Extra Long Brushed Nickel Curtain Rods

Week-end a Kyushu, Japan

Link to photo album -> here

Saturday, December 5, 2009

Program:
- Singapore flight - Fukuoka
- Bus Fukuoka - Kumamoto
- Bus Kumamoto - Aso

arrived at 7am by Singapore Airlines international terminal at Fukuoka, the main hub Kyushu, now I need to wait nearly 4 hours before Kayo not join me.

I am one of many shuttles liaison between the domestic terminal and international terminal from where the metro. Fukuoka Airport is indeed ideally positioned just 5 minutes from Hakata station in downtown Fukuoka.

I put my suitcase in a locker at the airport (300-500 yen) before taking the subway to Gion station where a small group of temples. The cold weather is striking and rather dull. I begin by Tocho-ji. The small wooden pagoda is under renovation, so I walk up Shofuki-ji which is also under renovation ... the colors of tree leaves will remain the sole interest of my visit. It starts raining, I continue however to Rakusuien representing no interest.

Hardened and rather disappointed by this initial introduction, I returned to the domestic airport Starbucks, a place of rendezvous with Kayo. We lunch on the 8th floor of a shopping mall adjacent to the 3rd floor and go down to take a bus to Kumamoto (2hr, 2000 Yen / person).

arrived in Kumamoto, we leave our luggage at the set up before walking Kumamoto-jo. It is 17:15, the Castle closes at 17h. Then we walk on Ginza street, a small replica of the Tokyo neighborhood of luxury. It takes a coffee before returning to the station. The train to Aso left only 19.30, fortunately we managed to catch the last bus 18.30 to Aso (1:30, 1010 Yen / person).

We miss the station and it's finally in the middle of the campaign is to phone a taxi to take us to the Arden Hotel (21850 yen) Aso. The Arden Hotel is a Ryokan so it's a delicious dinner and traditional Japanese futon plush ahead. As usual, to wash themselves, a stint at the Onsen (Bath public) is required.


Sunday, December 6

Program:
- Ascension Naka-dake
- Bus Aso - Kumamoto
- Bus Kumamoto - Kumamoto port
- Kumamoto Ferry Port -
Shimabara - Shimabara Bus - Unzen City

Today is a great day, we are only a few kilometers from a group of 5 volcanoes Eboshi-dake (1337m), Kijima-dake (1321m), Naka-dake (1506m), Neko-dake (1408m ) and Taka-dake (1592m). Naka-dake is the only active volcano on the group and it is a cable car takes people almost to the crater.

For now, it's 7am and the weather is rather overcast. After a Japanese buffet for breakfast, we go back to pack our bags, check-out is at 10am in Japan. We then took a taxi to the cable car station (20 minutes, 3900 Yen). The resort is surrounded by a dense fog instead. It still takes our tickets (1000 yen aller-retour/personne) and are only two in the cabin. Yet it is a good twenty people waiting to warm up there. Access to the crater is blocked due to the excessive concentration of sulfur around the crater. To make matters worse, we do not see most of the time not more than 10 meters and icy gusts come relieve the bushes of snow fell overnight. This day will prove to be the coldest since the beginning of winter. We stayed there for nearly an hour, trying to take advantage of ephemeral holes in the fog to see the surrounding landscape. The crater left him completely invisible and is therefore out of spite that we take a taxi to the Arden Hotel. These first two days in Kyushu are quite catastrophic. A picture of Mount Fuji, you need a good dose of luck to benefit from favorable conditions in the Japanese mountains.

After a short siesta, we take a taxi to the bus station (5 minutes, 620 yen). It takes a bus to Kumamoto (1:30, 1010 yen). After a hearty breakfast (rice + Katsu + soba), it finally makes the visit Kumamoto-jo Castle. Built in the early seventeenth century by Kato Kiyomasa, it was destroyed in 1877 during an assault against rebel samurai. So it's a replica, rebuilt between 1960 and 2008, we visit (500 yen / person). A picture with a Ninja and a Samurai is needed for itself.

then taken a bus to Kumamoto port (1 hour, 1000 Yen / person) before taking a ferry to Shimabara (30m, 1000 Yen / person). They expect the last bus to Unzen (40min, 740 yen / person). Arrived in Unzen City, we went in search of a restaurant, our hotel did not have. Walking down the street, we found a small shop vacuum of all clients. An omelet and fried rice later and we take a taxi (20 minutes, 3000 Yen) for the Q Hotel Kamara. The room is a replica of yesterday's Ryokan, traditional Japanese dinner and less. The price is also more "modest" for Japan, 4000 yen per person. After a stint at Onsen, I gaze at the stars in the sky, generally a sign of good weather for tomorrow.


Monday, December 7

Program:
- Cable car to Myoken-dake
- Ascension Fugen-dake
- Bus Unzen city - city
Obama - Obama City Bus - Nagasaki


Sunrise 7am. As expected, the blue sky and sun are waiting for you. We take the buffet breakfast, take our suitcases and take the car away. It takes us across from the bus station in an office that organizes the tour for the Unzen volcano. Unzen volcano is composed of four major volcanoes: Heisei Shinzan (1483m), Fugen-dake (1359m), Myoken-dake (1333 m) and Kunimi-dake (1347m). Heisei Shinzan is a new lava dome from the last eruption most of 1991, which killed forty people. However, we can not reach. To get near, we must reach the summit of Fugen-dake.

