and Froelich, Carl, 1931.

directors cited: Melville, Jean-Pierre; Cocteau, Jean; Cayatte, André; Laroche, Pierre.

"À Locarno le premier film d'un jeune réalisateur français reçoit le prix de la mise en scène [Le

Beau Serge]." Le Parisien libéré, 4329 (August 12, 1958), 1,000 characters.

film analyzed: Beau Serge (Le), Chabrol, Claude, 1958.

directors cited: Hitchcock, Alfred; Renoir, Jean.

"À mi-course du Festival de Berlin: Le cinéma français entre en lice [Les Aventures de Monsieur

Pickwick (The Pickwick Papers); Capitaine Paradis (The Captain's Paradise); Là où se dressent les cheminées;

Magie verte (Magia verde); Les Vacances de Monsieur Hulot; Les enfants d'Hiroshima (Gembaku no ko); Les

Procès à la ville-Coupables (Processo alla città); Sans peur, sans pitié (O Cangugaceiro)]." Le Parisien libéré,

2731 (June 25, 1953), 3,300 characters.

films analyzed: Aventures de Monsieur Pickwick (Les)/The Pickwick Papers, Langley, Noel, 1952;

Capitaine Paradis/The Captain's Paradise, Kimmins, Anthony, 1953; Magie verte/Magia verde, Napoli-

tano, Gian Gaspare, 1953; Vacances de Monsieur Hulot (Les), Tati, Jacques, 1953; Enfants d'Hiroshima

(Les)/Gembaku no ko, Shindo, Kaneto, 1952; Procès à la ville-Coupables (Les)/Processo alla città, Zampa,

Luigi, 1952; Sans peur, sans pitié/O Cangugaceiro, Barreto, Victor Lima, 1953.

directors cited: Méliès, Georges; Lumière, Auguste, and Lumière, Louis.

"À l'ombre des potences [Run for Cover]." France-Observateur, 282 (October 6, 1955), 3,100 characters.

film analyzed: À l'ombre des potences/Run for Cover, Ray, Nicholas, 1955.

films cited: Amants de la nuit (Les)/They Live by Night, Ray, Nicholas, 1948; Johny Guitare/Johnny

Guitar, Ray, Nicholas, 1954; Bronco Apache/Apache, Aldrich, Robert, 1954; Vera Cruz, Aldrich,

Robert, 1954; Homme des vallées perdues (L')/Shane, Stevens, George, 1953; Train sifflera trois fois

(Le)/High Noon, Zinnemann, Fred, 1952.

"À l'ombre des potences [Run for Cover]: La violence ne paye pas." Le Parisien libéré, 3436 (September

28, 1955), 2,200 characters.

film analyzed: À l'ombre des potences/Run for Cover, Ray, Nicholas, 1955.

films cited: Train sifflera trois fois (Le)/High Noon, Zinnemann, Fred, 1952; Johny Guitare/Johnny

Guitar, Ray, Nicholas, 1954.

"À l'Ouest quoi de nouveau?" Journées de Mulhouse, 16 (January 17, 1956), 6,200 characters.

films cited: Homme des vallées perdues (L')/Shane, Stevens, George, 1953; Chevauchée fantastique

(La)/Stagecoach, Ford, John, 1939; Train sifflera trois fois (Le)/High Noon, Zinnemann, Fred, 1952;

Homme de la plaine (L')/The Man from Laramie, Mann, Anthony, 1955; Bronco Apache/Apache,

Aldrich, Robert, 1954.

"À propos de Cannes (Histoire du Festival de 1946 à 1952)." Cahiers du cinéma, n. 22 (April 1953),

pp. 55-58/13,500 characters.

films cited: Symphonie pastorale (La), Delannoy, Jean, 1946; Journal d'un curé de campagne (Le),

Bresson, Robert, 1951.

"À propos de Crime et châtiment: Devrait-on enregistrer le direct?" Radio-Cinéma-Télévision, 285 (July

3, 1955), p. 35/3,200 characters.

film analyzed: Crime et châtiment, Lampin, Georges, 1956.

directors cited: Huston, John; Ray, Nicholas; Zinnemann, Fred; Stevens, George.

"À propos de l'échec américain au Festival de Bruxelles." L'Esprit, XV, n. 137 (September 1947),

pp. 28-32/19,600 characters.

films cited: Rome, ville ouverte/Roma, città aperta, Rossellini, Roberto, 1945; Femme du Boulanger (La),

Pagnol, Marcel, 1938; Citizen Kane, Welles, Orson, 1941; María Candelaria, Fernández, Emilio,

1943; Trois Mousquetaires (Les)/Los tres mosqueteros, Saraceni, Julio, 1945; Antoine et Antoinette,

Becker, Jacques, 1947; Maudits (Les), Clément, René, 1946; Quai des Orfèvres, Clouzot, Henri-

Georges, 1947; Frères Bouquinquants (Les), Daquin, Louis, 1947; Non coupable, Decoin, Henri, 1947;

Hellzapoppin', Potter, Hank C., 1941; Back Street, Stevenson, Robert, 1941; Gilda, Vidor, Charles,

1946; Ange bleu (L')/Der blaue Engel, Sternberg, Josef von, 1930; Plus belles années de notre vie

(Les)/The Best Years of Our Lives, Wyler, William, 1946; Jody et le faon/The Yearling, Brown, Clarence,

1947; Vie est belle (La)/It's a Wonderful Life, Capra, Frank, 1946.

directors cited: Duvivier, Jean; Renoir, Jean; Carné, Marcel.

"À propos de L'Espoir [Sierra de Teruel]: ou du style au cinéma." Poésie 45, 26-27 (August 1945),

25,000 characters. Partially reprinted in Le Cinéma de l'Occupation et de la Résistance. Paris: Union

Générale d'éditions, 1975.

film analyzed: Espoir (L')/Sierra de Teruel, Malraux, André, 1945 (1939).

films cited: Furie/Fury, Lang, Fritz, 1936; Tour au large (Un), Grémillon, Jean, 1926; Remorques,

Grémillon, Jean, 1941; Nogent, eldorado du dimanche, Carné, Marcel, 1929; Jour se lève (Le), Carné,

Marcel, 1939; Entr'acte, Clair, René, 1924; Tour (La), Clair, René, 1928; Quatorze juillet, Clair, René,

1933; À propos de Nice, Vigo, Jean, 1930; Atalante (L'), a.k.a. Le chaland qui passe, Vigo, Jean, 1934;

Crime de Monsieur Lange (Le), Renoir, Jean, 1936; Règle du jeu (La), Renoir, Jean, 1939.

"À propos de Human Comedy [Et la vie continue]." Poésie 45, 23 (February 1945), 8,400 characters.

film analyzed: Et la vie continue/The Human Comedy, Brown, Clarence, 1943.

films cited: Autant en emporte le vent/Gone with the Wind, Fleming, Victor, 1939; Rebecca, Hitchcock,

Alfred, 1940; Des Souris et des Hommes/Of Mice and Men, Milestone, Lewis, 1939; Raisins, la colère

(Les)/The Grapes of Wrath, Ford, John, 1940; Ève a commencé/It Started with Eve, Koster, Henry,

1941; My Sister Eileen, Hall, Alexander, 1942; Mr. and Mrs. Smith, Hitchcock, Alfred, 1941;

Extravagant Monsieur Deeds (L')/Mr. Deeds Goes to Town, Capra, Frank, 1936; Donald Duck/Der

Fuehrer's Face, Disney, Walt, 1942; Pourquoi nous combattons/Why We Fight, Capra, Frank, Litvak,

Anatole, and Veiller, Anthony, 1942-45; Insoumise (L')/Jezebel, Wyler, William, 1938.

directors cited: Ford, John; Vidor, King; Sturges, Preston; Chaplin, Charles; Leenhardt, Roger.

"À propos de Martin Roumagnac et Jean Gabin." L'Esprit, 130 (February 1947), 3,000 characters.

film analyzed: Martin Roumagnac, Lacombe, Georges, 1946.

films cited: Quai des Brumes (Le), Carné, Marcel, 1938; Jour se lève (Le), Carné, Marcel, 1939; Pépé le

Moko, Duvivier, Julien, 1936.

"À propos de Pourquoi nous combattons [Why We Fight]: Histoire, documents, et actualités." L'Esprit,

XIV, n. 123 (June 1946), pp. 1022-1026/11,800 characters, in Qu'est-ce que le cinéma?, volume I:

"Ontologie et langage" (Éditions du Cerf 1958), pp. 30-36.

film analyzed: Pourquoi nous combattons/Why We Fight, Capra, Frank, Litvak, Anatole, and Veiller,

Anthony, 1942-45.

films cited: Antoine et Cléopatre/Marcantonio e Cleopatra, Guazzoni, Enrico, 1913; César et Cléo-

pâtre/Caesar and Cleopatra, Pascal, Gabriel, 1945; Intolérance/Intolerance, Griffith, D. W., 1916; Sortie

des usines Lumière (La), Lumière, Auguste, and Lumière, Louis, 1895.

directors cited: Leenhardt, Roger; Vertov, Dziga.

"À propos de `Psychologie du Gros lot [Christmas in July]'." Radio-Cinéma-Télévision, 459 (November

2, 1958), 1,200 characters.

film analyzed: Gros lot (Le)/Christmas in July, Sturges, Preston, 1940.

"À propos de réalisme." L'Information universitaire, n. 1188 (April 15, 1944), 4,100 characters.

Reprinted in Le Cinéma de l'Occupation et de la Résistance. Paris: Union Générale d'éditions, 1975.

films cited: Visiteurs du soir (Les), Carné, Marcel, 1942; Corbeau (Le), Clouzot, Henri-Georges, 1943;

Éternel retour (L'), Delannoy, Jean, 1943; Tabou/Tabu, Murnau, F. W., and Flaherty, Robert, 1931.

directors cited: Linder, Max; Lumière, Auguste, and Lumière, Louis.

"À propos des reprises." Cahiers du cinéma, I, n. 5 (September 1951), pp. 52-56/11,500 characters.

films cited: Ruée vers l'or (La)/The Gold Rush, Chaplin, Charles, 1925; Lumières de la ville (Les)/City

Lights, Chaplin, Charles, 1931; À nous la liberté, Clair, René, 1931; Drôle de drame, Carné, Marcel,

1937; Citizen Kane, Welles, Orson, 1941; Jour se lève (Le), Carné, Marcel, 1939; 39 Marches (Les)/The

39 Steps, Hitchcock, Alfred, 1935; Corbeau (Le), Clouzot, Henri-Georges, 1943; Boulevard du

crépuscule (Le)/Sunset Boulevard, Wilder, Billy, 1951; Oh! Quel mercredi/Mad Wednesday, Sturges,

Preston, 1947;

Drôle de drame, Carné, Marcel, 1937;

Juliette ou la clef des songes, Carné, Marcel, 1951;

Nuit à l'opéra (Une)/A Night at the Opera, Wood, Sam, 1933; Back Street, Stevenson, Robert, 1941;

Histoire d'un amour/Back Street, Stahl, John M., 1932; Sortie des usines Lumière, Lumière, Auguste, and

Lumière, Louis, 1895; Camille, Cukor, George, 1936; Reine Christine (La)/Queen Christina, Mamou-

lian, Rouben, 1953; Vive le sport!/The Freshman, Lloyd, Harold, 1925; Queen Kelly, Stroheim, Erich

von, 1929.

director cited: L'Herbier, Marcel.

"À propos de Van Gogh: L'espace dans la peinture et le cinéma." Arts, 210 (April 15, 1949),

5,500 characters.

films cited: Michelangelo, Oertel, Curt, 1938; Rubens, Storck, Henri, and Haesaerts, Paul, 1948; Van

Gogh, Resnais, Alain, 1948; Rodin, Lucot, René, 1942; Il paradiso perduto, a.k.a. Bosch, Emmer,

Luciano, and Gras, Enrico, 1948; Monde de Paul Delvaux (Le), Storck, Henri, 1946.

directors cited: Marey, Étienne-Jules; Cavalcanti, Alberto; Flaherty, Robert; Ivens, Joris; Vigo,

Jean; Buñuel, Luis; Cocteau, Jean.

"À propos (dilatoires) de Venise." France-Observateur, 123 (September 18, 1952), 1,400 characters.

films cited: Jeux interdits, Clément, René, 1952; Belles de nuit (Les), Clair, René, 1952; Homme

tranquille (L')/The Quiet Man, Ford, John, 1952; Bergère et le ramoneur (La), Grimault, Paul, 1947;

Europe '51/Europa '51, Rossellini, Roberto, 1952; Adorables créatures, Christian-Jaque, 1952.

directors cited: Autant-Lara, Claude; Delannoy, Jean.

"À propos du différence entre Buñuel et Simone Signoret [La Mort en ce jardin]." Radio-Cinéma-

Télévision, 325 (April 8, 1956), 3,000 characters.

film analyzed: Mort en ce jardin (La), Buñuel, Luis, 1956.

films cited: Terre sans pain/Las Hurdes, Buñuel, Luis, 1932; Olvidados (Los), a.k.a. Les Réprouvés and

Pitié pour eux/Los Olvidados, Buñuel, Luis, 1950; Aventures de Robinson Crusoé (Les)/Robinson Crusoe,

Buñuel, Luis, 1954.

"À propos du film de Jean Renoir: French Cancan et la peinture impressionniste." L'Éducation

nationale, 34 (December 8, 1955), 6,400 characters.

film analyzed: French Cancan, Renoir, Jean, 1955.

"À propos du film Le Gaucher [The Left-Handed Gun]." Radio-Cinéma-Télévision, 457 (October 19,

1958), 2,600 characters.

film analyzed: Gaucher (Le)/The Left-Handed Gun, Penn, Arthur, 1958.

films cited: Sept hommes à abattre, a.k.a. Sept hommes restent à tuer/Seven Men from Now, Boetticher,

Budd, 1956; Vallée de la poudre (La)/The Sheepman, Marshall, George, 1958.

"À propos du Pain vivant." France-Observateur, 250 (February 24, 1955), 1,200 characters.

film analyzed: Pain vivant (Le), Mousselle, Jean, 1955.

director cited: Welles, Orson.

"À propos d'un festival de cinéma amateur [Toros et Toreros; La Montagne aux météores]." Cahiers du

cinéma, n. 69 (March 1957), 4,800 characters.

films analyzed: Toros et Toreros, Ratel, Docteur, 1957; Montagne aux météores (La), Bissirieix, M. H.,

1957.

films cited: Torero/Toro, Velo, Carlos, 1956; Hommes de la baleine (Les), Ruspoli, Mario, 1956; Ballon

vole, Dasque, Jean, 1957.

"À propos d'un livre d'Edgar Morin: Le `star system' est toujours vivant [Les Stars, par Edgar

Morin]." France-Observateur, 377 (August 1, 1957), p. 15/5,800 characters.

films cited: Marie du port (La), Carné, Marcel, 1950; Au-delà des grilles, Clément, René, 1949; Pépé le

Moko, Duvivier, Julien, 1937; Quai des brumes, Carné, Marcel, 1938.

directors cited: Malraux, André; Zukor, Adolph.

"À quand un film sur Babel (en version doublée)? [Stromboli]." Radio-Cinéma-Télévision, 48

(December 17, 1950), 2,800 characters.

film analyzed: Stromboli/Stromboli, terra di Dio, Rossellini, Roberto, 1950.

film cited: Dernière chance (La)/Die letzte Chance, Lindtberg, Leopold, 1944.

"À la recherche de la télégénie." Radio-Cinéma-Télévision, 270 (March 20, 1955), 2,000 characters.

director cited: Carné, Marcel.

"À la recherche du temps perdu: Paris 1900." L'Écran français, 118 (September 30, 1947), p.

6/2,200 characters; in Qu'est-ce que le cinéma?, volume I: "Ontologie et langage" (Éditions du Cerf,

1958), pp. 41-43; in Le cinéma français de la Libération à la Nouvelle Vague, 1945-1958 (Paris: Éditions

de l'Étoile [1983], 1998), pp. 241-243.

film analyzed: Paris 1900, Védrès, Nicole, 1947.

"À la recherche d'une nouvelle avant-garde." Almanach du théâtre et du cinéma (1950), 14,500

characters.

films cited: Sang d'un poète (Le), Cocteau, Jean, 1930; Petit noir tranquille (Le)/The Quiet One, Meyers,

Sidney, 1949; Atalante (L'), a.k.a. Le chaland qui passe, Vigo, Jean, 1934; À propos de Nice, Vigo, Jean,

1930; Parents terribles (Les), Cocteau, Jean, 1948; Folies de femmes/Foolish Wives, Stroheim, Erich von,

1921; Petite marchande d'allumettes (La), Renoir, Jean, 1928; Âge d'or (L'), Buñuel, Luis, 1930;

Monsieur Verdoux, Chaplin, Charles, 1947; Chien andalou (Un), Buñuel, Luis, 1929; Entr'acte, Clair,

René, 1924; Citizen Kane, Welles, Orson, 1941; Splendeur des Amberson (La)/The Magnificent Amber-

sons, Welles, Orson, 1942.

directors cited: Rouch, Jean; Rotha, Paul; Grierson, John; Cavalcanti, Alberto; Griffith, D. W.;

Ince, Thomas H.; Linder, Max; Feuillade, Louis; Stroheim, Erich von; Ford, John; Wyler,

William; Feyder, Jacques; Léger, Fernand; Chaumette, René; Bresson, Robert; Clouzot, Henri-

Georges; Ermler, Friedrikh; Youtkévitch, Serge; Sturges, Preston; Capra, Frank.

"À Sao Paulo, festival de la gentillesse." Le Parisien libéré, 2936 (February 19, 1954), 3,500 charac-

ters.

films cited: Julietta, Allégret, Marc, 1953; Cendrillon/Cinderella, Geronimi, Clyde, Jackson, Wilfred,

and Luske, Hamilton, 1950; Rue de l'Estrapade, Becker, Jacques, 1953; Salaire de la peur (Le),

Clouzot, Henri-Georges, 1953; Geneviève, Cornelius, Henry, 1953; Nuit de cirque (La), a.k.a. La nuit

des forains/Gycklarnas afton, Bergman, Ingmar, 1953.

"À Sao Paulo, les films de Stroheim qui datent de 25 ans ont étés les vrais succès du festival."

Radio-Cinéma-Télévision, 217 (March 14, 1954), 4,500 characters.

films cited: Rapaces (Les)/Greed, Stroheim, Erich von, 1925 (1923); Symphonie nuptiale (La)/The

Wedding March, Stroheim, Erich von, 1927; Blé en herbe (Le), Autant-Lara, Claude, 1953; Crin blanc:

Le cheval sauvage, Lamorisse, Albert, 1953.

"À Sao Paulo, ville champignon de près de trois millions d'habitants, le festival fait une grande

place à la France." Radio-Cinéma-Télévision, 216 (March 7, 1954), 6,500 characters.

films cited: Bon Dieu sans confession (Le), Autant-Lara, Claude, 1953; Étrange désir de Monsieur Bard

(L'), Radványi, Géza, 1954; Enfants de l'amour (Les), Moguy, Léonide, 1953; Jules César/Julius Caesar,

Mankiewicz, Joseph L., 1953; Geneviève, Cornelius, Henry, 1953; Soleil dans les yeux (Le)/Il sole negli

occhi, Pietrangeli, Antonio, 1953; Salaire de la peur (Le), Clouzot, Henri-Georges, 1952; Belles de nuit

(Les), Clair, René, 1952; Guérisseur (Le), Ciampi, Yves, 1954; Amour d'une femme (L'), Grémillon,

Jean, 1953; Julietta, Allégret, Marc, 1953; Blé en Herbe (Le), Autant-Lara, Claude, 1953; Condamné

(Le)/Condenados, Mur Oti, Manuel, 1953; Napoléon, Gance, Abel, 1927.

"A-t-on le droit à la télévision de couper les films en morceaux?" Radio-Cinéma-Télévision, 208

(January 10, 1954), 5,000 characters.

"À tout péché miséricorde [For Them That Trespass]: Un film trop noir." Le Parisien libéré, 1606 (No-

vember 11, 1949), 1,000 characters.

film analyzed: À tout péché miséricorde/For Them That Trespass, Cavalcanti, Alberto, 1949.

director cited: Montgomery, Robert.

"À Venise." Le Parisien libéré, 1543 (August 30, 1949), 1,900 characters.

films cited: Noblesse oblige/Kind Hearts and Coronets, Hamer, Robert, 1949; Il pleut toujours le di-

manche/It Always Rains on Sunday, Hamer, Robert, 1947; Rose et l'oreiller (La)/Once upon a Dream,

Thomas, Ralph, 1949; Monsieur Verdoux, Chaplin, Charles, 1947; Drôle de drame, Marcel, Carné,

1937; Maison solitaire (La)/Dom na pustkowiu, Rybkowski, Jan, 1949; Moulin du Po (Le)/Il Mulino del

Po, Lattuada, Alberto, 1949; Pacte avec le diable/Alias Nick Beal, Farrow, John, 1949; Rome, ville

ouverte/Roma, città aperta, Rossellini, Roberto, 1945; Sciuscià, De Sica, Vittorio, 1946; Portrait de

Jennie (Le)/Portrait of Jennie, Dieterle, William, 1948; Manon, Clouzot, Henri-Georges, 1949; Au

royaume des cieux, Duvivier, Julien, 1949.

"À Venise, Chiens perdus sans collier bien accueilli par le public réussira-t-il à remonter le handicap

de la France?" Le Parisien libéré, 3420 (September 9, 1955), 2,000 characters.

film analyzed: Chiens perdus sans collier, Delannoy, Jean, 1955.

films cited: Femmes entre elles/Le amiche, Antonioni, Michelangelo, 1955; Rendez-vous à Rio/Doctor at

Sea, Thomas, Ralph, 1955.

"À Venise, deux journées françaises avec Les héros sont fatigués et une brillante réception au Palais

des Doges." Le Parisien libéré, 3418 (September 7, 1955), 2,100 characters.

film analyzed: Héros sont fatigués (Les), Ciampi, Yves, 1955.

films cited: Mauvaises rencontres (Les), Astruc, Alexandre, 1955; Grand patron (Un), Ciampi, Yves,

1951; Guérisseur (Le), Ciampi, Yves, 1954; Salaire de la peur (Le), Clouzot, Henri-Georges, 1953;

Chant du coq (Le)/Cock-a-Doodle Dog, Avery, Tex, 1951; Femmes entre elles/Le amiche, Antonioni,

Michelangelo, 1955.

directors cited: Linder, Max; Chaplin, Charles.

"À Venise: Le festival de cinéma est aussi celui de l'austérité." Le Parisien libéré, 2477 (September

1, 1952), 3,900 characters.

films cited: Ivanhoé/Ivanhoe, Thorpe, Richard, 1952; Navire en feu (Le)/San Demetrio London, Frend,

Charles, 1943; Conquérants solitaires (Les), Vermorel, Claude, 1952 (1949); Appel d'un inconnu/Phone

Call from a Stranger, Negulesco, Jean, 1952; Homme tranquille (L')/The Quiet Man, Ford, John, 1952;

Jeux interdits, Clément, René, 1952.

"À Venise (hors festival) Orson Welles n'étonne plus que les pigeons." Le Parisien libéré, 1544

(August 31, 1949), 2,900 characters.

films cited: Othello, Welles, Orson, 1952; Au royaume des cieux, Duvivier, Julien, 1949; Henry V,

Olivier, Laurence, 1944.

"À Venise Jour de fête donne le fou rire aux Italiens et affirme la supériorité de la sélection fran-

çaise." Le Parisien libéré, 1541 (August 27, 1949), 2,000 characters.

film analyzed: Jour de fête, Tati, Jacques, 1949.

films cited: Paris 1900, Védrès, Nicole, 1947; Manon, Clouzot, Henri-Georges, 1949; Au royaume

des cieux, Duvivier, Julien, 1949; Othello, Welles, Orson, 1952.

directors cited: Emmer, Luciano; Carné, Marcel.

"À Venise un western manqué; le souper américain mais un grand film: L'homme tranquille [The

Quiet Man]." Le Parisien libéré, 2483 (July 9, 1952), 5,200 characters.

film analyzed: Homme tranquille (L')/The Quiet Man, Ford, John, 1952.

films cited: Mort d'un commis-voyageur/Death of a Salesman, Benedek, Laslo, 1951; Manteau de Soledad

(Le)/El rebozo de Soledad, Gavaldón, Roberto, 1952; Sheik blanc (Le), a.k.a. Courrier du coeur/Lo sceicco

bianco, Fellini, Federico, 1952; Mouchard (Le)/The Informer, Ford, John, 1935; Chevauchée fantastique

(La)/Stagecoach, Ford, John, 1939; Qu'elle était verte ma vallée/How Green Was My Valley, Ford, John,

1941; Miracle à Milan/Miracolo a Milano, De Sica, Vittorio, 1951; Bergère et la ramoneur (La), Gri-

mault, Paul, 1953; Belles de nuit (Les), Clair, René, 1952; Ivanhoé/Ivanhoe, Thorpe, Richard, 1952.

"À 23 pas du mystère [23 Paces to Baker Street]: Ou le crime a une odeur!" Le Parisien libéré, 3859

(February 6, 1957), 2,200 characters.

film analyzed: À 23 pas du mystère/23 Paces to Baker Street, Hathaway, Henry, 1956.

directors cited: Resnais, Alain; Renoir, Jean.

"À voir." L'Esprit, 143 (February 1948), p. 300/600 characters.

films cited: Dame de Shanghaï (La)/The Lady from Shanghai, Welles, Orson, 1948; Quai des Orfèvres,

Clouzot, Henri-Georges, 1947; Grandes espérances (Les)/Great Expectations, Lean, David, 1946; Brève

Rencontre/Brief Encounter, Lean, David, 1945; Dumbo, l'éléphant volant/Dumbo, Armstrong, Samuel,

Ferguson, Norman, Jackson, Wilfred, Kinney, Jack, Roberts, Bill, Sharpsteen, Ben, and Elliotte,

John, 1941; Affaire Macomber (L')/The Macomber Affair, Korda, Zoltan, 1947; Chemin du ciel

(Le)/Himlaspelet, Sjöberg, Alf, 1942.

"Abdulla le Grand [Abdullah's Harem]." Le Parisien libéré, 3575 (March 8, 1956), 2,200 characters.

film analyzed: Abdulla le Grand/Abdullah's Harem, a.k.a. Abdullah the Great, Ratoff, Gregory, 1955.

"Abondance de carême: Un Tramway nommé désir [A Streetcar Named Desire]." France-Observateur, 100

(April 10, 1952), 5,400 characters. Partially reprinted in Le Cinéma de la cruauté. Paris: Flammarion,

1975.

film analyzed: Tramway nommé désir (Un)/A Streetcar Named Desire, Kazan, Elia, 1951.

films cited: Femme disparaît (Une)/The Lady Vanishes, Hitchcock, Alfred, 1938; 39 marches (Les)/The

39 Steps, Hitchcock, Alfred, 1935; Passeport pour Pimlico/Passport to Pimlico, Cornelius, Henry, 1949;

Ombre d'un doute (L')/Shadow of a Doubt, Hitchcock, Alfred, 1948; Enchaînés (Les)/Notorious,

Hitchcock, Alfred, 1948; Inconnu du Nord-Express (L')/Strangers on a Train, Hitchcock, Alfred, 1951;

Reine africaine (La)/The African Queen, Huston, John, 1952; Fanfan la Tulipe, Christian-Jaque, 1952;

Nez de Cuir, gentilhomme d'amour, Allégret, Yves, 1951; Parents terribles (Les), Cocteau, Jean, 1948.

"Abraham Lincoln [Abe Lincoln in Illinois]." Le Parisien libéré, 380 (November 2, 1945), 700 charac-

ters.

film analyzed: Abraham Lincoln/Abe Lincoln in Illinois, Cromwell, John, 1940.

film cited: François Villon, Zwoboda, André, 1945.

"Achille avec nous: Un `homme quelconque'." Le Parisien libéré, 2851 (November 13, 1953), 2,700

characters.

film analyzed: Achille avec nous/Lasciateci in pace, Girolami, Marino, 1953.

films cited: Petit monde de Don Camillo (Le), a.k.a. Don Camillo, Duvivier, Julien, 1952; Années

difficiles/Anni difficili, Zampa, Luigi, 1948; Topaze, Pagnol, Marcel, 1951; Années faciles (Les)/Anni

facili, Zampa, Luigi, 1953.

"Acquittement et condamnation." L'Esprit (July 1949), p. 1104ff.

"L'Action à Cannes: La fin d'un festival." Action, 53 (May 21, 1956), 3,800 characters.

films cited: Fleuve (Le)/The River, Renoir, Jean, 1951; Ombre (L')/Cien, Kawalerowicz, Jerzy, 1956;

Après-midi de taureaux/Tarde de toros, Vajda, Ladislao, 1955; Complainte du sentier (La)/Pather Panchali,

Ray, Satyajit, 1955; Marcellin, pain et vin/Marcellino, pan y vino, Vajda, Ladislao, 1955; Torero/Toro,

Velo, Carlos, 1956; Mère (La)/Mat, Donskoï, Mark, 1956; Mère (La)/Mat, Pudovkin, Vsevolod,

1926; Enfance de Maxime Gorki (L')/Detstvo Gorkogo, Donskoï, Mark, 1938; Homme au complet gris

(L')/The Man in the Gray Flannel Suit, Johnson, Nunnally, 1956; Homme qui en savait trop (L')/The

Man Who Knew Too Much, Hitchcock, Alfred, 1956; Plus dure sera la chute/The Harder They Fall,

Robson, Mark, 1956; Marie-Antoinette, reine de France, Delannoy, Jean, 1956; Monde du silence (Le),

Malle, Louis, and Cousteau, Jacques-Yves, 1956; Mystère Picasso (Le), Clouzot, Henri-Georges,

1956; Ballon Rouge (Le), Lamorisse, Albert, 1956; Crin blanc: Le cheval sauvage, Lamorisse, Albert,

1953.

"`L'Action' au Festival de Cannes: Un Othello russe

[Othello; Un Petit carrousel de fête (Körhinta); La

Fille en noir (To koritsi me ta mavra)

]." Action, 50 (April 30, 1956), 2,500 characters.

films analyzed: Othello, Youtkévitch, Serge, 1956; Petit carrousel de fête (Un)/Körhinta, Fábri, Zoltán,

1955; Fille en noir (La)/To koritsi me ta mavra, Cacoyannis, Michael, 1956.

"L'actualité ne se réduit pas aux sports; revenons encore sur les insuffisances du journal parlé."

Radio-Cinéma-Télévision, 453 (September 21, 1958), 4,600 characters.

"L'adaptation ou le cinéma comme digeste." L'Esprit, XVI, n. 146 (July 1948), pp. 32-40/21,700

characters; partially reprinted in the collection of essays "Cinéma et roman: éléments

d'appréciation," Revue des lettres modernes, n. 36-38 (Summer 1958), pp. 196-207.

films cited: Espoir (L')/Sierra de Teruel, Malraux, André, 1945 (1939); Partie de campagne (Une),

Renoir, Jean, 1946 (1936); Raisins de la colère (Les)/The Grapes of Wrath, Ford, John, 1940; Symphonie

pastorale (La), Delannoy, Jean, 1946; Idiot (L'), Lampin, Georges, 1946; Pour qui sonne le glas/For

Whom the Bell Tolls, Wood, Sam, 1943; Frères Kamarazov (Les)/Der Mörder Dimitri Karamasoff, Engels,

Erich, and Otep, Fyodor, 1931; Diable au corps (Le), Autant-Lara, Claude, 1946; Des souris et

hommes/Of Mice and Men, Milestone, Lewis, 1939; Lys brisé (Le)/Broken Blossoms, Griffith, D. W.,

1919; Scarface: The Shame of a Nation, Hawks, Howard, 1932; Christ interdit (Le)/Il Cristo proibito,

Malaparte, Curzio, 1950.

directors cited: Spaak, Charles; Chaplin, Charles; Sennett, Mack; Vigo, Jean; Aurenche, Jean; Bost,

Pierre.

"L'adieu aux armes

[A Farewell to Arms]." Le Parisien libéré, 4217 (April 2, 1958), 2,000.

film analyzed: Adieu aux armes (L'), a.k.a. L'adieu au drapeau/A Farewell to Arms, Vidor, Charles,

1957.

"L'adieu aux armes

[A Farewell to Arms]." L'Éducation nationale, 14 (April 17, 1958), 4,800 charac-

ters.

film analyzed: Adieu aux armes (L'), a.k.a. L'adieu au drapeau/A Farewell to Arms, Vidor, Charles,

1957.

films cited: Pour qui sonne le glas/For Whom the Bell Tolls, Wood, Sam, 1943; Affaire Macomber

(L')/The Macomber Affair, Korda, Zoltan, 1947; Tueurs (Les)/The Killers, Siodmak, Robert, 1946;

Port de l'angoisse (Le)/To Have and Have Not, Hawks, Howard, 1944; Neiges du Kilimandjaro (Les)/The

Snows of Kilimanjaro, Vidor, King, 1952; Vieil homme et la mer (Le)/The Old Man and the Sea, Sturges,

John, 1958; Soleil se lève aussi (Le)/The Sun Also Rises, King, Henry, 1957.

director cited: Bérard, Christian.

"Adieu Léonard." L'Information universitaire, n. 1159 (October 9, 1943), 2,300 characters. Reprinted

in Le Cinéma de l'Occupation et de la Résistance. Paris: Union Générale d'éditions, 1975.

film analyzed: Adieu Léonard, Prévert, Pierre, 1943.

films cited: Drôle de drame, Carné, Marcel, 1937; Lumière d'été, Grémillon, Jean, 1942; Vous ne

l'emporterez pas avec vous/You Can't Take It with You, Capra, Frank, 1938; Jour se lève (Le), Carné,

Marcel, 1939.

"Adieu Torero

[La hora de la verdad]." Le Parisien libéré, 1126 (April 28, 1948), 500 characters.

film analyzed: Adieu Torero/La hora de la verdad, Foster, Norman, 1945.

"Adolph Zukor, inventeur des stars d'Hollywood: Comment vit et meurt la vedette." Radio-

Cinéma-Télévision, 245 (September 26, 1954), 4,700 characters.

films cited: Reine Elisabeth (La)/Queen Elizabeth, Desfontaines, Henri, and Mercanton, Louis, 1912;

Bon petit diable (Un)/A Good Little Devil, Porter, Edwin S. 1914; Chapeau de New-York (Le)/The New

York Hat, Griffith, D. W., 1912; The Prisoner of Zenda, Ford, Hugh, and Porter, Edwin S., 1913.

"Adolph Zukor inventeur des stars de Hollywood engage Sarah Bernhardt et continue à croire au

`star system'." Radio-Cinéma-Télévision, 243 (September 12, 1954), 7,000 characters.

"L'affaire Bel-Ami." France-Observateur, 240 (December 16, 1954), 7,500 characters.

film analyzed: Bel-Ami, Daquin, Louis, 1955.

film cited: Dames du bois de Boulogne (Les), Bresson, Robert, 1945.

"L'affaire Cicéron

[Five Fingers]: Invraisemblable . . . mais presque vrai." Le Parisien libéré, 2421 (June

26, 1952), 3,800 characters.

film analyzed: Affaire Cicéron (L')/Five Fingers, Mankiewicz, Joseph L., 1952.

"L'affaire de La bergère et le ramoneur." Le Parisien libéré, 2494 (September 20, 1952), 4,100 charac-

ters.

film analyzed: Bergère et le ramoneur (La), Grimault, Paul, 1953.

"L'affaire de Trinidad Rita

[Affair in Trinidad]." Le Parisien libéré, 2641 (March 11, 1953), 2,000

characters.

film analyzed: Affaire de Trinidad (L')/Affair in Trinidad, Sherman, Vincent, 1952.

films cited: Gilda, Vidor, Charles, 1946; Enchaînés (Les)/Notorious, Hitchcock, Alfred, 1946.

"Affaire de vie ou de mort

[A Matter of Life and Death]." Le Parisien libéré, 2114 (June 30, 1951), 1,300

characters.

film analyzed: Affaire de vie ou de mort/A Matter of Life and Death, a.k.a. Stairway to Heaven, Powell,

Michael, and Pressburger, Emeric, 1946

film cited: Contes d'Hoffmann (Les)/The Tales of Hoffmann, Powell, Michael, and Pressburger,

Emeric, 1951.

directors cited: Chaplin, Charles; Berthomieu, André; Clair, René; Lumière, Louis; Méliès,

Georges.

"L'affaire du collier de la reine." Le Parisien libéré, 648 (December 9, 1946), 1,000 characters.

film analyzed: Affaire du collier de la reine (L'), L'Herbier, Marcel, 1946.

"L'affaire du court métrage." France-Observateur, 247 (February 3, 1955), 6,300 characters.

"L'affaire du film des J3

[Les vaincus (I vinti)]." France-Observateur, 137 (December 25, 1952), 4,500

characters.

film analyzed: Vaincus (Les)/I vinti, Antonioni, Michelangelo, 1952.

films cited: Chronique d'un amour/Cronaca di un amore, Antonioni, Michelangelo, 1950; Zéro de

conduite, Vigo, Jean, 1933.

"Les Affameurs

[Bend of the River]: Un western apéritif." Le Parisien libéré, 2573 (December 22,

1952), 3,000 characters.

film analyzed: Affameurs (Les)/Bend of the River, Mann, Anthony, 1952.

"The African Queen [La Reine africaine]: Une prodigieuse aventure." Le Parisien libéré, 2347 (March

31, 1952), 4,000 characters.

film analyzed: Reine africaine (La)/The African Queen, Huston, John, 1951.

films cited: Faucon maltais (Le)/The Maltese Falcon, Huston, John, 1941; Trésor de la Sierra Madre

(Le)/The Treasure of the Sierra Madre, Huston, John, 1948; Quand la ville dort/The Asphalt Jungle,

Huston, John, 1950.

"The African Queen [La Reine africaine]: Une singulière aventure, admirablement racontée." Radio-

Cinéma-Télévision, 116 (April 6, 1952), 6,400 characters.

film analyzed: Reine africaine (La)/The African Queen, Huston, John, 1951.

films cited: Citizen Kane, Welles, Orson, 1941; Faucon maltais (Le)/The Maltese Falcon, Huston, John,

1941; Insurgés (Les)/We Were Strangers, Huston, John, 1949; Trésor de la Sierra Madre (Le)/The

Treasure of the Sierra Madre, Huston, John, 1948; Quand la ville dort/The Asphalt Jungle, Huston, John,

1950.

"Agence matrimoniale: La mariée n'est pas toujours belle." Le Parisien libéré, 2400 (June 2, 1952),

3,700 characters.

film analyzed: Agence matrimoniale, Le Chanois, Jean-Paul, 1952.

films cited: Nous sommes tous des assassins, Cayatte, André, 1952; École buissonnière (L'), Le Chanois,

Jean-Paul, 1949.

"Agnès et Roberto." Cahiers du cinéma, n. 50 (August 1955), 2,500 characters.

films cited: Pointe courte (La), Varda, Agnès, 1954; Voyage en Italie, a.k.a. L'amour est le plus

fort/Viaggio in Italia, Rossellini, Roberto, 1954.

director cited: Buñuel, Luis.

"L'aide à la qualité." France-Observateur, 101 (April 17, 1952), 6,300 characters.

film cited: Copie conforme, Dréville, Jean, 1947.

"L'Aigle à deux têtes." Le Parisien libéré, 1257 (September 29, 1948), 800 characters.

film analyzed: Aigle à deux têtes (L'), Cocteau, Jean, 1948.

film cited: Ruy Blas, Billon, Pierre, 1948.

"L'aiguille rouge . . . ou les dangers de l'alpinisme." Le Parisien libéré, 2140 (July 31, 1951), 2,200

characters.

film analyzed: Aiguille rouge (L'), Reinert, Emil E., 1951.

films cited: Rendez-vous avec la chance, Reinert, Emil E., 1950; Château de verre (Le), Clément, René,

1950.

"L'aimant

[The Magnet]: Attire quelque fois l'or." Le Parisien libéré, 2398 (May 30, 1952), 2,700

characters.

film analyzed: Aimant (L')/The Magnet, Frend, Charles, 1950.

films cited: Noblesse oblige/Kind Hearts and Coronets, Hamer, Robert, 1949; Passeport pour Pimli-

co/Passport to Pimlico, Cornelius, Henry, 1949.

directors cited: Carné, Marcel; Becker, Jacques.

"Aimé avec mépris, le Western est la forme lyrique du cinéma américain

[Sept hommes à abattre

(Seven Men from Now), Le train sifflera trois fois (High Noon), et La chevauchée fantastique (Stagecoach)]."

Arts, 641 (October 23, 1957), 3,500 characters.

films analyzed: Sept hommes à abattre, a.k.a. Sept hommes restent à tuer/Seven Men from Now, Boetticher,

Budd, 1956; Train sifflera trois fois (Le)/High Noon, Zinnemann, Fred, 1952; Chevauchée fantastique

(La)/Stagecoach, Ford, John, 1939.

directors cited: Marker, Chris; Resnais, Alain.

"Aimez-vous le ciné-club?: On en a mis partout." Radio-Cinéma-Télévision, 198 (November 1,

1953), 3,500 characters.

"L'air de Paris: Du grand air à la romance." Le Parisien libéré, 3126 (September 30, 1954), 4,600

characters.

film analyzed: Air de Paris (L'), Carné, Marcel, 1954.

films cited: Thérèse Raquin, Carné, Marcel, 1953; Règle du jeu (La), Renoir, Jean, 1939.

directors cited: Astruc, Alexandre; Rivette, Jacques; Truffaut, François; Wyler, William; Clément,

René; Lattuada, Alberto; Chabrol, Claude; Verneuil, Louis; Rohmer, Éric.

"L'air de Paris: Un grand metteur en scène, de grands acteurs, mais un petit scenario." Radio-

Cinéma-Télévision, 246 (October 3, 1954), 2,200 characters.

film analyzed: Air de Paris (L'), Carné, Marcel, 1954.

"Air Force." Le Parisien libéré, 157 (February 16, 1945), 500 characters.

film analyzed: Air Force, Hawks, Howard, 1943.

films cited: Tarzan Triumphs, Thiele, Wilhelm, 1943; Chevauchée fantastique (La)/Stagecoach, Ford,

John, 1939.

"Aïtanga

[Bastard]." Le Parisien libéré, 1066 (February 18, 1948), 800 characters.

film analyzed: Aïtanga/Bastard, Lunde, Helge, 1940.

"Alice au pays des merveilles

[Alice in Wonderland]: Une oeuvre incertaine." L'Écran français, 203 (May

17, 1949), 2,600 characters.

film analyzed: Alice au pays des merveilles/Alice in Wonderland, McLeod, Norman Z., 1933.

film cited: Belle meunière (La), Pagnol, Marcel, 1948.

"Alfred Hitchcock maître du suspense et de l'angoisse, et peut-être avantage . . ." Radio-Cinéma-

Télévision, 262 (January 23, 1955), 7,000 characters.

films cited: Cheveux d'or (Les)/The Lodger, Hitchcock, Alfred, 1927; 39 marches (Les)/The 39 Steps,

Hitchcock, Alfred, 1935; Femme disparaît (Une)/The Lady Vanishes, Hitchcock, Alfred, 1938; Agent

secret/Sabotage, Hitchcock, Alfred, 1936; Homme qui en savait trop (L')/The Man Who Knew Too Much,

Hitchcock, Alfred, 1956; Loi du silence (La)/I Confess, Hitchcock, Alfred, 1952; Corde (La)/Rope,

Hitchcock, Alfred, 1948; Fenêtre sur cour/Rear Window, Hitchcock, Alfred, 1954; Crime était presque

parfait (Le)/Dial M for Murder, Hitchcock, Alfred, 1954; Soupçons/Suspicion, Hitchcock, Alfred,

1941; Inconnu du Nord-Express (L')/Strangers on a Train, Hitchcock, Alfred, 1951; Ombre d'un doute

(L')/Shadow of a Doubt, Hitchcock, Alfred, 1943; Amants du Capricorne (Les)/Under Capricorn,

Hitchcock, Alfred, 1949.

"Alfred Hitchcock: Le metteur en scène le plus pittoresque du monde tourne à Cannes

[La Main

au collet (To Catch a Thief)

]." Le Parisien libéré, 3046 (June 29, 1954).

film analyzed: Main au collet (La)/To Catch a Thief, Hitchcock, Alfred, 1955.

"Ali Baba et les quarante voleurs." Le Parisien libéré, 1191 (July 14, 1948), 800 characters.

film analyzed: Ali Baba et les quarante voleurs, Becker, Jacques, 1954.

"Ali Baba: Mille et une couleurs." Le Parisien libéré, 3203 (December 29, 1954), 2,000 characters, in

Le cinéma français de la Libération à la Nouvelle Vague, 1945-1958 (Paris: Éditions de l'Étoile [1983],

1998), pp. 69-70.

film analyzed: Ali Baba et les quarante voleurs, Becker, Jacques, 1954.

films cited: Miracle à Milan/Miracolo a Milano, De Sica, Vittorio, 1951; Touchez pas au Grisbi, Becker,

Jacques, 1954; Édouard et Caroline, Becker, Jacques, 1951; Casque d'or, Becker, Jacques, 1952;

Falbalas, Becker, Jacques, 1945; Rendez-vous de juillet, Becker, Jacques, 1949.

directors cited: Guitry, Sacha; Zavattini, Cesare.

