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Cannes Classics & 1968 Upheaval

CANNES CLASSICS 2008

Martine Carol in Lola Montes

Synopses/intros from the Cannes Film Festival press release.

Main event: LOLA MONTÈS by Max Ophüls

The Technicolor restoration of LOLA MONTÈS, directed by Max Ophüls in 1955, is to have its world premiere, presented by the Cinémathèque française, on Saturday May 17th.

Documentaries about cinema

NO SUBTITLES NECESSARY: LASZLO & VILMOS (2008,105', USA) by James Chressanthis. A documentary that tells of the journey and friendship of Laszlo Kovacs and Vilmos Zsigmond, the famous directors of photography from Hungary, who contributed to the golden age of Hollywood in the 70's and 80's.

THE CINEMA CINEMAS COLLECTION (104', France, 1980-1990) by Claude Ventura. Two episodes chosen from the many hours of programmes filmed in the '80s.

“YOU MUST REMEMBER THIS”: A HISTORY OF WARNER BROS” (120', 2008, United States) by Richard Schickel

The programme will be accompanied by a “Warner screening” every night at the Cinéma de la Plage, including a one-off “Looney Tunes” event which will show off the Burbank company at its cartoon best.

A selection of 9 new or restored prints

GUIDE by Vijay Anand (1965, 179', India)

LOLA MONTES by Max Ophüls (1955, 115', France)

EFFECT OF GAMMA RAYS ON MAN-IN-THE-MOON MARIGOLDS by Paul Newman (1972, 100', USA)

LET'S GET LOST by Bruce Weber (1988, 120', USA)

SANTA SANGRE by Alejandro Jodorowsky (1989, 123', Mexico)

ORPHEE by Jean Cocteau (1949, 93', France)

FINGERS by James Toback (1977, 90', USA)

GAMPERALIYA by Lester James Peries (1965, 105', Sri Lanka)

THE SAVAGE EYE by Ben Maddow, Sydney Meyers, Joseph Strick (1960, 71', USA)

1968: 40 years on

In 1968, the Festival was interrupted a few days after opening due to events linked to the social uprising of the time. By showing a few of the films which were not able to be screened that year, we will provide an active and fun nod of recognition to the 1968 Festival – in the presence of Carlos Saura whose film Peppermint Frappé was the one on which the curtains came down on the Festival that year.

PEPPERMINT FRAPPE by Carlos Saura (1968, 92', Spain), in the presence of Carlos Saura

13 JOURS EN FRANCE by Claude Lelouch (1968, 115', France), in the presence of Claude Lelouch, presenting a restored copy.

ANNA KARENINA by Aleksandr Zarkhi (1968, 145', USSR)

THE LONG DAY'S DYING by Peter Collinson (1968, 95', United Kingdom)

24 HOURS IN THE LIFE OF A WOMAN by Dominique Delouche (1968, 80', France), in the presence of the director.

David Lean Centenary (1908-1991)

THE PASSIONATE FRIENDS (1949, 91', United Kingdom)

THIS HAPPY BREED (1944, 114', United Kingdom)

IL ETAIT UNE FOIS… LAURENCE D'ARABIE (2008, 52' , France) by Anne Kunvari

Kawakita Memorial Film Institute

The Kawakita Institute promotes Japanese films at festivals, in museums and at centres for culture around the world. Under the Kawakita umbrella there is a library, a museum and an annual prize that is awarded to a person or company that has helped the development of Japanese film.

The centenary of the Kawakita Memorial Film Institute will be celebrated with the screening of Seijun Suzuki's film, ZIGEUNERWEISEN (1980, 145', Japan)

World Cinema Foundation: second year, second harvest.

The World Cinema Foundation is a non-profit-making organization that was created to help developing countries maintain their cinematographic treasures. Presided by Martin Scorsese, it asks different film-makers each year to sponsor the restoration of a film.

SUSUZ YAZ (Dry Summer) by Metin Erksan (1964, 85', Turkey) – film presented by Fatih Akin

HANYO by Kim Ki-young (1960, 109', Korea)

TOUKI BOUKI by Djibril Diop Mambéty (1973, 88', Senegal)

Cinéma de la Plage: Carte Blanche to Warner Studios

DIRTY HARRY by Don Siegel (1971, 102') (restored copy)

I AM A FUGITIVE FROM A CHAIN GAING by Mervyn LeRoy (1932, 93')

WHAT'S UP, DOC? by Peter Bogdanovich (1972, 94')

BONNIE AND CLYDE by Arthur Penn (1967, 112') (restored copy)

ENTER THE DRAGON by Robert Clouse (1973, 110')

BLAZING SADDLES by Mel Brooks (1974, 93')

CAPTAIN BLOOD by Michael Curtiz (1935, 120')

MATRIX by the Wachowski Brothers (1999, 136')

WHATEVER HAPPENED TO BABY JANE? by Robert Aldrich (1962, 134')

“LOONEY TUNES” COLLECTION (1936 – 1957, 71')

Cannes 1968

Geoffrey Macnabs "The Day Cannes Burned," a highly entertaining look back at Cannes 68, in The Independent:

"Film-makers occupied the festivals Grande Salle, partly to prevent screenings and partly to hold a prolonged, open-ended debate. Imagine a cinema about the size of a medium Odeon, the British journalist Peter Forster wrote of the scenes inside the theatre. It is packed with people shouting and screaming. Nearly 100 people are milling around on the stage, trying to grab the all-important microphone. Gradually, directors began to withdraw their movies from competition; jury members resigned; critics fled town. The London Evening Standard couldnt resist invoking the memory of Madame Defarge in Charles Dickens A Tale of Two Cities: Films roll like heads. Such is the guillotine atmosphere that some of the womens eager faces look as if they were expecting the free distribution of knitting needles.

"The comparisons with Paris during the 1789 Revolution werent that far-fetched: this was a very French uprising. Every shade of lunatic-fringe opinion democratically though often to derisive hoots and howls had its moment," the International Herald Tribune reported of the marathon debate in the Grande Salle. There were moments of high comedy: when the festival organisers attempted to show Carlos Sauras Peppermint Frappé, starring Geraldine Chaplin, the actress, together with [François] Truffaut, clung to the curtain to try to prevent it rising and stop the screening, but were soon hoisted in the direction of the ceiling. The mechanically controlled drapes began to move and the audience was amazed to witness the protesters literally swing from the sashes, Henri Behar wrote in his history of the festival."

 

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1 Comment to Cannes Classics & 1968 Upheaval

  1. Lola Brigitte

    I wonder if this will be THE restoration. It's certainly not the first.