We wait only 5 minutes before the 9am shuttle takes us there (20 minutes, 430 yen per person per trip). We pay the round trip and head to Nita Pass the cable car station. It bought our tickets (1200 yen aller-retour/personne).

The cable car takes us to the top of Myoken-dake. A few steps take us in 5 short minutes to the observatory. Kayo has not provided we would do a "little" trek, it will take me a little about fifteen minutes to convince her. Floor small suede boots clearly not appropriate for a trek, however, she follows me for a walk to the summit of Fugen-dake and a return to Nita Pass on foot (usually 2 hours). The beginning of the trek climbs moderately for 20-30 minutes. Then descends through a wooded valley. The path is well signposted. The ascent to the summit is rather steep. We finally found a few meters of lava cone Heisei Shimzan. A slight smell of rotten eggs after a few fumaroles of the cone caressed our nostrils.

It then descends and turn left at the sign that marks the foot the summit. About forty minutes and we are back at the bottom of Nita Pass. The tour will last approximately 3 hours instead of the usual 2 hours. I take this opportunity to pull a hat off to Kayo. Much softer than the volcanoes I could climb, the ascent of Fugen-dake is difficult for a non-athlete, especially if he has not adapted shoes.

We lack the shuttle for 10 minutes. As it happens every couple of hours, we need to order a taxi. There will therefore be paid in return for a cable car and a return bus that finally we will use it. The taxi (1800 Yen) brings us back to the office of Unzen City. In the restaurant next door, you can taste the local specialty of Nagasaki, the Sara Udon (crispy noodles with seafood) and some dumplings.

then collected our bags and take the bus from 14:30 to Obama City (30 min, 530 yen / person). This city was made famous by supporting the candidacy of Bush. It is famous for its many onsen Kyushu, public baths. You enter into a Ryokan and spend an hour in the Onsen (500 yen / person). After a stroll along the beach, we go to the tourist office where we sign a petition to bring the president Obama Nagasaki to relaunch the debate on the nonproliferation of nuclear weapons. We then take the bus to Nagasaki 16:30 (1:20, 1550 Yen / person).

arrived in Nagasaki, it arises in a cafe to find things to do in this hour, almost all of the attractions being closed for 17h. We decided to go to Inasayama, a hill with lovely views of Nagasaki. The cable car does not work, we must take a taxi. Fifteen minutes and here we are before a long balcony with only a few meters are not blocked by trees. The taxi meter has blocked its time to take some pictures. He intends to take us to Megami Bridge, also known as Venus bridge, which would seem to be a very romantic corner of Nagasaki. He promises a discount at the end of the trip. It even stops in the middle of the bridge so that we can walk along the bridge. The counter is at 8000 yen when we return to Nagasaki Station. The discount of 1000 yen seems small but it gets no better, ca be expensive night photos.

We share dinner on the 5th floor of the station (soba, raw tuna and rice). We take the tram to the station and go up Ourakaigandori Hotel Monterey Nagasaki. As in any large Japanese city, the hotel room is much smaller than those of the two previous nights.


Tuesday, December 8

Program:
- Visit
Nagasaki - Nagasaki Bus -
Fukuoka - Fukuoka Tower

We turn to the Japanese buffet breakfast and pay for the room (4,300 yen / person). At the counter of the hotel it also buys a pass for a day of unlimited public transport (500 yen / person). So we take the tram to Megane-bashi Bridge also called Entertainment. It is a bridge with a reflection on the water, nothing exceptional but it is pretty.

It then walks to the museum of history and culture Nagasaki (1200 yen / person). We learn the history of maritime trade and Nagasaki in Japan in particular. Nagasaki was the only port in Japan authorized to maritime trade with countries outside Asia. Holland remains the main trade partner of western Japan.

It then walks up to the epicenter of the bomb represented by a small monument black. We also visited the museum of atomic bomb (200 yen / person) which instead focuses on a description of the damage caused by the bomb, whether at the level of the beam, or the blast of radiation. Most damage is concentrated on three km but The blast was felt up to 15km radius. We finally ended by the Peace Park and some statues.

We return to Nagasaki Station. Just time for breakfast on the run (Takoyaki and hamburger) and we take the bus from 14:15 to Fukuoka (2 hours, 2250 Yen / person). Arrived at the bus station in downtown, you do not have much time to visit. It takes time for a coffee before Kayo escort to the airport to 18.

I then take the subway to Nishijin. I deposited my luggage in a locker and I walk a little twenty minutes to the Fukuoka Tower. Dressed in his coat of Christmas, the Fukuoka Tower measuring 234 meters but the observatory (800 yen) is only 123 meters high. Unfortunately behind glass, with views of the Bay of Hakata and Fukuoka City offered to me. It is almost 21h when I leave the tower. I only have a Mac Donald's at hand, it will do the trick. I find difficulty with Nishijin station, get my suitcase and went to KKR Hotel (3990 yen) located 2 minutes from Odori Station Yaksin.