"Alice au pays des merveilles

[Alice in Wonderland]." L'Écran français, 203 (May 17, 1949), 2,600

characters.

film analyzed: Alice au pays des merveilles/Alice in Wonderland, McLeod, Norman Z., 1933.

film cited: Belle meunière (La), Pagnol, Marcel, 1948.

"Alice au pays des merveilles

[Alice in Wonderland]: Un long voyage." Le Parisien libéré, 2266 (Decem-

ber 27, 1951), 2,700 characters.

film analyzed: Alice au pays des merveilles/Alice in Wonderland, Geronimi, Clyde, Jackson, Wilfred,

and Luske, Hamilton, 1951.

films cited: Cendrillon/Cinderella, Geronimi, Clyde, Jackson, Wilfred, and Luske, Hamilton, 1950;

Blanche-Neige et les Sept Nains/Snow White and the Seven Dwarfs, Cottrell, William, Hand, David,

Jackson, Wilfred, Morey, Larry, Pearce, Perce, and Sharpsteen, Ben, 1937; Fantasia, Disney, Walt,

Armstrong, Samuel, Algar, James, Roberts, Bill, Handley, Jim, and Beebe, Jim, 1940; Saludos

Amigos, Disney, Walt, Jackson, Wilfred, Kinney, Jack, Luske, Hamilton, and Roberts, Bill, 1942;

Gerald McBoing-Boing, Cannon, Robert, 1950; Île aux phoques (L')/Seal Island, Algar, James, 1948;

Vallée des castors (La)/Beaver Valley, Algar, James, 1950.

directors cited: Feyder, Jacques; Clair, René.

"Allemagne année zéro

[Germania anno zero]." L'Esprit, 155 (May 1949), 7,500 characters, in Qu'est-ce

que le cinéma?, volume III, "Cinéma et sociologie; Première Partie: L'enfance sans mythes"

(Éditions du Cerf, 1961), pp. 29-32; in Qu'est-ce que le cinéma? (Cerf, 1975, rpt. 2000; single-volume

version), pp. 203-206.

film analyzed: Allemagne année zéro/Germania anno zero, Rossellini, Roberto, 1947.

films cited: Quelque part en Europe/Valahol Europaban, Radványi, Géza, 1947; Chemin de la vie

(Le)/Putyovka v zhizn, Ekk, Nicolai, 1931; Sciuscià, De Sica, Vittorio, 1946; Des hommes sont nés/Boys

Town, Taurog, Norman, 1938; Zéro de conduite, Vigo, Jean, 1933.

director cited: Renoir, Jean.

"Allemagne année zéro

[Germania anno zero]: L'esquisse d'une grande oeuvre." L'Écran français, 189

(February 8, 1949), 1,800 characters.

film analyzed: Allemagne année zéro/Germania anno zero, Rossellini, Roberto, 1947.

films cited: Quelque part en Europe/Valahol Europaban, Radványi, Géza, 1947; Sciuscià, De Sica,

Vittorio, 1946; Païsa/Paisà, Rossellini, Roberto, 1946.

director cited: Renoir, Jean.

"Allez coucher ailleurs

[I Was a Male War Bride]: Un film où vous ne dormirez pas." Le Parisien libéré,

1642 (December 24, 1949), 1,400 characters.

film analyzed: Allez coucher ailleurs/I Was a Male War Bride, Hawks, Howard, 1949.

film cited: Scandaleuse de Berlin (La)/A Foreign Affair, Wilder, Billy, 1948.

"L'Amant de Lady Chatterley: Un film distingue." Le Parisien libéré, 3505 (December 17, 1955), 2,000

characters.

film analyzed: Amant de Lady Chatterley (L'), Allégret, Marc, 1955.

"L'Amant de Lady Chatterley: Infidèlement fidèle." Radio-Cinéma-Télévision, 311 (January 1, 1956),

1,000 characters.

film analyzed: Amant de Lady Chatterley (L'), Allégret, Marc, 1955.

"Les Amants." Le Parisien libéré, 4405 (November 10, 1958), 3,000 characters.

film analyzed: Amants (Les), Malle, Louis, 1958.

film cited: Ascenseur pour l'échafaud, Malle, Louis, 1958.

"Les Amants de Bras-Mort: Des péniches et des hommes." Le Parisien libéré, 2082 (May 24, 1951),

2,800 characters.

film analyzed: Amants de Bras-Mort (Les), Pagliero, Marcello, 1951.

films cited: Rose rouge (La), Pagliero, Marcello, 1951; Homme marche dans la ville (Un), Pagliero,

Marcello, 1950; Rome, ville ouverte/Roma, città aperta, Rossellini, Roberto, 1945; Atalante (L'), a.k.a.

Le chaland qui passe, Vigo, Jean, 1934.

"Les Amants de minuit: Midi à quatorze heures." Le Parisien libéré, 2664 (April 7, 1953), 2,300

characters.

film analyzed: Amants de minuit (Les), Richebé, Roger, 1953.

films cited: Dédé d'Anvers, Allégret, Yves, 1948; Si jolie plage (Une), Allégret, Yves, 1949; Manèges,

Allégret, Yves, 1950.

"Les Amants de la nuit

[They Live by Night]: Noir et rose." Le Parisien libéré, 2185 (September 22,

1951), 1,800 characters.

film analyzed: Amants de la nuit (Les)/They Live by Night, Ray, Nicholas, 1948.

"Les Amants de Tolède." Le Parisien libéré, 2610 (February 3, 1953), 4,200 characters.

film analyzed: Amants de Tolède (Les), Decoin, Henri, 1953.

films cited: Inconnus dans la maison (Les), Decoin, Henri, 1941; Vérité sur Bébé Donge (La), Decoin,

Henri, 1952.

"Les Amants de Vérone." Le Parisien libéré, 1394 (March 9, 1949), 1,800 characters.

film analyzed: Amants de Vérone (Les), Cayatte, André, 1949.

"Les Amants du Tage." Le Parisien libéré, 3274 (March 22, 1955), 1,300 characters.

film analyzed: Amants du Tage (Les), Verneuil, Henri, 1955.

"Les Amants du Tage: Encore!" Radio-Cinéma-Télévision, 271 (March 27, 1955), 1,500 characters.

film analyzed: Amants du Tage (Les), Verneuil, Henri, 1955.

films cited: Pépé le Moko, Duvivier, Julien, 1937; Jour se lève (Le), Carné, Marcel, 1939.

"L'Amazone nue

[Feitiço do Amazonas]: Un peu habillée." Le Parisien libéré, 3331 (May 28, 1955),

2,100 characters.

film analyzed: Amazone nue (L')/Feitiço do Amazonas, Sulistrowski, Zygmunt, 1955.

"L'âme en peine." Radio-Cinéma-Télévision, 454 (September 28, 1958), 1,400 characters.

film analyzed: Âme en peine (L'), Bernard, Jean-Jacques, 1955.

"Amère Victoire

[Bitter Victory]." Le Parisien libéré, 4105 (November 22, 1957), 2,300 characters.

film analyzed: Amère Victoire/Bitter Victory, Ray, Nicholas, 1957.

film cited: Attaque/Attack, Aldrich, Robert, 1956.

"Amère Victoire

[Bitter Victory]." France-Observateur, 394 (November 28, 1957), 4,900 characters.

film analyzed: Amère Victoire/Bitter Victory, Ray, Nicholas, 1957.

films cited: Derrière le miroir/Bigger Than Life, Ray, Nicholas, 1956; Attaque/Attack, Aldrich, Robert,

1956; Indomptables/The Lusty Men, Ray, Nicholas, 1952; Fureur de vivre (La)/Rebel Without a Cause,

Ray, Nicholas, 1955.

"L'Amérique marque des points avec un film courageux sur la drogue

[Une poignée de neige (A

Hatful of Rain)

]." Le Parisien libéré, 4037 (September 4, 1957), 1,300 characters.

film analyzed: Poignée de neige (Une)/A Hatful of Rain, Zinnemann, Fred, 1957.

films cited: Train sifflera trois fois (Le)/High Noon, Zinnemann, Fred, 1952; L'Invaincu, a.k.a.

L'Invincible/Aparajito, Ray, Satyajit, 1956; Cayatte, André, Homme au bras d'or (L')/The Man with the

Golden Arm, 1955; Complainte du sentier (La)/Pather Panchali, Ray, Satyajit, 1955; Sur les quais/On the

Waterfront, Kazan, Elia, 1954; Arrêt d'autobus/Bus Stop, Logan, Joshua, 1956.

director cited: Clair, René.

"Un ami viendra ce soir." Le Parisien libéré, 521 (April 20, 1946), 600 characters.

film analyzed: Ami viendra ce soir (Un), Bernard, Raymond, 1945.

films cited: Jéricho, Calef, Henri, 1946; Patrie, Daquin, Louis, 1946; Otages (Les), Bernard, Raymond,

1939; Scarface: The Shame of a Nation, Hawks, Howard, 1932.

"Amiral Nakhimov

[Admiral Nahimov]." Le Parisien libéré, 1060 (February 11, 1948), 1,000 charac-

ters.

film analyzed: Amiral Nakhimov/Admiral Nahimov, Pudovkin, Vsevolod, 1946.

films cited: Mère (La)/Mat, Pudovkin, Vsevolod, 1926; Fin de Saint Petersbourg (La)/Konets Sankt-

Peterburga, Pudovkin, Vsevolod, 1927; Tempête sur l'Asie/Potomok Cingishana, Pudovkin, Vsevolod,

1929; Ivan le terrible/Ivan Groznyi, Eisenstein, Sergei, Part I: 1942-44; Part II: 1945-46 (1958);

Cuirassé Potemkine (Le)/Bronenosets Potyomkin, Eisenstein, Sergei, 1925.

director cited: DeMille, Cecil B.

"Amiral Nakhimov

[Admiral Nahimov]: Peinture de bataille." L'Écran français, 138 (February 17,

1948), 1,300 characters.

film analyzed: Amiral Nakhimov/Admiral Nahimov, Pudovkin, Vsevolod, 1946.

films cited: Ivan le terrible/Ivan Groznyi, Eisenstein, Sergei, Part I: 1942-44; Part II: 1945-46 (1958);

Mère (La)/Mat, Pudovkin, Vsevolod, 1926; Tempête sur l'Asie/Potomok Cingishana, Pudovkin,

Vsevolod, 1929.

director cited: DeMille, Cecil B.

"L'Amiral Tempête [Admiral Ushakov]: Le rouge et la Mer Noire." Le Parisien libéré, 3159 (Novem-

ber 8, 1954), 2,000 characters.

film analyzed: Amiral Tempête (L')/Admiral Ushakov, Romm, Mikhail, 1952.

films cited: Amiral Nakhimov/Admiral Nahimov, Pudovkin, Vsevolod, 1946; Pierre le Grand/Pyotr

Pervyy, Petrov, Vladimir, 1937 (Part I)/1938 (Part II).

"Amore

[La voix humaine]: La voix humaine et les voies de Dieu." Le Parisien libéré, 3593 (March 29,

1956), 2,200 characters.

film analyzed: Voix humaine (La)/L'Amore, Rossellini, Roberto, 1948.

film cited: La Strada, Fellini, Federico, 1954.

director cited: Renoir, Jean.

"L'Amour à la ville

[L'amore in città]." France-Observateur, 354 (February 21, 1957), 2,700 characters.

film analyzed: Amour à la ville (L')/L'amore in città, Antonioni, Michelangelo, Fellini, Federico,

Lattuada, Alberto, Lizzani, Carlo, Maselli, Francesco, Risi, Dino, and Zavattini, Cesare, 1953.

films cited: Voleur de bicyclette (Le)/Ladri di biciclette, De Sica, Vittorio, 1948; Umberto D., De Sica,

Vittorio, 1952.

"L'Amour à la ville

[L'amore in città]: Histoires vraies!" Le Parisien libéré, 3865 (February 13, 1957),

2,500 characters.

film analyzed: Amour à la ville (L')/L'amore in città, Antonioni, Michelangelo, Fellini, Federico,

Lattuada, Alberto, Lizzani, Carlo, Maselli, Francesco, Risi, Dino, and Zavattini, Cesare, 1953.

"Un amour désespéré

[Carrie]." Le Parisien libéré, 2698 (May 18, 1953), 3,000 characters.

film analyzed: Amour désespéré (Un)/Carrie, Wyler, William, 1952.

director cited: Pagnol, Marcel.

"L'amour d'une femme: Un film pur!" Le Parisien libéré, 2996 (April 30, 1954), 2,900 characters.

film analyzed: Amour d'une femme (L'), Grémillon, Jean, 1953.

films cited: Remorques, Grémillon, Jean, 1941; Lumières d'été, Grémillon, Jean, 1943; Ciel est à vous

(Le), Grémillon, Jean, 1944.

"Amour en croisière

[Luxury Liner]: À voir frais." Radio-Cinéma-Télévision, 80 (July 29, 1951), 1,000

characters.

film analyzed: Amour en croisière/Luxury Liner, Whorf, Richard, 1948.

"Amour en croisière

[Luxury Liner]: Ice-cream." Le Parisien libéré, 2127 (July 16, 1951), 1,700 charac-

ters.

film analyzed: Amour en croisière/Luxury Liner, Whorf, Richard, 1948.

"L'Amour est en jeu." Le Parisien libéré, 4062 (October 3, 1957), 1,900 characters.

film analyzed: Amour est en jeu (L'), Allégret, Marc, 1957.

film cited: Enfants nous regardent (Les)/I bambini ci guardano, De Sica, Vittorio, 1943.

directors cited: Chaplin, Charles; Renoir, Jean; Gance, Abel.

"L'amour mène la danse

[Happy Go Lovely]: Il la mène bien." Le Parisien libéré, 2341 (March 24, 1952),

2,600 characters.

film analyzed: Amour mène la danse (L')/Happy Go Lovely, Humberton, H. Bruce, 1951.

films cited: Passeport pour Pimlico/Passport to Pimlico, Cornelius, Henry, 1949; Whisky à gogo/Whisky

Galore, Mackendrick, Alexander, 1949.

"L'amour n'est pas un péché: Un film véniel." Le Parisien libéré, 2428 (March 7, 1952), 2,500 charac-

ters.

film analyzed: Amour n'est pas un péché (L'), Cariven, Claude, 1952.

"L'amour outre-rideau de fer

[La fleur de fer (Vasvirág); Quand passent les cigognes (Letyat zhuravli);

Romance du faubourg (Zizkovská romance)

]." Cahiers du cinéma, n. 84 (June 1958), p. 34/2,200 charac-

ters.

films analyzed: Fleur de fer (La)/Vasvirág, Herskó, János, 1958;

Quand passent les cigognes/Letyat

zhuravli, Kalatozov, Mikhail, 1958; Romance du faubourg, a.k.a. Les amants du faubourg/Zizkovská

romance, Brynych, Zbynek, 1958.

director cited: Daquin, Louis.

"Les Amoureux

[Gli Innamorati] ne sont pas seuls au monde!" Le Parisien libéré, 3685 (July 16, 1956),

1,800 characters.

film analyzed: Amoureux (Les)/Gli Innamorati, Bolognini, Mauro, 1955.

films cited: Voleur de bicyclette (Le)/Ladri di biciclette, De Sica, Vittorio, 1948; Sheik blanc (Le), a.k.a.

Courrier du coeur/Lo sceicco bianco, Fellini, Federico, 1952; Deux sous d'espoir/Due soldi di speranza,

Castellani, Renato, 1952; Pain, amour et fantaisie/Pane, amore e fantasia, Comencini, Luigi, 1953;

Dommage que tu sois une canaille/Peccato che sia una canaglia, Blasetti, Alessandro, 1955.

"Les Amours de Blanche-Neige: De bons skieurs . . . une mauvaise histoire." Le Parisien libéré, 1660

(January 14, 1950), 1,700 characters.

film analyzed: Amours de Blanche-Neige (Les), Wieser, Edi, 1947.

"Les amours de Liang Shan Po et Chu Ying Tai

[]: Un opéra de porcelain." Le

Parisien libéré, 3339 (June 7, 1955), 2,100 characters.

film analyzed: Amours de Liang Shan Po et Chu Ying Tai (Les)/, Hu, Sang, and

Shaofen, Huang, 1955.

"Les amours finissent à l'aube." Le Parisien libéré, 2681 (April 27, 1953), 2,800 characters.

film analyzed: Amours finissent à l'aube (Les), Calef, Henri, 1953.

directors cited: Cocteau, Jean; Gance, Abel; Spaak, Charles.

"Un an d'édition sur le cinéma." Le Parisien libéré, 3871 (February 20, 1957), 1,800 characters.

films cited: Atlantide (L'), Feyder, Jacques, 1921; Ali-Baba et les quarante voleurs, Becker, Jacques,

1954; Pépé le Moko, Duvivier, Julien, 1937; Grand jeu (Le), Feyder, Jacques, 1934; Tramway nommé

désir (Un)/A Streetcar Named Desire, Kazan, Elia, 1951; Othello, Welles, Orson, 1952; Othello,

Youtkévitch, Serge, 1956.

directors cited: Rossellini, Roberto; Fellini, Federico; Lizzani, Carlo.

"Un an de livres sur le cinéma." France-Observateur, 348 (January 10, 1957), 9,500 characters.

films cited: Pépé le Moko, Duvivier, Julien, 1937; Casbah/Algiers, Cromwell, John, 1938; Casbah,

Berry, John, 1948; Totò le Moko, Bragaglia, Carlo Ludovico, 1951; La Strada, Fellini, Federico,

1954; Picnic, Logan, Joshua, 1955; Arrêt d'autobus/Bus Stop, Logan, Joshua, 1956; Vacances de

Monsieur Hulot (Les), Tati, Jacques, 1953.

director cited: Lucot, René.

"André Bazin et Pierre Kast répondent à Louis Daquin: Entretien sur une tour d'ivoire." Écran

français, 196 (March 29, 1949), 6,000 characters.

films cited: Frères Bouquinquant (Les), Daquin, Louis, 1947; Règle du jeu (La), Renoir, Jean, 1939;

Lumière d'été, Grémillon, Jean, 1942; Diable au corps (Le), Autant-Lara, Claude, 1947; Chapeau de

paille d'Italie (Un), Clair, René, 1927; Fin de Saint Petersbourg (La)/Konets Sankt-Peterburga, Pudovkin,

Vsevolod, 1927; Cuirassé Potemkine (Le)/Bronenosets Potyomkin, Eisenstein, Sergei, 1925; Ivan le

terrible/Ivan Groznyi, Eisenstein, Sergei, Part I: 1942-44; Part II: 1945-46 (1958); Crime de Monsieur

Lange (Le), Renoir, Jean, 1936; Jo la Romance, Grangier, Gilles, 1949; Voile bleu (Le), Stelli, Jean,

1942.

directors cited: Welles, Orson; Sturges, Preston; Delluc, Louis; Stroheim, Erich von; Astruc,

Alexandre; Jeanson, Henri; Carné, Marcel; Prévert, Pierre; Bresson, Robert; Leenhardt, Roger.

"André Bazin juge le film de Clouzot: Les Espions." Le Parisien libéré, 4070 (October 12, 1957),

2,500 characters.

film analyzed: Espions (Les), Clouzot, Henri-Georges, 1957.

film cited: Diaboliques (Les), Clouzot, Henri-Georges, 1955.

"André Cayatte a secoué le public vénitien avec un film où la vengeance est un plat brûlant

[Oeil

pour oeil

]." Le Parisien libéré, 4036 (September 3, 1957), 2,500 characters.

film analyzed: Oeil pour oeil, Cayatte, André, 1957.

film cited: Douze hommes en colère/Twelve Angry Men, Lumet, Sidney, 1957.

director cited: Rouquier, Georges.

"André Gide

[Avec André Gide]." France-Observateur, 96 (March 13, 1952), 5,400 characters, in

Qu'est-ce que le cinéma?, volume I: "Ontologie et langage" (Éditions du Cerf, 1958), pp. 71-74.

film analyzed: Avec André Gide, Allégret, Marc, 1952.

film cited: Passion de Jeanne d'Arc (La), Dreyer, Carl-Theodor, 1928.

"André Gide vivant!"

[Avec André Gide]." Le Parisien libéré, 2320 (February 28, 1952), 2,300

characters.

film analyzed: Avec André Gide, Allégret, Marc, 1952.

film cited: Aristide Maillol, Lods, Jean, 1943.

"Androclès et le lion

[Androcles and the Lion]: Encore du chrétien!" Le Parisien libéré, 2703 (May 23,

1953), 3,600 characters.

film analyzed: Androclès et le lion/Androcles and the Lion, Erskine, Chester, 1952.

films cited: Antoine et Cléopâtre/Antony and Cleopatra, Guazzoni, Enrico, 1913; Quo vadis?, LeRoy,

Mervyn, 1951.

"Andromaque

[par Jean Racine] à la télévision." France-Observateur, 147 (March 5, 1953), 1,900

characters.

films cited: Henry V, Olivier, Laurence, 1944; Parents terribles (Les), Cocteau, Jean, 1948.

"L'ange des maudits

[Rancho Notorious]: Fritz Lang et Marlène Dietrich." Le Parisien libéré, 2666

(April 9, 1953), 2,500 characters.

film analyzed: Ange des maudits (L')/Rancho Notorious, Lang, Fritz, 1952.

director cited: Gance, Abel.

"Anna Karenine

[Anna Karenina]: Un beau film qui manque d'âme." Le Parisien libéré, 1465 (May 31,

1949), 1,000 characters.

film analyzed: Anna Karenine/Anna Karenina, Duvivier, Julien, 1948.

"Annapurna, Oiseaux exotiques

[Water Birds], et Le grand Méliès: Un programme formidable." Le

Parisien libéré, 2665 (April 8, 1953), 3,800 characters.

films analyzed: Annapurna, a.k.a. Victoire sur l'Annapurna, Ichac, Marcel, 1953; Oiseaux aquatiques

(Les)/Water Birds, Sharpsteen, Ben, 1952; Grand Méliès (Le), Franju, Georges, 1953.

films cited: Kon-Tiki, Heyerdahl, Thor, 1950; Groënland/Greenland, Ichac, Marcel, and Languepin,

Jean-Jaques, 1952; Nanouk l'esquimau/Nanook of the North, Flaherty, Robert, 1922; Croisière noire

(La), Poirier, Léon, 1926; Fantasia, Disney, Walt, Armstrong, Samuel, Algar, James, Roberts, Bill,

Handley, Jim, and Beebe, Jim, 1940; Hôtel des Invalides, Franju, Georges, 1952; Sang des bêtes (Le),

Franju, Georges, 1949.

"Les Anneaux d'or

[Golden Earrings]." Le Parisien libéré, 1251 (September 22, 1948), 850 characters.

film analyzed: Anneaux d'or (Les)/Golden Earrings, Leisen, Mitchell, 1947.

"Une année de cinéma vue par l'équipe de L' Écran français." L'Écran français, 183 (December 28,

1948), 900 characters.

films cited: Sous le soleil de Rome/Sotto il sole di Roma, Castellani, Renato, 1948; Terre tremble (La)/La

terra trema (Episodio del mare), Visconti, Luchino, 1948; Assassinat du Duc de guise (L'), Calmettes,

André, and Le Bargy, Charles, 1908; Parents terribles (Les), Cocteau, Jean, 1948.

director cited: Pagnol, Marcel.

"L'année funeste." Le Parisien libéré, 606 (July 26, 1946), 1,500 characters.

films cited: Vipère (La)/The Little Foxes, Wyler, William, 1938; Qu'elle était verte ma vallée/How Green

Was My Valley, Ford, John, 1941; Bataille du rail (La), Clément, René, 1946; Jéricho, Calef, Henri,

1946; Monsieur Grégoire s'évade, Daniel-Norman, Jacques, 1946; Au petit bonheur, L'Herbier, Marcel,

1946.

"Les Années difficiles

[Anni difficili] ou vie et mésaventures d'un lampiste." Le Parisien libéré, 2092

(April 6, 1951), 3,000 characters.

film analyzed: Années difficiles (Les)/Anni difficili, Zampa, Luigi, 1948.

film cited: Vivre en paix/Vivere in pace, Zampa, Luigi, 1947.

director cited: Welles, Orson.

"Les Années sauvages

[The Rawhide Years]: Doublement conventionnel." Radio-Cinéma-Télévision, 376

(March 31, 1957), 1,300 characters.

film analyzed: Années sauvages/The Rawhide Years, Maté, Rudolph, 1957.

film cited: Écrit sur du vent/Written on the Wind, Sirk, Douglas, 1956.

"Les Années sauvages

[The Rawhide Years]: Western fluvial." Le Parisien libéré, 3897 (March 22, 1957),

1,200 characters.

film analyzed: Années sauvages (Les)/The Rawhide Years, Maté, Rudolph, 1957.

film cited: Écrit sur du vent/Written on the Wind, Sirk, Douglas, 1956.

"Annie Rouvre est élue Miss Cannes '47." Le Parisien libéré, 939 (September 24, 1947), 500

characters.

"Antoine et Cléopâtre

[Antony and Cleopatra]." Le Parisien libéré, 1346 (January 12, 1949), 1,000

characters.

film analyzed: Antoine et Cléopâtre/Antony and Cleopatra, Blackton, J. Stuart, 1908.

"Aparajito

[L'Invaincu]." Cahiers du cinéma, n. 75 (October 1957), 3,700 characters.

film analyzed: L'Invaincu, a.k.a. L'Invincible/Aparajito, Ray, Satyajit, 1956.

films cited: Complainte du sentier (La)/Pather Panchali, Ray, Satyajit, 1955; Fleuve (Le)/The River,

Renoir, Jean, 1951; Homme du Sud (L')/The Southerner, Renoir, Jean, 1945; Règle du jeu (La), Renoir,

Jean, 1939.

director cited: Mizoguchi, Kenji.

"Aparajito

[L'Invaincu]." France-Observateur, 397 (December 19, 1957), p. 21/3,200 characters.

film analyzed: L'Invaincu, a.k.a. L'Invincible/Aparajito, Ray, Satyajit, 1956.

films cited: Complainte du sentier (La)/Pather Panchali, Ray, Satyajit, 1955; Harpe Birmane (La)/Biruma

no tategoto, Ichikawa, Kon, 1956; Règle du jeu (La), Renoir, Jean, 1939; Fleuve (Le)/The River, Renoir,

Jean, 1951; Homme du Sud (L')/The Southerner, Renoir, Jean, 1945; Pamposh, fleur de lotus/Pamposh,

Mir, Ezra, 1954; Deux hectares de terre/Do Bigha Zamin, Roy, Bimal, 1953.

director cited: Donskoï, Mark; Flaherty, Robert; Renoir, Jean; Rolland, Romain.

"Aparajito

[L'Invaincu]." Le Parisien libéré, 4141 (January 3, 1958), 2,000 characters.

film analyzed: L'Invaincu, a.k.a. L'Invincible/Aparajito, Ray, Satyajit, 1956.

film cited: Complainte du sentier (La)/Pather Panchali, Ray, Satyajit, 1955.

"Aperçus sur le cinéma mexicain [Racines (Raices)]." L'Éducation nationale, 14 (April 19, 1956), 4,700

characters.

film analyzed: Racines/Raices, Alazraki, Benito, 1954.

films cited: María Candelaria, Fernández, Emilio, 1943; Brève rencontre/Brief Encounter, Lean, David,

1945; Filet (Le)/La red, a.k.a. Rossana, Fernández, Emilio, 1953; Salauds vont en Enfer (Les), Hossein,

Robert, 1956; Chien andalou (Un), Buñuel, Luis, 1929; Terre sans pain/Las Hurdes, Buñuel, Luis,

1932; Âge d'or (L'), Buñuel, Luis, 1930; Olvidados (Los), a.k.a. Les Réprouvés and Pitié pour eux/Los

Olvidados, Buñuel, Luis, 1950.

director cited: Pabst, G. W.

"L'appât [The Naked Spur]: Du très bon western!" Le Parisien libéré, 3382 (July 27, 1955), 2,600

characters.

film analyzed: Appât (L')/The Naked Spur, Mann, Anthony, 1953.

"Appel d'un inconnu [Phone Call from a Stranger]: Appel aux larmes." Le Parisien libéré, 2527 (October

29, 1952), 1,800 characters.

film analyzed: Appel d'un inconnu/Phone Call from a Stranger, Negulesco, Jean, 1952.

film cited: place au soleil (Une)/A Place in the Sun, Stevens, George, 1951.

"L'apport d'Orson Welles." Ciné-club, 7, n. 1 (May 1948), pp. 1, 5/10,000 characters.

films cited: Citizen Kane, Welles, Orson, 1941; Splendeur des Amberson (La)/The Magnificent Amber-

sons, Welles, Orson, 1942; Règle du jeu (La), Renoir, Jean, 1939.

directors cited: Pudovkin, Vsevolod; Lubitsch, Ernst; Capra, Frank; Ford, John; Wyler, William;

Hitchcock, Alfred; Wilder, Billy; Dmytryk, Edward; Kazan, Elia; Feuillade, Louis; Stroheim,

Erich von.

"Après l'amour." Le Parisien libéré, 1054 (February 4, 1948), 600 characters.

film analyzed: Après l'amour, Tourneur, Maurice, 1947.

"Après le Festival de Cannes: Les grands thèmes du cinéma 1946." Courrier de l'étudiant, 32

(October 30, 1946), 7,700 characters. Reprinted in Le Cinéma de l'Occupation et de la Résistance. Paris:

Union Générale d'éditions, 1975.

films cited: Citizen Kane, Welles, Orson, 1941; Vipère (La)/The Little Foxes, Wyler, William, 1941;

Cavalier du désert (Le)/The Westerner, Wyler, William, 1940; Qu'elle était verte ma vallée/How Green Was

My Valley, Ford, John, 1941; Assurance sur la Mort/Double Indemnity, Wilder, Billy, 1944; Femme au

portrait (La)/The Woman in the Window, Lang, Fritz, 1944; Poison (Le)/The Lost Weekend, Wilder,

Billy, 1945; Bataille du rail (La), Clément, René, 1946; Rome, ville ouverte/Roma, città aperta, Rossellini,

Roberto, 1945; Dernière chance (La)/Die letzte Chance, Lindtberg, Leopold, 1945; María Candelaria,

Fernández, Emilio, 1943; Brève rencontre/Brief Encounter, Lean, David, 1945; Symphonie pastorale (La),

Delannoy, Jean, 1946; Terre sera rouge (La)/De Røde enge, Ipsen, Bodil, and Lauritzen, Jr., Lau, 1945;

Tournant décisif/Velikiy perelom, Ermler, Friedrikh, 1946; Coeur captif (Le)/The Captive Heart, Dear-

den, Basil, 1946; Père tranquille (Le), Clément, René, 1946; Croc Blanc/Belyy klyk, Zgouridi,

Alexandre, 1946; Revenant (Le), Christian-Jaque, 1946; Farrebique (ou Les quatres saisons), Rouquier,

Georges, 1946; Patrie, Daquin, Louis, 1946; Hommes sans ailes (Les)/Muzi bez krídel, Cáp, Frantisek,

1946.

directors cited: Wyler, William; Capra, Frank; Ford, John; Sturges, Preston; Carné, Marcel;

Renoir, Jean; Eisenstein, Sergei.

"Après le Festival de Cannes: Hollywood peut traduire Faulkner, Hemingway, ou Caldwell."

Courrier de l'étudiant, 33 (November 13, 1946), 4,000 characters. Reprinted in Le Cinéma de

l'Occupation et de la Résistance. Paris: Union Générale d'éditions, 1975.

films cited: Poison (Le)/The Lost Weekend, Wilder, Billy, 1945; Joyeux phénomène (Le)/Wonder Man,

Humberstone, H. Bruce, 1945; Espoir (L')/Sierra de Teruel, Malraux, André, 1945 (1939).

directors cited: Welles, Orson; Sturges, Preston; Wilder, Billy; Hitchcock, Alfred; Preminger,

Otto; Odets, Clifford; Siodmak, Robert; Stevens, George; Ford, John; Capra, Frank; Wyler,

William.

"Après le Festival de Locarno, Le Beau Serge accumule toutes les audaces." France-Observateur, 432

(August 14, 1958), 8,300 characters.

film analyzed: Beau Serge (Le), Chabrol, Claude, 1958.

films cited: Allemagne année zéro/Germania anno zero, Rossellini, Roberto, 1947; Huitième jour de la

semaine (Le)/Ósmy dzien tygodnia, Ford, Aleksander, 1958; Quand passent les cigognes/Letjat zhuravli,

Kalatozov, Mikhail, 1957; Deux femmes/Dve zhenshchiny, Roshal, Grigori, 1930.

"Après-midi de taureaux [Tarde de toros]: 90 minutes de vérité." Le Parisien libéré, 3780 (November 5,

1956), 2,000 characters.

film analyzed: Après-midi de taureaux/Tarde de toros, Vajda, Ladislao, 1955.

films cited: Torero/Toro, Velo, Carlos, 1956; Course de taureaux (La), Braunberger, Pierre, 1951;

Arènes sanglantes/Blood and Sand, Mamoulian, Rouben, 1941.

"Après le Rose et le Noir

[Deux sous de violettes]." Cahiers du cinéma, II, n. 7 (December 1951), pp.

49-51/88,100 characters.

film analyzed: Deux sous de violettes, Anouilh, Jean, 1951.

films cited: Caroline chérie, Pottier, Richard, 1951; Pattes blanches, Grémillon, Jean, 1949; Monsieur

Vincent, Cloche, Maurice, 1947; Voyageur sans bagages, Anouilh, Jean, 1944; Lady Paname, Jeanson,

Henri, 1950.

"Après le triomphe du Condamné à mort quelques pronostics pour le palmarès du 10ème Festival

de Cannes." Le Parisien libéré, 3942 (May 15, 1957), 1,800 characters.

films cited: Nuits de Cabiria (Les)/Le notti di Cabiria, Fellini, Federico, 1957; Condamné à mort s'est

échappé (Un), ou Le vent souffle où il veut, Bresson, Robert, 1956; Septième sceau (La)/Det sjunde inseglet,

Bergman, Ingmar, 1957; Celui qui doit mourir, a.k.a. Le Christ recrucifié, Dassin, Jules, 1956; Ils

aimaient la vie/Kanal, Wajda, Andrzej, 1957; Guendalina, Lattuada, Alberto, 1957; Maison de l'ange

(La)/La Casa del ángel, Nilsson, Leopoldo Torre, 1957; 41ème (Le)/Sorok pervyy, Chukhrai, Grigori,

1956; Toit du Japon (Le)/Shiroi sanmyaku, Imamura, Sadao, 1957; Nuit des maris (La)/The Bachelor

Party, Mann, Delbert, 1957; Loi du seigneur (La)/Friendly Persuasion, Wyler, William, 1956; Don

Quichotte/Don Kikhot, Kozintsev, Grigori, 1957.

"Après vingt-quatre heures du Festival de Cannes Jurés, journalistes et délégués résistent mal au

marathon du cinéma." Le Parisien libéré, 656 (September 22, 1946), 1,000 characters.

films cited: Ombres sur la neige/Skuggor over snön, Sucksdorff, Arne, 1945; Trois mousquetaires

(Les)/Los tres mosqueteros, Saraceni, Julio, 1945; Enchaînés (Les)/Notorious, Hitchcock, Alfred, 1946;

Partie de campagne (Une), Renoir, Jean, 1946 (1936); Donald's Double Trouble, Disney, Walt, 1946;

Tournant décisif/Velikij perelom, Ermler, Friedrikh, 1946; Lettre (La)/The Letter, Wyler, William,

1940.

"Après les vingt-quatre heures du Mans: Maigres résultats pour les moyens employés." Radio-

Cinéma-Télévision, 284 (June 26, 1955), pp. 34-35/1,800 characters.

"L'Arc et la flute [En djungelsaga]." Cahiers du cinéma, n. 84 (June 1958), pp. 28-30/3,600 characters.

film analyzed: Arc et la flute (L')/En djungelsaga, Sucksdorff, Arne, 1957.

films cited: Continent perdu/Continente perduto, Bonzi, Leonardo, Gras, Enrico, and Moser, Giorgio,

1955; Empire du soleil (L')/Impero del sole, Gras, Enrico, 1956; Grande aventure (La)/Det Stora äventyret,

Sucksdorff, Arne, 1953.

"L'Arc et la flute [En djungelsaga]: Un documentaire à la fois grandiose et familier." Le Parisien libéré,

4243 (May 3, 1958), 1,000 characters.

film analyzed: Arc et la

flute (L')/En djungelsaga,

Sucksdorff, Arne, 1957.

films cited: Grande aventure (La)/Det Stora äventyret, Sucksdorff, Arne, 1953; Ma Louisiane/Louisiana

Story, Flaherty, Robert, 1948.

"Arsène Lupin: Un film de Jacques Becker." L'Éducation nationale, 15 (April 11, 1957), 4,400

characters, in Le cinéma français de la Libération à la Nouvelle Vague, 1945-1958 (Paris: Éditions de

l'Étoile [1983], 1998), pp. 71-73.

film analyzed: Aventures d'Arsène Lupin (Les), Becker, Jacques, 1957.

films cited: Goupi mains rouges, Becker, Jacques, 1943; Antoine et Antoinette, Becker, Jacques, 1947;

Édouard et Caroline, Becker, Jacques, 1951; Falbalas, Becker, Jacques, 1945; Rendez-vous de juillet,

Becker, Jacques, 1949; Rue de l'Estrapade (La), Becker, Jacques, 1953; Casque d'or, Becker, Jacques,

1952; Ali Baba et les quarante voleurs, Becker, Jacques, 1954.

director cited: Clément, René; Clouzot, Henri-Georges.

"Arsenic et vieilles dentelles [Arsenic and Old Lace]." Le Parisien libéré, 745 (January 8, 1947), 800

characters.

film analyzed: Arsenic et vieille dentelle/Arsenic and Old Lace, Capra, Frank, 1944 (1941).

film cited: Vous ne l'emporterez pas avec vous/You Can't Take It with You, Capra, Frank, 1938.

"L'art à la télévision, une émission qui perd sur tous les . . . tableaux." Radio-Cinéma-Télévision, 458

(October 26, 1958), 5,300 characters.

"L'assassin a de l'humour . . . Anglais [The Ringer]." Le Parisien libéré, 2894 (January 1, 1955), 1,300

characters.

film analyzed: Assassin a de l'humour (L')/The Ringer, Hamilton, Guy, 1952.

"L'Assassin s'était trompé [Cast a Dark Shadow]." Radio-Cinéma-Télévision, 370 (February 17, 1957),

1,100 characters.

film analyzed: Assassin s'était trompé (L')/Cast a Dark Shadow, Gilbert, Lewis, 1955.

films cited: Je reviendrai à Kandara, Vicas, Victor, 1957; À 23 pas du mystère/23 Paces to Baker Street,

Hathaway, Henry, 1956; Rocher de Brighton (Le), a.k.a. Le gang des tueurs/Brighton Rock, Boulting,

John, 1947.

"L'Assassin s'était trompé [Cast a Dark Shadow]: Le mariage ne paie pas!" Le Parisien libéré, 3864

(February 12, 1957), 2000 characters.

film analyzed: Assassin s'était trompé (L')/Cast a Dark Shadow, Gilbert, Lewis, 1955.

"Assassins et voleurs: Gai, gai assassinons-nous!" Le Parisien libéré, 3867 (February 15, 1957), 2,000

characters, in Le cinéma français de la Libération à la Nouvelle Vague, 1945-1958 (Paris: Éditions de

l'Étoile [1983], 1998), pp. 208-209.

film analyzed: Assassins et voleurs, Guitry, Sacha, 1957.

films cited: Roman d'un tricheur, Guitry, Sacha, 1936; Poison (La), Guitry, Sacha, 1951; Napoléon,

Guitry, Sacha, 1955; Noblesse oblige/Kind Hearts and Coronets, Hamer, Robert, 1949.

"Les assassins sont parmi nous

[Die Mörder sind unter uns]." Le Parisien libéré, 1173 (June 23, 1948),

1,000 characters.

film analyzed: Assassins sont parmi nous (Les), a.k.a. Les meurtriers sont parmi nous/Die Mörder sind unter

uns, Staudte, Wolfgang, 1946.

films cited: M le Maudit/M, Lang, Fritz, 1931; Jeunes filles en uniforme/Mädchen in Uniform, Sagan,

Léondine, and Froelich, Carl, 1931.

"Une assez triste journée . . ." Le Parisien libéré, 3939 (May 11, 1957), 1,000 characters.

films cited: Drôle de frimousse/Funny Face, Donen, Stanley, 1957; Marée haute à midi (La)/High Tide at

Noon, Leacock, Philip, 1957; Américain à Paris (Un)/An American in Paris, Minnelli, Vincente, 1951.

directors cited: Chaplin, Charles; Bresson, Robert.

"Association criminelle [The Big Combo]: Série noire américaine." Le Parisien libéré, 3525 (January 10,

1956), 1,800 characters.

film analyzed: Association criminelle/The Big Combo, Lewis, Joseph, 1955.

films cited: Grand couteau (Le)/The Big Knife, Aldrich, Robert, 1955; En quatrième vitesse/Kiss Me

Deadly, Aldrich, Robert, 1955.

"Assurance sur la mort [Double Indemnity] et Laura." Le Parisien libéré, 624 (August 16, 1946), 2,200

characters.

films analyzed: Assurance sur la mort/Double Indemnity, Wilder, Billy, 1944; Laura, Preminger, Otto,

1944.

"Athéna [Athena]." Le Parisien libéré, 3539 (January 26, 1956), 1,500 characters.

film analyzed: Athéna/Athena, Thorpe, Richard, 1956.

"Atoll K: Laurel et Hardy en exil." Le Parisien libéré, 2210 (October 22, 1951), 2,000 characters.

film analyzed: Atoll K, Joannon, Léo, 1951.

films cited: Fantômas, Feuillade, Louis, 1913; Vampires, Feuillade, Louis, 1915-16.

"Attaque [Attack]: En force." Le Parisien libéré, 3756 (October 8, 1956), 2,000 characters.

film analyzed: Attaque/Attack, Aldrich, Robert, 1956.

film cited: Grand couteau (Le)/The Big Knife, Aldrich, Robert, 1955.

"Attaque [Attack]: Robert Aldrich." France-Observateur, 335 (October 11, 1956), 6,800 characters.

film analyzed: Attaque/Attack, Aldrich, Robert, 1956.

films cited: Homme du Sud (L')/The Southerner, Renoir, Jean, 1945; Comtesse au pieds nus (La)/The

Barefoot Contessa, Mankiewicz, Joseph L., 1954; Grand couteau (Le)/The Big Knife, Aldrich, Robert,

1955; Tant qu'il y aura des hommes/From Here to Eternity, Zinnemann, Fred, 1953; Ouragan sur le

`Caine'/The Caine Mutiny, Dmytryk, Edward, 1954.

director cited: Griffith, D. W.

"Attention aux rats, Pierre Dumayet!" Radio-Cinéma-Télévision, 170 (April 19, 1953), 1,800 charac-

ters.

director cited: Cocteau, Jean.

"Au carrefour du siècle [The Beginning or the End]." Le Parisien libéré, 1322 (December 15, 1948), 1,000

characters.

film analyzed: Au carrefour du siècle/The Beginning or the End, Taurog, Norman, 1947.

"Au chevet du grand malade: Le cinéma français se meurt; les studios sont fermés ou `tournent'

au ralenti." Le Parisien libéré, 1038 (January 17, 1948), pp. 1-2/2,800 characters.

"Au cinéma." Le Parisien libéré, 551 (May 25, 1946), 800 characters.

"Au-delà de la fidélité: Mina de Vanghel." France-Observateur, 148 (March 12, 1953), 5,100 charac-

ters.

film analyzed: Mina de Vanghel, Clavel, Maurice, and Barry, Maurice, 1953.

films cited: Rideau cramoisi (Le), Astruc, Alexandre, 1953; Thérèse Raquin, Feyder, Jacques, 1928;

Quai des brumes, Carné, Marcel, 1938; Bête humaine (La), Renoir, Jean, 1938; Partie de campagne (Une),

Renoir, Jean, 1946 (1936); Tartuffe, Murnau, F. W., 1925; Faust, Murnau, F. W., 1926; Symphonie

pastorale (La), Delannoy, Jean, 1946; Diable au corps (Le), Autant-Lara, Claude, 1947; Silence de la mer

(Le), Melville, Jean-Pierre, 1949; Journal d'un curé de campagne (Le), Bresson, Robert, 1951.

"Au-delà du mal [Mi Klalah L'Brahah]: Un spectacle intéressant." Le Parisien libéré, 2072 (November

5, 1951), 1,000 characters.

film analyzed: Au-delà du mal/Mi Klalah L'Brahah, Krumgold, Joseph, 1950.

film cited: Grande pastorale (La), Clément, René, 1943.

"Au diable la richesse! [Abbasso la ricchezza!]: Deux grands acteurs." Le Parisien libéré, 1634 (December

15, 1949), 1,000 characters.

film analyzed: Au diable la richesse!/Abbasso la ricchezza!, Righelli, Gennaro, 1946.

film cited: Terre tremble (La)/La terra trema (Episodio del mare), Visconti, Luchino, 1948.

"Au diable la vertu." Le Parisien libéré, 2756 (July 24, 1953), 2,000 characters.

film analyzed: Au diable la vertu, Laviron, Jean, 1953.

