Par dela la victime
(Par dela la victime by J. Doniol-Valcroze - Cahiers du Cinema 7, December 1951)

<<In paths that no one had trodden risk your steps.
In thoughts that no one had thought risk your head>>.
LANZA DEL VASTO

In this same issue Pierre Kast analyses Bunuel's work at length and determines the place Los Olvidados occupies in it. We will not, therefore, return here to the whole of this work, nor to the portrait of its author,…

Stupidity as an object of art
(La bêtise, object d'art by Jean-Louis Tallenay - Cahiers du Cinema 6, October-November 1951)

The varieties of stupidity are innumerable. And if there were fewer fools in the world, it would be much less funny, as Jules Romains wrote somewhere, who was not a khâgneux for nothing. One can also think the opposite. But one cannot fail to admire the perfection of the kind of stupid doll Born Yesterday presents us. The play by…

L' hélice et l'idée by Eric Rohmer (Cahiers du Cinema, March 1959, N° 93)

Itself, by itself, solely ONE everlastingly, and single. – Plato

We would have gladly pardoned Alfred Hitchcock for following the austere The Wrong Man with a lighter work, more of a crowd pleaser. Such was perhaps his intention when he decided to bring the novel by Boileau and Narcejac, D’entre les morts, to the screen. Now, the esoteric nature of Vertigo, so they say, repelled Americans.…

Eric Rohmer: 'The Land of Miracles'

('La Terre du Miracle', Cahiers du Cinema 47, May 1955, written under his real name, Maurice Scherer)

The term 'neo-realism' has become so debased that I would hesitate to use it in relation to Viaggio in Italia if Rossellini hadn't in fact claimed it himself. He sees this film as embodying a 'neo-realism' that is purer and deeper than in any of his earlier films. At least that was his comment to one member…