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Entries in Jacqueline Bissett (3)

Monday
May142018

Smackdown '70 Companion Podcast Pt 1: "MASH" and "Airport"

Nathaniel R welcomes Mark BlankenshipDan CallahanDenise GraysonLena Houst, and Bobby Rivers to talk 1970 at the movies

Pt 1 (35 minutes)
You've read our takes on the five Supporting Actress nominees of 1970, now let's talk the movies they're in. On the first half of the podcast we discuss "cheese with wings" Airport (1970) and what it wrought at the movies and the Oscars. Who was the MVP among its actresses: Helen Hayes? Maureen Stapleton? Jean Seberg? Jacqueline Bisset? We then turn our attention to another smash hit M*A*S*H (1970) and both its modern filmmaking and its misogyny.

You can listen to the podcast here at the bottom of the post or download from iTunesContinue the conversations in the comments, won't you? 

Pt One: MASH and Airport (1970)

Tuesday
May302017

Part Two: 70 Best Gowns of the 70th Cannes Festival

Nathaniel R delivering your very last Cannes 2017 post *sniffle* If you missed Part One, that's here featuring Andie Macdowell, Eva Longoria, Michelle Yeoh, Berenice Bejo, Juliette Binoche, Kristin Scott Thomas, Isabelle Huppert, Fan Bingbing, Monica Bellucci, Uma Thurman and more. A few of those ladies show up again in Part Two!

70 BEST GOWNS OF CANNES 70 
(Part One: 36-70 / Part Two: 1-35 is after the jump)

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Sunday
Jul272014

1973 Look Back: The End of the New Wave, the Beginning of My Cinephilia

The team is looking back at 1973 as we approach the Smackdown. Here's Amir with a personal history...

the first known photo of this famous cineaste pair. Before they were filmmakers. [src]Jean-Luc Godard and François Truffaut were the poster boys of the French New Wave, its most recognizable faces. Their friendship that had begun in the 1940s had carried them through all their years at Cahiers and into their directing careers, was evidenced by Godard’s adoration of Truffaut’s The 400 Blows and the latter’s providing the story for his friend’s first film, Breathless. Their early writings manifest the division they had from the beginning about their outlook on the mechanics and politics of cinema. Nonetheless, their friendship continued even through the fraught days of political disagreement in 1968; but no further than 1973. Truffaut’s Day for Night (La Nuit Americaine) was an unforgivable crime in Godard’s eyes, and the latter’s disapproval of the film was a massive act of hypocrisy in Truffaut’s.  They were to never see each other again, and only after Truffaut’s death did Godard find nice words to say about his old friend.

It’s easy to see why Day for Night made Godard’s blood boil. It’s as conventionally constructed a film as one can expect from a nouevelle vague filmmaker, an unashamed love letter to Hollywood and cinema itself – and with an Oscar in its cap, no less. By this time in his career, Truffaut had already been branded a sellout by some and would continue to be called as such. He had, in the opinion of some of the New Wave’s proponent’s, become the very cinema he criticized in his youth. There was no political edge to Day for Night; no radical revision of how the medium operates. It was “a lie,” thought Godard. Some of those accusations might be true, but there is another truth that isn’t mentioned as often: this is an incredible film.

When I first watched Day for Night, I was 19. It was in the days when Toronto’s Bloor Cinema wasn’t yet devoted to screening documentaries. It was a cheap, dingy but friendly gathering place for the neighborhood’s elderly and University of Toronto’s students. [More...]

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