"Au Festival de Biarritz: La nuit maudite mobilise les forces armées et Thilde Tamar effraie les

fantômes." Le Parisien libéré, 1522 (August 5, 1949), 2,500 characters.

film cited: Hellzapoppin', Potter, Hank C., 1941.

directors cited: Cocteau, Jean; Astruc, Alexandre; Welles, Orson; Murnau, F. W.; Sennett, Mack.

"Au Festival de Bruxelles Alan Ladd et son fils ont ému le public avec Le fier rebelle [The Proud

Rebel]." Le Parisien libéré, 4279 (June 14, 1958), 900 characters.

film analyzed: Fier rebelle (Le)/The Proud Rebel, Curtiz, Michael, 1958.

"Au Festival de Bruxelles: Un bon film anglais, Hue and Cry

[À cor et à cri]." Le Parisien libéré, 850

(June 11, 1947), 800 characters.

film analyzed: À cor et à cri/Hue and Cry, Crichton, Charles, 1947.

films cited: Émile et les détectives/Emil und die Detektive, Lamprecht, Gerhard, 1931; Septième porte

(La), Zwoboda, André, 1946; Sonate à Kreutzer (La), a.k.a. Les nuits blanches de Saint-Pétersbourg,

Dréville, Jean, 1938.

"Au Festival de Bruxelles: Le café du cadran ne remporte pas le succès espéré." Le Parisien libéré, 854

(June 15, 1947), 1,400 characters.

film analyzed: Café du cadran (Le), Gehret, Jean, 1947.

films cited: Jody et le faon/The Yearling, Brown, Clarence, 1947; Donde Mieren Las Palabras, Fre-

gonese, Hugo, 1946; Sonate à Kreutzer (La), a.k.a. Les nuits blanches de Saint-Pétersbourg, Dréville, Jean,

1938; Élixir d'amour (L')/L'elisir d'amore, Costa, Mario, 1947; Enamorada, Fernández, Emilio, 1947.

"Au Festival de Bruxelles, l'effort français: Les vedettes françaises arrivent aujourd'hui." Le

Parisien libéré, 852 (June 13, 1947), 1,200 characters.

films cited: Silence est d'or (Le), Clair, René, 1947; Diable au corps (Le), Autant-Lara, Claude, 1947.

directors cited: Méliès, Georges; Lumière, Auguste, and Lumière, Louis.

"Au Festival de Bruxelles: Journée des vedettes françaises." Le Parisien libéré, 853 (June 14, 1947),

1,800 characters.

film cited: Silence est d'or (Le), Clair, René, 1947

"Au Festival de Bruxelles Le silence est d'or remporte un grand succès . . . Mais Mélodie du Sud [Song

of the South], de Walt Disney, est une déconvenue." Le Parisien libéré, 851 (June 12, 1947), 1,200

characters.

films analyzed: Silence est d'or (Le), Clair, René, 1947; Mélodie du Sud/Song of South, Disney, Walt,

1946.

"Au Festival de Cannes." Le Parisien libéré, 659 (September 26, 1946), 800 characters.

film cited: Patrie, Daquin, Louis, 1946.

"Au Festival de Cannes: Avec Une fille de la province [The Country Girl] Grace Kelly a remporté un

succès personnel mais French Cancan a été, hors festival, le vrai film de la journée." Le Parisien

libéré, 3314 (May 7, 1955), 2,100 characters.

films analyzed: Fille de la province (Une)/The Country Girl, Seaton, George, 1954; French Cancan,

Renoir, Jean, 1955.

films cited: Inconnus dans la maison (Les), Decoin, Henri, 1941; Touchez pas au Grisbi, Becker,

Jacques, 1954.

"Au Festival de Cannes: Avec Une grande famille [Bolshaya semya] le cinéma soviétique montre les

hommes tels qu'ils sont; le film anglais Vivre un grand amour [The End of the Affair] remporte un

succès d'estime." Le Parisien libéré, 3311 (May 4, 1955), 2,300 characters.

films analyzed: Grande famille (Une)/Bolshaya semya, Haifitz, Josef, 1954; Vivre un grand amour/The

End of the Affair, Dmytryk, Edward, 1955; Louis II de Bavière/Ludwig II: Glanz und Ende eines Königs,

Käutner, Helmut, 1955.

films cited: Moisson (La), a.k.a. Le retour de Vassili Bortuikov/Vozvrashchenie Vasiliya Bortnikova,

Pudovkin, Vsevolod, 1953; Chevalier à l'étoile d'or (Le)/Kavalier zolotoi zvezdy, Raizman, Yuli, 1950;

Roméo et Juliette/Romeo i Dzhulyetta, Arnshtam, Lev, and Lavrovsky, Leonid, 1955; Bel-Ami, Daquin,

Louis, 1955.

"Au Festival de Cannes les cigognes font le printemps." France-Observateur, 417 (May 8, 1958),

7,300 characters.

films cited: Quand passent les cigognes/Letyat zhuravli, Kalatozov, Mikhail, 1958; Cigale

(La)/Poprygunya, Samsonov, Samson, 1955; 41ème (Le)/Sorok pervyy, Chukhrai, Grigori, 1956; Désir

sous les armes/Desire Under the Elms, Mann, Delbert, 1958; Arc et la flute (L')/En djungelsaga,

Sucksdorff, Arne, 1957; Eau vive (L'), Villiers, François, 1958; Cuirassé Potemkine (Le)/Bronenosets

Potyomkin, Eisenstein, Sergei, 1925; Ligne générale (La)/Generalya Linya, a.k.a. Staroe i novoe, Eisens-

tein, Sergei, 1929; Continent perdu/Continente perduto, Bonzi, Leonardo, Gras, Enrico, and Moser,

Giorgio, 1955; Tshapajev/Chapaev, Vasilyev, Georgi, and Vasilyev, Sergei, 1934; Thérèse Étienne, De

La Patellière, Denys, 1958.

director cited: Sturges, Preston.

"Au Festival de Cannes: Le cinéma brésilien nous réveille mais le suédois nous endort [Sans peur,

sans pitié (O Cangugaceiro) et Pour les ardentes amours de ma jeunesse (För min heta ungdoms skull)]." Le

Parisien libéré, 2674 (April 18, 1953), 2,500 characters.

films analyzed: Sans peur, sans pitié/O Cangugaceiro, Barreto, Victor Lima, 1953; Pour les ardentes

amours de ma jeunesse (Les)/För min heta ungdoms skull, Mattsson, Arne, 1952.

films cited: Salaire de la peur (Le), Clouzot, Henri-Georges, 1953; Elle n'a dansé qu'un seul été/Hon

dansade en sommar, Mattsson, Arne, 1952; Grand bouddha (Le)/Daibutsu kaigen, Kinugasa, Teinosuke,

1952; Loi du silence (La)/I Confess, Hitchcock, Alfred, 1952.

"Au Festival de Cannes: Les controverses autour de Celui qui doit mourir [Le Christ recrucifié] font

oublier les incidents du Tour du monde en 80 jours [Around the World in 80 Days]." Le Parisien libéré,

3933 (May 4, 1957), 2,400 characters.

films analyzed: Tour du monde en 80 jours (Le)/Around the World in 80 Days, Anderson, Michael,

1956; Celui qui doit mourir, a.k.a. Le Christ recrucifié, Dassin, Jules, 1956.

film cited: Du rififi chez les hommes, a.k.a. Rififi, Dassin, Jules, 1955.

"Au Festival de Cannes: De bons films italiens, espagnols, américains [Le Signe de Vénus (Il segno di

venere); Marcelin, pain et vin (Marcelino, pan y vino); À l'Est d'Eden (East of Eden)]." Le Parisien libéré,

3315 (May 9, 1955), 2,200 characters.

films analyzed: Signe de Vénus (Le)/Il segno di venere, Risi, Dino, 1955; Marcellin, pain et vin/Marcellino,

pan y vino, Vajda, Ladislao, 1955; À l'Est d'Eden/East of Eden, Kazan, Elia, 1955.

films cited: Pain, amour et jalousie/Pane, amore e gelosia, Comencini, Luigi, 1954; Vitelloni (Les), a.k.a.

Les inutiles/I vitelloni, Fellini, Federico, 1953; Bienvenue Monsieur Marshall/Bienvenido Mr. Marshall,

Berlanga, Luis García, 1952; Comiques, a.k.a. Comédiens (Les)/Cómicos, Bardem, Juan Antonio, 1954;

Sur les quais/On the Waterfront, Kazan, Elia, 1954; Racines/Raices, Alazraki, Benito, 1954.

"Au Festival de Cannes: De la Dame de pique aux Frontières oubliées [Lost Boundaries]." Le Parisien

libéré, 1557 (September 15, 1949), 2,300 characters.

films analyzed: Dame de pique (La), Otsep, Fyodor, 1937; Frontières oubliées/Lost Boundaries, Werker,

Alfred L., 1949; Au-delà des grilles, Clément, René, 1949.

films cited: Ange bleu (L')/Der blaue Engel, Sternberg, Josef von, 1930; Petit noir tranquille (Le)/The

Quiet One, Meyers, Sidney, 1949; Maison des braves (La), a.k.a. Je suis un nègre/Home of the Brave,

Robson, Mark, 1949.

"Au Festival de Cannes: De Sica [Gare terminus (Stazione Termini)] n'a pas battu Clouzot, et

Clemenceau a réveillé des passions inopportunes." Le Parisien libéré, 2682 (April 28, 1953), 3,100

characters.

film analyzed: Gare terminus/Stazione Termini, De Sica, Vittorio, 1953.

films cited: Umberto D., De Sica, Vittorio, 1952; Voleur de bicyclette (Le)/Ladri di biciclette, De Sica,

Vittorio, 1948; Brève rencontre/Brief Encounter, Lean, David, 1945; Salaire de la peur (Le), Clouzot,

Henri-Georges, 1953; Vie passionnée de Clémenceau (La), Prouteau, Gilbert, 1953; Statues meurent aussi

(Les), Resnais, Alain, and Marker, Chris, 1954.

"Au Festival de Cannes: En attendant les grosses productions américaines; L'enfant et la licorne [A

Kid for Two Farthings] marque un point pour le cinéma anglais." Le Parisien libéré, 3313 (May 6,

1955), 1,100 characters.

film analyzed: Enfant et la licorne (L')/A Kid for Two Farthings, Reed, Carol, 1955.

films cited: Fille de la province (Une)/The Country Girl, Seaton, George, 1954; Inconnus dans la maison

(Les), Decoin, Henri, 1941.

"Au Festival de Cannes: La France remporte un succès triomphal Les grands prix ont été

décernés au Salaire de la peur pour les longs métrages et à Crin blanc pour les courts-métrages." Le

Parisien libéré, 2684 (April 30, 1953), 4,000 characters.

films analyzed: Salaire de la peur (Le), Clouzot, Henri-Georges, 1953; Crin blanc: Le cheval sauvage,

Lamorisse, Albert, 1953.

films cited: Enfants d'Hiroshima (Les)/Gembaku no ko, Shindo, Kaneto, 1952; Tourments/El, Buñuel,

Luis, 1953; Gare terminus/Stazione Termini, De Sica, Vittorio, 1953; Umberto D., De Sica, Vittorio,

1952; Vacances de Monsieur Hulot (Les), Tati, Jacques, 1953; Horizon sans fin, Dréville, Jean, 1953.

directors cited: Doniol-Valcroze, Jacques; Wyler, William; Sennett, Mack; Tati, Jacques; Epstein,

Jean; Cocteau, Jean; Gance, Abel; Dréville, Jean; Resnais, Alain; Malraux, André.

"Au Festival de Cannes: Un grand film français, Les Maudits, et le meilleur Walt Disney: Dumbo."

Le Parisien libéré, 932 (September 16, 1947), 2,000 characters.

films analyzed: Maudits (Les), Clément, René, 1946; Dumbo, l'éléphant volant/Dumbo, Armstrong,

Samuel, Ferguson, Norman, Jackson, Wilfred, Kinney, Jack, Roberts, Bill, Sharpsteen, Ben, and

Elliotte, John, 1941.

films cited: Évadée (L')/The Chase, Ripley, Arthur, 1946; Boomerang, Kazan, Elia, 1947; Bataille du

rail (La), Clément, René, 1946.

director cited: Renoir, Jean.

"Au Festival de Cannes: La Norvège est entrée en lice avec des allumettes suédoises et

l'Allemagne avec un film pacifiste mais à la mi-temps les pronostics demeurent très incertains [La

Flamme (Det brenner i natt!) et Louis II de Bavière (Ludwig II: Glanz und Ende eines Königs)]." Le Parisien

libéré, 3310 (May 3, 1955), 2,600 characters.

films analyzed: Flamme (La)/Det brenner i natt!, Skouen, Arne, 1955; Louis II de Bavière/Ludwig II:

Glanz und Ende eines Königs, Käutner, Helmut, 1955.

films cited: Dernier pont (Le)/Die letzte Brücke, Käutner, Helmut, 1954; Grande famille (Une)/Bolshaya

semya, Haifitz, Josef, 1954; Vivre un grand amour/The End of the Affair, Dmytryk, Edward, 1955;

Stella, femme libre/Stella, éleftéri yénéka, Cacoyannis, Michael, 1955; Liliomfi, Makk, Károly, 1954;

Marty, Mann, Delbert, 1955; Homme est passé (Un)/Bad Day at Black Rock, Sturges, John, 1954; Fille

de la province (Une)/The Country Girl, Seaton, George, 1954; À l'Est d'Eden/East of Eden, Kazan,

Elia, 1955; Carmen Jones, Preminger, Otto, 1954; Dossier noir (Le), Cayatte, André, 1955; Du rififi

chez les hommes, a.k.a. Rififi, Dassin, Jules, 1954; Or de Naples (L')/L'oro di Napoli, De Sica, Vittorio,

1954; Héros de Chipkà (Les), a.k.a. Hommes en guerre/Geroite na Shipka, Vasilyev, Sergei, 1954.

"Au Festival de Cannes: Notre capitale du cinéma ne veut pas concurrencer Venise." Le Parisien

libéré, 930 (September 13, 1947), 1,300 characters.

"Au Festival de Cannes: On solde avant inventaire des chefs-d'oeuvres imprévus." Le Parisien

libéré, 3627 (May 9, 1956), 2,100 characters.

films cited: Dernier chien (Le)/El último perro, Demare, Lucas, 1956; Si les oiseaux savaient ou Je vis dans

la peur/Ikimono no kiroku, Kurosawa, Akira, 1955; Après-midi de taureaux/Tarde de toros, Vajda,

Ladislao, 1955; Complainte du sentier (La)/Pather Panchali, Ray, Satyajit, 1955; Rashomon, Kurosawa,

Akira, 1950; Marcellin, pain et vin/Marcellino, pan y vino, Vajda, Ladislao, 1955; Fleuve (Le)/The River,

Renoir, Jean, 1951.

"Au Festival de Cannes trois nations, trois grands films: La Symphonie pastorale, La Fleur de Pierre

[Kamennyj cvetok], et Le Poison (The Lost Weekend)." Le Parisien libéré, 660 (September 27, 1946),

2,800 characters.

films analyzed: Symphonie pastorale (La), Delannoy, Jean, 1943; Fleur de pierre (La)/Kamennyj cvetok,

Ptuchko, Alexandre, 1946; Poison (Le)/The Lost Weekend, Wilder, Billy, 1945.

films cited: Part de l'ombre (La), Delannoy, Jean, 1945; Éternel retour (L'), Delannoy, Jean, 1943;

Route semée d'étoiles (La)/Going My Way, McCarey, Leo, 1944; Assurance sur la mort/Double Indemnity,

Wilder, Billy, 1944.

"Au Festival de Sao Paulo: Décimée par la grippe la délégation française soutiendra-t-elle l'assaut

américain? Abel Gance contre-attaque." Le Parisien libéré, 2940 (February 24, 1954), 1,800

characters.

films cited: Condamné (Le)/Condenados, Mur Oti, Manuel, 1953; Conquête de l'Everest (La)/The

Conquest of Everest, Lowe, George, 1953; Amour d'une femme (L'), Grémillon, Jean, 1954; Vire-caillou,

Cosima, René, 1954.

director cited: Stroheim, Erich von.

"Au Festival de Venise [Les Amants et En cas de malheur]." L'Éducation nationale, 24 (October 2,

1958), 6,000 characters.

films analyzed: Amants (Les), Malle, Louis, 1958; En cas de malheur, Autant-Lara, Claude, 1958.

films cited: Vie (Une), Astruc, Alexandre, 1958; Marguerite de la nuit, Autant-Lara, Claude, 1956;

Bon Dieu sans confession (Le), Autant-Lara, Claude, 1953; Traversée de Paris (La), Autant-Lara, Claude,

1956; Ascenseur pour l'échafaud, Malle, Louis, 1958.

"Au Festival de Venise: Le cinéma français part favori et Orson Welles joue les fantômes." Le

Parisien libéré, 1539 (August 25, 1949), 2,200 characters.

films cited: Fosse aux serpents (La)/The Snake Pit, Litvak, Anatole, 1948; Johnny Belinda, Negulesco,

Jean, 1948; Petit noir tranquille (Le)/The Quiet One, Meyers, Sidney, 1949; Lagune bleue (La)/The Blue

Lagoon, Launder, Frank, 1949; Chevalier de Londres (Le)/The Elusive Pimpernel, a.k.a. The Fighting

Pimpernel, Powell, Michael, and Pressburger, Emeric, 1950; Opéra de quat'sous (L')/Die Dreigroscheno-

per, Pabst, G. W., 1931; Moulin du Po (Le)/Il Mulino del Po, Lattuada, Alberto, 1949; Sans pitié/Senza

pietà, Lattuada, Alberto, 1948; Sorcier du ciel (Le), Blistène, Marcel, 1949; Aux yeux du souvenir,

Delannoy, Jean, 1948; Au royaume des cieux, Duvivier, Julien, 1949; Prison sans barreaux, Moguy,

Léonide, 1937; Manon, Clouzot, Henri-Georges, 1949; Jour de fête, Tati, Jacques, 1949; Othello,

Welles, Orson, 1952; Rome Express, Stengel, Christian, 1950; Demain il sera trop tard/Domani è troppo

tardi, Moguy, Léonide, 1953.

directors cited: Litvak, Anatole; Blasetti, Alessandro.

"Au Festival de Venise avec Hamlet Shakespeare place le cinéma anglais favori n°1; Hamlet et

Oliver Twist triomphent au festival de Venise." Le Parisien libéré, 1232 (August 31, 1948), 3,500

characters.

films analyzed: Hamlet, Olivier, Laurence, 1948; Oliver Twist, Lean, David, 1948.

films cited: Mur invisible (Le)/Gentleman's Agreement, Kazan, Elia, 1947; Parents terribles (Les),

Cocteau, Jean, 1948; Brève rencontre/Brief Encounter, Lean, David, 1946; Grandes espérances (Les), Great

Expectations, Lean, David, 1946; Henry V, Olivier, Laurence, 1944.

"Au festival du cinéma [Les Chaussons rouges (The Red Shoes); La voix humaine (L'Amore); L'Aigle à

deux têtes]." Le Parisien libéré, 1228 (August 26, 1948), 1,200 characters.

films analyzed: Chaussons rouges (Les)/The Red Shoes, Powell, Michael, and Pressburger, Emeric,

1948; Voix humaine (La)/L'Amore, Rossellini, Roberto, 1948; Aigle à deux têtes (L'), Cocteau, Jean,

1948.

film cited: Hamlet, Olivier, Laurence, 1948.

directors cited: Litvak, Anatole; Welles, Orson.

"Au VIIIe Festival de Cannes: Un palmarès sans grandes surprises." Le Parisien libéré, 3318 (May

12, 1955), 2,900 characters.

films cited: Dossier noir (Le), Cayatte, André, 1955; Continent perdu/Continente perduto, Bonzi,

Leonardo, Gras, Enrico, and Moser, Giorgio, 1955; Marty, Mann, Delbert, 1955; Homme est passé

(Un)/Bad Day at Black Rock, Sturges, John, 1954; Racines/Raices, Alazraki, Benito, 1954; Mort d'un

cycliste/Muerte de un ciclista, Bardem, Juan Antonio, 1954.

directors cited: Dassin, Jules; Kramer, Stanley.

"Au Festival international de Cannes La Symphonie pastorale et The Lost Weekend se partagent les

faveurs des experts." Le Parisien libéré, 657 (September 24, 1946), 1,000 characters.

films analyzed: Symphonie pastorale (La), Delannoy, Jean, 1943; Poison (Le)/The Lost Weekend,

Wilder, Billy, 1945.

films cited: Éternel retour (L'), Delannoy, Jean, 1943; Enchaînés (Les)/Notorious, Hitchcock, Alfred,

1946; César et Cléopâtre/Caesar and Cleopatra, Pascal, Gabriel, 1945; Lettre (La)/The Letter, Wyler,

William, 1940; Ombres sur la neige/Skuggor over snön, Sucksdorff, Arne, 1945; Archet magique (L')/The

Magic Bow, Knowles, Bernard, 1946; Donald's Double Trouble, Disney, Walt, 1946; Pluto's Kid Brother,

Disney, Walt, 1946.

"Au fil des ondes: Laissons-nous porter." Le Parisien libéré, 2077 (May 18, 1951), 1,200 characters.

film analyzed: Au fil des ondes, Gautherin, Pierre, 1951.

director cited: Carné, Marcel.

"Au loin une voile [Beleet parus odinokiy]." Le Parisien libéré, 1179 (June 30, 1948), 300 characters.

film analyzed: Au loin une voile/Beleet parus odinokiy, Legoshin, Vladimir, 1937.

film cited: Cuirassé Potemkine (Le)/Bronenosets Potyomkin, Eisenstein, Sergei, 1925.

"Au palmarès de Cannes la production française affirme ses qualités; La Bataille du rail remporte

le grand prix international du meilleur film." Le Parisien libéré, 669 (July 10, 1946), 2,500 charac-

ters.

films cited: Protubérance solaires (Les), Leclerc, M., and Lyot, M., 1946; Partie de campagne (Une),

Renoir, Jean, 1946 (1936); Hantise/Gaslight, Cukor, George, 1944; Bataille du rail (La), Clément,

René, 1946; Belle et la bête (La), Cocteau, Jean, 1946; Symphonie pastorale (La), Delannoy, Jean, 1943.

"Au Palmarium: Continents perdus [Continent perdu (Continente perduto)]." Action, 48 (April 16,

1956), 2,600 characters.

film analyzed: Continent perdu/Continente perduto, Bonzi, Leonardo, Gras, Enrico, and Moser,

Giorgio, 1955.

films cited: Horn le trafiquant/Trader Horn, Van Dyke, W. S., 1931; Rendez-vous de juillet, Becker,

Jacques, 1949; Monde du silence (Le), Malle, Louis, and Cousteau, Jacques-Yves, 1956; Magia

verte/Magia verde, Napolitano, Gian Gaspare, 1953.

director cited: Reed, Carol.

"Au petit bonheur." Le Parisien libéré, 563 (June 7, 1946), 800 characters.

film analyzed: Au petit bonheur, L'Herbier, Marcel, 1946.

"Au seuil de l'inconnu [On the Threshold of Space]: Science sans fiction." Le Parisien libéré, 3962 (June 7,

1957), 1,700 characters.

film analyzed: Au seuil de l'inconnu/On the Threshold of Space, Webb, Robert D., 1956.

"Au `sixième étage': La télévision n'est ni du théâtre ni du cinéma." Radio-Cinéma-Télévision, 228

(May 30, 1954), 3,000 characters.

directors cited: Buñuel, Luis; Christian-Jaque; Feyder, Jacques.

"Au sixième jour [D-Day: The Sixth of June]: Consciencieux et ennuyeux." Radio-Cinéma-Télévision, 363

(December 30, 1956), 3,000 characters.

film analyzed: Au sixième jour/D-Day: The Sixth of June, Koster, Henry, 1956.

"Au troisième festival du film à Berlin 40.000 allumettes illuminent une salle en plein air [Une fille

sur le route; Manon des sources; Les Aventures de Monsieur Pickwick (The Pickwick Papers); Heureuse époque

(Alti tempi); Les Ensorceleuses; L'invité à la noce (The Member of the Wedding)]." Le Parisien libéré, 2728

(June 22, 1953), 3,200 characters.

films analyzed: Fille sur la route (Une), Stelli, Jean, 1952; Manon des sources, Pagnol, Marcel, 1953;

Aventures de Monsieur Pickwick (Les)/The Pickwick Papers, Langley, Noel, 1952; Heureuse époque/Alti

tempi, Blasetti, Alessandro, 1952; Invité à la noce (L')/The Member of the Wedding, Zinnemann, Fred,

1952.

"Une auberge espagnole

[L'Auberge rouge]." Le Parisien libéré, 2216 (October 29, 1951), 4,700

characters, in Le cinéma français de la Libération à la Nouvelle Vague, 1945-1958 (Paris: Éditions de

l'Étoile [1983], 1998), pp. 42-45.

film analyzed: Auberge rouge (L'), Autant-Lara, Claude, 1951.

films cited: Diable au corps (Le), Autant-Lara, Claude, 1951; Assassinat du Père Noël (L'), Christian-

Jaque, 1941; François 1er, Christian-Jaque, 1937; Adhémar ou le jouet de la fatalité, Fernandel (a.k.a.

Fernand Joseph Désiré Contandin), 1951; Angèle, Pagnol, Marcel, 1934.

"L'auteur de la Grande illusion n'a pas perdu confiance dans la liberté de création: Une interview

exclusive de Jean Renoir." L'Écran français, 230 (November 28, 1949), 5,400 characters.

films cited: Partie de campagne (Une), Renoir, Jean, 1946 (1936); Journal d'une femme de chambre

(Le)/The Diary of a Chambermaid, Renoir, Jean, 1946; Bête humaine (La), Renoir, Jean, 1938; Règle du

jeu (La), Renoir, Jean, 1939; Grande illusion (La), Renoir, Jean, 1937.

"Autour du palmarès de Cannes [Othello]." Radio-Cinéma-Télévision, 123 (May 25, 1952), 7,300

characters.

film analyzed: Othello, Welles, Orson, 1952.

films cited: Nous sommes tous des assassins, Cayatte, André, 1952; Manteau (Le)/Il cappotto, Lattuada,

Alberto, 1952; Montée au ciel (La)/Subida al cielo, Buñuel, Luis, 1952; Histoire de détective/Detective

Story, Wyler, William, 1951; Umberto D., De Sica, Vittorio, 1952; Deux sous d'espoir/Due soldi di

speranza, Castellani, Renato, 1952; Gendarmes et voleurs/Guardie e ladri, Monicelli, Mario, and Steno

(a.k.a. Stefano Vanzina), 1952; Médium (Le)/The Medium, Menotti, Gian Carlo, 1951; Américain à

Paris (Un)/An American in Paris, Minnelli, Vincente, 1951; Hamlet, Olivier, Laurence, 1948;

Macbeth, Welles, Orson, 1948.

"L'autre `Festival de Cannes'

[Festival of Amateur Film]." Cahiers du cinéma, n. 40 (August 1954),

pp. 51-53/9,500 characters.

films cited: Dégel au Loetschental, Bissirieix, Henri, 1954; Volpe (La), Pazzizza (first name unknown),

1954.

"Avant de partir les Indes tourner son prochain film, le metteur en scène de La Grande illusion a

retrouvé pour quelques heures son Paris: Une interview exclusive de Jean Renoir." Le Parisien

libéré, 1616 (November 23, 1949), 2,800 characters.

films cited: Bête humaine (La), Renoir, Jean, 1938; Chienne (La), Renoir, Jean, 1931; Grande illusion

(La), Renoir, Jean, 1937; Grande illusion (La), Renoir, Jean, 1937; Crime de Monsieur Lange (Le),

Renoir, Jean, 1936; Partie de campagne (Une), Renoir, Jean, 1946 (1936); Règle du jeu (La), Renoir,

Jean, 1939; Journal d'une femme de chambre (Le)/The Diary of a Chambermaid, Renoir, Jean, 1946;

Homme du Sud (L')/The Southerner, Renoir, Jean, 1945; Fleuve (Le)/The River, Renoir, Jean, 1951.

"L'Avant-garde nouvelle." Cahiers du cinéma, n. 10 (March 1952), pp. 16-17/5,000 characters.

Partially reprinted in Plaquette Objectif, 49 (January 1, 1949).

films cited: Règle du jeu (La), Renoir, Jean, 1939; Petite marchande d'allumettes (La), Renoir, Jean, 1928;

Journal d'un curé de campagne (Le), Bresson, Robert, 1951; Fleuve (Le)/The River, Renoir, Jean, 1951;

Dames du bois de Boulogne (Les), Bresson, Robert, 1945.

directors cited: Stroheim, Erich von;

Méliès, Georges; Griffith, D. W.; Feuillade, Louis; Gance,

Abel; Dulac, Germaine;

Buñuel, Luis; Wyler, William; Welles, Orson; Sturges, Preston; Leen-

hardt, Roger; Chaplin, Charles; Ford, John; Capra, Frank.

"Avec l'affaire Weidmann Jean Prat réussit un tour de force." Radio-Cinéma-Télévision, 407

(November 3, 1957), 2,700 characters.

"Avec le film italien de Castellani Les Rêves dans le tiroir

[I sogni nel cassetto], un jeune ménage

d'étudiants passe sans brio son examen de `néo-réalisme'." Le Parisien libéré, 4035 (September 2,

1957), 3,000 characters.

film analyzed: Rêves dans le tiroir (Les)/I sogni nel cassetto, Castellani, Renato, 1957.

films cited: Amère victoire/Bitter Victory, Ray, Nicholas, 1957; Deux sous d'espoir/Due soldi di speranza,

Castellani, Renato, 1952; Printemps/È primavera, Castellani, Renato, 1950; Oeil pour oeil, Cayatte,

André, 1957; Tour du monde en 80 jours (Le)/Around the World in 80 Days, Anderson, Michael, 1956.

"Avec Naufragé volontaire et Forêt sacrée le reportage filmé déviant une aventure spirituelle." Radio-

Cinéma-Télévision, 275 (April 24, 1955), pp. 45/5,400 characters.

books reviewed: Naufragé volontaire, Bombard, Alain, 1953; Forêt sacrée, Gaisseau, P. D., 1953.

films cited: Ali Baba et les quarante voleurs/Ali Baba and the Forty Thieves, Lubin, Arthur, 1944; Kon-

Tiki, Heyerdahl, Thor, 1950; Victoire sur l'Annapurna/Annapurna, Ichac, Marcel, 1953; Conquérants

solitaires (Les), Vermorel, Claude, 1952 (1949).

"L'avenir du cinéma français." Le Parisien libéré, 26 (September 17, 1944), 900 characters. Re-

printed in Le Cinéma de l'Occupation et de la Résistance. Paris: Union Générale d'éditions, 1975.

directors cited: Painlevé, Jean; Daquin, Louis.

"L'avenir esthétique de la télévision; la TV est le plus humain des arts mécaniques." Réforme,

September 17, 1955, 8,900 characters. Reprinted in Cahiers du cinéma, n. 631 (2008), p. 80.

"L'aventure sans retour

[Scott of the Antarctic]: Glace sans Esquimaux." Le Parisien libéré, 2389 (May

20, 1952), 2,800 characters.

film analyzed: Aventure sans retour (L')/Scott of the Antarctic, Frend, Charles, 1948.

film cited: Kon-Tiki, Heyerdahl, Thor, 1950.

"Les Aventures d'Arsène Lupin de Jacques Becker." Le Parisien libéré, 3899 (March 25, 1957), 2,200

characters.

film analyzed: Aventures d'Arsène Lupin (Les), Becker, Jacques, 1957.

film cited: Casque d'or, Becker, Jacques, 1952.

"Les aventures de Till l'Espiègle." France-Observateur, 340 (November 15, 1956), 1,300 characters.

film analyzed: Aventures de Till l'Espiègle (Les), Philippe, Gérard, and Ivens, Joris, 1956.

directors cited: Christian-Jaque; Clouzot, Henri-Georges; Hitchcock, Alfred.

"Les aventures de Till l'Espiègle: Fanfan sans Tulipe!" Le Parisien libéré, 3785 (November 12, 1956),

2,800 characters.

film analyzed: Aventures de Till l'Espiègle (Les), Philippe, Gérard, and Ivens, Joris, 1956.

films cited: Kermesse héroïque (La), Feyder, Jacques, 1935; Patrie, Daquin, Louis, 1945; Fanfan la

Tulipe, Christian-Jaque, 1952.

"Les Aventures du capitaine Wyatt [Distant Drums]: Un massacre." Le Parisien libéré, 2580 (December

30, 1952), 2,700 characters.

film analyzed: Aventures du capitaine Wyatt (Les)/Distant Drums, Walsh, Raoul, 1951.

films cited: Grand passage (Le)/Northwest Passage, Vidor, King, 1940; Ma Louisiane/Louisiana Story,

Flaherty, Robert, 1948.

"Les Aventures de Perri

[Perri]: Walt Disney romancier et poète de la nature." Le Parisien libéré, 4234

(April 22, 1958), 1,500 characters.

film analyzed: Aventures de Perri (Les)/Perri, Kenworthy, Paul, and Wright, Ralph, 1957.

films cited: Bambi, Algar, James, Armstrong, Samuel, Hand, David, Held, Graham, Roberts, Bill,

Satterfield, Paul, and Wright, Norman, 1942; Mickey and the Seal, Nichols, Charles A., 1948.

"L'Aveu

[Summer Storm]." Le Parisien libéré, 1155 (June 2, 1948), 1,000 characters.

film analyzed: Aveu (L')/Summer Storm, Sirk, Douglas, 1944.

"Baby Doll

[La Poupée de chair] et le nouveau style américain." L'Éducation nationale, 5 (January 31,

1957), 5,000 characters.

film analyzed: Poupée de chair (La)/Baby Doll, Kazan, Elia, 1956.

films cited: Sur les quais/On the Waterfront, Kazan, Elia, 1954; Rose tatouée (La)/The Rose Tattoo,

Mann, Daniel, 1955; À l'Est d'Eden/East of Eden, Kazan, Elia, 1955; Tramway nommé désir (Un)/A

Streetcar Named Desire, Kazan, Elia, 1951.

director cited: Eisenstein, Sergei.

"Back Street." Le Parisien libéré, 691 (November 1, 1946), 500 characters.

film analyzed: Back Street, Stevenson, Robert, 1941.

film cited: Histoire d'un amour/Back Street, Stahl, John M., 1932.

"La bagarre de Santa-Fé

[Santa Fe]: À l'ouest rien de nouveau." Le Parisien libéré, 2521 (October 22,

1952), 1,800 characters.

film analyzed: Bagarre de Santa-Fé (La)/Sante Fe, Pichel, Irving, 1951.

"La bagarre de Santa-Fé

[Santa Fe]: l'Ouest terne." Radio-Cinéma-Télévision, 145 (October 26, 1952),

3,000 characters.

film analyzed: Bagarre de Santa-Fé (La)/Sante Fe, Pichel, Irving, 1951.

film cited: Pacific Express/Union Pacific, DeMille, Cecil B., 1939.

directors cited: Antonioni, Michelangelo; De Sica, Vittorio; Castellani, Renato.

"Le Baiser de minuit

[That Midnight Kiss]." Le Parisien libéré, 2467 (August 20, 1952), 2,800 charac-

ters.

film analyzed: Baiser de minuit (Le)/That Midnight Kiss, Taurog, Norman, 1949.

film cited: Américain à Paris (Un)/An American in Paris, Minnelli, Vincente, 1951.

director cited: Rouquier, Georges.

"Le Baiser de minuit

[That Midnight Kiss]: On peut tirer sur le pianiste." Radio-Cinéma-Télévision, 137

(August 31, 1952), 2,100 characters.

film analyzed: Baiser de minuit (Le)/That Midnight Kiss, Taurog, Norman, 1949.

film cited: Américain à Paris (Un)/An American in Paris, Minnelli, Vincente, 1951.

"Le Bal des cinglés

[Operation Mad Ball]: Les gaietés de l'U.S. Army." Radio-Cinéma-Télévision, 412

(December 8, 1957), 2,000 characters.

film analyzed: Bal des cinglés (Le)/Operation Mad Ball, Quine, Richard, 1957.

"Baleiniers du pôle sud et Le Grand cirque de Moscou: Sur les pistes du monde!" Le Parisien libéré, 2742

(July 8, 1953), 3,100 characters.

films analyzed: Baleiniers du pôle sud, Setkina, Irina, 1951; Grand cirque de Moscou (Le), Varlamov,

Leonid, 1951.

"Le Ballon rouge et Une fée pas comme les autres." France-Observateur, 337 (October 25, 1956), 8,100

characters.

films analyzed: Ballon rouge (Le), Lamorisse, Albert, 1956; Fée pas comme les autres (Une), Tourane,

Jean, 1957.

film cited: Crin blanc: Le cheval sauvage, Lamorisse, Albert, 1953.

"Bambi." Le Parisien libéré, 1131 (May 5, 1948), 1,000 characters.

film analyzed: Bambi, Algar, James, Armstrong, Samuel, Hand, David, Held, Graham, Roberts,

Bill, Satterfield, Paul, and Wright, Norman, 1942.

films cited: Blanche-Neige et les Sept Nains/Snow White and the Seven Dwarfs, Cottrell, William, Hand,

David, Jackson, Wilfred, Morey, Larry, Pearce, Perce, and Sharpsteen, Ben, 1937; Pinocchio,

Disney, Walt, Sharpsteen, Ben, and Luske, Hamilton, 1940; Dumbo, l'éléphant volant/Dumbo,

Armstrong, Samuel, Ferguson, Norman, Jackson, Wilfred, Kinney, Jack, Roberts, Bill,

Sharpsteen, Ben, and Elliotte, John, 1941.

"Bancs d'essai: Au-dessous de la moyenne." Radio-Cinéma-Télévision, 433 (May 4, 1958), 3,000

characters.

"Le banni des îles Iles et illusions

[An Outcast of the Islands]." Le Parisien libéré, 2322 (March 1, 1952),

2,800 characters.

film analyzed: Banni des îles (Le)/An Outcast of the Islands, Reed, Carol, 1951.

films cited: Huit heures de sursis/Odd Man Out, Reed, Carol, 1947; Première désillusion/The Fallen Idol,

Reed, Carol, 1948; Troisième homme (Le)/The Third Man, Reed, Carol, 1949.

directors cited: Stroheim, Erich von; Welles, Orson; Griffith, D. W.; Zecca, Ferdinand; Feuillade,

Louis.

"Le banquet des fraudeurs: Menu inégal." Le Parisien libéré, 2436 (July 7, 1952), 3,200 characters.

film analyzed: Banquet des fraudeurs (Le), Storck, Henri, 1952.

films cited: Nous sommes tous des assassins, Cayatte, André, 1952; Justice est faite, Cayatte, André, 1950;

Agence matrimoniale, Le Chanois, Jean-Paul, 1952.

"Barabbas et Le Coeur du problème

[The Heart of the Matter]." Le Parisien libéré, 2681 (April 27, 1953),

2,800 characters.

films analyzed: Barabbas, Sjöberg, Alf, 1953; Coeur du problème (Le)/The Heart of the Matter,

O'Ferrall, George More, 1953.

films cited: Ceux d'aujourd'hui/Gendai-jin, Shibuya, Minoru, 1952; Trois femmes, trois âmes, a.k.a. Trois

femmes, Michel, André, 1952; Mademoiselle Julie/Fröken Julie, Sjöberg, Alf, 1951.

"Barbe bleue: Bon teint." Le Parisien libéré, 2192 (October 1, 1951), 2,700 characters.

film analyzed: Barbe bleue, Christian-Jaque, 1951.

"Barbe Noire le pirate

[Blackbeard the Pirate]: Du sang à la hune!" Le Parisien libéré, 2897 (January 5,

1954), 2,100 characters.

film analyzed: Barbe Noire le pirate/Blackbeard the Pirate, Walsh, Raoul, 1952.

"Barrage contre le Pacifique

[This Angry Age]." Radio-Cinéma-Télévision, 435 (May 18, 1958), 5,500

characters.

film analyzed: Barrage contre le Pacifique/This Angry Age, Clément, René, 1957.

film cited: Pont de la rivière Kwai (Le)/The Bridge on the River Kwai, Lean, David, 1957.

directors cited: Bergman, Ingmar; Welles, Orson.

"Barrage contre le Pacifique

[This Angry Age]." L'Éducation nationale, 23 (June 19, 1958), 4,700

characters.

film analyzed: Barrage contre le Pacifique/This Angry Age, Clément, René, 1957.

film cited: Jeux interdits, Clément, René, 1952.

"Les bas-fonds: Un film qui revient de loin." Le Parisien libéré, 2308 (February 14, 1952), 2,000

characters.

film analyzed: Bas-fonds (Les), Renoir, Jean, 1936.

films cited: Fleuve (Le)/The River, Renoir, Jean, 1951; Grande illusion (La), Renoir, Jean, 1937; Règle

du jeu (La), Renoir, Jean, 1939; Crime de Monsieur Lange (Le), Renoir, Jean, 1936; Partie de campagne

(Une), Renoir, Jean, 1946 (1936).

directors cited: Cayatte, André; Stelli, Jean.

"Bas les masques!

[Deadline]: Les dernières heures du `Jour'." Le Parisien libéré, 2658 (March 31,

1953), 2,300 characters.

film analyzed: Bas les masques!/Deadline, Brooks, Richard, 1952.

films cited: Feux croisés/Crossfire, Dmytryk, Edward, 1947; Démons de la liberté (Les)/Brute Force,

Dassin, Jules, 1947.

"Bas les masques!

[Deadline]: Le journaliste, la veuve et l'orphelin." Radio-Cinéma-Télévision, 169

(April 12, 1953), 2,200 characters.

film analyzed: Bas les masques!/Deadline, Brooks, Richard, 1952.

film cited: Tramway nommé désir (Un)/A Streetcar Named Desire, Kazan, Elia, 1951.

"Bataan." Le Parisien libéré, 592 (September 7, 1946), 800 characters.

film analyzed: Bataan, Garnett, Tay, 1943.

films cited: Air Force, Hawks, Howard, 1943; Sergeant York, Hawks, Howard, 1941; Son homme/Her

Man, Garnett, Tay, 1930; Patrouille perdue (La)/The Lost Patrol, Ford, John, 1934; Scarface: The Shame

of a Nation, Hawks, Howard, 1932; Tarzan Triumphs, Thiele, Wilhelm, 1943.

"La Bataille de l'eau lourde." Le Parisien libéré, 1060 (February 11, 1948), 1,900 characters.

film analyzed: Bataille de l'eau lourde (La), Dréville, Jean, and Vibé-Muller, Titus, 1948.

films cited: Bataille du rail (La), Clément, René, 1946; Païsa/Paisà, Rossellini, Roberto, 1946; Jéricho,

Calef, Henri, 1946; Dernière chance (La)/Die letzte Chance, Lindtberg, Leopold, 1944.

"La Bataille du rail." Gavroche, 75 (January 31, 1946), 4,500 characters. Reprinted in Le Cinéma de

l'Occupation et de la Résistance. Paris: Union Générale d'éditions, 1975.

film analyzed: Bataille du rail (La), Clément, René, 1946.

films cited: Boule de suif, Christian-Jaque, 1945; Jugement dernier (Le), Chanas, René, 1946; Dernière

chance (La)/Die letzte Chance, Lindtberg, Leopold, 1944; Vol du Rapide (Le), a.k.a. Attaque du grand

Rapide (L')/The Great Train Robbery, Porter, Edwin S., 1903; Bête humaine (La), Renoir, Jean, 1938;

Roue (La), Gance, Abel, 1922; Entrée d'un train en gare de La Ciotat, Lumière, Auguste, and Lumière,

Louis, 1895; Espoir (L')/Sierra de Teruel, Malraux, André, 1945 (1939).

"La Bataille du rail et Ivan le terrible [Ivan Groznyi]." L'Esprit, XIV, n. 121 (April 1946), 8,000

characters; in Le Cinéma de l'Occupation et de la Résistance (Paris: Union Générale d'éditions, 1975),

and in Le cinéma français de la Libération à la Nouvelle Vague, 1945-1958 (Paris: Éditions de l'Étoile

[1983], 1998), pp. 143-146.

films analyzed: Bataille du rail (La), Clément, René, 1946; Ivan le terrible/Ivan Groznyi, Eisenstein,

Sergei, Part I: 1942-44; Part II: 1945-46 (1958).

films cited: Dernière chance (La)/Die letzte Chance, Lindtberg, Leopold, 1945; Espoir (L')/Sierra de

Teruel, Malraux, André, 1939; Jéricho, Calef, Henri, 1946; Cuirassé Potemkine (Le)/Bronenosets

Potyomkin, Eisenstein, Sergei, 1925; Ligne générale (La)/Generalya Linya, a.k.a. Staroe i novoe, Eisens-

tein, Sergei, 1929; Nibelungen (Les)/Die Nibelungen, Lang, Fritz, 1924; Cabinet du Docteur Caligari

(Le)/Das Cabinet des Dr. Caligari, Wiene, Robert, 1920.

director cited: Kazan, Elia.

"La Bataille du rail." Courrier de l'étudiant, 22 (February 15, 1946), 2,800 characters.

film analyzed: Bataille du rail (La), Clément, René, 1946.

films cited: Dernière chance (La)/Die letzte Chance, Lindtberg, Leopold, 1944; Espoir (L')/Sierra de

Teruel, Malraux, André, 1945 (1939).

"La Bataille du rail." Le Parisien libéré, 476 (February 27, 1946), 1,000 characters.

film analyzed: Bataille du rail (La), Clément, René, 1946.

films cited: Dernière chance (La)/Die letzte Chance, Lindtberg, Leopold, 1944; Arc en ciel (L')/Raduga,

Donskoï, Mark, 1944; Vol du Rapide (Le), a.k.a. Attaque du grand Rapide (L')/The Great Train Robbery,

Porter, Edwin S., 1903; Bête humaine (La), Renoir, Jean, 1938; Roue (La), Gance, Abel, 1922.

"Bataillon du ciel." Le Parisien libéré, 791 (April 2, 1947), 600 characters.

film analyzed: Bataillon du ciel (Le), Esway, Alexander, 1945.

"Les bateaux de l'enfer [Kanikôsen]." France-Observateur, 353 (February 14, 1957), 2,900 characters.

film analyzed: Bateaux de l'enfer (Les)/Kanikôsen, Yamamura, Sô, 1953.

films cited: Portes de l'enfer (Les)/Jigokumon, Kinugasa, Teinosuke, 1953; Cuirassé Potemkine

(Le)/Bronenosets Potyomkin, Eisenstein, Sergei, 1925.

"Les bateaux de l'enfer [Kanikôsen]: Un Potemkine japonais." Le Parisien libéré, 3870 (February 19,

1957), 2,500 characters.

film analyzed: Bateaux de l'enfer (Les)/Kanikôsen, Yamamura, Sô, 1953.

films cited: Rashomon, Kurosawa, Akira, 1950; Portes de l'enfer (Les)/Jigokumon, Kinugasa, Teino-

suke, 1953; Mère (La)/Okaasan, Naruse, Mikio, 1952; Enfants d'Hiroshima (Les)/Gembaku no ko,

Shindo, Kaneto, 1952; Dharti Ke Lal, Abbas, K. A., 1946; Cuirassé Potemkine (Le)/Bronenosets

Potyomkin, Eisenstein, Sergei, 1925.

"Beau Fixe sur New York [It's Always Fair Weather]: Pas de plaisir sans Gene . . . Kelly." Le Parisien

libéré, 3682 (July 12, 1956), 1,600 characters.

film analyzed: Beau Fixe sur New York/It's Always Fair Weather, Donen, Stanley, and Kelly, Gene,

1955.

film cited: Américain à Paris (Un)/An American in Paris, Minnelli, Vincente, 1951.

director cited: Antonioni, Michelangelo.

"Le Beau Serge favorablement accueilli au Festival de Locarno." Le Parisien libéré, 4322 (August 4,

1958), 1,500 characters.

film analyzed: Beau Serge (Le), Chabrol, Claude, 1958.

films cited: Huitième jour de la semaine (Le)/Ósmy dzien tygodnia, Ford, Aleksander, 1958; Petit

Appartement (Le)/El Pisito, Ferreri, Marco, 1958; Femmes des autres (Les), Barma, Claude, 1958.

"Beauté du hasard: Le film scientifique." L'Écran français, 121 (October 21, 1947), p. 10/3,200

characters; in Le cinéma français de la Libération à la Nouvelle Vague, 1945-1958 (Paris: Éditions de

l'Étoile [1983], 1998), p. 317-321; partially reprinted in Qu'est-ce que le cinéma?, volume I: "Ontolo-

gie et langage" (Éditions du Cerf, 1958), pp. 37-39, under the title "À propos de Jean Painlevé."

films cited: Rythme de la ville (Le)/Manniskor i stad, Sucksdorff, Arne, 1947; Pasteur, Painlevé, Jean,

1947; Assassins d'eau douce, Painlevé, Jean, 1947; Vampire (ou l'étrange aventure de David

Gray)/Vampyr, Dreyer, Carl-Theodor, 1932; Nosferatu le vampire/Nosferatu, eine Symphonie des

Grauens, Murnau, F. W., 1922.

directors cited: Dali, Salvador; Buñuel, Luis.

"Beauté d'un western

[L'Homme de la plaine (The Man from Laramie); Je suis un aventurier (The Far

Country); L'Appât (The Naked Spur)

]." Cahiers du cinéma, X, n. 55 (January 1956), pp. 33-36/8,300

characters.

films analyzed: Homme de la plaine (L')/The Man from Laramie, Mann, Anthony, 1955; Je suis un

aventurier/The Far Country, Mann, Anthony, 1955; Appât (L')/The Naked Spur, Mann, Anthony,

1953.

films cited: Romance inachevée/The Glenn Miller Story, Mann, Anthony, 1954; Strategic Air Command,

Mann, Anthony, 1955; Charge des tuniques bleues (La)/The Last Frontier, Mann, Anthony, 1955.

"La Belle aventure." Le Parisien libéré, 117 (December 31, 1944), 1,000 characters.

film analyzed: Belle aventure (La), Allégret, Marc, 1942.

film cited: Entrée des artistes, Allégret, Marc, 1938.

"La Belle de Cadix." Le Parisien libéré, 2893 (December 31, 1953), 2,600 characters.

film analyzed: Belle de Cadix (La), Bernard, Raymond, 1953.

films cited: Aventures de Peter Pan (Les)/Peter Pan, Geronimi, Clyde, Jackson, Wilfred, Luske,

Hamilton, and Kinney, Jack, 1953; Violettes impériales/Violetas imperiales, Pottier, Richard, 1952.

"La Belle de Cadix: Suite espagnole." Radio-Cinéma-Télévision, 208 (January 10, 1954), 2,000 charac-

ters.

film analyzed: Belle de Cadix (La), Bernard, Raymond, 1953.

"La Belle et la bête." Le Parisien libéré, 691 (November 1, 1946), 1,800 characters.

film analyzed: Belle et la bête (La), Cocteau, Jean, 1946.

films cited: Sang d'un poète (Le), Cocteau, Jean, 1931; Éternel retour (L'), Delannoy, Jean, 1943.

"La Belle et le clochard [Lady and the Tramp]: . . . et eurent beaucoup d'enfants." Le Parisien libéré,

3518 (January 2, 1956), 1,900 characters.

film analyzed: Belle et le clochard (La)/Lady and the Tramp, Geronimi, Clyde, Jackson, Wilfred, and

Luske, Hamilton, 1955.

films cited: Lola Montès, Ophüls, Max, 1955; Cendrillon/Cinderella, Geronimi, Clyde, Jackson,

Wilfred, and Luske, Hamilton, 1950; Bambi, Algar, James, Armstrong, Samuel, Hand, David,

Held, Graham, Roberts, Bill, Satterfield, Paul, and Wright, Norman, 1942; Zim, Zim, Boum

Boum/Toot Whistle Plunk and Boom, Nichols, Charles A., and Kimball, Ward, 1953; Gitanos et

papillons, Gruel, Henri, 1953; Grande prairie (La)/The Vanishing Prairie, Algar, James, 1954; Voyage de

Badabou (Le), Gruel, Henri, 1955.

"La Belle et le voleur

[Mesu inu]." France-Observateur, 232 (October 21, 1954), 3,100 characters.

film analyzed: Belle et le voleur (La)/Mesu inu, Kimura, Keigo, 1951.

films cited: Contes de la lune vague après la pluie (Les)/Ugetsu monogatari, Mizoguchi, Kenji, 1953;

Quatre cheminées (Les)/Entotsu no mieru basho, Gosho, Heinosuke, 1953; Porte de l'enfer

(La)/Jigokumon, Kinugasa, Teinosuke, 1953; Rashomon, Kurosawa, Akira, 1950.

"La Belle et le voleur

[Mesu inu]: De kimono et de sabre." Le Parisien libéré, 3139 (October 15, 1954),

1,700 characters.

film analyzed: Belle et le voleur (La)/Mesu inu, Kimura, Keigo, 1951.

film cited: Porte de l'enfer (La)/Jigokumon, Kinugasa, Teinosuke, 1953.

"La Belle image: L'univers de Marcel Aymé à l'écran." Le Parisien libéré, 2089 (June 1, 1951), 2,000

characters.

film analyzed: Belle image (La), Heymann, Claude, 1951.

director cited: Emmer, Luciano.

"Belle mentalité: Encore la sagesse paysanne." Radio-Cinéma-Télévision, 195 (October 11, 1953), 840

characters.

film analyzed: Belle mentalité, Berthomieu, André, 1953.

film cited: Sept péchés capitaux (Les), De Filippo, Eduardo, Dréville, Jean, Allégret, Yves, Rim,

Carlo, Rossellini, Roberto, Autant-Lara, Claude, and Lacombe, Georges, 1952.

"Belle mentalité: Jean Richard; un point c'est tout!" Le Parisien libéré, 2813 (September 30, 1953),

1,900 characters.

film analyzed: Belle mentalité, Berthomieu, André, 1953.

film cited: Sept péchés capitaux (Les), De Filippo, Eduardo, Dréville, Jean, Allégret, Yves, Rim,

Carlo, Rossellini, Roberto, Autant-Lara, Claude, and Lacombe, Georges, 1952.

"La Belle meunière." Le Parisien libéré, 1304 (November 24, 1948), 1,100 characters.

film analyzed: Belle meunière (La), Pagnol, Marcel, 1948.

"La belle Romaine

[La Romana]." France-Observateur, 269 (July 7, 1955), 4,400 characters.

film analyzed: Belle Romaine (La)/La Romana, Zampa, Luigi, 1954.

films cited: Chronique des pauvres amants (La)/Cronaca dei poveri amanti, Lizzani, Carlo, 1954; Dames du

bois de Boulogne (Les), Bresson, Robert, 1945.

"La belle Romaine

[La Romana]: La beauté ne fait pas le bonheur!" Le Parisien libéré, 3363 (July 5,

1955), 1,800 characters.

film analyzed: Belle Romaine (La)/La Romana, Zampa, Luigi, 1954.

"Les belles de nuit." France-Observateur, 132 (November 20, 1952), 3,300 characters.

film analyzed: Belles de nuit (Les), Clair, René, 1952.

film cited: Beauté du diable (La), Clair, René, 1949.

"Les belles de nuit: Une nuit très Clair!" Le Parisien libéré, 2541 (November 14, 1952), 3,500 charac-

ters.

film analyzed: Belles de nuit (Les), Clair, René, 1952.

films cited: Feux de la rampe (Les)/Limelight, Chaplin, Charles, 1952; Homme tranquille (L')/The Quiet

Man, Ford, John, 1952; Paris qui dort, Clair, René, 1924; Voyage imaginaire, Clair, René, 1926; Beauté

du diable (La), Clair, René, 1949.

"La bergère et . . . le producteur." France-Observateur, 125 (October 2, 1952), 9,000 characters.

film analyzed: Bergère et le ramoneur (La), Grimault, Paul, 1947.

films cited: Femme sur la plage (La)/The Woman on the Beach, Renoir, Jean, 1946; Splendeur des

Amberson (La)/The Magnificent Ambersons, Welles, Orson, 1942; Enfants du paradis (Les), Carné,

Marcel, 1945.

director cited: Disney, Walt.

"La bergère et le ramoneur: Un film qui atteint le niveau de la grande poésie." Radio-Cinéma-Télévision,

178 (June 14, 1953), 2,500 characters.

film analyzed: Bergère et le ramoneur (La), Grimault, Paul, 1953.

films cited: Voleur de paratonnerres (Le), Grimault, Paul, 1944; Petit soldat (Le), Grimault, Paul, 1947.

"La bergère et le ramoneur et Crin blanc: Les bons contes font les bons amis!" Le Parisien libéré, 2711

(June 1, 1953), 3,100 characters.

films analyzed: Bergère et le ramoneur (La), Grimault, Paul, 1953; Crin blanc: Le cheval sauvage, Lamo-

risse, Albert, 1953.

film cited: Petit soldat (Le), Grimault, Paul, 1953.

director cited: Bresson, Robert.

"Biarritz: Maudit." L'Écran français, 214 (August 8, 1949), 5,800 characters.

films cited: Amants diaboliques (Les)/Ossessione, Visconti, Luchino, 1942; Dames du bois de Boulogne

(Les), Bresson, Robert, 1945.

directors cited: Sturges, Preston; Cocteau, Jean.

"Bibliothèque rose et film noir

[Deux sous de violettes et Le Voyage en Amérique]." L'Esprit, XX, n.

186 (January 1951), pp. 70-75/11,200 characters.

films analyzed: Deux sous de violettes, Anouilh, Jean, 1951; Voyage en Amérique (Le), Lavorel, Henri,

1951.

films cited: Marie du Port (La), Carné, Marcel, 1950; Corbeau (Le), Clouzot, Henri-Georges, 1943;

Bomba, l'enfant de la jungle/Bomba, the Jungle Boy, Beebe, Ford, 1949; Antoine et Antoinette, Becker,

Jacques, 1947; Point du Jour (Le), Daquin, Louis, 1948; Trois télégrammes, Decoin, Henri, 1950; Fille

Sauvage (La), Etievant, Henri, 1922.

director cited: Clair, René.

"Il Bidone: Après La Strada." Le Parisien libéré, 3572 (March 5, 1956), 2,500 characters.

film analyzed: Il Bidone, Fellini, Federico, 1955.

films cited: Rome, ville ouverte/Roma, città aperta, Rossellini, Roberto, 1945; Voleur de bicyclette

(Le)/Ladri di biciclette, De Sica, Vittorio, 1948; Umberto D., De Sica, Vittorio, 1952; La Strada,

Fellini, Federico, 1954; Païsa/Paisà, Rossellini, Roberto, 1946.

director cited: Cukor, George.

"Il Bidone de Federico Fellini: Au niveau du salut." Radio-Cinéma-Télévision, 322 (March 18, 1956),

4,300 characters.

film analyzed: Il Bidone, Fellini, Federico, 1955.

films cited: La Strada, Fellini, Federico, 1954; Vitelloni (Les), a.k.a. Les inutiles/I vitelloni, Fellini,

Federico, 1953; Idiot (L'), Lampin, Georges, 1946.

"Il Bidone ou le salut en question." France-Observateur, 304 (March 8, 1956), 7,800 characters, in

Qu'est-ce que le cinéma?, volume IV, "Une Esthétique de la Réalité: le néo-réalisme" (Éditions du

Cerf, 1962), pp. 129-133.

film analyzed: Il Bidone, Fellini, Federico, 1955.

films cited: La Strada, Fellini, Federico, 1954; Vitelloni (Les), a.k.a. Les inutiles/I vitelloni, Fellini,

Federico, 1953.

"Bien jugé!" Le Parisien libéré, 4256 (May 19, 1958), 1,800 characters.

films cited: Jeunes maris/Giovani mariti, Bolognini, Mauro, 1958; Homme de paille (L')/L'uomo di

paglia, Germi, Pietro, 1957; Feux de l'été (Les)/The Long, Hot Summer, Ritt, Martin, 1958; Visages de

bronze, Taissant, Bernard, 1958; Empire de Soleil (L')/L'impero del sole, Gras, Enrico, 1956; Continent

perdu/Continente perduto, Bonzi, Leonardo, Gras, Enrico, and Moser, Giorgio, 1955; Goha, Baratier,

Jacques, 1959; Ô saisons, ô châteaux, Varda, Agnès, 1958; Quand passent les cigognes/Letyat zhuravli,

Kalatozov, Mikhail, 1958; Mon Oncle, Tati, Jacques, 1958.

"La biennale du cinéma à Venise: Une croisière à Torcello apaise les passions suscitées par le film

d'Alexandre Astruc [Les Mauvaises rencontres]." Le Parisien libéré, 3415 (September 3, 1955), 2,700

characters.

film analyzed: Mauvaises rencontres (Les), Astruc, Alexandre, 1955.

"Bienvenue Monsieur Marshall

[Bienvenido Mr. Marshall]: Humour espagñol." Le Parisien libéré, 2754

(July 22, 1953), 3,100 characters.

film analyzed: Bienvenue Monsieur Marshall/Bienvenido Mr. Marshall, Berlanga, Luis García, 1952.

"Les Bijoutiers du clair de lune: Incroyable et sans intérêt." Radio-Cinéma-Télévision, 433 (May 4, 1958),

3,200 characters.

film analyzed: Bijoutiers du clair de lune (Les),Vadim, Roger, 1958.

films cited: Et Dieu créa la femme, Vadim, Roger, 1956; Sait-on jamais?, Vadim, Roger, 1957.

directors cited: Molinat, Yvette; Caussou, J.-L.; Joly, Yves; Lucot, René.

"Les Bijoutiers du clair de lune: Vadim victime du mythe Bardot." Le Parisien libéré, 4233 (April 21,

1958), 1,800 characters.

film analyzed: Bijoutiers du clair de lune (Les),Vadim, Roger, 1958.

films cited: Et Dieu créa la femme, Vadim, Roger, 1956; Sait-on jamais?, Vadim, Roger, 1957;

Ascenseur pour l'échafaud, Malle, Louis, 1958.

"Bilan de deux festivals: Le cinéma français saura t-il saisir sa chance?" Le Parisien libéré, 2489

(September 15, 1952), 5,400 characters.

films cited: Rashomon, Kurosawa, Akira, 1950; The Brave Don't Cry, Leacock, Philip, 1952; Jeune folle

(La), Allégret, Yves, 1952.

"Bilan de la saison '43-'44." L'Information universitaire, n. 1202 (July 8, 1944), 6,800 characters.

Reprinted in Le Cinéma de l'Occupation et de la Résistance. Paris: Union Générale d'éditions, 1975.

film cited: Petites du Quai aux fleurs (Les), Allégret, Marc, 1944.

directors cited: Clouzot, Henri-Georges; Bresson, Robert; Becker, Jacques; Autant-Lara, Claude;

Lumière, Auguste, and Lumière, Louis; Méliés, Georges.

"Bilan du festival." France-Observateur, 367 (May 23, 1957), 8,000 characters.

films cited: Celui qui doit mourir, a.k.a. Le Christ recrucifié, Dassin, Jules, 1956; Ils aimaient la vie/Kanal,

Wajda, Andrzej, 1957; Septième sceau (La)/Det sjunde inseglet, Bergman, Ingmar, 1957; Maison de l'ange

(La)/La Casa del angel, Torre-Nilsson, Leopold, 1957; Vallée de la paix (La), Stiglic, France, 1956;

Condamné à mort s'est échappé (Un), ou Le vent souffle où il veut, Bresson, Robert, 1956; Nuits de Cabiria

(Les)/Le notti di Cabiria, Fellini, Federico, 1957; 41ème (Le)/Sorok pervyy, Chukhrai, Grigori, 1956;

Loi du seigneur (La)/Friendly Persuasion, Wyler, William, 1956; Idiot (L')/Hakuchi, Kurosawa, Akira,

1951; Vivre/Ikiru, Kurosawa, Akira, 1952.

"Bilan du Festival de Venise." France-Observateur, 279 (September 15, 1955), 13,000 characters.

film cited: Ciske, face de rat/Ciske de Rat, Staudte, Wolfgang, 1955.

directors cited: Lumière, Auguste, and Lumière, Louis; Méliès, Georges.

"Le bilan d'un festival." L'Éducation nationale, 21 (June 6, 1957), 5,700 characters.

"Bilan d'une semaine de festival." Le Parisien libéré, 1229 (August 27, 1948), 1,200 characters.

films cited: Dédé d'Anvers, Allégret, Yves, 1948; Macbeth, Welles, Orson, 1948; Trésor de la Sierra

Madre (Le)/The Treasure of the Sierra Madre, Huston, John, 1948; Oliver Twist, Lean, David, 1948;

Hamlet, Olivier, Laurence, 1948; Aigle à deux têtes (L'), Cocteau, Jean, 1948; Parents terribles (Les),

Cocteau, Jean, 1948; Procès (Le)/Der Prozess, Pabst, G. W., 1948.

"Bilan provisoire du Festival de Cannes L'Amérique nous a déçus." Le Parisien libéré, 666 (March

10, 1946), 1,500 characters.

films cited: Anna et le roi de Siam/Anna and the King of Siam, Cromwell, John, 1946; Gilda, Vidor,

Charles, 1946; Hantise/Gaslight, Cukor, George, 1944; Enchaînés (Les)/Notorious, Hitchcock, Alfred,

1946; Poison (Le)/The Lost Weekend, Wilder, Billy, 1945; Lys brisé (Le)/Broken Blossoms, Griffith, D.

W., 1919; Vipère (La)/The Little Foxes, Wyler, William, 1941.

"Le billet d'André Bazin: Sauvez nos illusions!" Radio-Cinéma-Télévision, 408 (November 10, 1957),

2,200 characters.

"Le billet d'André Bazin: Théâtre désenchanté [La Belle et la Bête]." Radio-Cinéma-Télévision, 431

(April 20, 1958), 2,200 characters.

film analyzed: Belle et la Bête (La), Cocteau, Jean, 1946.

"Bio-filmographie de Jean Renoir." Cahiers du cinéma, n. 78 (December 1957), pp. 59-86.

Reprinted in Jean Renoir. Paris: Éditions Champ Libre, 1971.

director cited: Rossellini, Roberto.

"Blanc comme neige." Le Parisien libéré, 1149 (May 26, 1948), 850 characters.

film analyzed: Blanc comme neige, Berthomieu, André, 1948.

film cited: Par la fenêtre, Grangier, Gilles, 1948.

"Blanches colombes et vilains messieurs [Guys and Dolls]." France-Observateur, 356 (March 7, 1957), 2,100

characters.

film analyzed: Blanches colombes et vilains messieurs/Guys and Dolls, Mankiewicz, Joseph L., 1955.

films cited: Américain à Paris (Un)/An American in Paris, Minnelli, Vincente, 1951; Chantons sous la

pluie/Singin' in the Rain, Donen, Stanley, and Kelly, Gene, 1952; Tous en scène/The Band Wagon,

Minnelli, Vincente, 1953; Ève/All About Eve, Mankiewicz, Joseph. L., 1950; Comtesse aux pieds nus

(La)/The Barefoot Contessa, Mankiewicz, Joseph. L., 1954; Jules César/Julius Caesar, Mankiewicz,

Joseph. L., 1953; Sept femmes de barbe rousse (Les)/Seven Brides for Seven Brothers, Donen, Stanley,

1954.

directors cited: Marx Brothers; Bresson, Robert; Fellini, Federico.

"Blanches colombes et vilains messieurs [Guys and Dolls]." Le Parisien libéré, 3888 (March 12, 1957), 2,000

characters.

film analyzed: Blanches colombes et vilains messieurs/Guys and Dolls, Mankiewicz, Joseph L., 1955.

films cited: Comtesse aux pieds nus (La)/The Barefoot Contessa, Mankiewicz, Joseph L., 1954; Américain

à Paris (Un)/An American in Paris, Minnelli, Vincente, 1951; Chantons sous la pluie/Singin' in the Rain,

Donen, Stanley, and Kelly, Gene, 1952; Tous en scène/The Band Wagon, Minnelli, Vincente, 1953.

"Blanches colombes et vilains messieurs [Guys and Dolls]: Marlon Brando et le musical." Radio-Cinéma-

Télévision, 374 (March 17, 1957), 3,000 characters.

film analyzed: Blanches colombes et vilains messieurs/Guys and Dolls, Mankiewicz, Joseph L., 1955.

films cited: Ziegfeld Follies, Minnelli, Vincente, Lewis, Robert, Ayers, Lemuel, Del Ruth, Roy,

Sidney, George, Walters, Charles, and Pye, Merrill, 1945; Chantons sous la pluie/Singin' in the Rain,

Donen, Stanley, and Kelly, Gene, 1952; Danseur du dessus (Le)/Top Hat, Sandrich, Mark, 1935;

Demoiselle en détresse/A Damsel in Distress, Stevens, George, 1937; Tous en scène/The Bandwagon,

Minnelli, Vincente, 1953; Comtesse aux pieds nus (La)/The Barefoot Comtessa, Mankiewicz, Joseph L.,

1954; Ève/All about Eve, Mankiewicz, Joseph L., 1950; Jules César/Julius Caesar, Mankiewicz,

Joseph L., 1953.

"Le blé en herbe: A poussé dru!" Le Parisien libéré, 2915 (January 25, 1954), 4,400 characters.

film analyzed: Blé en herbe (Le), Autant-Lara, Claude, 1954.

films cited: Diable au corps (Le), Autant-Lara, Claude, 1947; Bon Dieu sans confession (Le), Autant-

Lara, Claude, 1953; Caroline chérie, Pottier, Richard, 1951.

"La Blonde Explosive [Will Success Spoil Rock Hunter?] et La Maison de l'ange [La Casa del angel]." Le

Parisien libéré, 4066 (October 8, 1957), 2,000 characters.

films analyzed: Blonde Explosive (La)/Will Success Spoil Rock Hunter?, Tashlin, Frank, 1957; Maison de

l'ange (La)/La Casa del angel, Nilsson, Leopoldo Torre, 1957.

films cited: Blonde et moi (La)/The Girl Can't Help It, Tashlin, Frank, 1956; Artistes et Modèles/Artists

and Models, Tashlin, Frank, 1955.

"Boîte de nuit: Cabaret pour tous." Le Parisien libéré, 2135 (July 25, 1951), 1,100 characters.

film analyzed: Boîte de nuit, Rode, Alfred, 1951.

"Bon départ pour Du côté de chez vous." Radio-Cinéma-Télévision, 197 (October 25, 1953), 1,000

characters.

directors cited: Becker, Jacques; Chaplin, Charles; Gance, Abel; Sternberg, Josef von.

"Le Bon Dieu sans confession: Pas de conscience." Le Parisien libéré, 2828 (October 17, 1953), 3,400

characters.

film analyzed: Bon Dieu sans confession (Le), Autant-Lara, Claude, 1953.

film cited: Diable au corps (Le), Autant-Lara, Claude, 1947.

"Un bon `policier': Non coupable." Le Parisien libéré, 945 (October 1, 1947), 1,200 characters.

film analyzed: Non coupable, Decoin, Henri, 1947.

films cited: Inconnus dans la maison (Les), Decoin, Henri, 1941; Fille du diable (La), Decoin, Henri,

1946; Amants du pont Saint-Jean (Les), Decoin, Henri, 1947.

"Bongolo: Le monde noir en couleur." Le Parisien libéré, 2691 (May 9, 1953), 2,800 characters.

film analyzed: Bongolo, Cauvin, André, 1953.

films cited: Magie verte/Magia verde, Napolitano, Gian Gaspare, 1953; Flamenco, Neville, Edgar,

1952.

"Bongolo, vedette surprise du festival; l'Amérique a perdu la première manche [La Loi du silence (I

Confess); Les aventures de Peter Pan (Peter Pan)]." Le Parisien libéré, 2675 (April 20, 1953), 1,500

characters.

films analyzed: Bongolo, Cauvin, André, 1953; Loi du silence (La)/I Confess, Hitchcock, Alfred, 1953;

Aventures de Peter Pan (Les)/Peter Pan, Geronimi, Clyde, Jackson, Wilfred, Luske, Hamilton, and

Kinney, Jack, 1953.

film cited: Oiseaux aquatiques (Les), Sharpsteen, Ben, 1952.

"Boniface somnambule: À dormir debout." Le Parisien libéré, 2147 (August 8, 1951), 3,200 characters.

film analyzed: Boniface somnambule, Labro, Maurice, 1951.

films cited: Meurtre/Murder!, Hitchcock, Alfred, 1950; Gaietés de l'escadron (Les), Tourneur, Maurice,

1932; François 1er, Christian-Jaque, 1937; Ernest le rebelle, Christian-Jaque, 1938.

directors cited: Carné, Marcel; Hitchcock, Alfred; Pagnol, Marcel; L'Herbier, Marcel.

"Bonjour, cinéma d'animation." Radio-Cinéma-Télévision, 333 (June 3, 1956), 4,100 characters.

films cited: Prince Bayaya (Le)/Bajaja, Trnka, Jií, 1949; Petit cadeau (Le)/Dárek, Trnka, Jií, 1946;

Diable à ressort et les SS (Le)/Pérák a SS, Trnka, Jií, 1946; Millionnaire qui vola le soleil (Le)/O

milionári, který ukradl slunce, Miler, Zdenk, 1948; Aventures fantastiques (Les), a.k.a. Invention diabolique

(L')/Vynález zkázy, Zeman, Karel, 1958; Huff and Puff, Potterton, Gerald, and Munro, Grant,

1956; Baleine (La)/Kujira, Ofuji, Noburo, 1953; Pourquoi le corbeau est noir, Kia-kiun, Tsien, 1955.

"Bonjour éléphant! [Buon giorno, elefante!]." France-Observateur, 186 (December 3, 1953), 5,000 charac-

ters.

film analyzed: Bonjour éléphant!/Buon giorno, elefante!, Franciolini, Gianni, 1952.

films cited: Manteau (Le)/Il cappotto, Lattuada, Alberto, 1952; Miracle à Milan/Miracolo a Milano, De

Sica, Vittorio, 1951.

director cited: Carné, Marcel.

"Bonjour éléphant! [Buon giorno, elefante!]: On a souvent besoin d'un plus gros que soi." Le Parisien

libéré, 2866 (December 1, 1953), 3,100 characters.

film analyzed: Bonjour éléphant!/Buon giorno, elefante!, Franciolini, Gianni, 1952.

films cited: Miracle à Milan/Miracolo a Milano, De Sica, Vittorio, 1951; Umberto D., De Sica,

Vittorio, 1952.

"Bonjour éléphant! [Buon giorno, elefante!]: Le sourire de De Sica." Radio-Cinéma-Télévision, 204

(December 13, 1953), 1,800 characters.

film analyzed: Bonjour éléphant!/Buon giorno, elefante!, Franciolini, Gianni, 1952.

film cited: Manteau (Le)/Il cappotto, Lattuada, Alberto, 1952.

"Bonjour Paris!: Les Paris stupides." Le Parisien libéré, 2844 (November 5, 1953), 2,800 characters.

film analyzed: Bonjour Paris!, Image, Jean, 1953.

film cited: Jeannot l'intrépide, Image, Jean, 1951.

"Bonjour Tristesse." L'Éducation nationale, 12 (March 20, 1958), 5,500 characters.

film analyzed: Bonjour Tristesse, Preminger, Otto, 1958.

film cited: Dames du bois de Boulogne (Les), Bresson, Robert, 1945.

"Bonne à tout faire [Sitting Pretty]." Le Parisien libéré, 1281 (October 27, 1948), 1,600 characters.

film analyzed: Bonne à tout faire/Sitting Pretty, Lang, Walter, 1948.

films cited: Cette sacrée vérité/The Awful Truth, McCarey, Leo, 1937; Impossible Monsieur Bébé

(L')/Bringing Up Baby, Hawks, Howard, 1938.

"La Bonne combine [Mister 880]: Passez la (fausse) monnaie." Le Parisien libéré, 2071 (October 5,

1951), 1,700 characters.

film analyzed: Bonne combine (La)/Mister 880, Goulding, Edmund, 1950.

films cited: Passeport pour Pimlico/Passport to Pimlico, Cornelius, Henry, 1949; Noblesse oblige/Kind

Hearts and Coronets, Hamer, Robert, 1949.

"La Bonne tisane." France-Observateur, 407 (February 27, 1958), 1,200 characters.

film analyzed: Bonne tisane (La), Bromberger, Hervé, 1958.

films cited: Manèges, Allégret, Yves, 1950; Méfiez-vous, fillettes, Allégret, Yves, 1957.

"Bonnes à tuer: La vie en noir." Le Parisien libéré, 3198 (December 23, 1954), 1,500 characters.

film analyzed: Bonnes à tuer, Decoin, Henry, 1954.

"Les bonnes fins font les mauvais films." Le Parisien libéré, 679 (October 18, 1946), 1,000 charac-

ters.

film cited: Femme au portrait (La)/The Woman in the Window, Lang, Fritz, 1944.

"Les bons meurent jeunes [The Good Die Young]." Le Parisien libéré, 3223 (January 21, 1955), 2,100

characters.

film analyzed: Bons meurent jeunes (Les)/The Good Die Young, Gilbert, Lewis, 1954.

film cited: Plus belles années de notre vie (Les)/The Best Years of Our Lives, Wyler, William, 1946.

directors cited: Truffaut, François; Astruc, Alexandre; Renoir, Jean; Rossellini, Roberto; Ford,

John; Eisenstein, Sergei.

"Les bons sentiments ne font pas toujours du bon cinéma: Tom Brown, étudiant [Tom Brown's School

Days]; les mauvais non plus: La Duchesse des bas-fonds [Kitty]." Le Parisien libéré, 963 (October 22,

1947), 2,200 characters.

films analyzed: Tom Brown, étudiant/Tom Brown's School Days, Stevenson, Robert, 1940; Duchesse des

bas-fonds (La)/Kitty, Leisen, Mitchell, 1945

film cited: Au revoir Mr. Chips!/Goodbye, Mr. Chips, Wood, Sam, 1939.

"Les bons sentiments sont-ils `maudits' à l'écran?

[L'Amour d'une femme]." Radio-Cinéma-Télévision,

225 (May 9, 1954), 4,400 characters, in Le cinéma français de la Libération à la Nouvelle Vague, 1945-

1958 (Paris: Éditions de l'Étoile [1983], 1998), pp. 196-198.

film analyzed: Amour d'une femme (L'), Grémillon, Jean, 1953.

films cited: Ciel est à vous (Le), Grémillon, Jean, 1944; Lumière d'été, Grémillon, Jean, 1943; Maldone,

Grémillon, Jean, 1928; Gardiens de phare, Grémillon, Jean, 1929; Voile bleu, Stelli, Jean, 1942.

"Le Bossu." Le Parisien libéré, 105 (December 18, 1944), 1,000 characters.

film analyzed: Bossu (Le), Delannoy, Jean, 1944.

films cited: Comte de Monte-Cristo (Le), Vernay, Robert, 1942; Capitaine Fracasse (Le), Gance, Abel,

1942; Éternel retour (L'), Delannoy, Jean, 1943.

"Le bouclier du crime [Shield for Murder]: Trop policier pour être honnête!" Le Parisien libéré, 3299

(April 19, 1955), 1,000 characters.

film analyzed: Bouclier du crime (Le)/Shield for Murder, Koch, Howard, and O'Brien, Edmond, 1954.

"Le boulanger de Valorgue: Un pain rassis." Le Parisien libéré, 2639 (March 9, 1953), 1,500 characters.

film analyzed: Boulanger de Valorgue (Le), Verneuil, Henri, 1953.

films cited: Tables aux crevés (La),Verneuil, Henri, 1951; Fruit défendu (Le),Verneuil, Henri, 1952.

"Boule de feu

[Ball of Fire]." Le Parisien libéré, 1203 (July 28, 1948), 1,200 characters.

film analyzed: Boule de feu/Ball of Fire, a.k.a. The Professor and the Burlesque Queen, Hawks, Howard,

1941.

films cited: Vipère (La)/The Little Foxes, Wyler, William, 1941; Plus belles années de notre vie (Les)/The

Best Years of Our Lives, Wyler, William, 1946; Poison (Le)/The Lost Weekend, Wilder, Billy, 1945;

Citizen Kane, Welles, Orson, 1941.

directors cited: Clair, René; Duvivier, Julien; Wilder, Billy.

"Boulevard du crépuscule [Sunset Boulevard]: Le crépuscule des stars." Le Parisien libéré, 2056 (April 23,

1951), p. 2/4,000 characters.

film analyzed: Boulevard du crépuscule/Sunset Boulevard, Wilder, Billy, 1950.

film cited: Voyages de Sullivan (Les)/Sullivan's Travels, Sturges, Preston, 1941.

director cited: Méliès, Georges.

"Le bout de la route: La fin de tout." Le Parisien libéré, 1633 (December 14, 1949), 1,000 characters.

film analyzed: Bout de la route (Le), Couzinet, Émile, 1948.

director cited: De Sica, Vittorio.

"Bouts de chandelle." Radio-Cinéma-Télévision, 428 (March 30, 1958), 2,900 characters.

film cited: Pont de la rivière Kwai (Le)/The Bridge on the River Kwai, Lean, David, 1957.

"Branquignol." Le Parisien libéré, 1637 (December 19, 1949), 1,000 characters.

film analyzed: Branquignol, Dhéry, Robert, 1949.

film cited: Hellzapoppin', Potter, Hank C., 1941.

"Bravo, Annick Morice!" Radio-Cinéma-Télévision, 164 (March 8, 1953), 1,200 characters.

"Bravo pour la Bravade [Les Bravadeurs]." Radio-Cinéma-Télévision, 439 (June 15, 1958), 4,300 charac-

ters.

film analyzed: Bravadeurs (Les), Bluwal, Marcel, 1958.

director cited: Allégret, Yves.

"Brelan d'as: Partie perdue malgré les `dix des der'." Le Parisien libéré, 2523 (October 24, 1952),

2,600 characters.

film analyzed: Brelan d'as, Verneuil, Henri, 1952.

films cited: Chicago Digest, Paviot, Paul, 1952; Fruit défendu (Le), Verneuil, Henri, 1952; Atouts de

Monsieur Wens (Les), Meyst, E.-G. de, 1947.

"Brève rencontre [Brief Encounter]." Le Parisien libéré, 710 (November 22, 1946), 1,400 characters.

film analyzed: Brève rencontre/Brief Encounter, Lean, David, 1945.

"La brigade du suicide [T-Men]: Les `mouches' américaines ne prennent pas les gangsters avec du

vinaigre." Le Parisien libéré, 1535 (August 20, 1949), 1,000 characters.

film analyzed: Brigade du suicide (La)/T-Men, Mann, Anthony, 1947.

film cited: Dernière Rafale (La)/The Street with No Name, Keighley, William, 1948.

"La brigade du suicide [T-Men]: Les policiers sont de trop fines mouches." L'Écran français, 216

(August 22, 1949), 800 characters.

film analyzed: Brigade du suicide (La)/T-Men, Mann, Anthony, 1947.

film cited: Dernière Rafale (La)/The Street with No Name, Keighley, William, 1948.

director cited: Lang, Fritz.

"Le Brigand bien-aimé [The True Story of Jesse James]: La clef du western où Nicholas Ray ne s'exprime

guère." Radio-Cinéma-Télévision, 391 (July 14, 1957), 3,000 characters.

film analyzed: Brigand bien-aimé (Le)/The True Story of Jesse James, Ray, Nicholas, 1956.

films cited: Johny Guitare/Johnny Guitar, Ray, Nicholas, 1953; Brigand bien aimé (Le)/Jesse James, King,

Henry, 1939.

"Le Brigand bien-aimé [The True Story of Jesse James]: La vérité sur les frères James." Le Parisien libéré,

3988 (July 8, 1957), 2,000 characters.

film analyzed: Brigand bien-aimé (Le)/The True Story of Jesse James, Ray, Nicholas, 1956.

"Brisants humains [Away All Boats]." Radio-Cinéma-Télévision, 361 (December 16, 1956), 1,900

characters.

film analyzed: Brisants humains/Away All Boats, Pevney, Joseph, 1956.

films cited: Attaque/Attack, Aldrich, Robert, 1956; Ouragan sur le `Caine'/The Caine Mutiny,

Dmytryk, Edward, 1954.

"Brisants humains [Away All Boats]: Les gars de la marine!" Le Parisien libéré, 3807 (December 7,

1956), 1,400 characters.

film analyzed: Brisants humains/Away All Boats, Pevney, Joseph, 1956.

films cited: Attaque/Attack, Aldrich, Robert, 1956; Ouragan sur le `Caine'/The Caine Mutiny,

Dmytryk, Edward, 1954.

"Bronco Apache [Apache]." France-Observateur, 250 (February 24, 1955), 1,700 characters.

film analyzed: Bronco Apache/Apache, Aldrich, Robert, 1954.

"Bronco Apache [Apache]: Du nouveau à l'Ouest." Le Parisien libéré, 3251 (February 23, 1955), 1,200

characters.

film analyzed: Bronco Apache/Apache, Aldrich, Robert, 1954.

film cited: Johny Guitare/Johnny Guitar, Ray, Nicholas, 1953.

"Bruxelles 1958: Le Festival Mondial du Film." Cahiers du cinéma, XV, n. 85 (July 1958), pp. 55-

59/16,000 characters.

film analyzed: Yoru no tsuzumi, Imai, Tadashi, 1958.

films cited: Mahiru no ankoku, Imai, Tadashi, 1956; Bas-fonds (Les)/Donzoko, Kurosawa, Akira,

1957; Le trône de sang, a.k.a. Le Château de l'araignée/Kumonosu-jô, Kurosawa, Akira, 1957; Idiot

(L')/Hakushi, Kurosawa, Akira, 1951; Vivre/Ikiru, Kurosawa, Akira, 1952; Bas-fonds (Les), Renoir,

Jean, 1936; Désirs humains/Human Desire, Lang, Fritz, 1954; Bête humaine (La), Renoir, Jean, 1938.

directors cited: Cayatte, André; Kurosawa, Akira; Mizoguchi, Kenji.

"Bruxelles fait un accueil assez froid aux Portes de la nuit." Le Parisien libéré, 860 (June 22, 1947),

800 characters.

film analyzed: Portes de la nuit (Les), Carné, Marcel, 1946.

films cited: Copie conforme, Dréville, Jean, 1947; Vie est belle (La)/It's a Wonderful Life, Capra, Frank,

1946; Vous ne l'emporterez pas avec vous/You Can't Take It with You, Capra, Frank, 1938; Monsieur

Smith au Sénat/Mr. Smith Goes to Washington, Capra, Frank, 1939; Extravagant Monsieur Deeds

(L')/Mr. Deeds Goes to Town, Capra, Frank, 1936.

"Bus Stop [Arrêt d'autobus]: Arrêtez-vous!" Le Parisien libéré, 3779 (November 3, 1956), 2,100

characters.

film analyzed: Arrêt d'autobus/Bus Stop, Logan, Joshua, 1956.

film cited: Picnic, Logan, Joshua, 1954.

"Bus Stop de Joshua Logan." France-Observateur, 338 (November 1, 1956), 4,300 characters.

film analyzed: Arrêt d'autobus/Bus Stop, Logan, Joshua, 1956.

film cited: Picnic, Logan, Joshua, 1954.

"Bus Stop [Arrêt d'autobus]: Grand film ou simple comédie?" Radio-Cinéma-Télévision, 356 (Novem-

ber 11, 1956), 6,000 characters.

film analyzed: Arrêt d'autobus/Bus Stop, Logan, Joshua, 1956.

films cited: Sept ans de réflexion/The Seven Year Itch, Wilder, Billy, 1955; Picnic, Logan, Joshua, 1956;

À l'Est d'Eden/East of Eden, Kazan, Elia, 1955; Tramway nommé désir (Un)/A Streetcar Named Desire,

Kazan, Elia, 1951; Sur les quais/On the Waterfront, Kazan, Elia, 1954; Mort d'un commis-

voyageur/Death of a Salesman, Benedek, Laslo, 1951; Reviens petite Sheba/Come Back, Little Sheba,

Mann, Daniel, 1952; Rose Tatouée (La)/The Rose Tattoo, Mann, Daniel, 1955; Grand Couteau (Le)/The

Big Knife, Aldrich, Robert, 1955; Attaque/Attack, Aldrich, Robert, 1956.

directors cited: Becker, Jacques; Bresson, Robert; Kast, Pierre; Rouquier, Georges; Boisrond,

Michel; Astruc, Alexandre; Ivens, Joris.

"Ça va barder: Hors série noire!" Le Parisien libéré, 3286 (April 5, 1955), 1,300 characters.

film analyzed: Ça va barder, Berry, John, 1955.

films cited: Femmes s'en balancent (Les), Borderie, Bernard, 1954; Touchez pas au Grisbi, Becker,

Jacques, 1954.

"Cabiria [Le notti di Cabiria] ou le voyage au bout du néo-réalisme." Cahiers du cinéma, n. 76

(November 1957), pp. 2-7/18,000 characters, in Qu'est-ce que le cinéma?, volume IV, "Une Esthé-

tique de la Réalité: le néo-réalisme" (Éditions du Cerf, 1962), pp. 134-142; in Qu'est-ce que le cinéma?

(Cerf, 1975, rpt. 2000; single-volume version), pp. 337-345.

film analyzed: Nuits de Cabiria (Les)/Le notti di Cabiria, Fellini, Federico, 1957.

films cited: La Strada, Fellini, Federico, 1954; Il Bidone, Fellini, Federico, 1955; Sheik blanc (Le),

a.k.a. Courrier du coeur/Lo sceicco bianco, Fellini, Federico, 1952; Vitelloni (Les), a.k.a. Les inutiles/I

vitelloni, Fellini, Federico, 1953; Umberto D., De Sica, Vittorio, 1952.

directors cited: Rossellini, Roberto; Zavattini, Cesare; Chaplin, Charles.

"Le cabotin et son compère [The Stooge]: On a souvent besoin d'un plus drôle que soi." Le Parisien

libéré, 2663 (April 6, 1953), 1,500 characters.

film analyzed: Cabotin et son compère (Le)/The Stooge, Taurog, Norman, 1952.

direcrors cited: Grémillon, Jean; Carné, Marcel; Anouilh, Jean.

"Le Café du Cadran." Le Parisien libéré, 927 (September 10, 1947), 2,200 characters.

film analyzed: Café du Cadran (Le), Gehret, Jean, 1947.

"La cage aux filles: L'honnêteté paye parfois." Le Parisien libéré, 1661 (January 16, 1950), 2,500

characters.

film analyzed: Cage aux filles (La), a.k.a. Le minorenni, Cloche, Maurice, 1949.

films cited: Monsieur Vincent, Cloche, Maurice, 1947; Docteur Laënnec, Cloche, Maurice, 1949.

"La Cage d'or [Cage of Gold]." Le Parisien libéré, 2255 (December 14, 1951), 2,700 characters.

film analyzed: Cage d'or (La)/Cage of Gold, Dearden, Basil, 1950.

films cited: Honorable Monsieur Sans Gêne (L')/The Rake's Progress, Gilliat, Sidney, 1945; Dernière

chance (La)/Die letzte Chance, Lindtberg, Leopold, 1944; Au-delà des grilles, Clément, René, 1949.

directors cited: Pagnol, Marcel; Welles, Orson.

"Le Caïd [The Big Shot]: Un film à la gloire de Humphrey Bogart." Le Parisien libéré, 1493 (July 2,

1949), 600 characters.

film analyzed: Caïd (Le)/The Big Shot, Seiler, Lewis, 1942.

"Calcutta, ville cruelle [Deux hectares de terre (Do Bigha Zamin)]: Néo-réalisme hindou." Radio-

Cinéma-Télévision, 277 (May 8, 1955), 2,100 characters.

film analyzed: Deux hectares de terre/Do Bigha Zamin, Roy, Bimal, 1953.

films cited: Voleur de bicyclette (Le)/Ladri di biciclette, De Sica, Vittorio, 1948; Raisins de la colère

(Les)/The Grapes of Wrath, Ford, John, 1940.

"Le Calice d'argent [The Silver Chalice]: Que d'or, que d'or!" Le Parisien libéré, 3362 (July 4, 1955),

2,600 characters.

film analyzed: Calice d'argent (Le)/The Silver Chalice, Saville, Victor, 1954.

films cited: Tunique (La)/The Robe, Koster, Henry, 1953; Metropolis, Lang, Fritz, 1927; Nibelungen

(Les)/Die Nibelungen, Lang, Fritz, 1924.

"Californie en flammes [California Conquest]: Fumée sans feu." Le Parisien libéré, 2593 (January 14,

1953), 1,400 characters.

film analyzed: Californie en flammes/California Conquest, Landers, Lew, 1952.

films cited: Aventures du capitaine Wyatt (Les)/Distant Drums, Walsh, Raoul, 1951; Étoile du destin

(L')/Lone Star, Sherman, Vincent, 1952.

"Calme plat sur la croisette Ni: La Provinciale (La Marchande d'amour, Italie) ni Awaara (La Vaga-

bond, Indes) n'ont bouleversé le festival." Le Parisien libéré, 2680 (April 25, 1953), 1,700 characters.

films analyzed: Marchande d'amour (La)/La Provinciale, Soldati, Mario, 1953; Vagabond (La)/Awaara,

Kapoor, Raj, 1951.

film cited: Salaire de la peur (Le), Clouzot, Henri-Georges, 1953.

"Camarade P. [Ona zasciscaet rodinu]." Le Parisien libéré, 77 (November 16, 1944), 1,400 characters.

film analyzed: Camarade P., a.k.a. Elle défend sa patrie/Ona zasciscaet rodinu, Ermler, Friedrikh, 1943.

films cited: Jour de guerre en URSS (Un), a.k.a. 24 heures de guerre en URSS, Sloutsky, Mikhail, 1942;

Bataille d'Orel (La), Ghikov, R., and Stepanova, L., 1943; L'arc en ciel/Raduga, Donskoï, Mark, 1944.

"La caméra explore le temps." Radio-Cinéma-Télévision, 426 (March 16, 1958), 1,100 characters.

film cited: En votre âme et conscience, 1954-69 (television series).

"Le camion qui crache les images: Cinéma et Culture." L'Écran français, 136 (February 3, 1948),

3,600 characters.

"Le canard atomique [Mister Drake's Duck]: La poudre est mouillé." Le Parisien libéré, 2326 (March 6,

1952), 2,500 characters.

film analyzed: Canard atomique (Le)/Mister Drake's Duck, Guest, Val, 1951.

film cited: Passeport pour Pimlico/Passport to Pimlico, Cornelius, Henry, 1949.

"Les candidats au bac devant le problème film-roman [La Symphonie pastorale, La Fleuve [The River],

et Le Journal d'un curé de campagne]: Élève André Bazin, répondez." Radio-Cinéma-Télévision, 338 (July

8, 1956), 4,700 characters.

films analyzed: Symphonie pastorale (La), Delannoy, Jean, 1946; Fleuve (Le)/The River, Renoir, Jean,

1951; Journal d'un curé de campagne (Le), Bresson, Robert, 1951.

"Cannes: À défaut d'un bon festival, un bon palmarès." France-Observateur, 419 (May 22, 1958),

7,000 characters.

films cited: Ordre de tuer/Orders to Kill, Asquith, Anthony, 1958; Feux de l'été (Les)/The Long, Hot

Summer, Ritt, Martin, 1958; Chardons de Baragan (Les), Daquin, Louis, 1957; Vengeance (La)/La

Venganza, Bardem, Juan Antonio, 1958; Frères Karamazov (Les)/The Brothers Karamazov, Brooks,

Richard, 1958; Grand-Rue/Calle Mayor, Bardem, Juan Antonio, 1956; Comiques, a.k.a. Comédiens

(Les)/Cómicos, Bardem, Juan Antonio, 1954; Bijoutiers du clair de lune (Les), Vadim, Roger, 1958.

"Cannes aura été le festival de l'amour conjugal." Radio-Cinéma-Télévision, 282 (June 12, 1955),

5,600 characters.

films cited: Stella, femme libre/Stella, éleftéri yénéka, Cacoyannis, Michael, 1955; Marty, Mann, Delbert,

1955; Calendrier de femmes/Onna no koyomi, Hisamatsu, Seiji, 1954; Signe de Vénus (Le)/Il segno di

Venere, Risi, Dino, 1955; Jedda, a.k.a. Jedda the Uncivilized, Chauvel, Charles, 1955; Enfant et la licorne

(L')/A Kid for Two Farthings, Reed, Carol, 1955; Grande famille (Une)/Bolshaya semya, Haifitz, Josef,

1954; Fille de la province (Une)/The Country Girl, Seaton, George, 1954; Vivre un grand amour/The End

of the Affair, Dmytryk, Edward, 1955; Biraj/Biraj Bahu, Roy, Bimal, 1954; Pointe courte (La), Varda,

Agnès, 1954.

director cited: Feuillade, Louis.

"Cannes: Conclusions." France-Observateur, 262 (May 19, 1955), 4,500 characters.

films cited: Racines/Raices, Alazraki, Benito, 1954; Homme est passé (Un)/Bad Day at Black Rock,

Sturges, John, 1954; À l'Est d'Eden/East of Eden, Kazan, Elia, 1955; Carmen Jones, Preminger, Otto,

1954; Pêche au thon en Tunisie (La)/Tunny Fishing in Tunisia, Urban, Charles, 1905; Îles de feu/Isole di

fuoco, De Seta, Vittorio, 1955; Continent perdu/Continente perduto, Bonzi, Leonardo, Gras, Enrico,

and Moser, Giorgio, 1955.

"Cannes devient la capitale du cinéma: 23 nations sont représentées au festival international du

film." Le Parisien libéré, 653 (September 19, 1946), 2,000 characters.

films cited: Bataille du rail (La), Clément, René, 1946; Belle et la bête (La), Cocteau, Jean, 1946;

Symphonie pastorale (La), Delannoy, Jean, 1946; Farrebique (ou Les quatres saisons), Rouquier, Georges,

1946; Poison (Le)/The Lost Weekend, Wilder, Billy, 1945; Boîte à musique (La)/Make Mine Music,

Disney, Walt, 1946; César et Cléopâtre/Caesar and Cleopatra, Pascal, Gabriel, 1945; Portes de la nuit

(Les), Carné, Marcel, 1946.

director cited: Grimault, Paul.

"Cannes Festival '47: Psychanalyse de la plage." L'Esprit, XV, n. 139 (November 1947), pp. 773-

774/4,300 characters.

"Cannes: Gaby Morlay a pleuré sur Les Amants du pont Saint-Jean, mais le public n'a pas marché . . .

par contre Le diable au corps fait courir Paris." Le Parisien libéré, 939 (September 24, 1947), 2,800

characters.

films analyzed: Amants du pont Saint-Jean (Les), Decoin, Henri, 1947; Diable au corps (Le), Autant-

Lara, Claude, 1947.

films cited: Fille du capitaine (La)/La Figlia del capitano, Camerini, Mario, 1947; Ziegfeld Follies,

Minnelli, Vincente, Lewis, Robert, Ayers, Lemuel, Del Ruth, Roy, Sidney, George, Walters,

Charles, and Pye, Merrill, 1945.

"Cannes 1958." Cahiers du cinéma, XIV, n. 84 (June 1958), pp. 23-35/21,500 characters. Reprinted

in Cahiers du cinéma, n. 634 (2008), p. 34; Cahiers du cinéma, n. 635 (2008), p. 24.

films cited: Complainte du sentier (La)/Pather Panchali, Ray, Satyajit, 1955; L'Invaincu, a.k.a.

L'Invincible/Aparajito, Ray, Satyajit, 1956; Fin de crédit/Telefteo psèma, Cacoyannis, Michael, 1958;

Fille en noir (La)/To koritsi me ta mavra, Cacoyannis, Michael, 1956; Stella, femme libre/Stella, éleftéri

yénéka, Cacoyannis, Michael, 1955; Désir sous les ormes/Desire Under the Elms, Mann, Delbert, 1958;

Huitième jour de la semaine (Le)/Ósmy dzien tygodnia, Ford, Aleksander, 1958; Eroica, Munk, Andrzej,

1958; Quand passent les cigognes/Letyat zhuravli, Kalatozov, Mikhail, 1958; Beau Serge (Le), Chabrol,

Claude, 1959; Auberge du Spessart (L')/Das Wirtshaus im Spessart, Hoffmann, Kurt, 1958.

directors cited: Sennett, Mack; Wise, Robert.

"Cannes: L'Or de Naples [L'Oro di Napoli]." Radio-Cinéma-Télévision, 277 (May 8, 1955), 1,400

characters.

film analyzed: Or de Naples (L')/L'Oro di Napoli, De Sica, Vittorio, 1954.

films cited: Petit carrousel de fête (Un)/Körhinta, Fábri, Zoltán, 1955; Voleur de bicyclette (Le)/Ladri di

biciclette, De Sica, Vittorio, 1948; La Strada, Fellini, Federico, 1954; Voyage en Italie, a.k.a. L'amour est

le plus fort/Viaggio in Italia, Rossellini, Roberto, 1954.

"Cannes va aussi au cinéma: Boomerang, Feux croisés [Crossfire], L'évadée [The Chase], Les jeux sont faits,

et Les maudits." L'Écran français, 117 (September 23, 1947), 2,000 characters.

films cited: Boomerang, Kazan, Elia, 1947; Feux croisés/Crossfire, Dmytryk, Edward, 1947; Maudits

(Les), Clément, René, 1947; Évadée (L')/The Chase, Ripley, Arthur, 1946; Jeux sont faits (Les),

Delannoy, Jean, 1947; Marche du temps (La)/The March Of Time, de Rochemont, Louis, 1935-41; J'ai

le droit de vivre/You Only Live Once, Lang, Fritz, 1934; Furie/Fury, Lang, Fritz, 1936; Crime vient à la

fin (Le)/Farewell My Lovely, a.k.a. Murder, My Sweet, Dmytryk, Edward, 1944; Echaînés

(Les)/Notorious, Hitchcock, Alfred, 1946; Symphonie pastorale (La), Delannoy, Jean, 1946; Bataille du

rail (La), Clément, René, 1946; Dernière chance (La)/Die letzte Chance, Lindtberg, Leopold, 1944; Plus

belles années de notre vie (Les)/The Best Years Of Our Lives, Wyler, William, 1946; Grande illusion (La),

Renoir, Jean, 1937; S.O.S. 103/Uomini sul fondo, De Robertis, Francesco, 1941; Plongée à l'aube/We

Dive at Dawn, Asquith, Anthony, 1943; Farrebique (ou Les quatres saisons), Rouquier, Georges, 1946.

"Cape et Poignard [Cloak and Dagger]." Le Parisien libéré, 1029 (January 7, 1948), 300 characters.

film analyzed: Cape et Poignard/Cloak and Dagger, Lang, Fritz, 1946.

"Capitaine sans loi [Plymouth Adventure]: Mais pas sans foi." Radio-Cinéma-Télévision, 258 (December

26, 1954), 2,000 characters.

film analyzed: Capitaine sans loi/Plymouth Adventure, Brown, Clarence, 1954.

films cited: Chair et le diable (La)/Flesh and the Devil, Brown, Clarence, 1927; Intrus (L')/Intruder in

the Dust, Brown, Clarence, 1949.

"Capitaine sans loi [Plymouth Adventure]: Tempête dans les coeurs." Le Parisien libéré, 3193 (Decem-

ber 17, 1954), 1,600 characters.

film analyzed: Capitaine sans loi/Plymouth Adventure, Brown, Clarence, 1954.

film cited: Intrus (L')/Intruder in the Dust, Brown, Clarence, 1949.

"Le Capitan." Le Parisien libéré, 534 (May 6, 1946), 900 characters.

film analyzed: Capitan (Le), Vernay, Robert, 1946.

"Un caprice de Caroline chérie: Comme on connaît ses seins." Le Parisien libéré, 2644 (March 14,

1953), 2,300 characters.

film analyzed: Caprice de Caroline chérie (Un), Devaivre, Jean, 1953.

"La Captive aux yeux clairs [The Big Sky]: Du Missouri." Le Parisien libéré, 2829 (October 19, 1953),

3,000 characters.

film analyzed: Captive aux yeux clairs (La)/The Big Sky, Hawks, Howard, 1952.

films cited: Chevauchée fantastique (La)/Stagecoach, Ford, John, 1939; Scarface: The Shame of a Nation,

Hawks, Howard, 1932; Grand sommeil (Le)/The Big Sleep, Hawks, Howard, 1946; Seuls les anges ont

des ailes/Only Angels Have Wings, Hawks, Howard, 1939; Air Force, Hawks, Howard, 1943.

"La caravane héroique [Virginia City]: Éternelle épopée." L'Écran français, 101 (June 3, 1947), 1,800

characters.

film analyzed: Caravane héroique (La)/Virginia City, Curtiz, Michael, 1940.

director cited: Griffith, D. W.

"La Carcasse et le Tord-cou." Le Parisien libéré, 1131 (May 5, 1948), 1,000 characters.

film analyzed: Carcasse et le Tord-cou (La), Chanas, René, 1948.

films cited: Goupi mains rouges, Becker, Jacques, 1943; Farrebique (ou Les quatres saisons), Rouquier,

Georges, 1946.

director cited: Pagnol, Marcel.

"Carmen." Le Parisien libéré, 196 (April 3, 1945), 1,400 characters.

film analyzed: Carmen, Christian-Jaque, 1945 (1943).

film cited: Assassinat du Père Noël (L'), Christian-Jaque, 1941.

"Carné et la désincarnation

[Juliette ou la clef des songes]." L'Esprit, XIX, n. 182 (September 1951),

pp. 400-405/12,300 characters, in Le cinéma français de la Libération à la Nouvelle Vague, 1945-1958

(Paris: Éditions de l'Étoile [1983], 1998), pp. 106-113.

film analyzed: Juliette ou la clef des songes, Carné, Marcel, 1951.

films cited: Portes de la nuit (Les), Carné, Marcel, 1946; Marie du port (La), Carné, Marcel, 1949;

Beauté du diable (La), Clair, René, 1949; Quai des brumes (Le), Carné, Marcel, 1938; Règle du jeu (La),

Renoir, Jean, 1939; Jour se lève (Le), Carné, Marcel, 1939; Visiteurs du soir (Les), Carné, Marcel, 1942;

Enfants du paradis (Les), Carné, Marcel, 1945.

directors cited: Prévert, Jacques; Feyder, Jacques; Duvivier, Julien.

"Le carrosse d'or

[The Golden Coach]: Le théâtre et la vie." Le Parisien libéré, 2635 (March 4, 1953),

3,600 characters.

film analyzed: Carrosse d'or (Le)/The Golden Coach, Renoir, Jean, 1952.

film cited: Fleuve (Le)/The River, Renoir, Jean, 1951.

"Carrefour de la mort

[Kiss of Death]." Le Parisien libéré, 1203 (July 28, 1948), 1,800 characters.

film analyzed: Carrefour de la mort/Kiss of Death, Hathaway, Henry, 1947.

films cited: Scarface: The Shame of a Nation, Hawks, Howard, 1932; Laura, Preminger, Otto, 1944;

Assurance sur la mort/Double Indemnity, Wilder, Billy, 1944.

"Carrefour du crime." Le Parisien libéré, 1173 (June 23, 1948), 1,000 characters.

film analyzed: Carrefour du crime, Sacha, Jean, 1948.

film cited: Fantômas, Sacha, Jean, 1947.

"Carrefour des passions

[Gli uomini sono nemici]." Le Parisien libéré, 1215 (August 11, 1948), 1,300

characters.

film analyzed: Carrefour des passions/Gli uomini sono nemici, Ettore, Giannini, and Calef, Henri, 1948.

films cited: Étoile sans lumière, Blistène, Marcel, 1946; Pays sans étoiles (Le), Lacombe, Georges, 1946;

Carrefour du crime, Sacha, Jean, 1948; Carrefour de la mort/Kiss of Death, Hathaway, Henry, 1947.

"Le cas Claude Darget." Radio-Cinéma-Télévision, 339 (July 15, 1956), 4,400 characters.

"Le cas du Docteur Laurent." L'Éducation nationale, 16 (May 2, 1957), 6,700 characters.

film analyzed: Cas du Docteur Laurent (Le), Le Chanois, Jean-Paul, 1957.

film cited: École buissonnière (L'), Le Chanois, Jean-Paul, 1949.

"Le cas Pagnol [Les lettres de mon moulin]." France-Observateur, 236 (November 18, 1954), 9,400

characters, in Qu'est-ce que le cinéma, volume II, "Le cinéma et les autres arts" (Éditions du Cerf,

1959), pp. 119-125; in Qu'est-ce que le cinéma? (Cerf, 1975, rpt. 2000; single-volume version), pp.

179-185.

film analyzed: Manon des Sources, Pagnol, Marcel, 1953.

films cited: Lettres de mon moulin (Les), Pagnol, Marcel, 1954; Marius, Korda, Alexander, 1931;

Fanny, Allégret, Marc, 1932; Topaze, Pagnol, Marcel, 1951; Angèle, Pagnol, Marcel, 1934; Jofroi,

Pagnol, Marcel, 1937; Femme du boulanger (La), Pagnol, Marcel, 1938; Naïs, Leboursier, Raymond,

1945; Merlusse, Pagnol, Marcel, 1935; Feux de la rampe (Les)/Limelight, Chaplin, Charles, 1952.

"Casque d'or: 1900 contre la Belle Époque." Le Parisien libéré, 2368 (April 24, 1952), 4,400 charac-

ters.

film analyzed: Casque d'or, Becker, Jacques, 1952.

films cited: Gigi, Audry, Jacqueline, 1949; Partie de campagne (Une), Renoir, Jean, 1946 (1936).

"Cavalcanti à Paris." Le Parisien libéré, 30 (September 22, 1944), 800 characters.

film cited: Des souris et hommes/Of Mice and Men, Milestone, Lewis, 1939.

director cited: Cavalcanti, Alberto.

"Les caves du Majestic." Le Parisien libéré, 385 (November 8, 1945), 1,200 characters.

film analyzed: Caves du Majestic (Les), Pottier, Richard, 1944.

director cited: Clair, René.

"Ce bon vieux Sam [Good Sam]: Une bonne vieille formule de film." Le Parisien libéré, 1613 (Novem-

ber 19, 1949), 1,000 characters.

film analyzed: Ce bon vieux Sam/Good Sam, McCarey, Leo, 1948.

films cited: Extravagant Monsieur Deeds (L')/Mr. Deeds Goes to Town, Capra, Frank, 1936; Casse-pieds

(Les), Dréville, Jean, and Noël-Noël (a.k.a. Lucien Noël), 1949.

"Ce droit qu'à la porte on achète en entrant . . . Peut-on siffler Les Portes de la nuit?" Le Parisien

libéré, 735 (December 20, 1946), 1,200 characters.

film analyzed: Portes de la nuit (Les), Carné, Marcel, 1946.

films cited: Foire aux chimères (La), Chenal, Pierre, 1946; Quai des brumes (Le), Carné, Marcel, 1938;

Jour se lève (Le), Carné, Marcel, 1939.

directors cited: Couzinet, Émile; Hugon, André.

"Ce joli monde." Le Parisien libéré, 4065 (October 7, 1957), 2,800 characters.

film analyzed: Ce joli monde, Rim, Carlo, 1957.

films cited: Armoire volante (L'), Rim, Carlo, 1948; Virgile, Rim, Carlo, 1953; Escalier de service (L'),

Rim, Carlo, 1954; Truands (Les), Rim, Carlo, 1956.

director cited: Capra, Frank.

"Ce n'est qu'un au revoir [The Long Gray Line]: Du souci pour les Cadets." Le Parisien libéré, 3380 (July

25, 1955), 3,300 characters.

film analyzed: Ce n'est qu'un au revoir/The Long Gray Line, Ford, John, 1955.

films cited: Mouchard (Le)/The Informer, Ford, John, 1935; Chevauchée fantastique (La)/Stagecoach,

Ford, John, 1939; Qu'elle était verte ma vallée/How Green Was My Valley, Ford, John, 1941.

"Ce n'est qu'un au revoir [The Long Gray Line]: Espérons-le pour John Ford." Radio-Cinéma-Télévision,

290 (August 7, 1955), 3,300 characters.

film analyzed: Ce n'est qu'un au revoir/The Long Gray Line, Ford, John, 1955.

"Ce pain était-il si dur? [Le Pain vivant]." France-Observateur, 311 (April 26, 1956), 1,700 characters.

film analyzed: Pain vivant (Le), Mousselle, Jacques, 1955.

film cited: Parole (La), a.k.a. La Sorcière/Ordet, Dreyer, Carl-Theodor, 1955.

directors cited: Rossif, Frédéric; Hughes, Howard; Hitchcock, Alfred; Ford, John; Capra, Frank;

McCarey, Leo; Feuillade, Louis; Vidor, King; Rossellini, Roberto; Rivette, Jacques.

"Ce que fut le télécinéma au Festival de Cannes [Soupe aux nids d'hirondelle, Une île a soif, et Ce serait

effrayant]." Radio-Cinéma-Télévision, 438 (June 8, 1958), 4,900 characters.

"Ce soir les Jupons volent: Mannequins . . . mais pas en cire." Le Parisien libéré, 3661 (June 18, 1956),

1,200 characters.

film analyzed: Ce soir les Jupons volent, Kirsanoff, Dmitri, 1956.

directors cited: Trnka, Jií; Hofman, Eduard; Zeman, Karel; Alexeïeff, Alexandre; Grimault, Paul;

Gruel, Henri.

"Cela s'appelle l'aurore: Lumière de Buñuel." Le Parisien libéré, 3631 (May 14, 1956), 1,600 characters.

Reprinted in Le Cinéma de la cruauté. Paris: Flammarion, 1975.

film analyzed: Cela s'appelle l'aurore, Buñuel, Luis, 1956.

films cited: Âge d'or (L'), Buñuel, Luis, 1930; Chien andalou (Un), Buñuel, Luis, 1929; Olvidados

(Los), a.k.a. Les Réprouvés and Pitié pour eux/Los Olvidados, Buñuel, Luis, 1950.

"Cellule 2455, couloir de la mort [Cell 2455 Death Row]: Mort en sursis." Le Parisien libéré, 3367 (July 9,

1955), 2,300 characters.

film analyzed: Cellule 2455, couloir de la mort/Cell 2455 Death Row, Sears, Fred F., 1955.

"Les Censeurs de la censure." France-Observateur, 244 (January 13, 1955), 8,400 characters.

films cited: Bel-Ami, Daquin, Louis, 1955; Varsovie quand même, Bellon, Yannick, 1954; Démon des

eaux troubles (Le)/Hell and High Water, Fuller, Samuel, 1954.

"Censeurs, sachez censurer." Radio-Cinéma-Télévision, 411 (December 1, 1957), 2,600 characters.

films cited: Miquette et sa mère, Clouzot, Henri-Georges, 1949; Blé en herbe (Le), Autant-Lara,

Claude, 1943.

directors cited: Sée, Jean-Claude; Disney, Walt; Gruel, Henri.

"Censure et censures au cinéma." Le Parisien libéré, 1918 (December 11, 1950), 2,500 characters.

films cited: Clochemerle, Chenal, Pierre, 1947; École buissonnière (L'), Le Chanois, Jean-Paul, 1949;

Homme marche dans la ville (Un), Pagliero, Marcello, 1950.

directors cited: Carné, Marcel; Renoir, Jean.

"Le cercle infernal [The Racers]: Le coureur et l'amour." Le Parisien libéré, 3373 (July 16, 1955), 2,000

characters.

film analyzed: Cercle infernal (Le)/The Racers, Hathaway, Henry, 1955.

"Certains films sont meilleurs au télécinéma qu'au cinéma [La Petite marchande d'allumettes et Les

Parents terribles]." Radio-Cinéma-Télévision, 218 (March 21, 1954), 3,000 characters.

films analyzed: Petite marchande d'allumettes (La), Renoir, Jean, 1928; Parents terribles (Les), Cocteau,

Jean, 1948.

"Cesare Zavattini ou le néo-réalisme italien." Radio-Cinéma-Télévision, 85 (September 2, 1951),

9,600 characters.

films cited: Quatre pas dans les nuages/Quattro passi tra le nuvole, Blasetti, Alessandro, 1942; Couronne

de fer/La Corona di ferro, Blasetti, Alessandro, 1940; Fabiola, Blasetti, Alessandro, 1949; Voleur de

bicyclette (Le)/Ladri di biciclette, De Sica, Vittorio, 1948; Miracle à Milan/Miracolo a Milano, De Sica,

Vittorio, 1951; Sciuscià, De Sica, Vittorio, 1946; Sa majesté Monsieur Dupont/Prima comunione,

Blasetti, Alessandro, 1950.

"C'est arrivé à Paris: Une américaine à Paris." Le Parisien libéré, 2628 (February 24, 1953), 3,200

characters.

film analyzed: C'est arrivé à Paris, Lavorel, Henri, 1952.

films cited: Voyage en Amérique, Lavorel, Henri, 1951; Montagne est verte (La), Lehérissey, Jean, 1950.

"C'est arrivé demain [It Happened Tomorrow]." Le Parisien libéré, 348 (September 27, 1945), 600

characters.

film analyzed: C'est arrivé demain/It Happened Tomorrow, Clair, René, 1944.

films cited: Million (Le), Clair, René, 1931; À nous la liberté, Clair, René, 1931; Ma femme est une

sorcière/I Married a Witch, Clair, René, 1942; Quatorze juillet, Clair, René, 1933.

"C'est la faute d'Adam." Le Parisien libéré, 4190 (March 1, 1958), 1,500 characters.

film analyzed: C'est la faute d'Adam, Audry, Jacqueline, 1958.

"C'est la faute d'Adam: Rose Bonbon." Radio-Cinéma-Télévision, 426 (March 16, 1958), 1,800

characters.

film analyzed: C'est la faute d'Adam, Audry, Jacqueline, 1958.

"C'étaient des hommes [The Men]: C'est aussi un film." Le Parisien libéré, 2213 (October 25, 1951),

1,800 characters.

film analyzed: C'étaient des hommes/The Men, Zinnemann, Fred, 1950.

film cited: Plus belles années de notre vie (Les)/The Best Years of Our Lives, Wyler, William, 1946.

"Cette Marianne: Avait rendez-vous avec Jacqueline." Radio-Cinéma-Télévision, 306 (November 27,

1955), p. 43/2,500 characters.

film analyzed: Marianne, Holmsen, Egil, 1953.

"Cette nuit-là." France-Observateur, 437 (September 18, 1958), 5,800 characters.

film analyzed: Cette nuit-là, Cazeneuve, Maurice, 1958.

films cited: Ascenseur pour l'échafaud, Malle, Louis, 1958; Dos au mur (Le), Molinaro, Édouard, 1958;

Mauvaises rencontres (Les), Astruc, Alexandre, 1955; Môme vert de gris (La), Borderie, Bernard, 1953.

"Cette nuit-là." Le Parisien libéré, 4361 (September 19, 1958), 1,600 characters.

film analyzed: Cette nuit-là, Cazeneuve, Maurice, 1958.

films cited: Ascenseur pour l'échafaud, Malle, Louis, 1958; Dos au mur (Le), Molinaro, Édouard, 1958;

Mauvaises rencontres (Les), Astruc, Alexandre, 1955.

"Chaînes conjugales

[A Letter to Three Wives]: Mariez-vous donc!" Le Parisien libéré, 1624 (December

3, 1949), 1,000 characters.

film analyzed: Chaînes conjugales/A Letter to Three Wives, Mankiewicz, Joseph L., 1949.

"Les Chaînes du destin: Du mauvais roman blême." Radio-Cinéma-Télévision, 75 (June 24, 1951), 1,600

characters.

film analyzed: Chaînes du destin (Les)/No Man of Her Own, Leisen, Mitchell, 1950.

"Les Chaînes du destin paraissent lourdes à porter." Le Parisien libéré, 2099 (December 6, 1951),

2,500 characters.

film analyzed: Chaînes du destin (Les)/No Man of Her Own, Leisen, Mitchell, 1950.

"Champion du monde de l'angoisse à l'écran: Alfred Hitchcock est à Paris." Le Parisien libéré, 1661

(January 16, 1950), 1,200 characters.

films cited: Corde (La)/Rope, Hitchcock, Alfred, 1948; 39 marches (Les)/The 39 Steps, Hitchcock,

Alfred, 1935; Ombre d'un doute (L')/Shadow of a Doubt, Hitchcock, Alfred, 1943; Soupçons/Suspicion,

Hitchcock, Alfred, 1941; Rebecca, Hitchcock, Alfred, 1940; Enchaînés (Les)/Notorious, Hitchcock,

Alfred, 1946; Procès Paradine (Le)/The Paradine Case, Hitchcock, Alfred, 1948.

"Chances du cinéma français." Courrier de l'étudiant, 41 (March 19, 1947), 4,000 characters.

films cited: Portes de la nuit (Les), Carné, Marcel, 1946; Visiteurs du soir (Les), Carné, Marcel, 1942;

Ciel est à vous (Le), Grémillon, Jean, 1944; Goupi mains rouges, Becker, Jacques, 1943; Anges du péché

(Les), Bresson, Robert, 1943; Enfants du paradis (Les), Carné, Marcel, 1945; Corbeau (Le), Clouzot,

Henri-Georges, 1943; Citizen Kane, Welles, Orson, 1941; Brève Rencontre/Brief Encounter, Lean,

David, 1945; Henry V, Olivier, Laurence, 1944; Jour de colère/Vredens Dag, Dreyer, Carl-Theodor,

1943; María Candelaria, Fernández, Emilio, 1943; Chemin du ciel (Le)/Himlaspelet, Sjöberg, Alf, 1942;

Bataille du rail (La), Clément, René, 1946; Farrebique (ou Les quatres saisons), Rouquier, Georges,

1946.

"Chantons sous la pluie [Singin' in the Rain]: De belles éclaircies." Le Parisien libéré, 2802 (September

17, 1953), 2,600 characters.

film analyzed: Chantons sous la pluie/Singin' in the Rain, Donen, Stanley, and Kelly, Gene, 1952.

film cited: Américain à Paris (Un)/An American in Paris, Minnelli, Vincente, 1951.

"La Charge victorieuse [The Red Badge of Courage]: Une victoire du cinéma!" Le Parisien libéré, 2758

(July 27, 1953), 3,400 characters.

film analyzed: Charge victorieuse (La)/The Red Badge of Courage, Huston, John, 1951.

films cited: Trésor de la Sierra Madre (Le)/The Treasure of the Sierra Madre, Huston, John, 1948; Reine

africaine (La)/The African Queen, Huston, John, 1951; Journal d'un curé de campagne (Le), Bresson,

Robert, 1951; Naissance d'une nation/The Birth of a Nation, Griffith, D. W., 1915.

"Charlot puo' morire? [Les Feux de la rampe (Limelight)]." Cinema nuovo (Italy), 1, n. 1 (December

15, 1952), 3,600 characters.

film analyzed: Feux de la rampe (Les)/Limelight, Chaplin, Charles, 1952.

film cited: Dictateur (Le)/The Great Dictator, Chaplin, Charles, 1940.

"La Chartreuse de Parme." Le Parisien libéré, 1149 (May 26, 1948), 1,000 characters.

film analyzed: Chartreuse de Parme (La), Christian-Jaque, 1948.

"Chasse à l'homme [Man Hunt]: Un film intéressant dans son invraisemblance." Le Parisien libéré,

1487 (June 25, 1949), 1,300 characters.

film analyzed: Chasse à l'homme/Man Hunt, Lang, Fritz, 1941.

"Chasse tragique [Caccia tragica]." Le Parisien libéré, 1418 (April 6, 1949), 850 characters.

film analyzed: Chasse tragique/Caccia tragica, De Santis, Giuseppe, 1947.

film cited: Païsa/Paisà, Rossellini, Roberto, 1946.

"Chasseurs, sachez chasser [Face aux fauves (Tembo)]." Radio-Cinéma-Télévision, 142 (October 5,

1952), 2,500 characters.

film analyzed: Face aux fauves/Tembo, Hill, Howard, 1952.

films cited: Robin des bois et ses joyeux compagnons/The Story of Robin Hood and His Merrie Men,

Annakin, Ken, 1952; Adorables créatures, Christian-Jaque, 1952.

director cited: Christian-Jaque.

"Les Chaussons rouges [The Red Shoes]: La caméra entre dans la danse." Le Parisien libéré, 1478 (June

15, 1949), 1,800 characters.

film analyzed: Chaussons rouges (Les)/The Red Shoes, Powell, Michael, 1948.

"Le château de la dernière chance, Le fantôme de l'Opéra [The Phantom of the Opera], et Angoisse [Experiment

Perilous]." Le Parisien libéré, 886 (July 23, 1947), 3,000 characters.

films analyzed: Château de la dernière chance (Le), Paulin, Jean-Paul, 1947; Fantôme de l'Opéra (Le)/The

Phantom of the Opera, Lubin, Arthur, 1943; Angoisse/Experiment Perilous, Tourneur, Jacques, 1944.

films cited: Fantôme de l'Opéra (Le)/The Phantom of the Opera, Rupert, Julian, 1925; Hantise/Gaslight,

Cukor, George, 1944.

director cited: Feuillade, Louis.

"Un chef d'oeuvre anachronique: Jour de colère [Vredens Dag]." L'Écran français, 95 (April 22, 1947),

1,100 characters. Reprinted in Le Cinéma de la cruauté. Paris: Flammarion, 1975.

film analyzed: Jour de colère/Vredens Dag, Dreyer, Carl-Theodor, 1943.

films cited: Ivan le terrible/Ivan Groznyi, Eisenstein, Sergei, Part I: 1942-44; Part II: 1945-46 (1958);

Ordet/La parole, Molander, Gustav, 1943; Passion de Jeanne d'Arc (La), Dreyer, Carl-Theodor, 1928;

Terre sera rouge (La)/De røde enge, Ipsen, Bodil, and Lauritzen, Jr., Lau, 1945; Chemin du ciel

(Le)/Himlaspelet, Sjöberg, Alf, 1942.

"Les chefs-d'oeuvre." Le Parisien libéré, 1926 (November 22, 1950), 2,800 characters.

films cited: Voleur de bicyclette (Le)/Ladri di biciclette, De Sica, Vittorio, 1948; Atalante (L'), a.k.a. Le

chaland qui passe, Vigo, Jean, 1934.

"Le Chemin de l'espérance [Il cammino della speranza]." France-Observateur, 137 (December 25, 1952),

3,000 characters.

film analyzed: Chemin de l'espérance (Le)/Il cammino della speranza, Germi, Pietro, 1950.

films cited: Voleur de bicyclette (Le)/Ladri di biciclette, De Sica, Vittorio, 1948; Umberto D., De Sica,

Vittorio, 1952; Onze heures sonnaient/Roma ore undici, De Santis, Giuseppe, 1952; Deux sous

d'espoir/Due soldi di speranza, Castellani, Renato, 1952; Au nom de la loi/In nome della legge, Germi,

Pietro, 1949; Tanière des brigands (La)/Il brigante di Tacca del Lupo, Germi, Pietro, 1952; Terre tremble

(La)/La terra trema (Episodio del mare), Visconti, Luchino, 1948.

directors cited: Rossellini, Roberto; De Santis, Giuseppe.

"Le Chemin de l'espérance [Il cammino della speranza], film italien de Pietro Germi." Cahiers du cinéma, n.

20 (February 1953), 1,700 characters, in Qu'est-ce que le cinéma?, volume IV, "Une Esthétique de la

Réalité: le néo-réalisme" (Éditions du Cerf, 1962), pp. 65-67.

film analyzed: Chemin de l'espérance (Le)/Il cammino della speranza, Germi, Pietro, 1950.

films cited: Au nom de la loi/In nome della legge, Germi, Pietro, 1950; Tanière des brigands (La)/Il

brigante di Tacca del Lupo, Germi, Pietro, 1952; Rome, ville ouverte/Roma, città aperta, Rossellini,

Roberto, 1945; Voleur de bicyclette (Le)/Ladri di biciclette, De Sica, Vittorio, 1948; Païsa/Paisà,

Rossellini, Roberto, 1946.

director cited: Eisenstein, Sergei.

"Le Chemin de l'espérance [Il cammino della speranza]: Une odyssée de la misère." Le Parisien libéré, 2576

(December 25, 1952), 2,000 characters.

film analyzed: Chemin de l'espérance (Le)/Il cammino della speranza, Germi, Pietro, 1950.

films cited: Voleur de bicyclette (Le)/Ladri di biciclette, De Sica, Vittorio, 1948; Deux sous d'espoir/Due

soldi di speranza, Castellani, Renato, 1952.

"Le Chemin de l'espérance [Il cammino della speranza]: Une odyssée de la misère." Radio-Cinéma-

Télévision, 154 (December 28, 1952). 2,800 characters.

film analyzed: Chemin de l'espérance (Le)/Il cammino della speranza, Germi, Pietro, 1950.

films cited: Au nom de la loi/In nome della legge, Germi, Pietro, 1950; Tanière des brigands (La)/Il

brigante di Tacca del Lupo, Germi, Pietro, 1952.

"Le Chemin des étoiles [The Way to the Stars]." Le Parisien libéré, 557 (June 1, 1946), 1,000 characters.

film analyzed: Chemin des étoiles (Le)/The Way to the Stars, Asquith, Anthony, 1945.

"Chercheurs d'or [Go West]: Retour des Marx Brothers." Le Parisien libéré, 729 (December 13, 1946),

700 characters.

film analyzed: Chercheurs d'or/Go West, Buzzell, Edward, 1940.

films cited: Soupe au canard/Duck Soup, McCarey, Leo, 1933; Nuit à l'opéra (Une)/A Night at the

Opera, Wood, Sam, 1935.

directors cited: Welles, Orson; Sennett, Mack.

"Chéri-Bibi: Fatalités . . . hélas!" Le Parisien libéré, 3345 (June 14, 1955), 2,600 characters.

film analyzed: Chéri-Bibi, Pagliero, Marcello, 1955.

film cited: Chéri-Bibi, Mathot, Léon, 1938.

directors cited: Camus, Marcel; De Sica, Vittorio.

"Chéri, ne fais pas le zouave [The Lieutenant Wore Skirts]." Le Parisien libéré, 3673 (July 2, 1956), 1,800

characters.

film analyzed: Chéri, ne fais pas le zouave/The Lieutenant Wore Skirts, Tashlin, Frank, 1956.

films cited: Sept ans de réflexion/The Seven Year Itch, Wilder, Billy, 1955; Gaslight, Dickinson,

Thorold, 1940.

"Chéri, ne fais pas le zouave [The Lieutenant Wore Skirts]: Tom Ewell toujours aussi drôle." Radio-

Cinéma-Télévision, 338 (July 8, 1956), 1,900 characters.

film analyzed: Chéri, ne fais pas le zouave/The Lieutenant Wore Skirts, Tashlin, Frank, 1956.

films cited: Sept ans de réflexion/The Seven Year Itch, Wilder, Billy, 1955; Pain, amour et jalousie/Pane,

amore e gelosia, Comencini, Luigi, 1954.

director cited: Rossif, Frédéric.

"Le Cheval et l'enfant [Maboroshi Nouma]: La plus belle conquête de l'enfant." Radio-Cinéma-Télévision,

341 (July 29, 1956), 2,300 characters.

film analyzed: Cheval et l'enfant (Le)/Maboroshi Nouma, Shima, Koji, 1955.

"Le Cheval et l'enfant [Maboroshi Nouma]: Le Poney . . . jaune." Le Parisien libéré, 3692 (July 24, 1956),

1,300 characters.

film analyzed: Cheval et l'enfant (Le)/Maboroshi Nouma, Shima, Koji, 1955.

"Le Chevalier à l'étoile d'or [Kavalier zolotoi zvezdy]: Idylle au Kouban." Le Parisien libéré, 2637 (March

6, 1953), 1,800 characters.

film analyzed: Chevalier à l'étoile d'or (Le)/Kavalier zolotoi zvezdy, Raizman, Yuli, 1951.

directors cited: Griffith, D. W.; Ince, Thomas H.

"Le Chevalier à l'étoile d'or [Kavalier zolotoi zvezdy]: Reconnaissez l'amour." Radio-Cinéma-Télévision, 164

(March 8, 1953), 1,300 characters.

film analyzed: Chevalier à l'étoile d'or (Le)/Kavalier zolotoi zvezdy, Raizman, Yuli, 1951.

film cited: Été prodigieux (Un)/Shchedroe leto, Barnet, Boris, 1951.

"Les Chiffonniers d'Emmaüs: Bonne action ou bon film?" Le Parisien libéré, 3256 (March 1, 1955),

1,600 characters.

film analyzed: Chiffoniers d'Emmaüs (Les), Darène, Robert, 1955.

director cited: Kramer, Stanley.

"Le choc des mondes [When Worlds Collide]: L'arche de Noé atomique." Le Parisien libéré, 2424 (June

30, 1952), 2,300 characters.

film analyzed: Choc des mondes (Le)/When Worlds Collide, Maté, Rudolph, 1951.

film cited: Jour où la terre s'arrêta (Le)/The Day the Earth Stood Still, Wise, Robert, 1951.

"Un choix discutable." Le Parisien libéré, 3945 (May 18, 1957), 2,200 characters.

films cited: Condamné à mort s'est échappé (Un), ou Le vent souffle où il veut, Bresson, Robert, 1956;

Qivitoq, Balling, Erik, 1956; Nuits de Cabiria (Les)/Le notti di Cabiria, Fellini, Federico, 1957; Celui

qui doit mourir, a.k.a. Le Christ recrucifié, Dassin, Jules, 1956; Ils aimaient la vie/Kanal, Wajda, Andrzej,

1957; Septième sceau (La)/Det sjunde inseglet, Bergman, Ingmar, 1957; Nuit des maris (La)/The Bachelor

Party, Mann, Delbert, 1957; Légende du grand bouddha (La)/Daibutsu kaigen, Kinugasa, Teinosuke,

1952; Maison de l'ange (La)/La casa del ángel, Nilsson, Leopoldo Torre, 1957; Carrefour des enfants

perdus (Le), Joannon, Léo, 1944.

directors cited: Murnau, F. W.; Sjöström, Victor; Dreyer, Carl-Theodor.

"La chose d'un autre monde [The Thing (from Another World)]." France-Observateur, 90 (January 31, 1952),

3,000 characters.

film analyzed: Chose d'un autre monde (La)/The Thing (from Another World), Nyby, Christian, 1951.

films cited: Nosferatu le vampire/Nosferatu, eine Symphonie des Grauens, Murnau, F. W., 1922; Vampire

(ou l'étrange aventure de David Gray)/Vampyr, Dreyer, Carl-Theodor, 1932; King Kong, Cooper,

Merian C., and Schoedsack, Ernest B., 1933; Homme invisible (L')/The Invisible Man, Whale, James,

1933.

director cited: Hitchcock, Alfred.

"La chose d'un autre monde [The Thing (from Another World)]: Frankenstein et la soucoupe volante." Le

Parisien libéré, 2291 (January 25, 1952), 2,000 characters.

film analyzed: Chose d'un autre monde (La)/The Thing (from Another World), Nyby, Christian, 1951.

"Chotard et Cie." Cahiers du cinéma, n. 78 (December 1957), 1,000 characters. Reprinted in Jean

Renoir. Paris: Éditions Champ Libre, 1971.

film analyzed: Chotard et Cie, Renoir, Jean, 1933.

films cited: Nana, Renoir, Jean, 1926; Chienne (La), Renoir, Jean, 1931.

"Le Christ interdit

[Il Cristo proibito]: Un film d'une beauté insolite." Le Parisien libéré, 2095 (July 6,

1951), 3,200 characters.

film analyzed: Christ interdit (Le)/Il Cristo proibito, Malaparte, Curzio, 1950.

"Christ interdit

[Il Cristo proibito]: Opéra ou tragédie cinématographique." Radio-Cinéma-Télévision, 75

(June 24, 1951), 3,300 characters.

film analyzed: Christ interdit (Le)/Il Cristo proibito, Malaparte, Curzio, 1950.

films cited: Cuirassé Potemkine (Le)/Bronenosets Potyomkin, Eisenstein, Sergei, 1925; Citizen Kane,

Welles, Orson, 1941; Espoir (L')/Sierra de Teruel, Malraux, André, 1945 (1939); Alexandre Nevs-

ki/Aleksandr Nevskiy, Eisenstein, Sergei, 1938; Ivan le terrible/Ivan Groznyi, Eisenstein, Sergei, Part

I: 1942-44; Part II: 1945-46 (1958).

director cited: Gras, Enrico.

"Christian Marker: Giraudoux par lui-même [Book Review]." L'Esprit, XX, n. 192 (July 1952), pp.

162-163.

"Christmas in July [Le Gros lot]." Le Parisien libéré, 344 (September 22, 1945), 800 characters.

film analyzed: Gros lot (Le)/Christmas in July, Sturges, Preston, 1940.

films cited: Million (Le), Clair, René, 1931; Défunt récalcitrant (Le)/Here Comes Mr. Jordan, Hall,

Alexander, 1941; Abraham Lincoln/Abe Lincoln in Illinois, Cromwell, John, 1940.

director cited: Welles, Orson.

"La Chronique des pauvres amants [Cronaca dei poveri amanti]." France-Observateur, 398 (December 26,

1957), 2,100 characters.

film analyzed: Chronique des pauvres amants (La)/Cronaca dei poveri amanti, Lizzani, Carlo, 1954.

films cited: 1860/I Mille di Garibaldi, Blasetti, Alessandro, 1934; J'ai tué mon amour/Senso, Visconti,

Luchino, 1954.

directors cited: L'Herbier, Marcel; Rossif, Frédéric; Mauve, Fanny; Chalais, François; Audouard,

Yvan; Dumayet, Pierre.

"La Chronique des pauvres amants [Cronaca dei poveri amanti]." Le Parisien libéré, 4143 (January 6, 1958),

2,500 characters.

film analyzed: Chronique des pauvres amants (La)/Cronaca dei poveri amanti, Lizzani, Carlo, 1954.

director cited: Huston, John.

"Chronique d'un amour [Cronaca di un amore]." Le Parisien libéré, 2163 (August 28, 1951), 2,700

characters.

film analyzed: Chronique d'un amour/Cronaca di un amore, Antonioni, Michelangelo, 1950.

film cited: Dames du bois de Boulogne (Les), Bresson, Robert, 1945.

"La chute de Berlin [Padeniye Berlina]: Une fresque en couleur souvent grandiose." Le Parisien libéré,

2113 (June 29, 1951), 2,500 characters.

film analyzed: Chute de Berlin (La)/Padeniye Berlina, Chiaureli, Mikhail, 1950.

films cited: Serment (Le)/Klyatva, Chiaureli, Mikhail, 1946.; Bataille de Stalingrad (La)/Stalingradskaya

bitva, Parts I and II, Petrov, Vladimir, 1949-50; Troisième coup (Le)/Tretiy udar, Savchenko, Igor,

1948; Dictateur (Le)/The Great Dictator, Chaplin, Charles, 1940.

"Chutes de reins et autres: Niagara." France-Observateur, 175 (September 17, 1953), 5,100 charac-

ters, in Qu'est-ce que le cinéma?, volume III, "Cinéma et sociologie; Deuxième Partie: Érotisme"

(Éditions du Cerf, 1961), pp. 60-64.

film analyzed: Niagara, Hathaway, Henry, 1953.

films cited: Chérie je me sens rajeunir/Monkey Business, Hawks, Howard, 1952; Banni (Le)/The Outlaw,

Hawks, Howard, and Hughes, Howard, 1943.

"La cible humaine [The Gunfighter]: Rien qu'un western." Le Parisien libéré, 2354 (April 8, 1952), 1,500

characters.

film analyzed: Cible humaine (La)/The Gunfighter, King, Henry, 1950.

"La cible humaine [The Gunfighter]: Le western à l'état pur." Radio-Cinéma-Télévision, 118 (April 20,

1952), 3,000 characters.

film analyzed: Cible humaine (La)/The Gunfighter, King, Henry, 1950.

"Le ciel de lit [The Four Poster]: De bons entractes." Le Parisien libéré, 2796 (September 10, 1953),

2,100 characters.

film analyzed: Ciel de lit (Le)/The Four Poster, Reis, Irving, 1952.

directors cited: Renoir, Jean; Bresson, Robert; Allégret, Yves.

"Le Ciel est à vous." L'Information universitaire, n. 1182 (February 26, 1944), 2,000 characters, in Le

cinéma de l'Occupation et de la Résistance (Paris: Union Générale d'éditions, 1975), and in Le cinéma

français de la Libération à la Nouvelle Vague, 1945-1958 (Paris: Éditions de l'Étoile [1983], 1998), pp.

194-196.

film analyzed: Ciel est à vous (Le), Grémillon, Jean, 1944.

films cited: Visiteurs du soir (Les), Carné, Marcel, 1942; Lumière d'été, Grémillon, Jean, 1942; Crime de

Monsieur Lange (Le), Renoir, Jean, 1936.

"Le ciel . . . et l'enfer: Le Chemin du ciel [Himlaspelet] et Le facteur sonne toujours deux fois [The Postman

Always Rings Twice]." Le Parisien libéré, 987 (November 19, 1947), 1,700 characters.

films analyzed: Chemin du ciel (Le)/Himlaspelet, Sjöberg, Alf, 1942; Facteur sonne toujours deux fois

(Le)/The Postman Always Rings Twice, Garnett, Tay, 1946.

films cited: Verts Pâturages (Les)/The Green Pastures, Connelly, Marc, and Keighley, William, 1936;

Dernier tournant (Le), Chenal, Pierre, 1939; Amants diaboliques (Les)/Ossessione, Visconti, Luchino,

1942; Assurance sur la mort/Double Indemnity, Wilder, Billy, 1944.

"Ciel sans étoiles [Himmel ohne Sterne]: Sombres amours." Le Parisien libéré, 3678 (July 7, 1956), 1,300

characters.

film analyzed: Ciel sans étoiles/Himmel ohne Sterne, Käutner, Helmut, 1956.

film cited: Dernier Pont (Le), Käutner, Helmut, 1954.

"La Cigale [Poprygunya]: Un nouveau cinéma soviétique." Le Parisien libéré, 3577 (March 10, 1956),

2,000 characters.

film analyzed: Cigale (La)/Poprygunya, Samsonov, Samson, 1955.

"Les cinéastes amateurs n'enverront-ils qu'une carte postale de Venise?" Radio-Cinéma-Télévision,

170 (April 19, 1953), 2,000 characters.

"Les cinéastes qui pensent." L'âge nouveau, 93 (July 1955), 21,000 characters.

films cited: Feux de la rampe (Les)/Limelight, Chaplin, Charles, 1952; Corde (La)/Rope, Hitchcock,

Alfred, 1948; Ombre d'un doute (L')/Shadow of a Doubt, Hitchcock, Alfred, 1943; Voyages de Sullivan

(Les)/Sullivan's Travels, Sturges, Preston, 1942; Plus belles années de notre vie (Les)/The Best Years of Our

Lives, Wyler, William, 1946.

"Cinéma amateur, deux domaines privilégiés pour les amateurs: Le document et la nouvelle."

Radio-Cinéma-Télévision, 246 (October 3, 1954), 4,200 characters.

films cited: Dégel au Loetschental, Bissirieix, Henri, 1954; Volpe (La), Pazzizza (first name unknown),

1954.

"Le cinéma américain et la dignité d'être [L'homme au complet gris (The Man in the Gray Flannel

Suit)]." Radio-Cinéma-Télévision, 352 (October 14, 1956), 6,000 characters.

film analyzed: Homme au complet gris (L')/The Man in the Gray Flannel Suit, Johnson, Nunnally, 1956.

films cited: Tour des Ambitieux (La)/Executive Suite, Wise, Robert, 1954; Plus dure sera la chute/The

Harder They Fall, Robson, Mark, 1956; Fond de la bouteille (Le)/The Bottom of the Bottle, Hathaway,

Henry, 1956; Grand couteau (Le)/The Big Knife, Aldrich, Robert, 1955; Fureur de vivre (La)/Rebel

Without a Cause, Ray, Nicholas, 1955; Attaque/Attack, Aldrich, Robert, 1956.

"Cinema Clubs: The French Outlook." Impact (England), December 1948, pp. 25-28/18,200

characters.

films cited: Cuirassé Potemkine (Le)/Bronenosets Potyomkin, Eisenstein, Sergei, 1925; Jour se lève (Le),

Carné, Marcel, 1939.

directors cited: Dulac, Germaine; L'Herbier, Marcel; Delluc, Louis; Tedesco, Jean; Léger,

Fernand; Clair, René; Linder, Max; Chaplin, Charles; Lang, Fritz.

"Le cinéma d'animation revit [Les Voisins (Neighbours) et Gerald McBoing-Boing]." Le Parisien libéré,

3662 (June 19, 1956), 2,200 characters.

films analyzed: Voisins (Les)/Neighbours, McLaren, Norman, 1952; Gerald McBoing-Boing, Cannon,

Robert, 1950.

directors cited: Pagnol, Marcel; Cocteau, Jean; Grémillon, Jean; Autant-Lara, Claude; Christian-

Jaque; Becker, Jacques; Clouzot, Henri-Georges; Clément, René; Allégret, Yves; Cayatte, André;

Tati, Jacques; Ciampi, Yves.

"Un cinéma de la violence: Sans peur, sans pitié [O Cangugaceiro]." France-Observateur, 176 (September

24, 1953), 3,300 characters.

film analyzed: Sans peur, sans pitié/O Cangugaceiro, Barreto, Victor Lima, 1953.

films cited: María Candelaria, Fernández, Emilio, 1943; Orgueilleux (Les), Allégret, Yves, 1953; Enfer

vert (L')/Green Hell, Whale, James, 1940.

directors cited: Cavalcanti, Alberto; Stroheim, Erich von; Eisenstein, Sergei; Gance, Abel;

Griffith, D. W.

"Il cinema dello spazio." Cinema nuovo (Italy), 5, n. 81 (April 25, 1956), 3,600 characters.

film cited: Napoléon, Gance, Abel, 1927.

directors cited: Trnka, Jií; McLaren, Norman; Bosustow, Stephen.

"Cinéma emprunté ou `tripatouillage'." Radio-Cinéma-Télévision, 415 (December 29, 1957), 1,500

characters.

film analyzed: Vie des animaux (La); Vie des hommes (La) [both television transmissions].

"Le cinéma en cour d'appel: Le passé du cinéma garantie de son avenir." Le Parisien libéré, 2149

(August 10, 1951), 2,500 characters.

films cited: À nous la liberté, Clair, René, 1931; Monsieur Verdoux, Chaplin, Charles, 1947; Ruée vers

l'or (La)/The Gold Rush, Chaplin, Charles, 1925; Lumières de la ville (Les)/City Lights, Chaplin,

Charles, 1931; Gosse (Le)/The Kid, Chaplin, Charles, 1921; Cirque (Le)/The Circus, Chaplin, Charles,

1928; Drôle de drame, Carné, Marcel, 1937; Juliette ou la clef des songes, Carné, Marcel, 1951; Sang d'un

poète (Le), Cocteau, Jean, 1931.

"Le cinéma en cour d'appel; une révolution dans l'exploitation cinématographique: les `reprises'."

Le Parisien libéré, 2148 (August 9, 1951), 2,500 characters.

film cited: Histoire d'un amour/Back Street, Stahl, John M., 1932.

"Le cinéma en gondole: Films vus à Venise." L'Écran français, 115 (September 9, 1947), 4,500

characters.

films cited: Place saint Marc (La), Lumière, Auguste, and Lumière, Louis, 1896; Criminel (Le)/The

Stranger, Welles, Orson, 1946; Partie de campagne (Une), Renoir, Jean, 1946 (1936); Maison sur la plage

(La)/Female on the Beach, Pevney, Joseph, 1955; Frères Bouquinquant (Les), Daquin, Louis, 1947;

Diable au corps (Le), Autant-Lara, Claude, 1947; Huit heures de sursis/Odd Man Out, Reed, Carol,

1947; Nosferatu le vampire/Nosferatu, eine Symphonie des Grauens, Murnau, F. W., 1922; Chien Andalou

(Un), Buñuel, Luis, 1929; Octobre/Octjabre, Eisenstein, Sergei, 1927; Sables de mort, Zgouridi,

Alexandre, 1943; Règle de Matto (La)/Matto regiert, Lindtberg, Leopold, 1947; Je suis un fugitif/They

Made Me a Fugitive, Cavalcanti, Alberto, 1947; Ange bleu (L')/Der blaue Engel, Sternberg, Josef von,

1930; Femme du boulanger (La), Pagnol, Marcel, 1938; Règle du jeu (La), Renoir, Jean, 1939; Citizen

Kane, Welles, Orson, 1941; Journal d'une femme de chambre (Le)/The Diary of a Chambermaid, Renoir,

Jean, 1946; Païsa/Paisà, Rossellini, Roberto, 1946; Dernière chance (La)/Die letzte Chance, Lindtberg,

Leopold, 1945; Splendeur des Amberson (La)/The Magnificent Ambersons, Welles, Orson, 1942; Crime

de Giovanni Episcopo (Le)/Il delitto di Giovanni Episcopo, Lattuada, Alberto, 1947.

directors cited: Méliès, Georges; Linder, Max.

"Le cinéma en relief et en couleurs: Surprenant!" Le Parisien libéré, 2432 (August 7, 1952), 3,000

characters.

films cited: Now Is the Time, McLaren, Norman, 1951; Around Is Around, McLaren, Norman, 1953;

Cygne noir (Le)/The Black Swan, King, Henry, 1942.

"Le cinéma est-il mortel?" France-Observateur, 170 (August 13, 1953), 5,400 characters.

"Le cinéma et l'art populaire." L'Information universitaire, n. 1195 (June 3, 1944), 10,400 characters.

Reprinted in Le Cinéma de l'Occupation et de la Résistance. Paris: Union Générale d'éditions, 1975.

directors cited: Couzinet, Émile; Lumière, Auguste, and Lumière, Louis; Méliés, Georges.

"Cinéma et capitalisme." France-Observateur, 207 (April 29, 1954), 7,900 characters.

"Cinéma et engagement [Elena et les hommes; Le crime de Monsieur Lange; Lola Montès]." L'Esprit,

XXV, n. 249 (April 1957), pp. 681-684/9,000 characters.

films analyzed: Elena et les hommes, Renoir, Jean, 1956; Crime de Monsieur Lange (Le), Renoir, Jean,

1936; Lola Montès, Ophüls, Max, 1955.

films cited: Huis-clos, Audry, Jacqueline, 1954; Sourires d'une nuit d'été/Sommarnattens leende, Bergman,

Ingmar, 1955; Sel de la terre (La)/The Salt of the Earth, Biberman, Herbert J., 1954; Gervaise, Clé-

ment, René, 1956; Bataille du rail (La), Clément, René, 1946; Jeux interdits, Clément, René, 1952;

Journal d'un curé de campagne (Le), Bresson, Robert, 1951; Dames du bois de Boulogne (Les), Bresson,

Robert, 1945; Condamné à mort s'est échappé (Un), ou Le vent souffle où il veut, Bresson, Robert, 1956;

Antoine et Antoinette, Becker, Jaques, 1947; Rendez-vous de juillet, Becker, Jacques, 1949; Édouard et

Caroline, Becker, Jacques, 1951; Casque d'or, Becker, Jacques, 1952; Point du jour (Le), Daquin,

Louis, 1949; Chiffoniers d'Emmaüs (Les), Darène, Robert, 1955; Grande illusion (La), Renoir, Jean,

1937; Carrosse d'or (Le)/The Golden Coach, Renoir, Jean, 1952; Meilleure part (La), Allégret, Yves,

1955; Aventures de Till l'Espiègle (Les), Philippe, Gérard, and Ivens, Joris, 1956.

directors cited: Bardem, Juan Antonio; Rossellini, Roberto; Fellini, Federico; Cayatte, André; Le

Chanois, Jean-Paul.

"Le cinéma et l'exploration," from two articles appearing in France-Observateur in April 1953 and

January 1954, in Qu'est-ce que le cinéma?, volume I: "Ontologie et langage" (Éditions du Cerf, 1958),

pp. 45-54; in Qu'est-ce que le cinéma? (Cerf, 1975, rpt. 2000; single-volume version), pp. 25-34.

films analyzed: Iawa, Flornoy, Bertrand, 1953; Aventure sans retour (L')/Scott of the Antarctic, Frend,

Charles, 1948; Kon-Tiki, Heyerdahl, Thor, 1950; Victoire sur l'Annapurna/Annapurna, Ichac, Marcel,

1953.

films cited: Nanouk l'esquimau/Nanook of the North, Flaherty, Robert, 1922; Homme d'Aran (L')/Man

of Aran, Flaherty, Robert, 1934; Moana: A Romance of the Golden Age, Flaherty, Robert, 1926;

Tabou/Tabu, Murnau, F. W., and Flaherty, Robert, 1931; Ombres blanches/White Shadows in the South

Seas, Van Dyke W. S., and Flaherty, Robert, 1928; Mélodie du monde (La)/Melodie der Welt, Rutt-

mann, Walter, 1929; Afrique vous parle (L')/Africa Speaks!, Hoefler, Paul L., and Futter, Walter,

1930; Horn le trafiquant/Trader Horn, Van Dyke, W. S., 1931; Mines du roi Salomon (Les)/King

Solomon's Mines, Bennett, Compton, and Marton, Andrew, 1950; Rendez-vous de juillet, Becker,

Jacques, 1949; Cimbo, Johnson, Martin E., 1927; Congorilla, Johnson, Martin E., 1932; Démon de

l'Himalaya (Le)/Der Dämon des Himalaya, Marton, Andrew, 1935; Groënland/Greenland, Ichac,

Marcel, and Languepin, Jean-Jaques, 1952; Terre Adélie, Bayle, Luc-Marie, 1951; Croisière noire,

Poirier, Léon, 1926; Éternel silence (L')/The Great White Silence, Ponting, Herbert G., 1924; Tarzan

films, 1918-54.

"Le cinéma et la peinture [Van Gogh]." Revue du cinéma, 19-20 (October 1949), 17,600 characters;

and "La peinture par un trou de serrure." Arts, 340 (January 4, 1952), 8,400 characters. These two

articles are combined in "Peinture et cinéma," in Qu'est-ce que le cinéma?, volume II, "Le cinéma et

les autres arts" (Éditions du Cerf, 1959), pp. 127-132; in Qu'est-ce que le cinéma? (Cerf, 1975, rpt.

2000; single-volume version), pp. 187-192.

film analyzed: Van Gogh, Resnais, Alain, 1948.

films cited: Caprices, Joannon, Léo, 1941; Rodin, Lucot, René, 1942; Aristide Maillol, Lods, Jean,

1943; Rubens, Haesaerts, Paul, and Storck, Henri, 1948; Paradis terrestre (Le)/Il paradiso terrestre,

Emmer, Luciano, and Gras, Enrico, 1942; Henri Matisse, Campaux, François, 1946; Memling,

Cauvin, André, 1938; Guerriers/Guerrieri, Emmer, Luciano, and Gras, Enrico, 1942; Goya, Emmer,

Luciano, 1951; Guernica, Resnais, Alain, and Hessens, Robert, 1950; Malheurs de la guerre (Les),

Storck, Henri, 1963; Désastres de la guerre (Les), Grémillon, Jean, 1949; Van Renoir tot Picasso/De

Renoir à Picasso, Haesaerts, Paul, 1948.

directors cited: Guitry, Sacha; Marey, Étienne-Jules; Lumière, Louis; Flaherty, Robert; Ivens,

Joris; Cavalcanti, Alberto; Buñuel, Luis; Brunius, Jacques B.; Kast, Pierre.

"Le cinéma et les grands hommes: Docteur Laënnec." Le Parisien libéré, 1480 (June 17, 1949), 1,700

characters.

film analyzed: Docteur Laënnec, Cloche, Maurice, 1948.

films cited: Monsieur Vincent, Cloche, Maurice, 1947; Curé d'Ars (Le)/The Cure for Love, Donat,

Robert, and Shaw, Alexander, 1949.

"Cinéma et roman, éléments d'appréciation: Défense de l'adaptation; Position critique défense de

l'adaptation; Pour un cinéma impur; Le cinéma comme digeste." Revue des lettres modernes, n. 36-38

(Summer 1958), pp. 196-207.

films cited: Journal d'un curé de campagne (Le), Bresson, Robert, 1951; Pour qui sonne le glas/For Whom

the Bell Tolls, Wood, Sam, 1943; Soleil se lève aussi (Le)/The Sun Also Rises, 1957; Adieu aux armes (L'),

a.k.a. L'adieu au drapeau/A Farewell to Arms, Vidor, Charles, 1957; Monsieur Ripois/Knave of Hearts,

Clément, René, 1954; Rideau cramoisi (Le), Astruc, Alexandre, 1952; Mina de Vanghel, Clavel,

Maurice, and Barry, Maurice, 1953; Bonjour Tristesse, Preminger, Otto, 1958.

"Cinéma et sociologie." France-Observateur, 150 (March 26, 1953), 4,000 characters.

films analyzed: Ultra secret/Top Secret, a.k.a. Mr. Potts Goes to Moscow, Zampi, Mario, 1952; Plus belles

années de notre vie (Les)/The Best Years of Our Lives, Wyler, William, 1946; Pour vous, mon amour/Just for

You, Nugent, Elliott, 1952.

"Cinéma et sorcellerie: Jour de colère [Vredens Dag]." Le Parisien libéré, 803 (April 16, 1947), 1,500

characters.

film analyzed: Jour de colère/Vredens Dag, Dreyer, Carl-Theodor, 1943.

films cited: Vampire (ou l'étrange aventure de David Gray)/Vampyr, Dreyer, Carl-Theodor, 1932;

Passion de Jeanne d'Arc (La), Dreyer, Carl-Theodor, 1928.

"Cinéma et Télévision: Entretien de André Bazin avec Jean Renoir et Roberto Rossellini." France-

Observateur, n. 442 (October 23, 1958), 42,500 characters, anthologized in Roberto Rossellini, Le

Cinéma Révélé, ed. Alain Bergala (Paris: Éditions de l'Étoile [1984, 1988 (Flammarion)], 2006).

films cited: Le Testament du Docteur Cordelier, Renoir, Jean, 1959; Journal d'une femme de chambre

(Le)/The Diary of a Chambermaid, Renoir, Jean, 1946; Grande illusion (La), Renoir, Jean, 1937; Inde,

Terre mère/India: Matri Bhumi, Rossellini, Roberto, 1959.

directors cited: Antonioni, Michelangelo; Cayatte, André; Gir, François; Méliès; Georges; Linder,

Max.

"Cinéma et théologie [Dieu a besoin des hommes]." L'Esprit, XIX, n. 176 (February 1951), pp. 237-

245/19,600 characters.

film analyzed: Dieu a besoin des hommes, Delannoy, Jean, 1950.

films cited: Fabiola, Blasetti, Alessandro, 1949; Quo vadis?, Guazzoni, Enrico, 1912; Quo vadis?,

LeRoy, Mervyn, 1951; Chant de Bernadette (Le)/The Song of Bernadette, King, Henry, 1943; Golgotha,

Duvivier, Julien, 1935; Monsieur Vincent, Cloche, Maurice, 1947; Fille des marais (La), a.k.a. Ciel des

marécages/Cielo sulla Palude, Genina, Augusto, 1949; Des hommes sont nés/Boys Town, Taurog,

Norman, 1938; Onze fioretti de Saint François d'Assise (Les)/Francesco, giullare di Dio, Rossellini,

Roberto, 1950; Anges aux figures sales (Les)/Angels with Dirty Faces, Curtiz, Michael, 1938; Mon curé

chez les riches, Boyer, Jean, 1938; Clochemerle, Chenal, Pierre, 1947; Fièvres, Delannoy, Jean, 1942;

Anges du Péché (Les), Bresson, Robert, 1943; Journal d'un curé de campagne (Le), Bresson, Robert,

1951; Symphonie Pastorale (La), Delannoy, Jean, 1946; Dernières vacances (Les), Leenhardt, Roger,

1948; Chemin qui mène au ciel (Le)/Himlaspelet, Sjöberg, Alf, 1942; Verts Pâturages (Les)/The Green

Pastures, Keighley, William, and Connelly, Marc, 1936; Fugitif (Le), a.k.a. Dieu est mort/The Fugitive,

Ford, John, 1947; The Power and the Glory, Howard, William K., 1933; Route semée d'étoiles (La)/Going

My Way, McCarey, Leo, 1944; Cloches de Sainte-Marie (Les)/The Bells of St. Mary's, McCarey, Leo,

1945.

directors cited: Aurenche, Jean; Bost; Pierre.

"Cinéma français: demain la crise?" Carrefour, 632 (October 24, 1956), 8,000 characters.

directors cited: Truffaut, François; Vigo, Jean.

"Le cinéma français à l'honneur en Uruguay." Radio-Cinéma-Télévision, 325 (April 8, 1956), 5,000

characters.

directors cited: De Santis, Giuseppe; Antonioni, Michelangelo; Feyder, Jacques; Renoir, Jean;

Vigo, Jean.

"Cinéma Français 1957: Les valeurs." Radio-Cinéma-Télévision, 415 (December 29, 1957), 2,900

characters.

films cited: Arsène Lupin, Becker, Jacques, 1957; Espions (Les), Clouzot, Henri-Georges, 1957;

Diaboliques (Les), Clouzot, Henri-Georges; Celui qui doit mourir, a.k.a. Le Christ recrucifié, Dassin,

Jules, 1956; Du rififi chez les hommes, a.k.a. Rififi, Dassin, Jules, 1954; Porte des Lilas, Clair, René,

1957; Pot-bouille, Duvivier, Julien, 1957.

"Le cinéma italien va-t-il se renier? [Roméo et Juliette (Giulietta e Romeo)]." Radio-Cinéma-Télévision,

256 (December 12, 1954), 5,500 characters, in Qu'est-ce que le cinéma?, volume IV, "Une Esthétique

de la Réalité: le néo-réalisme" (Éditions du Cerf 1962), pp. 100-103.

film analyzed: Roméo et Juliette/Giulietta e Romeo, Castellani, Renato, 1954.

films cited: Païsa/Paisà, Rossellini, Roberto, 1946; Grande illusion (La), Renoir, Jean, 1937; Dernière

chance (La)/Die letzte Chance, Lindtberg, Leopold, 1944; Amants de Vérone (Les), Cayatte, André,

1949; Chronique des pauvres amants (La)/Cronaca dei poveri amanti, Lizzani, Carlo, 1954; 1860/I Mille

di Garibaldi, Blasetti, Alessandro, 1934; Europe '51/Europa '51, Rossellini, Roberto, 1952; Gare

terminus/Stazione Termini, De Sica, Vittorio, 1953; Journal d'un curé de campagne (Le), Bresson, Robert,

1951.

director cited: Zavattini, Cesare.

"Cinéma: Ma Louisiane [Louisiana Story]; Le Troisième homme [The Third Man]." L'Esprit, XVII, n. 162

(December 1949), pp. 976-977/1,800 characters.

films analyzed: Ma Louisiane/Louisiana Story, Flaherty, Robert, 1948; Troisième homme (Le)/The Third

Man, Reed, Carol, 1949.

films cited: Ombres blanches/White Shadows in the South Seas, Van Dyke, W. S., and Flaherty, Robert,

1928; Nanouk l'esquimau/Nanook of the North, Flaherty, Robert, 1922; The Land, Flaherty, Robert,

1942.

director cited: Greene, Graham.

"Le cinéma nous livre-t-il la vie des hommes?" Radio-Cinéma-Télévision, 391 (July 14, 1957), 3,900

characters.

films cited: Picnic, Logan, Joshua, 1955; Arrêt d'autobus/Bus Stop, Logan, Joshua, 1956.

"Le Cinéma pur

[La Bataille du rail et Ivan le terrible (Ivan Groznyi)]." L'Esprit, XIV, n. 121 (April

1946), pp. 667-672/8,000 characters.

films analyzed: Bataille du rail (La), Clément, René, 1946; Ivan le terrible/Ivan Groznyi, Eisenstein,

Sergei, Part I: 1942-44; Part II: 1945-46 (1958).

films cited: Dernière chance (La)/Die letzte Chance, Lindtberg, Leopold, 1945; Espoir (L')/Sierra de

Teruel, Malraux, André, 1945 (1939); Jéricho, Calef, Henri, 1946; Cuirassé Potemkine (Le)/Bronenosets

Potyomkin, Eisenstein, Sergei, 1925; Ligne générale (La)/Generalya Linya, a.k.a. Staroe i novoe, Eisens-

tein, Sergei, 1929; Nibelungen (Les)/Die Nibelungen, Lang, Fritz, 1924; Furie/Fury, Lang, Fritz, 1936;

Cabinet du Docteur Caligari (Le)/Das Kabinett des Dr. Caligari, Wiene, Robert, 1920; Pierre le

Grand/Pyotr Pervyy, Petrov, Vladimir, 1937 (Part I)/1938 (Part II).

director cited: Kazan, Elia.

"Le Cinéma soviétique et le mythe de Staline." L'Esprit, XVIII, n. 170 (August 1950), pp. 210-

235/61,200 characters; reprinted in modified form in Qu'est-ce que le cinéma?, volume I: "Ontologie

et langage" (Éditions du Cerf, 1958), pp. 75-89, and reprinted with a 1958 appended note; in Le

cinéma français de la Libération à la Nouvelle Vague, 1945-1958 (Paris: Éditions de l'Étoile [1983],

1998), pp. 337-356.

films cited: Ben Hur, Niblo, Fred, 1925; Serment (Le)/Klyatva, Chiaureli, Mikhail, 1946.; Bataille de

Stalingrad (La)/Stalingradskaya bitva, Parts I and II, Petrov, Vladimir, 1949-50; Troisième coup

(Le)/Tretiy udar, Savchenko, Igor, 1948; Homme aux mains d'argile (L'), Mathot, Léon, 1949; Pierre le

Grand/Pyotr Pervyy, Petrov, Vladimir, 1937 (Part I)/1938 (Part II); Tournant décisif/Velikiy perelom,

Ermler, Friedrikh, 1946; Naissance d'une nation/The Birth of a Nation, Griffith, D. W., 1915; Ligne

générale (La)/Generalya Linya, a.k.a. Staroe i novoe, Eisenstein, Sergei, 1929; Cuirassé Potemkine

(Le)/Bronenosets Potyomkin, Eisenstein, Sergei, 1925; Valeriy Chkalov, Kalatozov, Mikhail, 1941;

Oborona Tsaritsyna, Vasilyev, Sergei, and Vasilyev, Georgi, 1942; L'affaire Dreyfus, Méliès, Georges,

1899; Chapaev, Vasilyev, Sergei, and Vasilyev, Georgi, 1934; Triomple de la volonté (Le)/Triumph des

Willens, Riefenstahl, Leni, 1935.

directors cited: DeMille, Cecil B.; Vertov, Dziga.

"Le Cinéma soviétique marque un point avec Quand passent les cigognes [Letyat zhuravli]." Le Parisien

libéré, 4244 (May 5, 1958), 2,000 characters.

film analyzed: Quand passent les cigognes/Letyat zhuravli, Kalatozov, Mikhail, 1958.

films cited: 41ème (Le)/Sorok pervyy, Chukhrai, Grigori, 1956; Désir sous les ormes (Le)/Desire Under

the Elms, Mann, Delbert, 1958.

"Le Cinéma: Les trois mariages de Laurel et Hardy." Le Parisien libéré, 737 (December 22, 1946),

600 characters.

films analyzed: three films by Laurel and Hardy.

directors cited: Chaplin, Charles; Sennett, Mack.

"Le CinémaScope: Fin du montage." Cahiers du cinéma, n. 31 (January 1954), p. 43/2,400 charac-

ters.

films cited: Napoléon, Gance, Abel, 1927; Citizen Kane, Welles, Orson, 1941; Règle du jeu (La),

Renoir, Jean, 1939; Salaire de la peur (Le), Clouzot, Henri-Georges, 1952; Europe '51/Europa '51,

Rossellini, Roberto, 1952; Tunique (La)/The Robe, Koster, Henry, 1953; Construire un feu, Autant-

Lara, Claude, 1925; Plus belles années de notre vie (Les)/The Best Years of Our Lives, Wyler, William,

1946.

"Le CinémaScope: Sauvera-t-il le cinéma?" L'Esprit, XXI, n. 207-208 (October-November 1953),

pp. 672-683/30,700.

films cited: Othello, Welles, Orson, 1952; Fleuve (Le)/The River, Renoir, Jean, 1951; Journal d'un curé

de campagne (Le), Bresson, Robert, 1951; Plus belles années de notre vie (Les)/The Best Years of Our Lives,

Wyler, William, 1946; Citizen Kane, Welles, Orson, 1941; Salaire de la peur (Le), Clouzot, Henri-

Georges, 1953; Naissance d'une nation (La)/The Birth of a Nation, Griffith, D. W., 1915; Autant en

emporte le vent/Gone with the Wind, Fleming, Victor, 1939; Napoléon, Gance, Abel, 1927; Tunique

(La)/The Robe, Koster, Henry, 1953; Construire un feu, Autant-Lara, Claude, 1925; Roi des rois

(Le)/The King of Kings, DeMille, Cecil B., 1927; Samson et Dalila/Samson and Delilah, DeMille, Cecil

B., 1949; Construire un feu, Autant-Lara, Claude, 1928; Fleuve (Le)/The River, Renoir, Jean, 1951.

directors cited: Chrétien, Henri; Roux, Lucien; Rossellini, Roberto; De Sica, Vittorio; Eisenstein,

Sergei; Stroheim, Erich von; Chaplin, Charles.

"Le CinémaScope va-t-il assurer le succès du style télévision au cinéma?" Radio-Cinéma-Télévision,

311 (January 1, 1956), 2,800 characters.

films cited: Marty, Mann, Delbert, 1955; Tant qu'il y aura des hommes/From Here to Eternity, Zinne-

mann, Fred, 1953; Graine de violence/Blackboard Jungle, Brooks, Richard, 1955; Phoenix City Story,

Karlson, Phil, 1955; Scarface: The Shame of a Nation, Hawks, Howard, 1932.

directors cited: Bosustow, Stephen; McLaren, Norman; Trnka, Jií.

"Ciné-Panorama." Radio-Cinéma-Télévision, 322 (March 18, 1956), 1,200 characters.

"Ciné-Panorama: `Public' et intelligent." Radio-Cinéma-Télévision, 338 (July 8, 1956), 1,000 charac-

ters.

films cited: Gervaise, Clément, René, 1956; Traversée de Paris (La), Autant-Lara, Claude, 1957.

"Le cinérama." France-Observateur, 263 (May 26, 1955), 6,700 characters.

"Le cinérama [Continent perdu (Continente perduto)]." Radio-Cinéma-Télévision, 280 (May 29, 1955),

3,700 characters.

film analyzed: Continent perdu/Continente perduto, Bonzi, Leonardo, Gras, Enrico, and Moser,

Giorgio, 1955.

film cited: Napoléon, Gance, Abel, 1927.

"Les 5000 doigts du Docteur T. [The 5,000 Fingers of Dr. T.]." France-Observateur, 232 (October 21,

1954), 3,400 characters.

film analyzed: 5000 doigts du Docteur T. (Les)/The 5,000 Fingers of Dr. T., Rowland, Roy, 1953.

film cited: Symphonie des brigands (La)/The Robber Symphony, Feher, Friedrich, 1936.

director cited: Christian-Jaque.

"Les 5000 doigts du Docteur T. [The 5,000 Fingers of Dr. T.]: Poésie, musique, et fantaisie." Le Parisien

libéré, 3146 (October 23, 1954), 1,600 characters.

film analyzed: 5000 doigts du Docteur T. (Les)/The 5,000 Fingers of Dr. T., Rowland, Roy, 1953.

"La Cinquième Victime [While the City Sleeps]." France-Observateur, 327 (August 16, 1956), 5,500

characters.

film analyzed: Cinquième Victime (La)/While the City Sleeps, Lang, Fritz, 1956.

films cited: Rue rouge (La)/Scarlet Street, Lang, Fritz, 1945; Chienne (La), Renoir, Jean, 1931; Femme

au gardénia (La)/The Blue Gardenia, Lang, Fritz, 1953; M le Maudit/M, Lang, Fritz, 1931; J'ai le droit

de vivre/You Only Live Once, Lang, Fritz, 1937; Désirs humains/Human Desire, Lang, Fritz, 1954; Bête

humaine (La), Renoir, Jean, 1938.

"La Cinquième Victime [While the City Sleeps]: N'ayez pas peur!" Le Parisien libéré, 3704 (August 7,

1956), 1,900 characters.

film analyzed: Cinquième Victime (La)/While the City Sleeps, Lang, Fritz, 1956.

films cited: Metropolis, Lang, Fritz, 1926; Furie/Fury, Lang, Fritz, 1936; M le Maudit/M, Lang, Fritz,

1931.

"La Cinquième Victime [While the City Sleeps]: Un os à moelle." Radio-Cinéma-Télévision, 344 (August

19, 1956), 2,300 characters.

film analyzed: Cinquième Victime (La)/While the City Sleeps, Lang, Fritz, 1956.

films cited: J'ai le droit de vivre/You Only Live Once, Lang, Fritz, 1937; Furie/Fury, Lang, Fritz, 1936;

M le Maudit/M, Lang, Fritz, 1931.

"La Cité sans voiles [Naked City]." Le Parisien libéré, 1454 (May 18, 1949), p. 2/1,100 characters.

film analyzed: Cité sans voiles (La)/Naked City, Dassin, Jules, 1948.

films cited: Poison (Le)/The Lost Weekend, Wilder, Billy, 1945; Appelez Nord 777/Call Northside 777,

Hathaway, Henry, 1948.

"Citizen Kane." Le Parisien libéré, 588 (April 7, 1946), 1,000 characters.

film analyzed: Citizen Kane, Welles, Orson, 1941.

films cited: Rapaces (Les)/Greed, Stroheim, Erich von, 1925 (1923); Napoléon, Gance, Abel, 1927.

"Les Clandestines: Série rose et noire." Le Parisien libéré, 3264 (March 10, 1955), 1,600 characters.

film analyzed: Clandestines (Les), André, Raoul, 1954.

film cited: Touchez pas au Grisbi, Becker, Jacques, 1954.

"Un classique du cinéma à la TV: Païsa [Paisà]." Radio-Cinéma-Télévision, 263 (January 30, 1955),

3,000 characters.

film analyzed: Païsa/Paisà, Rossellini, Roberto, 1946.

films cited: Rome, ville ouverte/Roma, città aperta, Rossellini, Roberto, 1945; Vitelloni (Les), a.k.a. Les

inutiles/I vitelloni, Fellini, Federico, 1953; La Strada, Fellini, Federico, 1954.

"Claude Vermorel fait vivre à l'instituteur: La plus belle des vies." Radio-Cinéma-Télévision, 273 (April

10, 1955), 2,700 characters.

film analyzed: Plus belle des vies (La), Vermorel, Claude, 1954.

films cited: Conquérants solitaires (Les), Vermorel, Claude, 1952 (1949); Antoine et Antoinette, Becker,

Jacques, 1947.

"La clé sous la porte [Key to the City]: L'art d'être grand maire." Le Parisien libéré, 2211 (October 23,

1951), 1,600 characters.

film analyzed: Clé sous la porte (La)/Key to the City, Sidney, George, 1950.

"La clé sous la porte [Key to the City]: Ma femme est maire de Mamers." Radio-Cinéma-Télévision, 94

(November 4, 1951), 1,700 characters.

film analyzed: Clé sous la porte (La)/Key to the City, Douglas, Gordon, 1950.

"Les Clés du royaume [The Keys of the Kingdom]: Un long sermon illustré." L'Écran français, 63 (Octo-

ber 9, 1946), 2,200 characters.

film analyzed: Clés du royaume (Les)/The Keys of The Kingdom, Stahl, John M., 1944.

films cited: Anges aux figures sales (Les)/Angels With Dirty Faces, Curtiz, Michael, 1938; Des hommes

sont nés/Boys Town, Taurog, Norman, 1938.

"Clochemerle." Le Parisien libéré, 1167 (June 16, 1948), 900 characters.

film analyzed: Clochemerle, Chenal, Pierre, 1948.

film cited: Topaze, Gasnier, Louis, 1932.

"Coincée [Tight Spot]: Estival!" Le Parisien libéré, 3375 (July 19, 1955), 1,300 characters.

film analyzed: Coincée/Tight Spot, Karlson, Phil, 1955.

"Coincée [Tight Spot]: Policier estival." Radio-Cinéma-Télévision, 289 (July 31, 1955), 1,300 characters.

film analyzed: Coincée/Tight Spot, Karlson, Phil, 1955.

"La Colline 24 ne répond plus [Hill 24 Doesn't Answer]: La fierté d'Israël." Le Parisien libéré, 3355 (June

25, 1955), 1,700 characters.

film analyzed: Colline 24 ne répond plus (La)/Hill 24 Doesn't Answer, a.k.a. Giv'a 24 Eina Ona,

Dickinson, Thorold, 1955.

film cited: Secret People, Dickinson Thorold, 1952.

"Le Colonel Blimp [The Life and Death of Colonel Blimp]: De l'humour avant toute chose." Le Parisien

libéré, 2669 (April 13, 1953), 2,800 characters.

film analyzed: Colonel Blimp (Le)/The Life and Death of Colonel Blimp, Powell, Michael, and Pressbur-

ger, Emeric, 1943.

film cited: Grande illusion (La), Renoir, Jean, 1937.

"La comédie française du cinéma va-t-elle être jetée à la rue?" Le Parisien libéré, 3222 (January 20,

1955), 1,600 characters.

director cited: Castellani, Renato.

"Comiques [Cómicos]." France-Observateur, 285 (October 27, 1955), 4,800 characters.

film analyzed: Comiques, a.k.a. Comédiens (Les)/Cómicos, Bardem, Juan Antonio, 1954.

film cited: Mort d'un cycliste/Muerte de un ciclista, Bardem, Juan Antonio, 1954.

"Comiques [Cómicos]: Un magnifique témoignage sur le théâtre." Radio-Cinéma-Télévision, 302

(October 30, 1955), 2,000 characters.

film analyzed: Comiques, a.k.a. Comédiens (Les)/Cómicos, Bardem, Juan Antonio, 1954.

films cited: Bienvenue Monsieur Marshall/Bienvenido Mr. Marshall, Berlanga, Luis García, 1952; Mort

d'un cycliste/Muerte de un ciclista, Bardem, Juan Antonio, 1954; Marcellin, pain et vin/Marcellino, pan y

vino, Vajda, Ladislao, 1955.

"Comiques [Cómicos] ou le vrai paradoxe du comédien." Le Parisien libéré, 3455 (October 20, 1955),

1,800 characters.

film analyzed: Comiques, a.k.a. Comédiens (Les)/Cómicos, Bardem, Juan Antonio, 1954.

film cited: Mort d'un cycliste/Muerte de un ciclista, Bardem, Juan Antonio, 1954.

directors cited: Dassin, Jules; Lamoureux, Robert; Chiari, Walter.

"Commando de la mort [A Walk in the Sun]: Le plus beau des film de guerre." Le Parisien libéré, 2270

(January 1, 1952), 2,000 characters.

film analyzed: Commando de la mort (Le)/A Walk in the Sun, Milestone, Lewis, 1945.

film cited: À l'Ouest rien de nouveau/All Quiet on the Western Front, Milestone, Lewis, 1930.

"Commando sur Saint-Nazaire [Glory at Sea]: Nazaire Objectif incertain." Le Parisien libéré, 2740 (July

6, 1953), 2,800 characters.

film analyzed: Commando sur Saint-Nazaire/Glory at Sea, a.k.a. Gift Horse, Bennett, Compton, 1952.

"Comment l'esprit vient aux femmes [Born Yesterday] . . . et aux films." Radio-Cinéma-Télévision, 91

(October 14, 1951), 2,000 characters.

film analyzed: Comment l'esprit vient au femmes/Born Yesterday, Cukor, George, 1951.

film cited: Topaze, Pagnol, Marcel, 1950.

"Comment l'esprit vient aux femmes [Born Yesterday]: Une excellente comédie." Le Parisien libéré, 2191

(September 29, 1951), 2,500 characters.

film analyzed: Comment l'esprit vient aux femmes/Born Yesterday, Cukor, George, 1950.

"Comment peut-on être Hitchcocko-hawksien?" Cahiers du cinéma, VIII, n. 44 (February 1955),

pp. 17-18/5,100 characters.

film cited: Hommes préfèrent les blondes (Les)/Gentlemen Prefer Blondes, Hawks, Howard, 1953.

"Comment présenter et discuter un film!" Ciné-club (April 1954), 6,500 characters. Extract from

Regards neufs sur le cinéma, edited by Jacques Chevallier (Éditions du Seuil, 1953). Reprinted in

Cahiers du cinéma, n. 632 (2008), p. 68.

films cited: Vampire (ou l'étrange aventure de David Gray)/Vampyr, Dreyer, Carl-Theodor, 1932;

Vampire (Le), Painlevé, Jean, 1945.

directors cited: Cavalcanti, Alberto; Stroheim, Erich von; Gance, Abel; Bresson, Robert; Bo,

Sonika.

100

"Comment Sauver le Cinéma, propos de Roberto Rossellini, recueillis par André Bazin et Jacques

Rivette." France-Observateur, n. 413 (April 10, 1958), 21,200 characters, anthologized in Roberto

Rossellini, Le Cinéma Révélé, ed. Alain Bergala (Paris: Éditions de l'Étoile [1984, 1988 (Flamma-

rion)], 2006).

"Le commissaire Belin doit-il faire les pieds au mur?" Radio-Cinéma-Télévision, 155 (January 4,

1953), 4,200 characters.

"La comtesse aux pieds nus [The Barefoot Contessa]: Un film mystérieux." Radio-Cinéma-Télévision, 285

(July 3, 1955), p. 37/3,400 characters.

film analyzed: Comtesse aux pieds nus (La)/The Barefoot Contessa, Mankiewicz, Joseph L., 1954.

films cited: Chaînes conjugales/A Letter to Three Wives, Mankiewicz, Joseph L., 1949; On murmure dans

la ville/People Will Talk, Mankiewicz, Joseph L., 1951; Ève/All about Eve, Mankiewicz, Joseph L.,

1950; Affaire Cicéron (L')/Five Fingers, Mankiewicz, Joseph L., 1952; Boulevard du crépuscule/Sunset

Boulevard, Wilder, Billy, 1950; Citizen Kane, Welles, Orson, 1941; Ensorcelés (Les)/The Bad and the

Beautiful, Minnelli, Vincente, 1952.

director cited: DeMille, Cecil B.

"La comtesse aux pieds nus [The Barefoot Contessa]: Pour les plus de 16 ans!" Le Parisien libéré, 3350

(June 20, 1955), 4,000 characters.

film analyzed: Comtesse aux pieds nus (La)/The Barefoot Contessa, Mankiewicz, Joseph L., 1954.

film cited: Citizen Kane, Welles, Orson, 1941.

"Conclusion de Venise: Le cinéma s'endort." Carrefour, September 10, 1953, 7,000 characters.

films cited: Jeux interdits, Clément, René, 1952; Thérèse Raquin, Carné, Marcel, 1953; Moulin Rouge,

Huston, John, 1953; Port de la drogue (Le)/Pickup on South Street, Fuller, Samuel, 1953; Salaire de la

peur (Le), Clouzot, Henri-Georges, 1953; Contes de la lune vague après la pluie (Les)/Ugetsu monogatari,

Mizoguchi, Kenji, 1953; Rashomon, Kurosawa, Akira, 1950; Deux hectares de terre/Do Bigha Zamin,

Roy, Bimal, 1953; Voleur de bicyclette (Le)/Ladri di biciclette, De Sica, Vittorio, 1948; Misérables (Les),

Bernard, Raymond, 1933; Petit fugitif (Le)/The Little Fugitive, Ashley, Ray, Engel, Morris, and

Orkin, Ruth, 1953; Raz de marée/Föltámadott a tenger, Nádasdy, Kálmán, 1953; Vitelloni (Les), a.k.a.

Les inutiles/I vitelloni, Fellini, Federico, 1953; Vaincus (Les)/I vinti, Antonioni, Michelangelo, 1952;

Jour se lève (Le), Carné, Marcel, 1939; Napoléon, Gance, Abel, 1927.

directors cited: DeMille, Cecil B.; Rossellini, Roberto; De Sica, Vittorio; Eisenstein, Sergei,

Chaplin, Charles; Stroheim, Erich von.

"Conclusions d'un festival." Le Parisien libéré, 868 (July 2, 1947), 1,800 characters.

films cited: Silence est d'or (Le), Clair, René, 1947; Diable au corps (Le), Autant-Lara, Claude, 1947;

Naissance du cinéma, Leenhardt, Roger, 1946; Assassins d'eau douce, Painlevé, Jean, 1947; Maudits

(Les), Clément, René, 1946; Quai des orfèvres, Clouzot, Henri-Georges, 1947; Antoine et Antoinette,

Becker, Jacques, 1947; Frères Bouquinquant (Les), Daquin, Louis, 1947

"Conclusions sur Cannes." France-Observateur, 314 (May 17, 1956), 8,700 characters.

films cited: Mère (La)/Mat, Donskoï, Mark, 1956; Femme en enfer (Une)/I'll Cry Tomorrow, Mann,

Daniel, 1955; Olvidados (Los), a.k.a. Les Réprouvés and Pitié pour eux/Los Olvidados, Buñuel, Luis,

101

1950; Petit carrousel de fête (Un)/Körhinta, Fábri, Zoltán, 1955; Ombre (L')/Cien, Kawalerowicz, Jerzy,

1956; Après-midi de taureaux/Tarde de toros, Vajda, Ladislao, 1955; Fille en noir (La)/To koritsi me ta

mavra, Cacoyannis, Michael, 1956; Toit (Le)/Il tetto, De Sica, Vittorio, 1955; Sourire d'une nuit

d'été/Sommarnattens leende, Bergman, Ingmar, 1955; Complainte du sentier (La)/Pather Panchali, Ray,

Satyajit, 1955; Umberto D., De Sica, Vittorio, 1952; Monde du silence (Le), Cousteau, Jacques-Yves,

and Malle, Louis, 1956; Othello, Youtkévitch, Serge, 1956; Or de Naples (L')/L'Oro di Napoli, De

Sica, Vittorio, 1954; Miracle à Milan/Miracolo a Milano, De Sica, Vittorio, 1951.

directors cited: Eisenstein, Sergei; Welles, Orson.

"Un Condamné à mort s'est échappé, ou Le vent souffle où il veut." France-Observateur, 340 (November 15,

1956), 9,900 characters.

film analyzed: Condamné à mort s'est échappé (Un), ou Le vent souffle où il veut, Bresson, Robert, 1956.

films cited: Journal d'un curé de campagne (Le), Bresson, Robert, 1951; Anges du péché (Les), Bresson,

Robert, 1943; Dames du bois de Boulogne (Les), Bresson, Robert, 1945.

"Un Condamné à mort s'est échappé, ou Le vent souffle où il veut." Le Parisien libéré, 3791 (November 19,

1956), 2,800 characters.

film analyzed: Condamné à mort s'est échappé (Un), ou Le vent souffle où il veut, Bresson, Robert, 1956.

films cited: Anges du péché (Les), Bresson, Robert, 1943; Dames du bois de Boulogne (Les), Bresson,

Robert, 1945; Journal d'un curé de campagne (Le), Bresson, Robert, 1951.

"Un Condamné à mort s'est échappé, ou Le vent souffle où il veut." L'Éducation nationale, 32 (November 22,

1956), p. 24/4,400 characters.

film analyzed: Condamné à mort s'est échappé (Un), ou Le vent souffle où il veut, Bresson, Robert, 1956.

films cited: Anges du péché (Les), Bresson, Robert, 1943; Dames du bois de Boulogne (Les), Bresson,

Robert, 1945; Journal d'un curé de campagne (Le), Bresson, Robert, 1951.

"Un Condamné à mort s'est échappé, ou Le vent souffle où il veut." Cahiers du cinéma, XII, n. 72 (June

1957), p. 27/2,400 characters, anthologized in Robert Bresson, Éloge (Edizioni Gabriele Mazzo-

ta/Cinémathèque Française, 1997).

film analyzed: Condamné à mort s'est échappé (Un), ou Le vent souffle où il veut, Bresson, Robert, 1956.

film cited: Loi du seigneur (La)/Friendly Persuasion, Wyler, William, 1956.

director cited: Cocteau, Jean.

"Condamné au silence [The Court Martial of Billy Mitchell]: Après le silence . . . on tourne." Le Parisien

libéré, 3699 (August 1, 1956), 1,500 characters.

film analyzed: Condamné au silence/The Court Martial of Billy Mitchell, Preminger, Otto, 1955.

films cited: Ambre/Forever Amber, Preminger, Otto, 1947; Bonjour Tristesse, Preminger, Otto, 1958;

Homme au bras d'or (L')/The Man with the Golden Arm, Preminger, Otto, 1955; Lune était bleue

(La)/The Moon Is Blue, Preminger, Otto, 1953.

director cited: Emmer, Luciano.

"La confession d'un juré de Venise: Les décisions du festival expliquées par André Bazin." Le

Parisien libéré, 3734 (September 12, 1956), 2,500 characters.

films cited: Gervaise, Clément, René, 1956; Traversée de Paris (La), Autant-Lara, Claude, 1956;

Grand-Rue/Calle Mayor, Bardem, Juan Antonio, 1956.

102

"Le Conquérant [The Conqueror]: Gengis . . . Khan m'aime!" Le Parisien libéré, 3658 (June 14, 1956),

1,100 characters.

film analyzed: Conquérant (Le)/The Conqueror, Powell, Dick, 1956.

"Les conquérants [Dodge City] et Les gueux au paradis." Le Parisien libéré, 499 (March 26, 1946), 1,800

characters.

films analyzed: Conquérants (Les)/Dodge City, Curtiz, Michael, 1939; Gueux au paradis (Les), Le

Henaff, René, 1946.

films cited: Son homme/Her Man, Garnett, Tay, 1930; Verts Pâturages (Les)/The Green Pastures,

Keighley, William, and Connelly, Marc, 1936; Liliom, Borzage, Frank, 1930; Liliom, Lang, Fritz,

1934.

"Les conquérants solitaires: L'Afrique sans éléphants." Le Parisien libéré, 2512 (October 11, 1952),

3,200 characters.

films analyzed: Conquérants solitaires (Les), Vermorel, Claude, 1952 (1949); Colette, Bellon, Yannick,

1950.

"La conquête de l'espace [Conquest of Space]: Cosmique!" Le Parisien libéré, 3374 (July 18, 1955), 2,200

characters.

film analyzed: Conquête de l'espace (La)/Conquest of Space, Haskin, Byron, 1955.

films cited: Des monstres attaquent la ville/Them, Douglas, Gordon, 1954; Destination Lune/Destination

Moon, Pichel, Irving, 1950.

"La conquête de l'espace [Conquest of Space]: Record bêtise battu." Radio-Cinéma-Télévision, 289 (July 31,

1955), 1,900 characters.

film analyzed: Conquête de l'espace (La)/Conquest of Space, Haskin, Byron, 1955.

film cited: Destination Lune/Destination Moon, Pichel, Irving, 1950.

directors cited: Gance, Abel; Renoir, Jean; Carné, Marcel; Dassin, Jules; Delannoy, Jean; Chris-

tian-Jaque; Allégret, Yves; Allégret, Marc; Grémillon, Jean; Bresson, Robert; Tati, Jacques.

"Conseils aux animateurs de ciné-clubs: Comment on prépare les débats au ciné-club d'Annecy (3

notes)." D.O.C. Éducation Populaire, 48, n. 7 (January 1947), 4,200 characters.

film cited: Jour se lève (Le), Carné, Marcel, 1939.

"Le Conte de Cendrillon [Zolushka]." Le Parisien libéré, 1111 (April 10, 1948), 900 characters.

film analyzed: Conte de Cendrillon (Le)/Zolushka, Kosheverova, Nadezhda, and Shapiro, Mikhail,

1947.

film cited: Enfance de Maxime Gorki (L')/Detstvo Gorkogo, Donskoï, Mark, 1938.

"Les contes d'Hoffmann [The Tales of Hoffmann] . . . Eh bien! dansez maintenant." Le Parisien libéré,

2110 (June 26, 1951), 1,700 characters.

film analyzed: Contes d'Hoffmann (Les)/The Tales of Hoffmann, Powell, Michael, and Pressburger,

Emeric, 1951.

103

films cited: Henry V, Olivier, Laurence, 1944; Hamlet, Olivier, Laurence, 1948.

director cited: Lubitsch, Ernst.

"Les contes d'Hoffmann [The Tales of Hoffmann]: L'opéra libéré." Radio-Cinéma-Télévision, 77 (July 7,

1951), 1,300 characters.

film analyzed: Contes d'Hoffmann (Les)/The Tales of Hoffmann, Powell, Michael, and Pressburger,

Emeric, 1951.

"Continent perdu [Continente perduto]." France-Observateur, 296 (January 12, 1956), 4,900 characters.

film analyzed: Continent perdu/Continente perduto, Bonzi, Leonardo, Gras, Enrico, and Moser,

Giorgio, 1955.

film cited: Tabou/Tabu, Murnau, F. W., and Flaherty, Robert, 1931.

"Continent perdu [Continente perduto]: Des hommes qu'on appelle sauvages!" Le Parisien libéré, 3510

(December 23, 1955), 2,000 characters.

film analyzed: Continent perdu/Continente perduto, Bonzi, Leonardo, Gras, Enrico, and Moser,

Giorgio, 1955.

film cited: Magie verte/Magia verde, Napolitano, Gian Gaspare, 1953.

director cited: DeMille, Cecil B.

"Convoi de femmes [Westward the Women]: Épopée matrimoniale." Le Parisien libéré, 2611 (February 4,

1953), 2,600 characters.

film analyzed: Convoi de femmes/Westward the Women, Wellman, William A., 1952.

film cited: Homme tranquille (L')/The Quiet Man, Ford, John, 1952.

"Convoi vers la Russie [Action in the North Atlantic]." Le Parisien libéré, 90 (December 1, 1944), 800

characters.

film analyzed: Convoi vers la Russie/Action in the North Atlantic, Bacon, Lloyd, 1943.

films cited: Plongée à l'aube/We Dive at Dawn, Asquith, Anthony, 1943; Marine triomphe (La)/The

Navy Comes Through, Sutherland, A. Edward, 1942.

"Coquelin nous voici!

[Cyrano de Bergerac]." Cahiers du cinéma, II, n. 7 (December 1951), pp. 61-

62/7,800 characters.

film analyzed: Cyrano de Bergerac, Gordon, Michael, 1950;

films cited: Parents terribles (Les), Cocteau, Jean, 1948; Hamlet, Olivier, Laurence, 1948; Jeanne

d'Arc/Joan of Arc, Fleming, Victor, 1948; Marius, Korda, Alexander, 1931; Cyrano de Bergerac,

Genina, Augusto, 1923; Cyrano de Bergerac, Rivers, Fernand, 1946.

directors cited: Welles, Orson.

"La corrida de la peur [The Brave Bulls]: De la peur, mais des reproches." Le Parisien libéré, 2352 (April

5, 1952), 3,100 characters.

film analyzed: Corrida de la peur (La)/The Brave Bulls, Rossen, Robert, 1951.

films cited: Pandora/Pandora and the Flying Dutchman, Lewin, Albert, 1951; Course de taureaux (La),

Braunberger, Pierre, 1951; Fous du roi (Les)/All the King's Men, Rossen, Robert, 1949.

104

"La côte américaine remonte avec Les Frères Karamazov [The Brothers Karamazov]." Le Parisien libéré,

4250 (May 12, 1958), 1,200 characters.

film analyzed: Frères Karamazov (Les)/The Brothers Karamazov, Brooks, Richard, 1958.

"Côte 465 [Men in War]: Un western Coréen." Le Parisien libéré, 3971 (June 18, 1957), 2,000

characters.

film analyzed: Côte 465/Men in War, Mann, Anthony, 1957.

film cited: Temps de la colère (Le)/Between Heaven and Hell, Fleischer, Richard, 1956.

"Coup de théâtre cinématographique à Venise: Orson Welles abandonné! [Macbeth]." Le Parisien

libéré, 1237 (September 5, 1948), 400 characters.

film analyzed: Macbeth, Welles, Orson, 1948.

film cited: Hamlet, Olivier, Laurence, 1948.

"Le couple invisible [Topper] au Cinéma d'Essai." France-Observateur, 134 (December 4, 1952), 3,600

characters.

film analyzed: Couple invisible (Le)/Topper, McLeod, Norman Z., 1937.

films cited: Vous ne l'emporterez pas avec vous/You Can't Take It with You, Capra, Frank, 1936;

Hellzapoppin', Potter, Hank C., 1941.

"Coups de feu au matin [Assignment: Paris]: Beaucoup d'artifices." Le Parisien libéré, 2750 (July 17,

1953), 1,100 characters.

film analyzed: Coups de feu au matin/Assignment: Paris, Parrish, Robert, 1952.

"Le courrier des lecteurs." Cahiers du cinéma, IX, n. 50 (August-September 1955), pp. 55-57/5,800

characters.

director cited: Cayatte, André.

"Courrier diplomatique [Diplomatic Courier]: Il court très vite." Le Parisien libéré, 2629 (February 25,

1953), 1,900 characters.

film analyzed: Courrier diplomatique/Diplomatic Courier, Hathaway, Henry, 1952.

films cited: Femme disparaît (Une)/The Lady Vanishes, Hitchcock, Alfred, 1938; Cicéron affaire

(L')/Five Fingers, Mankiewicz, Joseph L., 1952.

director cited: Vigo, Jean.

"Courrier du coeur [Lo sceicco bianco]." France-Observateur, 283 (October 13, 1955), 3,500 characters.

film analyzed: Courrier du coeur, a.k.a. Le sheik blanc/Lo sceicco bianco, Fellini, Federico, 1952.

films cited: Vitelloni (Les), a.k.a. Les inutiles/I vitelloni, Fellini, Federico, 1953; La Strada, Fellini,

Federico, 1954; Miracle à Milan/Miracolo a Milano, De Sica, Vittorio, 1951.

"Courrier du coeur [Lo sceicco bianco]." Le Parisien libéré, 3452 (October 17, 1955), 2,000 characters.

film analyzed: Courrier du coeur, a.k.a. Le sheik blanc/Lo sceicco bianco, Fellini, Federico, 1952.

films cited: Vitelloni (Les), a.k.a. Les inutiles/I vitelloni, Fellini, Federico, 1953; La Strada, Fellini,

Federico, 1954; Miracle à Milan/Miracolo a Milano, De Sica, Vittorio, 1951.

105

"La Course de taureaux: Quatre vingt dix minutes de Vérité." Le Parisien libéré, 2195 (October 4,

1951), 1,500 characters.

film analyzed: Course de taureaux (La), Braunberger, Pierre, 1951.

films cited: Van Gogh, Resnais, Alain, 1948; Actualités parodiées, Margaritis, Gilles, 1951.

director cited: Painlevé, Jean.

"Le Court Métrage est un spectacle: La Preuve!" Le Parisien libéré, 3788 (November 15, 1956),

1,700 characters.

films cited: Louis Lumière et l'invention du cinéma, Pairot, Paul, 1956; Accouchement sans douleur, a.k.a.

Tu enfanteras sans douleur, Fabiani, Henri, 1956; Kami-Shibaï, Boisrobert, Gilles, 1956.

"Court métrage: Succès français." France-Observateur, 419 (May 22, 1958), 1,900 characters.

films cited: Jeunes maris (Les)/Giovani mariti, Bolognini, Mauro, 1958; Feux de l'été (Les)/The Long,

Hot Summer, Ritt, Martin, 1958; Mon Oncle, Tati, Jacques, 1958; Quand passent les cigognes/Letyat

zhuravli, Kalatozov, Mikhail, 1958; Au seuil de la vie/Nära livet, Bergman, Ingmar, 1958; Ô saisons, ô

châteaux, Varda, Agnès, 1958; Goha, Baratier, Jacques, 1958; Joconde (La), Gruel, Henri, 1958; Seine

a rencontré Paris (La), Ivens, Joris, 1957; Homme de paille (L')/L'uomo di paglia, Germi, Pietro, 1957;

Visage de bronze, a.k.a. Le visage/Ansiktet, Bergman, Ingmar, 1958; Condamné à mort s'est échappé (Un),

ou Le vent souffle où il veut, Bresson, Robert, 1956; Disque rouge (Le), a.k.a. Le cheminot/Il Ferroviere,

Germi, Pietro, 1956.

"Courte-tête." France-Observateur, 357 (March 14, 1957), 6,500 characters.

film analyzed: Courte tête, Carbonnaux, Norbert, 1956.

films cited: Corsaires du bois de Boulogne (Les), Carbonnaux, Norbert, 1954; Hellzapoppin', Potter,

Hank C., 1941; Branquignol, Dhéry, Robert, 1949; Il Bidone, Fellini, Federico, 1955; Assassins et

voleurs, Guitry, Sacha, 1957.

"Courte-tête: Carbonnaux favori." Le Parisien libéré, 3886 (March 9, 1957), 1,800 characters.

film analyzed: Courte tête, Carbonnaux, Norbert, 1956.

films cited: Corsaires du bois de Boulogne (Les), Carbonnaux, Norbert, 1954; Jour de fête, Tati, Jacques,

1948.

director cited: Rossif, Frédéric.

"Courts métrages et dessins animés [La Joconde]." L'Éducation nationale, 36 (December 19, 1957),

5,100 characters.

film analyzed: Joconde (La), a.k.a. La Joconde: Histoire d'une obsession, Gruel, Henri, 1958.

films cited: Capitale de l'or (La)/Gold, Low, Colin, 1955; Ruée vers l'or (La)/The Gold Rush, Chaplin,

Charles, 1925; Nuit et brouillard, Resnais, Alain, 1955; Dimanche à Pékin, Marker, Chris, 1956; Petit

parapluie (Le), Miler, Zdenk; Petite histoire du cinéma (La)/History of the Cinema, Halas, John, 1956;

Extraordinaire Flebus (L')/Flebus, Pintoff, Ernst, 1957; Il était une chaise/A Chairy Tale, McLaren,

Norman, 1957; Chanson de Roland (La), Clarence, Michel, 1959.

director cited: Aldrich, Robert.

"Les crabes de la colère

[Les Bateaux de l'enfer (Kanikôsen)]." Cahiers du cinéma, n. 69 (March 1957),

pp. 50-51/3,600 characters.

film analyzed: Bateaux de l'enfer (Les)/Kanikôsen, Yamamura, Satoru, 1953.

106

films cited: Vivre/Ikiru, Kurosawa, Akira, 1952; Cuirassé Potemkine (Le)/Bronenosets Potyomkin,

Eisenstein, Sergei, 1925; Enfants d'Hiroshima (Les)/Gembaku no ko, Shindo, Kaneto, 1952.

"Cran d'arrêt [The Turning Point]: Du cran sans arrêt!" Le Parisien libéré, 2822 (October 10, 1953),

1,800 characters.

film analyzed: Cran d'arrêt/The Turning Point, Dieterle, William, 1952.

director cited: Lamoureux, Robert.

"Créer un public." L'Information universitaire, n. 1185 (March 18, 1944), 3,800 characters. Reprinted

in Le Cinéma de l'Occupation et de la Résistance. Paris: Union Générale d'éditions, 1975.

films cited: Ciel est à vous (Le), Grémillon, Jean, 1943; Premier de cordée, Daquin, Louis, 1943.

"Le crime de Giovanni Episcopo

[Il Delitto di Giovanni Episcopo]: Un `Ange bleu' italien." Le Parisien

libéré, 2226 (November 9, 1951), 1,500 characters.

film analyzed: Crime de Giovanni Episcopo (Le)/Il Delitto di Giovanni Episcopo, Lattuada, Alberto,

1947.

films cited: Ange bleu (L')/Der blaue Engel, Sternberg, Josef von, 1930; Sans pitié/Senza pietà,

Lattuada, Alberto, 1948; Moulin du Po (Le)/Il Mulino del Po, Lattuada, Alberto, 1949.

directors cited: Jeanson, Henri; Robert, Yves.

"Le crime de Monsieur Lange." France-Observateur, 443 (October 30, 1958), 5,500 characters.

film analyzed: Crime de Monsieur Lange (Le), Renoir, Jean, 1936.

films cited: Aurore (L')/Sunrise, Murnau, F. W., 1927; Pêche au trésor (La)/Love Happy, Miller, David,

1949; Règle du jeu (La), Renoir, Jean, 1939; Grande illusion (La), Renoir, Jean, 1937; Boudu sauvé des

eaux, Renoir, Jean, 1932; Partie de campagne (Une), Renoir, Jean, 1946 (1936).

directors cited: McLaren, Norman; Ruspoli, Mario.

"Le crime de Monsieur Lange." Radio-Cinéma-Télévision, 462 (November 23, 1958), 11,000 characters.

film analyzed: Crime de Monsieur Lange (Le), Renoir, Jean, 1936.

films cited: Boudu sauvé des eaux, Renoir, Jean, 1932; Affaire est dans le sac (L'), Prévert, Pierre, 1932;

Partie de campagne (Une), Renoir, Jean, 1946 (1936).

"Le crime de Madame Lexton [Ivy]." Le Parisien libéré, 1041 (January 21, 1948), 1,000 characters.

film analyzed: Crime de Madame Lexton (Le)/Ivy, Wood, Sam, 1947.

films cited: Au revoir Mr. Chips!/Goodbye, Mr. Chips, Wood, Sam, 1939; Petite ville sans histoire

(Une)/Our Town, Wood, Sam, 1940; Crime sans châtiment/Kings Row, Wood, Sam, 1941.

directors cited: Ford, John; Capra, Frank.

"Le crime de Madame Lexton [Ivy]: Trop de psychologie pour rien." L'Écran français, 135 (January 27,

1948), 1,000 characters.

film analyzed: Crime de Madame Lexton (Le)/Ivy, Wood, Sam, 1947.

film cited: Crime sans châtiment/Kings Row, Wood, Sam, 1942.

"Crime et châtiment: L'adaptation ne paie pas!" Le Parisien libéré, 3814 (December 15, 1956), 1,300

characters.

107

film analyzed: Crime et châtiment, Lampin, Georges, 1956.

film cited: Quai des brumes, Carné, Marcel, 1938.

"Le crime était presque parfait [Dial M for Murder]: Le film aussi." Le Parisien libéré, 3240 (February 10,

1955), 1,800 characters.

film analyzed: Crime était presque parfait (Le)/Dial M for Murder, Hitchcock, Alfred, 1954.

director cited: Truffaut, François.

"Le crime était presque parfait [Dial M for Murder]: Théâtre policier." France-Observateur, 248 (February

10, 1955), 6,500 characters.

film analyzed: Crime était presque parfait (Le)/Dial M for Murder, Hitchcock, Alfred, 1954.

films cited: Diaboliques (Les), Clouzot, Henri-Georges, 1954; Salaire de la peur (Le), Clouzot, Henri-

Georges, 1953; Inconnu du Nord-Express (L')/Strangers on a Train, Hitchcock, Alfred, 1951; Parents

terribles (Les), Cocteau, Jean, 1948; Corde (La)/Rope, Hitchcock, Alfred, 1948; Ombre d'un doute

(L')/Shadow of a Doubt, Hitchcock, Alfred, 1943.

director cited: Disney, Walt.

"Le crime était presque parfait [Dial M for Murder]: Théâtre policier." Radio-Cinéma-Télévision, 265

(February 13, 1955), 3,700 characters. Reprinted in Le Cinéma de la cruauté. Paris: Flammarion,

1975.

film analyzed: Crime était presque parfait (Le)/Dial M for Murder, Hitchcock, Alfred, 1954.

films cited: Diaboliques (Les), Clouzot, Henri-Georges, 1954; Loi du silence (La)/I Confess, Hit-

chcock, Alfred, 1952; Salaire de la peur (Le), Clouzot, Henri-Georges, 1951; Fantôme de la rue Morgue

(Le)/Phantom of the Rue Morgue, Del Ruth, Roy, 1954; Corde (La)/Rope, Hitchcock, Alfred, 1948;

Parents terribles (Les), Cocteau, Jean, 1948; Hondo, Farrow, John, 1953.

"Crime passionnel [Fallen Angel]." Le Parisien libéré, 1346 (January 12, 1949), 1,300 characters.

film analyzed: Crime passionnel/Fallen Angel, Preminger, Otto, 1945.

"Crime sans châtiment [Kings Row]." Le Parisien libéré, 871 (July 5, 1947), 700 characters.

film analyzed: Crimes sans châtiment/Kings Row, Wood, Sam, 1941.

film cited: Au revoir Mr. Chips!/Goodbye, Mr. Chips, Wood, Sam, 1939.

"Le Criminel [The Stranger]." Le Parisien libéré, 1114 (April 14, 1948), 1,000 characters.

film analyzed: Criminel (Le)/The Stranger, Welles, Orson, 1946.

films cited: Citizen Kane, Welles, Orson, 1941; Splendeur des Amberson (La)/The Magnificent Amber-

sons, Welles, Orson, 1942; Dame de Shanghaï (La)/The Lady from Shanghai, Welles, Orson, 1948.

"Crin blanc." Le Parisien libéré, 2630 (February 26, 1953), 1,200 characters.

film analyzed: Crin blanc: Le cheval sauvage, Lamorisse, Albert, 1953.

film cited: Bim le petit âne, Lamorisse, Albert, 1949.

director cited: Vigo, Jean.

"Crin blanc." France-Observateur, 160 (June 4, 1953), 5,100 characters.

film analyzed: Crin blanc: Le cheval sauvage, Lamorisse, Albert, 1953.

films cited: À propos de Nice, Vigo, Jean, 1930; Terre sans pain/Las Hurdes, Buñuel, Luis, 1932;

Miroirs/Spiegel van Holland, Haanstra, Bert, 1950; Six juin à l'aube (Le), Grémillon, Jean, 1946;

108

Naissance du cinéma (La), Leenhardt, Roger, 1943; Van Gogh, Resnais, Alain, 1948; Ma Loui-

siane/Louisiana Story, Flaherty, Robert, 1948; Nanouk l'esquimau/Nanook of the North, Flaherty,

Robert, 1922; Bim le petit âne, Lamorisse, Albert, 1949; Belle et la bête (La), Cocteau, Jean, 1946.

"Crise du cinéma français?" Le Parisien libéré, 3771 (October 25, 1956), 1,900 characters.

director cited: Kelly, Gene.

"Crise du cinéma français, ou Scarface et le film de gangster." L'Esprit, XIV, n. 122 (May 1946),

pp. 841-844/7,300 characters.

film analyzed: Scarface: The Shame of a Nation, Hawks, Howard, 1932.

films cited: Jéricho, Calef, Henri, 1946; Pays sans étoiles (Le), Lacombe, Georges, 1945; Tentation de

Barbizon (La), Stelli, Jean, 1945; Verts Pâturages (Les)/The Green Pastures, Keighley, William, and

Connelly, Marc, 1936; Anges aux figures sales (Les)/Angels with Dirty Faces, Curtiz, Michael, 1938; Air

Force, Hawks, Howard, 1943; Ombre d'un doute (L')/Shadow of a Doubt, Hitchcock, Alfred, 1943;

Étrange rêve (L')/Blind Alley, Vidor, Charles, 1939.

"Les critiques doivent pouvoir s'en tenir aux émissions." Radio-Cinéma-Télévision, 166 (March 22,

1953), 3,000 characters.

"La Croisée des destins [Bhowani Junction]: À l'Est un peu de nouveau." Radio-Cinéma-Télévision, 354

(October 28, 1956), 4,000 characters.

film analyzed: Croisée des destins (La)/Bhowani Junction, Cukor, George, 1956.

films cited: Trois lanciers du Bengale (Les)/The Lives of a Bengal Lancer, Hathaway, Henry, 1935;

Mousson (La)/The Rains Came, Brown, Clarence, 1939; Fleuve (Le)/The River, Renoir, Jean, 1951.

"La Croisée des destins [Bhowani Junction]: L'Inde sans éléphant." Le Parisien libéré, 3778 (November 2,

1956), 1,800 characters.

film analyzed: Croisée des destins (La)/Bhowani Junction, Cukor, George, 1956.

films cited: Trois lanciers du Bengale (Les)/The Lives of a Bengal Lancer, Hathaway, Henry, 1935;

Mousson (La)/The Rains Came, Brown, Clarence, 1939; Fleuve (Le)/The River, Renoir, Jean, 1951.

director cited: Welles, Orson.

"Croquis basques." Radio-Cinéma-Télévision, 452 (September 14, 1958), 1,100 characters.

"Crossfire [Feux croisés]: Enfin un très bon film américain à Cannes!" Le Parisien libéré, 935 (Septem-

ber 19, 1947), 1,900 characters.

film analyzed: Feux croisés/Crossfire, Dmytryk, Edward, 1947.

films cited: Institutrice (L')/A tanítónö, Keleti, Márton, 1945; Crime vient à la fin (Le)/Farewell My

Lovely, a.k.a. Murder, My Sweet, Dmytryk, Edward, 1944; Plus belles années de notre vie (Les)/The Best

Years of Our Lives, Wyler, William, 1946.

"Le cuirassé Potemkine [Bronenosets Potyomkin]." France-Observateur, 149 (March 19, 1953), 4,000

characters.

film analyzed: Cuirassé Potemkine (Le)/Bronenosets Potyomkin, Eisenstein, Sergei, 1925.

films cited: Alexandre Nevski/Aleksandr Nevskiy, Eisenstein, Sergei, 1938; Ivan le terrible/Ivan

Groznyi, Eisenstein, Sergei, Part I: 1942-44; Part II: 1945-46 (1958); Quai des brumes, Carné, Marcel,

1938; Jour se lève (Le), Carné, Marcel, 1939; Visiteurs du soir (Les), Carné, Marcel, 1942; Tempête sur

109

l'Asie/Potomok Chingis-Khana, Pudovkin, Vsevolod, 1928; Mère (La)/Mat, Pudovkin, Vsevolod,

1926.

"Le cuirassé Potemkine [Bronenosets Potyomkin] et Le manteau [Il cappotto]." Le Parisien libéré, 2646 (May

17, 1953), 3,000 characters.

films analyzed: Cuirassé Potemkine (Le)/Bronenosets Potyomkin, Eisenstein, Sergei, 1925; Manteau

(Le)/Il cappotto, Lattuada, Alberto, 1952.

"Le cuirassé Potemkine [Bronenosets Potyomkin], une reprise qui est une grande première." Radio-

Cinéma-Télévision, 167 (March 29, 1953), 3,400 characters.

film analyzed: Cuirassé Potemkine (Le)/Bronenosets Potyomkin, Eisenstein, Sergei, 1925.

films cited: Quai des brumes, Carné, Marcel, 1938; Jour se lève (Le), Carné, Marcel, 1939; Visiteurs du

soir (Les), Carné, Marcel, 1942; Alexandre Nevski/Aleksandr Nevskiy, Eisenstein, Sergei, 1938; Ivan le

terrible/Ivan Groznyi, Eisenstein, Sergei, Part I: 1942-44; Part II: 1945-46 (1958).

"La Cuisine des anges [We're No Angels]: Succulente." Le Parisien libéré, 3477 (November 15, 1955),

1,800 characters.

film analyzed: Cuisine des anges (La)/We're No Angels, Curtiz, Michael, 1955.

"La Cybernétique d'André Cayatte [Avant le déluge, Nous sommes tous des assassins, et Justice est faîte]."

Cahiers du cinéma, n. 36 (June 1954), pp. 22-27/16,400 characters, in Qu'est-ce que le cinéma?, volume

III, "Cinéma et sociologie; Cinquième Partie: Un Univers d'Automates" (Éditions du Cerf, 1961),

pp. 169-176; in Le cinéma français de la Libération à la Nouvelle Vague, 1945-1958 (Paris: Éditions de

l'Étoile [1983], 1998), pp. 117-125.

films analyzed: Avant le déluge, Cayatte, André, 1954; Nous sommes tous des assassins, Cayatte, André,

1952; Justice est faite, Cayatte, André, 1950.

films cited: Esclave (L'), Ciampi, Yves, 1953; Guérisseur (Le), Ciampi, Yves, 1954; Rage au corps (La),

Habib, Ralph, 1954; Adorables créatures, Christian-Jaque, 1952; Cuirassé Potemkine (Le)/Bronenosets

Potyomkin, Eisenstein, Sergei, 1925; Pourquoi nous combattons/Why We Fight, Capra, Frank, Litvak,

Anatole, and Veiller, Anthony, 1942-45.

directors cited: Grémillon, Jean; Spaak, Charles; Fernández, Emilio.

"Les cyclones." Radio-Cinéma-Télévision, 462 (November 23, 1958), 1,000 characters.

"Cyrano de Bergerac: M. Bergerac n'est pas assassiné." Le Parisien libéré, 2229 (November 13, 1951),

2,900 characters.

film analyzed: Cyrano de Bergerac, Gordon, Michael, 1951.

"D'abord provoquer et retenir l'attention du spectateur!" Radio-Cinéma-Télévision, 164 (March 8,

1953), 1,500 characters.

"D'abord respecter l'Esprit du théâtre!" Radio-Cinéma-Télévision, 316 (February 5, 1956), 2,000

characters.

110

"Le Dahlia bleu [The Blue Dahlia]." Le Parisien libéré, 1155 (June 2, 1948), 800 characters.

film analyzed: Dahlia bleu (Le)/The Blue Dahlia, Marshall, George, 1946.

"La Dame au manteau d'hermine [That Lady in Ermine]: Un agréable prétexte." Le Parisien libéré, 1581

(October 13, 1949), 700 characters.

film analyzed: Dame au manteau d'hermine (La)/That Lady in Ermine, Lubitsch, Ernst, 1948.

films cited: Jeux dangereux/To Be or Not to Be, Lubitsch, Ernst, 1942; Ninotchka, Lubitsch, Ernst,

1939.

"La Dame aux Camélias." Cahiers du cinéma, n. 29 (December 1953), p. 60/1,200 characters.

film analyzed: Dame aux Camélias (La), Bernard, Raymond, 1953.

film cited: Camille, Cukor, George, 1936.

"La Dame aux Camélias: Une tragédie bourgeoise." Le Parisien libéré, 2854 (November 17, 1953),

3,000 characters.

film analyzed: Dame aux Camélias (La), Bernard, Raymond, 1953.

director cited: Gance, Abel.

"La Dame aux Camélias: Une tragédie bourgeoise tirée vers la comédie." Radio-Cinéma-Télévision,

201 (November 22, 1953), 1,300 characters.

film analyzed: Dame aux Camélias (La), Bernard, Raymond, 1953.

"La dame de Shanghaï [The Lady from Shanghai]." L'Écran français, 131 (December 30, 1947), 2,000

characters.

film analyzed: Dame de Shanghaï (La)/The Lady From Shanghai, Welles, Orson, 1948.

films cited: Citizen Kane, Welles, Orson, 1941; Splendeur des Amberson (La)/The Magnificent Amber-

sons, Welles, Orson, 1942.

"La dame de Shanghaï [The Lady from Shanghai]." Le Parisien libéré, 1026 (January 3, 1948), 850

characters.

film analyzed: Dame de Shanghaï (La)/The Lady from Shanghai, Welles, Orson, 1948.

films cited: Citizen Kane, Welles, Orson, 1941; Cabinet du Docteur Caligari (Le)/Das Kabinett des Dr.

Caligari, Wiene, Robert, 1920.

"La Dame du Lac [The Lady in the Lake]." Le Parisien libéré, 1120 (April 21, 1948), 1,100 characters.

film analyzed: Dame du lac (La)/The Lady in the Lake, Montgomery, Robert, 1947.

film cited: Chanteur inconnu (Le), Cayatte, André, 1947.

"La Dame du vendredi [His Girl Friday]." Le Parisien libéré, 146 (February 3, 1945), 700 characters.

film analyzed: Dame du vendredi (La)/His Girl Friday, Hawks, Howard, 1940.

"La Dame en bleu [The Laughing Lady]." Le Parisien libéré, 1067 (February 19, 1948), 600 characters.

film analyzed: Dame en bleu (La)/The Laughing Lady, Stein, Paul L., 1946.

111

"Les Dames du bois de Boulogne." Le Parisien libéré, 350 (September 29, 1945), 1,200 characters.

film analyzed: Dames du bois de Boulogne (Les), Bresson, Robert, 1945.

films cited: Anges du péché (Les), Bresson, Robert, 1943; Falbalas, Becker, Jacques, 1944.

director cited: Cocteau, Jean.

"Dans le cadre futuriste de l'Expo 58 Jules Verne triomphe grâce au cinéma tchèque." Le Parisien

libéré, 4277 (June 12, 1958), 1,000 characters.

"Dans La Marie du port de Marcel Carné: Un Gabin à cheveux gris va créer un nouveau person-

nage." Le Parisien libéré, 1532 (August 17, 1949), 4,000 characters.

film analyzed: Marie du port (La), Carné, Marcel, 1949.

films cited: Quai des brumes, Carné, Marcel, 1938; Portes de la nuit (Les), Carné, Marcel, 1946; Rendez-

vous de juillet, Becker, Jacques, 1949; Voleur de bicyclette (Le)/Ladri di biciclette, De Sica, Vittorio, 1948.

"Dans l'ombre de San-Francisco [Woman on the Run]: Pour avoir peur sans danger." Le Parisien libéré,

2156 (August 20, 1951), 1,100 characters.

film analyzed: Dans l'ombre de San-Francisco/Woman on the Run, Foster, Norman, 1950.

films cited: Serment de Monsieur Moto/Thank You, Mr. Moto, Foster, Norman, 1938; Charlie Chan à

Reno/Charlie Chan in Reno, Foster, Norman, 1939; Voyage au pays de la peur/Journey into Fear, Foster,

Norman, 1943.

"Dans l'ombre de San-Francisco [Woman on the Run]: Solde de série noire." Radio-Cinéma-Télévision, 84

(August 26, 1951), 900 characters.

film analyzed: Dans l'ombre de San-Francisco/Woman on the Run, Foster, Norman, 1950.

films cited: Serment de Monsieur Moto/Thank You, Mr. Moto, Foster, Norman, 1938; Charlie Chan à

Reno/Charlie Chan in Reno, Foster, Norman, 1939; Voyage au pays de la peur/Journey into Fear, Foster,

Norman, 1943.

directors cited: Stroheim, Erich von; Welles, Orson.

"Dans son plan de redressement, le ministre de l'Industrie n'oublie pas que le cinéma est aussi un

art." Le Parisien libéré, 2307 (February 13, 1952), 4,100 characters.

"Dans le Troisième homme [The Third Man], Orson Welles trafique la pénicilline et joue les morts-

vivants." Le Parisien libéré, 1556 (September 14, 1949), 1,200 characters.

film analyzed: Troisième homme (Le)/The Third Man, Reed, Carol, 1949.

films cited: Huit heures de sursis/Odd Man Out, Reed, Carol, 1947; Première désillusion/The Fallen Idol,

Reed, Carol, 1948; Au-delà des grilles, Clément, René, 1949.

directors cited: Ford, John; Carné, Marcel; Welles, Orson.

"Dans la vie tout s'arrange: Un mauvais arrangement." Le Parisien libéré, 2474 (August 28, 1952),

2,600 characters.

film analyzed: Dans la vie tout s'arrange, Cravenne, Marcel, 1952.

112

"Dans la vie tout s'arrange: Pas toujours, hélas!" Radio-Cinéma-Télévision, 138 (September 7, 1952),

900 characters.

film analyzed: Dans la vie tout s'arrange, Cravenne, Marcel, 1949.

film cited: Quelque part en Europe/Valahol Europaban, Radványi, Géza, 1947.

"Dans le western toutes les femmes sont bonnes, c'est l'homme qui est méchant." Radio-Cinéma-

Télévision, 43 (November 11, 1950), 5,800 characters.

films cited: Chevauchée fantastique (La)/Stagecoach, Ford, John, 1939; Massacre de Fort Apache/Fort

Apache, Ford, John, 1948; Pionniers de la Western Union/Western Union, Lang, Fritz, 1941; Flèche

brisée/Broken Arrow, Daves, Delmer, 1950.

"Dans les studios de Madrid: Un nouveau film de Bardem, La Vengeance [La Venganza]." Radio-

Cinéma-Télévision, 401 (September 22, 1957), 3,500 characters.

film analyzed: Vengeance (La)/La Venganza, Bardem, Juan Antonio, 1958

directors cited: Visconti, Luchino; Clair, René.

"La Danse de mort." Le Parisien libéré, 1316 (December 8, 1948), 1,200 characters.

film analyzed: Danse de mort (La), Cravenne, Marcel, 1948.

films cited: Grande illusion (La), Renoir, Jean, 1937; Folies de femmes/Foolish Wives, Stroheim, Erich

von, 1922; Symphonie nuptiale (La)/The Wedding March, Stroheim, Erich von, 1927.

director cited: Cocteau, Jean.

"La Danse de mort: Le vrai Stroheim retrouvé." L'Écran français, 181 (December 14, 1948), 3,500

characters. Reprinted in Spanish as "Sobre La Danza Macabra di Strindberg." Cinévoz (Mexico), 2

(May 15, 1949), pp. 6-7/4,500 characters.

film analyzed: Danse de mort (La), Cravenne, Marcel, 1948.

films cited: Hamlet, Olivier, Laurence, 1945; Parents terribles (Les), Cocteau, Jean, 1948; Folies de

femmes/Foolish Wives, Stroheim, Erich von, 1922; Symphonie nuptiale (La)/The Wedding March,

Stroheim, Erich von, 1927.

"D'autres livres sur le cinéma." Le Parisien libéré, 3892 (March 16, 1957), 1,000 characters.

"David et Bethsabée [David and Bathsheba]." France-Observateur, 107 (May 29, 1952), 4,400 characters,

in Qu'est-ce que le cinéma?, volume III, "Cinéma et sociologie; Deuxième Partie: Érotisme" (Édi-

tions du Cerf, 1961), pp. 65-67.

film analyzed: David et Bethsabée/David and Bathsheba, King, Henry, 1951.

films cited: Samson et Dalila/Samson and Delilah, DeMille, Cecil B., 1949; Signe de croix (Le)/The Sign

of the Cross, DeMille, Cecil B., 1932; Ben Hur, Niblo, Fred, 1925; Quo Vadis?, LeRoy, Mervyn,

1951; Cabiria, Pastrone, Giovanni, 1914; Intolérance/Intolerance, Griffith, D. W., 1916; Banni

(Le)/The Outlaw, Hawks, Howard, and Hughes, Howard, 1943.

"David et Bethsabée [David and Bathsheba]: Bible rose et Bible noire." Le Parisien libéré, 2394 (May 26,

1952), 3,600 characters.

film analyzed: David et Bethsabée/David and Bathsheba, King, Henry, 1951.

film cited: Samson et Dalila/Samson and Delilah, DeMille, Cecil B., 1949.

113

"David et Bethsabée [David and Bathsheba]: La bible selon la tradition anglo-saxonne." Radio-Cinéma-

Télévision, 124 (June 1, 1952), 3,700 characters.

film analyzed: David et Bethsabée/David and Bathsheba, King, Henry, 1951.

films cited: Signe de croix (Le)/The Sign of the Cross, DeMille, Cecil B., 1932; Samson et Dalila/Samson

and Delilah, DeMille, Cecil B., 1949; Quo Vadis?, LeRoy, Mervyn, 1951; Ben Hur, Niblo, Fred,

1925; Cabiria, Pastrone, Giovanni, 1914.

"Davy Crockett et les Pirates de la rivière [Davy Crockett and the River Pirates]: Roland du Tennessee." Le

Parisien libéré, 3825 (December 28, 1956), 2,300 characters.

film analyzed: Davy Crockett et les Pirates de la rivière/Davy Crockett and the River Pirates, Foster,

Norman, 1956.

"De l'ambiguïté [La Charge victorieuse (The Red Badge of Courage)]." Cahiers du cinéma, n. 27 (October

1953), pp. 49-54/18,000 characters.

film analyzed: Charge victorieuse (La)/The Red Badge of Courage, Huston, John, 1951.

films cited: Loi du Silence (La)/I Confess, Hitchcock, Alfred, 1953; Corde (La)/Rope, Hitchcock,

Alfred, 1948; Inconnu du Nord-Express (L')/Strangers on a Train, Hitchcock, Alfred, 1951; Dernières

vacances (Les), Leenhardt, Roger, 1948; Reine africaine (La)/The African Queen, Huston, John, 1951;

Commando de la mort (Le)/A Walk in the Sun, Milestone, Lewis, 1945; Naissance d'une nation (La)/The

Birth of a Nation, Griffith, D. W., 1915; Faucon maltais (Le)/The Maltese Falcon, Huston, John, 1941;

Trésor de la Sierra Madre (Le)/The Treasure of the Sierra Madre, Huston, John, 1948; Amiral Nakhi-

mov/Admiral Nahimov, Pudovkin, Vsevolod, 1946; Moby Dick, Huston, John, 1956; Moulin Rouge,

Huston, John, 1953; Plus fort que le diable/Beat the Devil, Huston, John, 1954.

directors cited: Welles, Orson; Renoir, Jean; Ford, John; Rossellini, Roberto; De Sica, Vittorio.

"De l'art de ne pas voir les films." L'Information universitaire, n. 1191 (May 6, 1944), 3,100 charac-

ters. Reprinted in Le Cinéma de l'Occupation et de la Résistance. Paris: Union Générale d'éditions,

1975.

films cited: Collection Ménard (La), Bernard, Roland, 1944; Bal des passants (Le), Radot, Guillaume,

1944; Anges du péché (Les), Bresson, Robert, 1943; Baron fantôme (Le), Poligny, Serge de, 1943;

Carnet de bal, Duvivier, Julien, 1937.

director cited: Gance, Abel.

"De la carolinisation de France

[Caroline Chérie]." L'Esprit, XXII, n. 211 (February 1954), pp. 298-

304/16,200 characters.

film analyzed: Caroline chérie, Pottier, Richard, 1950.

films cited: Autant en emporte le vent/Gone with the Wind, Fleming, Victor, 1939; Ambre/Forever

Amber, Preminger, Otto, 1947; Lucrèce Borgia, Christian-Jaque, 1953; Adorables créatures, Christian-

Jaque, 1952; Journal d'un curé de campagne (Le), Bresson, Robert, 1951; Symphonie pastorale (La),

Delannoy, Jean, 1946; Grande illusion (La), Renoir, Jean, 1937; Fanfan la Tulipe, Christian-Jaque,

1952; Caprice de Caroline (Un), Devaivre, Jean, 1953; Nous sommes tous des assassins, Cayatte, André,

1962; Pigalle-Saint-Germain-des-Prés, Berthomieu, André, 1950.

director cited: Gance, Abel.

114

"De la difficulté d'être Coco: Histoire vécue par André Bazin." Carrefour (March 17, 1954), 16,000

characters; reprinted in Cahiers du cinéma, n. 91 (January 1959), p. 52.

director cited: Chaplin, Charles.

"De l'échelle de soie à la grosse ficelle

[Les Amants de Vérone]." L'Écran français, 194 (March 15,

1949), 3,500 characters, in Le cinéma français de la Libération à la Nouvelle Vague, 1945-1958 (Paris:

Éditions de l'Étoile [1983], 1998), pp. 114-117.

film analyzed: Amants de Vérone (Les), Cayatte, André, 1949.

films cited: Jour se lève (Le), Carné, Marcel, 1939; Quai des brumes, Carné, Marcel, 1938; Dernière

chance (La)/Die letzte Chance, Lindtberg, Leopold, 1945; Espoir (L')/Sierra de Teruel, Malraux, André,

1945 (1939).

director cited: Prévert, Jacques.

"De l'exceptionnel . . . au quotidien: Monsieur Vincent et Antoine et Antoinette." Le Parisien libéré, 975

(November 5, 1947), 2,400 characters.

films analyzed: Monsieur Vincent, Cloche, Maurice, 1947; Antoine et Antoinette, Becker, Jacques,

1947.

films cited: Cloches de Sainte Marie (Les)/The Bells of St. Mary's, McCarey, Leo, 1945; Clés du royaume

(Les)/The Keys of the Kingdom, Stahl, John M., 1944; Million (Le), Clair, René, 1931.

"De la forme et du fond ou la `crise' du cinéma." Almanach du théâtre et du cinéma (1951), 15,800

characters, in Le cinéma français de la Libération à la Nouvelle Vague, 1945-1958 (Paris: Éditions de

l'Étoile [1983], 1998), pp. 357-366.

films cited: Roue (La), Gance, Abel, 1922; Intolérance/Intolerance, Griffith, D. W., 1916; Ben Hur,

Niblo, Fred, 1925; Gigi, Audry, Jacqueline, 1949; Enfance de Maxime Gorki (L')/Detstvo Gorkogo,

Donskoï, Mark, 1938; Manèges, Allégret, Yves, 1950; Dédée d'Anvers, Allégret, Yves, 1948; Si jolie

petite plage (Une), Allégret, Yves, 1949; Alexandre Nevski/Aleksandr Nevskiy, Eisenstein, Sergei,

1938; Bataille de Stalingrad (La)/Stalingradskaya bitva, Parts I and II, Petrov, Vladimir, 1949-50;

Troisième coup (Le)/Tretiy udar, Savchenko, Igor, 1948; Vipère (La)/The Little Foxes, Wyler, William,

1941; Hamlet, Olivier, Laurence, 1948; Parents terribles (Les), Cocteau, Jean, 1948.

director cited: L'Herbier, Marcel.

"De Méliès à Orson Welles: Il neige sur le cinéma." L'Écran français, 140 (March 2, 1948), 4,800

characters, in Le cinéma français de la Libération à la Nouvelle Vague, 1945-1958 (Paris: Éditions de

l'Étoile [1983], 1998), pp. 322-324.

films cited: Conquête du pôle (La), Méliès, Georges, 1912; Ruée vers l'or (La)/The Gold Rush, Chaplin,

Charles, 1925; Citizen Kane, Welles, Orson, 1941; Silence est d'or (Le), Clair, René, 1947; Splendeur des

Amberson (La)/The Magnificent Ambersons, Welles, Orson, 1942; Symphonie pastorale (La), Delannoy,

Jean, 1946; Nanouk l'esquimau/Nanook of the North, Flaherty, Robert, 1922; Assassinat du père Noël

(L'), Christian-Jaque, 1941.

director cited: Cocteau, Jean.

"De l'or en barres [The Lavender Hill Mob]: Une autre bonne comédie britannique." Radio-Cinéma-

Télévision, 103 (January 6, 1952), 1,000 characters.

film analyzed: De l'or en barres/The Lavender Hill Mob, Crichton, Charles, 1951.

115

films cited: New York-Miami/It Happened One Night, Capra, Frank, 1934; Cette sacrée vérité/The Awful

Truth, McCarey, Leo, 1937; Noblesse oblige/Kind Hearts and Coronets, Hamer, Robert, 1949; Passeport

pour Pimlico/Passport to Pimlico, Cornelius, Henry, 1949; Rires au Paradis/Laughter in Paradise, Zampi,

Mario, 1951.

"De l'or en barres [The Lavender Hill Mob]: La comédie anglaise." France-Observateur, 86 (January 3,

1952), 4,000 characters.

film analyzed: De l'or en barres/The Lavender Hill Mob, Crichton, Charles, 1951.

films cited: Voyages de Sullivan (Les)/Sullivan's Travels, Sturges, Preston, 1941; Coeur pris au piège

(Un)/The Lady Eve, Sturges, Preston, 1941; Madame et ses flirts/The Palm Beach Story, Sturges,

Preston, 1942; Hellzapoppin', Potter, Hank C., 1941; New York-Miami/It Happened One Night,

Capra, Frank, 1934; Noblesse oblige/Kind Hearts and Coronets, Hamer, Robert, 1949; Passeport pour

Pimlico/Passport to Pimlico, Cornelius, Henry, 1949; Rires au paradis/Laughter in Paradise, Zampi,

Mario, 1951; Whisky à gogo/Whisky Galore, Mackendrick, Alexander, 1949; Jour de fête, Tati, Jacques,

1949.

director cited: Buñuel, Luis.

"De Paris plein ciel à Pacific 231." L'Écran français, 209 (June 27, 1949), 2,100 characters.

films analyzed: Paris plein ciel, Alphen, Jean-Paul, 1951; Pacific 231, Mitry, Jean, 1949.

films cited: Roue (La), Gance, Abel, 1922; Sous les toits de Paris, Clair, René, 1930; Cuirassé Potemkine

(Le)/Bronenosets Potyomkin, Eisenstein, Sergei, 1925.

"De la politique des auteurs." Cahiers du cinéma, XII, n. 70 (April 1957), pp. 2-10/12,000 charac-

ters.

films cited: Vie passionnée de Vincent van Gogh (La)/Lust for Life, Minnelli, Vincente, 1956; French

Cancan, Renoir, Jean, 1955; Homme qui en savait trop (L')/The Man Who Knew Too Much, Hitchcock,

Alfred, 1956; Europe '51/Europa '51, Rossellini, Roberto, 1952; Derrière le miroir/Bigger Than Life,

Ray, Nicholas, 1956; Dossier secret, a.k.a. Monsieur Arkadin/Confidential Report, a.k.a. Mr. Arkadin,

Welles, Orson, 1955; Citizen Kane, Welles, Orson, 1941; Monsieur Verdoux, Chaplin, Charles, 1947;

Carrosse d'or (Le)/The Golden Coach, Renoir, Jean, 1952; Règle du jeu (La), Renoir, Jean, 1939; Fleuve

(Le)/The River, Renoir, Jean, 1951; Ruée vers l'or (La)/The Gold Rush, Chaplin, Charles, 1925.

directors cited: Rohmer, Éric; Hawks, Howard; Lang, Fritz; Truffaut, François; Huston, John;

Stroheim, Erich von; Gance, Abel; Clair, René; Bresson, Robert; Clément, René; Rivette, Jacques.

"De quelle aide à la qualité s'agit-il." Radio-Cinéma-Télévision, 110 (February 24, 1952), 1,000

characters.

"De Sica et Rossellini." Radio-Cinéma-Télévision, 295 (September 11, 1955), 7,500 characters, in

Qu'est-ce que le cinéma?, volume IV, "Une Esthétique de la Réalité: le néo-réalisme" (Éditions du

Cerf, 1962), pp. 112-116.

films cited: Stromboli/Stromboli, terra di Dio, Rossellini, Roberto, 1950; Onze fioretti de Saint François

d'Assise (Les)/Francesco, giullare di Dio, Rossellini, Roberto, 1950; Europe '51/Europa '51, Rossellini,

Roberto, 1952; Peur (La)/La paura, Rossellini, Roberto, 1954; Voyage en Italie, a.k.a. L'amour est le

plus fort/Viaggio in Italia, Rossellini, Roberto, 1954; Païsa/Paisà, Rossellini, Roberto, 1946; Alle-

magne année zéro/Germania anno zero, Rossellini, Roberto, 1947; Voix humaine (La)/L'Amore,

Rossellini, Roberto, 1948; Voleur de bicyclette (Le)/Ladri di biciclette, De Sica, Vittorio, 1948; Umberto

D., De Sica, Vittorio, 1952.

director cited: Zavattini, Cesare.

116

"De Sica, metteur en scène [Miracle à Milan (Miracolo a Milano), Le Voleur de bicyclette (Ladri di

biciclette), Umberto D.]," from an article originally published in Italian (Parma: Edizione Guanda,

1953) as "De Sica regista," 37,400 characters, in Qu'est-ce que le cinéma?, volume IV, "Une Esthé-

tique de la Réalité: le néo-réalisme" (Éditions du Cerf, 1962), pp. 73-91; in Qu'est-ce que le cinéma?

(Cerf, 1975, rpt. 2000; single-volume version), pp. 311-329. First published in French as "Note

sur De Sica." Cahiers du cinéma, n. 33 (March 1954), pp. 36-39/8,100 characters.

films analyzed: Miracle à Milan/Miracolo a Milano, De Sica, Vittorio, 1951; Voleur de bicyclette

(Le)/Ladri di biciclette, De Sica, Vittorio, 1948; Umberto D., De Sica, Vittorio, 1952.

films cited: Sciuscià, De Sica, Vittorio, 1946; Enfants nous regardent (Les)/I bambini ci guardano, De

Sica, Vittorio, 1943; Rome, ville ouverte/Roma, città aperta, Rossellini, Roberto, 1945; Païsa/Paisà,

Rossellini, Roberto, 1946; Allemagne année zéro/Germania anno zero, Rossellini, Roberto, 1947;

Chronique d'un amour/Cronaca di un amore, Antonioni, Michelangelo, 1950; Christ interdit (Le)/Il Cristo

proibito, Malaparte, Curzio, 1950; Petit monde de Don Camillo (Le), a.k.a. Don Camillo, Duvivier,

Julien, 1952; Ruée vers l'or (La)/The Gold Rush, Chaplin, Charles, 1925; Monsieur Verdoux, Chaplin,

Charles, 1947; Corde (La)/Rope, Hitchcock, Alfred, 1948; Ombre d'un doute (L')/Shadow of a Doubt,

Hitchcock, Alfred, 1943.

directors cited: Zavattini, Cesare; Lattuada, Alberto; De Santis, Giuseppe; Visconti, Luchino;

Stroheim, Erich von; Feyder, Jacques; Carné, Marcel; Prévert, Jacques; Vertov, Dziga; Lang, Fritz;

Flaherty, Robert; Renoir, Jean; Camerini, Mario.

"De Symphonie nuptiale [The Wedding March] à La danse de mort: Stroheim perdu et retrouvé." L'Écran

français, 155 (June 15, 1948), 5,500 characters. Partially reprinted in Le Cinéma de la cruauté. Paris:

Flammarion, 1975.

films cited: Danse de mort (La), Cravenne, Marcel, 1948; Rapaces (Les)/Greed, Stroheim, Erich von,

1925 (1923); Folies de femmes/Foolish Wives, Stroheim, Erich von, 1922; Symphonie nuptiale (La)/The

Wedding March, Stroheim, Erich von, 1927; Pourquoi nous combattons/Why We Fight, Capra, Frank,

Litvak, Anatole, and Veiller, Anthony, 1942-45; Grande illusion (La), Renoir, Jean, 1937; Tempête,

a.k.a. Tempête sur Paris, Bernard-Deschamps, Dominique, 1940; Partie de campagne (Une), Renoir,

Jean, 1946 (1936).

directors cited: Chaplin, Charles; Litvak, Anatole; Vilar, Jean.

"De Venise à la Côte d'Azur: Hier soir Grand gala à Cannes Pour l'ouverture du festival." Le

Parisien libéré, 929 (September 12, 1947), 2,400 characters.

film cited: Plus belles années de notre vie (Les)/The Best Years of Our Lives, Wyler, William, 1946.

"Le découpage et son évolution [Octobre (Oktyabr); La fin de Saint Petersbourg (Konets Sankt-

Peterburga); Fury]." L'âge nouveau, 93 (July 1955), 18,000 characters; reprinted in modified form in

Qu'est-ce que le cinéma?, volume I: "Ontologie et langage" (Éditions du Cerf, 1958).

films analyzed: Octobre/Oktyabr, Eisenstein, Sergei, 1927; Fin de Saint Petersbourg (La)/Konets Sankt-

Peterburga, Pudovkin, Vsevolod, 1927; Furie/Fury, Lang, Fritz, 1936.

films cited: Quai des brumes, Carné, Marcel, 1938; Jour se lève (Le), Carné, Marcel, 1939; Lys brisé

(Le)/Broken Blossoms, Griffith, D. W., 1919; Intolérance/Intolerance, Griffith, D. W., 1916; Citizen

Kane, Welles, Orson, 1941; Bête humaine (La), Renoir, Jean, 1938; Grande illusion (La), Renoir, Jean,

1937; Règle du jeu (La), Renoir, Jean, 1939; Plus belles années de notre vie (Les)/The Best Years of Our

Lives, Wyler, William, 1946; Païsa/Paisà, Rossellini, Roberto, 1946; Allemagne année zéro/Germania

117

anno zero, Rossellini, Roberto, 1947; Voleur de bicyclette (Le)/Ladri de biciclette, De Sica, Vittorio,

1948; Terre tremble (La)/La terra trema (Episodio del mare), Visconti, Luchino, 1948; Forfaiture/The

Cheat, DeMille, Cecil B., 1915.

"Découverte du cinéma: Défense de l'avant-garde." L'Écran français, 182 (December 21, 1948),

3,000 characters, in Le cinéma français de la Libération à la Nouvelle Vague, 1945-1958 (Paris: Éditions

de l'Étoile [1983], 1998), pp. 325-329.

films cited: Chien andalou (Un), Buñuel, Luis, 1929; Lys brisé (Le)/Broken Blossoms, Griffith, D. W.,

1919; Païsa/Paisà, Rossellini, Roberto, 1946; Terre tremble (La)/La terra trema (Episodio del mare),

Visconti, Luchino, 1948; Splendeur des Amberson (La)/The Magnificent Ambersons, Welles, Orson,

1942; Dernières vacances (Les), Leenhardt, Roger, 1948; Amoureux sont seuls au monde (Les), a.k.a.

Monelle, Decoin, Henri, 1948.

directors cited:

Léger, Fernand; Richter, Hans; Ray, Man; Cocteau, Jean.

"La Déesse [The Goddess]: L'obsession de Hollywood." Radio-Cinéma-Télévision, 453 (September 21,

1958), 3,900 characters.

film analyzed: Déesse (La)/The Goddess, Cromwell, John, 1958.

films cited: Boulevard du crépuscule/Sunset Boulevard, Wilder, Billy, 1950; Grand couteau (Le)/The Big

Knife, Aldrich, Robert, 1955; Marty, Mann, Delbert, 1955; Dix, rue Frederick/Ten North Frederick,

Dunne, Philip, 1958; Nuit des maris (La)/The Bachelor Party, Mann, Delbert, 1957; Abraham

Lincoln/Abe Lincoln in Illinois, Cromwell, John, 1940.

"La Déesse [The Goddess]: Le portrait d'une idole." Le Parisien libéré, 4357 (September 15, 1958),

1,600 characters.

film analyzed: Déesse (La)/The Goddess, Cromwell, John, 1958.

films cited: Marty, Mann, Delbert, 1955; Nuit des maris (La)/The Bachelor Party, Mann, Delbert,

1957; Boulevard du crépuscule/Sunset Boulevard, Wilder, Billy, 1950; Grand Couteau (Le)/The Big Knife,

Aldrich, Robert, 1955.

directors cited: Carné, Marcel; Duvivier; Julien; Feyder, Jacques; Delannoy, Jean.

"Défendre le cinéma mais tout le cinéma!" Le Parisien libéré, 1648 (December 31, 1949), 1,300

characters.

"Défense de Monsieur Verdoux." Les Temps modernes, III, n. 27 (December 1947), pp. 1114-

1122/18,700 characters. Reprinted in Charlie Chaplin. Paris: Éditions du Cerf, 1973.

film analyzed: Monsieur Verdoux, Chaplin, Charles, 1947.

films cited: Dictateur (Le)/The Great Dictator, Chaplin, Charles, 1940; Ruée vers l'or (La)/The Gold

Rush, Chaplin, Charles, 1925; Gosse (Le)/The Kid, Chaplin, Charles, 1921; Pèlerin (Le)/The Pilgrim,

Chaplin, Charles, 1923; Jour de paye/Pay Day, Chaplin, Charles, 1922; Opinion publique (L')/A

Woman of Paris, Chaplin, Charles, 1923; Charlot soldat/Shoulder Arms, Chaplin, Charles, 1918;

Lumières de la ville (Les)/City Lights, Chaplin, Charles, 1931.

"Défense de Rossellini," a letter to Guido Aristarco, the editor-in-chief of Cinema nuovo, originally

published as "Difesa di Rossellini" in Cinema nuovo (Italy), 4, n. 65 (August 25, 1955), 22,000

characters; in Qu'est-ce que le cinéma?, volume IV, "Une Esthétique de la Réalité: le néo-réalisme"

(Éditions du Cerf, 1962), pp. 150-160; in Qu'est-ce que le cinéma? (Cerf, 1975, rpt. 2000; single-

volume version), pp. 347-357.

118

films cited: Casque d'or, Becker, Jacques, 1952; Pain, amour et jalousie/Pane, amore e gelosia, Comenci-

ni, Luigi, 1954; La Strada, Fellini, Federico, 1954; Voyage en Italie, a.k.a. L'amour est le plus

fort/Viaggio in Italia, Rossellini, Roberto, 1954; Gare terminus/Stazione Termini, De Sica, Vittorio,

1953; Umberto D., De Sica, Vittorio, 1952; Peur (La)/La paura, Rossellini, Roberto, 1954; Jeanne au

bûcher/Giovanna d'Arco al rogo, Rossellini, Roberto, 1954; Europe '51/Europa '51, Rossellini,

Roberto, 1952; Rome, ville ouverte/Roma, città aperta, Rossellini, Roberto, 1945; Allemagne année

zéro/Germania anno zero, Rossellini, Roberto, 1947; Païsa/Paisà, Rossellini, Roberto, 1946; Onze

fioretti de François d'Assise (Les)/Francesco, giullare di Dio, Rossellini, Roberto, 1950; Terre tremble

(La)/La terra trema (Episodio del mare), Visconti, Luchino, 1948; Or de Naples (L')/L'Oro di Napoli,

De Sica, Vittorio, 1954.

directors cited: Rossellini, Roberto; Anderson, Lindsay; Duvivier, Julien; Pagnol, Marcel; Cameri-

ni, Mario; Lattuada, Alberto; Mattoli, Mario; Palermi, Amleto; Genina, Augusto; Gallone,

Carmine; Carné, Marcel.

"Le Défunt récalcitrant [Here Comes Mr. Jordan]." Le Parisien libéré, 126 (January 12, 1945), 1,000

characters.

film analyzed: Défunt récalcitrant (Le)/Here Comes Mr. Jordan, Hall, Alexander, 1941.

films cited: Blanche-neige et les sept nains/Snow White and The Seven Dwarfs, Cottrell, William, Hand,

David, Jackson, Wilfred, Morey, Larry, Pearce, Perce, and Sharpsteen, Ben, 1937; Madame et son

clochard/Merrily We Live, McLeod, Norman Z., 1938.

director cited: Clair, René.

"Déjà un grand prix celui du Télécinéma." Le Parisien libéré, 4253 (May 15, 1958), 700 characters.

"Demain viendra toujours [Tomorrow Is Forever]." Le Parisien libéré, 1376 (February 16, 1949), 850

characters. film analyzed: Demain viendra toujours/Tomorrow Is Forever, Pichel, Irving, 1946.

director cited: Welles, Orson.

"Démarrage incertain au Festival de Cannes [Marie Antoinette et Le Christ en bronze (Seido no

Kirisuto)]." France-Observateur, 311 (April 26, 1956), 3,000 characters.

films analyzed: Marie Antoinette, Delannoy, Jean, 1956; Christ en bronze (Le)/Seido no Kirisuto,

Shibuya, Minoru, 1956.

films cited: Nuit et brouillard, Resnais, Alain, 1956; Othello, Youtkévitch, Serge, 1956.

"Un Demi-douzaine de festivals." L'Esprit, XVIII, n. 161 (November 1949), pp. 807-810/8,000

characters.

films cited: María Candelaria, Fernández, Emilio, 1943; Rome, ville ouverte/Roma, città aperta, Rossel-

lini, Roberto, 1945; Terre tremble (La)/La terra trema (Episodio del mare), Visconti, Luchino, 1948;

Macbeth, Welles, Orson, 1948; Ma Louisiane/Louisiana Story, Flaherty, Robert, 1948; Petit noir

tranquille (Le)/The Quiet One, Meyers, Sidney, 1949; Kalpana, Shankar, Uday, 1948; Fille des marais

(La), a.k.a. Ciel des marécages/Cielo sulla Palude, Genina, Augusto, 1949; Troisième homme (Le)/The

Third Man, Reed, Carol, 1949; Voleur de bicyclette (Le)/Ladri di biciclette, De Sica, Vittorio, 1948;

Bataille de Stalingrad (La)/Stalingradskaya bitva, Parts I and II, Petrov, Vladimir, 1949-50; Terre

(La)/Zemlja, Dovzhenko, Alexander, 1930.

"Les Demi-sel: Après le déluge." Le Parisien libéré, 3843 (January 18, 1957), 2,000 characters.

film analyzed: Demi-sel (Les)/Die Halbstarken, 1956.

119

films cited: Fureur de vivre (La)/Rebel Without a Cause, Ray, Nicholas, 1955; Graine de violence/The

Blackboard Jungle, 1955; Avant le déluge, Cayatte, André, 1954; À l'Est d'Eden/East of Eden, Kazan,

Elia, 1955.

director cited: Chaplin, Charles.

"Le démon des eaux troubles [Hell and High Water]: Océaniques!" Le Parisien libéré, 3195 (December

20, 1954), 2,000 characters.

film analyzed: Démon des eaux troubles (Le)/Hell and High Water, Fuller, Samuel, 1954.

director cited: Hitchcock, Alfred.

"Le démon doré [Konjiki yasha]: Surprenant Japon!" Le Parisien libéré, 3260 (March 5, 1955), 1,500

characters.

film analyzed: Démon doré (Le)/Konjiki yasha, Shima, Koji, 1954.

film cited: Porte de l'enfer (La)/Jigokumon, Kinugasa, Teinosuke, 1953.

"Le démon s'éveille la nuit [Clash by Night]: Une Bovary américaine." Le Parisien libéré, 2555 (Decem-

ber 1, 1952), 3,000 characters.

film analyzed: Démon s'éveille la nuit (Le)/Clash by Night, Lang, Fritz, 1952.

"Les Démons de la liberté

[Brute Force]." Le Parisien libéré, 1257 (September 29, 1948), 850 characters.

film analyzed: Démons de la liberté (Les)/Brute Force, Dassin, Jules, 1947.

film cited: The Big House, Hill, George W., 1930.

"Les Démons de la liberté

[Brute Force]: Une satire dramatique du régime policier." L'Écran français,

170 (September 28, 1948), 2,500 characters.

film analyzed: Démons de la liberté (Les)/Brute Force, Dassin, Jules, 1947.

films cited: The Big House, Hill, George W., 1930; Scarface: The Shame of a Nation, Hawks, Howard,

1932; Assurance sur la mort/Double Indemnity, Wilder, Billy, 1944; Carrefour de la mort/Kiss of Death,

Hathaway, Henry, 1947; Laura, Preminger, Otto, 1944.

"Les démons de l'aube." Le Parisien libéré, 539 (May 12, 1946), 900 characters. Reprinted in Le Cinéma

de l'Occupation et de la Résistance. Paris: Union Générale d'éditions, 1975.

film analyzed: Démons de l'aube (Les), Allégret, Marc, 1946.

film cited: Boîte aux rêves (La), Allégret, Marc, 1945 (1943).

"Les dents longues: Autocritique." Le Parisien libéré, 2647 (March 18, 1953), 2,500 characters.

film analyzed: Dents longues (Les), Gélin, Daniel, 1952.

"Départ en flèche au Festival de Cannes: Jour et nuit les grands films internationaux se succèdent

sur l'écran." Le Parisien libéré, 931 (September 14, 1947), pp. 1-2/2,100 characters.

"Le dernier film de Clair, René: Porte des Lilas." Radio-Cinéma-Télévision, 401 (September 22, 1957),

2,200 characters.

film analyzed: Porte des Lilas, Clair, René, 1957.

120

film cited: Sous les toits de Paris, Clair, René, 1930.

"Le dernier pont [Die letzte Brücke]: Une oeuvre forte et humaine." Le Parisien libéré, 3211 (January 7,

1955), 2,000 characters.

film analyzed: Dernier pont (Le)/Die letzte Brücke, Käutner, Helmut, 1954.

"Dernier regard sur Sao Paulo." France-Observateur, 200 (March 11, 1954), 6,000 characters.

films cited: Genevieve, Cornelius, Henry, 1953; Jules César/Julius Caesar, Mankiewicz, Joseph L.,

1953; Vacances romaines/Roman Holiday, Wyler, William, 1953; Rapaces (Les)/Greed, Stroheim, Erich

von, 1925 (1923); Symphonie nuptiale (La)/The Wedding March, Stroheim, Erich von, 1927; Folies de

femmes/Foolish Wives, Stroheim, Erich von, 1921; Condamné (Le)/Condenados, Mur Oti, Manuel,

1953.

"Le dernier Clair, René, Porte des Lilas: André Bazin juge le film." Le Parisien libéré, 4056 (Septem-

ber 26, 1957), 4,900 characters.

film analyzed: Porte des Lilas, Clair, René, 1957.

films cited: Sous les toits de Paris, Clair, René, 1930; Million (Le), Clair, René, 1931; Silence est d'or (Le),

Clair, René, 1947; Quatorze juillet, Clair, René, 1933; César, Pagnol, Marcel, 1936; Monsieur Verdoux,

Chaplin, Charles, 1947.

directors cited: Flaherty, Robert; Renoir, Jean.

"La Dernière chance." Le Parisien libéré, 428 (December 27, 1945), 700 characters.

film analyzed: Dernière chance (La)/Die letzte Chance, Lindtberg, Leopold, 1944.

"La Dernière chasse [The Last Hunt]: Un grand western." Le Parisien libéré, 3992 (July 12, 1957), 2,300

characters.

film analyzed: Dernière Chasse (La)/The Last Hunt, Brooks, Richard, 1956.

films cited: Graine de violence/Blackboard Jungle, Brooks, Richard, 1955; Moby Dick, Huston, John,

1956.

"La Dernière étape [Ostatni etap]." Le Parisien libéré, 1257 (September 29, 1948), 1,500 characters.

film analyzed: Dernière étape (La)/Ostatni etap, Jakubowska, Wanda, 1948.

"La dernière révélation d'Hollywood [Le Grand couteau (The Big Knife)]: Robert Aldrich." Radio-

Cinéma-Télévision, 315 (January 29, 1956), 4,000 characters.

film analyzed: Grand couteau (Le)/The Big Knife, Aldrich, Robert, 1955.

films cited: Boulevard du crépuscule/Sunset Boulevard, Wilder, Billy, 1950; En quatrième vitesse/Kiss Me

Deadly, Aldrich, Robert, 1955; Homme du Sud (L')/The Southerner, Renoir, Jean, 1945; Lumières de la

ville (Les)/City Lights, Chaplin, Charles, 1931; Bronco Apache/Apache, Aldrich, Robert, 1954.

"Les Dernières vacances." Le Parisien libéré, 1096 (March 24, 1948), 1,700 characters.

film analyzed: Dernières vacances (Les), Leenhardt, Roger, 1948.

film cited: Naissance du cinéma, Leenhardt, Roger, 1946.

directors cited: Clair, René; Renoir, Jean.

121

"Les Dernières vacances"; original title, "Le style, c'est l'homme même." Revue du cinéma, 14 (June

1948), pp. 62-68/16,000 characters; and L'Esprit, 146 (July 1948), pp. 115-121, in Qu'est-ce que le

cinéma?, volume III, "Cinéma et sociologie; Première Partie" (Éditions du Cerf, 1961), pp. 33-41;

in Le cinéma français de la Libération à la Nouvelle Vague, 1945-1958 (Paris: Éditions de l'Étoile [1983],

1998), pp. 215-224.

film analyzed: Dernières vacances (Les), Leenhardt, Roger, 1948.

films cited: Naissance du cinéma, Leenhardt, Roger, 1946; Règle du jeu (La), Renoir, Jean, 1939;

Citizen Kane, Orson, Welles, 1941; Espoir (L')/Sierra de Teruel, Malraux, André, 1945 (1939);

Splendeur des Amberson (La)/The Magnificent Ambersons, Welles, Orson, 1942; Jour se lève (Le), Carné,

Marcel, 1939; Diable au corps (Le), Autant-Lara, Claude, 1947; Chapeau de paille d'Italie (Un), Clair,

René, 1928; Douce, Autant-Lara, Claude, 1943; Païsa/Paisà, Rossellini, Roberto, 1946.

directors cited: Hitchcock, Alfred; Wyler, William; Bresson, Robert; Ford, John; Duvivier, Julien;

Carné, Marcel; Clair, René; Grimault, Paul; Prévert, Jacques; Delluc, Louis; Dulac, Germaine;

Cocteau, Jean; Malraux, André; Feuillade, Louis; Méliès, Georges; Christian-Jaque.

"Derrière le miroir [Bigger than Life]." Le Parisien libéré, 3869 (February 18, 1957), 2,000 characters.

film analyzed: Derrière le miroir/Bigger than Life, Ray, Nicholas, 1956.

films cited: Fureur de vivre (La)/Rebel Without a Cause, Ray, Nicholas, 1955; Johny Guitare/Johnny

Guitar, Ray, Nicholas, 1954.

"Derrière le miroir [Bigger than Life]." France-Observateur, 355 (February 28, 1957), 7,000 characters.

film analyzed: Derrière le miroir/Bigger than Life, Ray, Nicholas, 1956.

films cited: Fureur de vivre (La)/Rebel Without a Cause, Ray, Nicholas, 1955; Héritière (L')/The Heiress,

Wyler, William, 1949; Maison des otages (La)/The Desperate Hours, Wyler, William, 1955.

"Derrière le miroir [Bigger than Life]: Seulement intelligent." Radio-Cinéma-Télévision, 372 (March 3,

1957), 4,100 characters.

film analyzed: Derrière le miroir/Bigger than Life, Ray, Nicholas, 1956.

films cited: Amants de la nuit (Les)/They Live by Night, Ray, Nicholas, 1947; Fureur de vivre (La)/Rebel

Without a Cause, Ray, Nicholas, 1955.

director cited: Hitchcock, Alfred.

"Des cailloux du petit poucet au Chemin de la vie [Putyovka v zhizn]: L'enfance et le cinéma."

L'Écran français, 233 (December 19, 1949), 5,500 characters.

films cited: Chemin de la vie (Le)/Putyovka v zhizn, Ekk, Nicolai, 1931; Émile et les détectives/Emil und

die Detektive, Lamprecht, Gerhard, 1931; Belle et la bête (La), Cocteau, Jean, 1946; Prison sans

barreaux, Moguy, Léonide, 1937; Carrefour des enfants perdus (Le), Joannon, Léo, 1944; Sciuscià, De

Sica, Vittorio, 1946; Incroyable histoire (Une)/The Window, Tetzlaff, Ted, 1949; École buissonnière (L'),

Le Chanois, Jean-Paul, 1949; Nous les gosses, Daquin, Louis, 1941; À cor et à cri/Hue and Cry,

Crichton, Charles, 1947; Quelque part en Europe/Valahol Europaban, Radványi, Géza, 1947; Disparus

de Saint-Agil (Les), Christian-Jaque, 1938; Des hommes sont nés/Boys Town, Taurog, Norman, 1938.

director cited: Chaplin, Charles.

"Des caractères: Le Rouge et le noir." Cahiers du cinéma, n. 41 (December 1954), pp. 38-40/6,400

characters, in Le cinéma français de la Libération à la Nouvelle Vague, 1945-1958 (Paris: Éditions de

l'Étoile [1983], 1998), pp. 54-58.

122

film analyzed: Rouge et le noir (Le), Autant-Lara, Claude, 1954.

films cited: Mina de Vanghel, Clavel, Maurice, and Barry, Maurice, 1953; Rideau cramoisi (Le),

Astruc, Alexandre, 1953; Chartreuse de Parme (La), Christian-Jaque, 1948; Symphonie pastorale (La),

Delannoy, Jean, 1946; Fanfan la Tulipe, Christian-Jaque, 1952.

"Des comédies pour tous les goûts: La Folle ingénue [Cluny Brown] et En route pour le Maroc [Road to

Morocco]." Le Parisien libéré, 850 (June 11, 1947), 1,800 characters.

films analyzed: Folle ingénue (La)/Cluny Brown, Lubitsch, Ernst, 1946; En route pour le Maroc/Road to

Morocco, Butler, David, 1942.

films cited: Éventail de Lady Windermere (L')/Lady Windermere's Fan, Lubitsch, Ernst, 1925; Sérénade

à trois/Design for Living, Lubitsch, Ernst, 1933; Huitième femme de Barbe-Bleue/Bluebeard's Eighth Wife,

Lubitsch, Ernst, 1938; Jeux dangereux/To Be or Not to Be, Lubitsch, Ernst, 1942; Hellzapoppin',

Potter, Hank C., 1941; Princesse et le pirate (La)/The Princess and the Pirate, Butler, David, 1944.

director cited: Clair, René.

"Des égouts et des couleurs: Les misérables." France-Observateur, 411 (March 27, 1958), 2,300

characters.

film analyzed: Misérables (Les), Le Chanois, Jean-Paul, 1958.

films cited: Notre-Dame de Paris, Delannoy, Jean, 1956; Misérables (Les), Bernard, Raymond, 1933.

directors cited: Gance, Abel; Capellani, Albert; Fescours, Henri; Bernard, Raymond.

"Des gens sans importance: Mais non sans soucis!" Le Parisien libéré, 3560 (February 20, 1956), 2,000

characters.

films cited: Des gens sans importance, Verneuil, Henri, 1956; Lumière d'en face (La), Lacombe,

Georges, 1956; Manèges, Allégret, Yves, 1950; French Cancan, Renoir, Jean, 1955.

"Des idées et des hommes." France-Observateur, 438 (September 25, 1958), 4,300 characters.

"Des monstres attaquent la ville [Them]." Radio-Cinéma-Télévision, 284 (June 26, 1955), p. 37/2,200

characters.

film analyzed: Des monstres attaquent la ville/Them, Douglas, Gordon, 1955.

director cited: Disney, Walt.

"Des monstres attaquent la ville [Them]: Fourmi . . . dable." Le Parisien libéré, 3342 (June 10, 1955),

2,000 characters.

film analyzed: Des monstres attaquent la ville/Them, Douglas, Gordon, 1955.

"Des Visiteurs du soir à L'Éternel retour." L'Information universitaire, n. 1170 (November 20, 1943),

5,500 characters. Reprinted in Le Cinéma de l'Occupation et de la Résistance. Paris: Union Générale

d'éditions, 1975.

films analyzed: Visiteurs du soir (Les), Carné, Marcel, 1942; Éternel retour (L'), Delannoy, Jean, 1943.

films cited: Corbeau (Le), Clouzot, Henri-Georges, 1943; Adieu Léonard, Prévert, Pierre, 1943.

123

"Le désert de la peur [Along the Great Divide]: Le désert de la loi." Radio-Cinéma-Télévision, 131 (July 20,

1952), 2,000 characters.

film analyzed: Désert de la peur (Le), a.k.a. Une corde pour te pendre/Along the Great Divide, Walsh,

Raoul, 1951.

films cited: Piste de Santa Fé (La)/Santa Fe Trail, Curtiz, Michael, 1940; Massacre de Fort Apache

(Le)/Fort Apache, Ford, John, 1948; Duel au soleil/Duel in the Sun, Vidor, King, 1947; Homme du Sud

(L')/The Southerner, Renoir, Jean, 1945; Étrange incident (L')/The Ox-Bow Incident, Wellman, William

A., 1943. director cited: McLaren, Norman.

"Le désert de la peur [Along the Great Divide]: Un western policier." Le Parisien libéré, 2430 (June 7,

1952), 2,700 characters.

film analyzed: Désert de la peur (Le), a.k.a. Une corde pour te pendre/Along the Great Divide, Walsh,

Raoul, 1951.

"Désir d'amour [Easy to Love]." Le Parisien libéré, 3233 (February 2, 1955), 2,000 characters.

film analyzed: Désir d'amour/Easy to Love, Walters, Charles, 1953.

"Désirs Humains [Human Desire]: La bête humaine vue par Fritz Lang." Le Parisien libéré, 3369 (July

12, 1955), 3,500 characters.

film analyzed: Désirs Humains/Human Desire, Lang, Fritz, 1954.

films cited: Bête humaine (La), Renoir, Jean, 1938; Pépé le Moko, Duvivier, Julien, 1937; Cas-

bah/Algiers, Cromwell, John, 1938; Thérèse Raquin, Carné, Marcel, 1953.

"D'Est ou d'Ouest: Le cinéma allemand n'apporte rien de nouveau." Le Parisien libéré, 3936 (May

8, 1957), 2,400 characters.

films cited: Rose/Rose Bernd, Staudte, Wolfgang, 1957; Maison de l'ange (La)/La Casa del angel, Torre-

Nilsson, Leopold, 1957; Jugement dernier (Le), Chanas, René, 1946; Deux Aveux/Két vallomás, Keleti,

Márton, 1957; Ils aimaient la vie/Kanal, Wajda, Andrzej, 1957; Pour le roi de Prusse/Der Untertan,

Staudte, Wolfgang, 1951; Frères Karamazov (Les)/The Brothers Karamazov, Brooks, Richard, 1958;

Vie (Une), Astruc, Alexandre, 1958; Rideau cramoisi (Le), Astruc, Alexandre, 1953; Mauvaises

rencontres (Les), Astruc, Alexandre, 1955; Petit Carrousel de fête (Un)/Körhinta, Fábri, Zoltán, 1955.

directors cited: Pagnol, Marcel; Guitry, Sacha; Welles, Orson; Kazan, Elia; Logan, Joshua;

Allégret, Marc; Renoir, Jean; Olivier, Laurence; Rouleau, Raymond.

"Le Destin exécrable de Guillemette Babin." Le Parisien libéré, 1424 (April 13, 1949), 850 characters.

film analyzed: Destin exécrable de Guillemette Babin (Le), Radot, Guillaume, 1948.

"Destination Gobi: La marine mène à tout." Le Parisien libéré, 3268 (March 15, 1955), 1,700 charac-

ters.

film analyzed: Destination Gobi, Wise, Robert, 1953.

"Destination Lune

[Destination Moon]." Le Parisien libéré, 2060 (April 27, 1951), 1,300 characters.

film analyzed: Destination Lune/Destination Moon, Pichel, Irving, 1950.

124

"La destinée de Marina

[Sudba Mariny]: L'ambitieux puni." Le Parisien libéré, 3169 (November 19,

1954), 1,800 characters.

film analyzed: Destinée de Marina (La)/Sudba Mariny, Ivchenko, Victor, and Shmaruk, Isaak, 1954.

films cited: Moisson (La), a.k.a. Le retour de Vassili Bortuikov/Vozvrashchenie Vasiliya Bortnikova,

Pudovkin, Vsevolod, 1953; Été prodigieux (Un)/Shchedroe leto, Barnet, Boris, 1951.

"Destinées: Des hauts et des bas." Le Parisien libéré, 2923 (February 4, 1954), 1,700 characters.

film analyzed: Destinées, Pagliero, Marcello, Delannoy, Jean, and Christian-Jaque, 1954.

film cited: Fanfan la Tulipe, Christian-Jaque, 1952.

"Deux comédies américaines révèlent le héros malgré lui Eddie Bracken: L'escadre est au port

[The

Fleet's In

] et Le Héros malgré lui [The Great McGinty]." Le Parisien libéré, 1584 (October 17, 1949), 700

characters.

films analyzed: Escadre est au port (L')/The Fleet's In, Schertzinger, Victor, 1942; Héros malgré lui

(Le)/Hail the Conquering Hero, Sturges, Preston, 1944.

director cited: Keaton, Buster.

"Deux crimes de l'amour: Mina de Vanghel et Le rideau cramoisi." Le Parisien libéré, 2642 (March 12,

1953), 3,800 characters.

films analyzed: Mina de Vanghel, Clavel, Maurice, and Barry, Maurice, 1953; Rideau cramoisi (Le),

Astruc, Alexandre, 1953.

director cited: Anouilh, Jean.

André Bazin

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André Bazin

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