Wednesday, November 9

Sunrise 6:45. I take the subway to the airport after a transfer to Fukuoka Tenjin. It is just under 8 am when I am waiting patiently for the plane that will take me back to Singapore.

Budget: 60.000 to 65.000 yen / person

Link to photo album -> here

Arch Supports For Ice Skates

Week-end a Mabul & Kapalai, Borneo

Link to photo album -> here

Thursday, November 26

Friday being a holiday, we are a small group to go to Sipadan in Malaysian Borneo part.
Flights Air Asia Singapore-Tawau leave Thursday and return on Tuesday, not practical if you do not want to ask holidays. We must therefore pass through Kuala Lumpur before taking the morning flight to Tawau.
2 options open to us: to fly Singapore-Kuala Lumpur or take a night bus. We choose the first option and so it's a crazy night on the dancefloors Malaysian available to us.

arrived at the airport in Kuala Lumpur, it was after nearly an hour taxi that we reach the city center (KLCC) where the Petronas Towers. Then we go on Jalan P. Ramlee or are most of the bars of KLCC. We stop at Padi House Restoran which, as its name does not indicate, is a bar / box outside. Very nice, it reminds us a little of our Double 0. It takes a few drinks before trying our luck on the 8th floor Jalan Bintang Lot 10, Rootz, which also prove a very good place, a little less local than the Padi.

JB joined us there, and after a McDonald's late night, we sleep in the airport before our flight to 7am.


Friday, November 27

Arrive Tawau, a minibus picks JB. We took the opportunity to embed it for 50 MYR for 2 instead of 95/100 MYR for a taxi. In Semporna, after trying unsuccessfully to take the same boat of JB, we will office at Uncle Chang's. One would pay the sum of 840 MYR covering 2 nights (and food) and the 2-boat trips Semporna Mabul. After 1h

ship, we finally arrived at Mabul. He is 14h. The buffet breakfast is cold but it will do.

At 15:30 we go snorkeling for a small loan from the Water Village Resort, on the other side of Uncle Chang's. Many Trumptefishes of Damsels, .. but unfortunately no turtles, lionfish ... We forgot to rent fins and the water is somewhat cloudy. After half an hour, a big Titan Triggerfish gives us the final push to return to the beach. Already with palms are not sheltered from a good bite, then without fins is a suicide mission.

After dinner, served around 19h, we join our friends at Smart Divers Dive Resort for a few games of cards. From Sipadan diving well, they saw turtles, sharks and rare species throughout the day. The only undesirable species appear to be the sand flies on the beach of Sipadan.


Saturday, November 28

Sunrise 8am, I leave for a little snorkeling in the same place as yesterday. Nothing exceptional, the same fish as the day before, and the water still a bit cloudy. Note that some jellyfish roam. The boat was leaving at 11:45 Kapalai, he will leave after lunch.

schedules boats from Uncle Chang's are:
- Boat for diving and snorkeling at Mabul: 9h, 11h and 15h. (Free! Same time we can go to the place on foot in 5 minutes)
- Boat Kapalai: 11.45 (40 MYR per person, 10 minutes by boat).

We therefore arrive at Kapalai, a small village of houses built on stilts in the middle of a coral reef. The water is clearer, still much less than water Bunaken / Manado, but hey it is not in the good season. Found to Kapalai fish much larger than those of Mabul. There will be some Bluefin Trevally and Red Mangroove Snapers. By cons, there are lots of small jellyfish everywhere so it's with the red belly and arms that we go to Uncle Chang's.

It made a sprite little break before returning for a snorkel on Mabul. The same small fish that day, still no turtles.

We return to Uncle Chang's, where the atmosphere is always festive. The staff is nice, customers are Caucasian, some others have juggled out guitar style ... backpackeur. After dinner

will join us as our companions for our last evening on the island.


Sunday, November 29

Sunrise 8. We are able to negotiate a charter boat to Kapalai at 9:30-10am. Arrived, having become expert in the area, we head immediately below the piling where the big fish sit in the sunlight. I spend the most time behind a bank of Trevally, fish and parrots Foxfacefishes. Note that there was no jellyfish.

is 14h when we take the boat to Semporna (1h) and the car to the airport Tawau (1h).


Major expenditures:
- Tawau airport taxi - Semporna: 100 MYR
- housing Uncle Chang: 60 MYR / person / night
- boat "special" Semporna - Mabul (excluding commuting): 300 MYR
- Mabul trip - Kapalai: 40 MYR / person
- Rental fins: 15 MYR / person / day

budget for 2 persons for 3 days: 1100 MYR


Contact
- Uncle Chang's: Tel: 6089781002, 60178950002, 6089781988

email: unclechang99@hotmail.com


Cards



Link to photo album -> here

What Is The Model Of My Snowboard

Luke MOULLET

Moullet is Courteline reviewed by Brecht
Jean Luc Godard

Tierra Madness
Luc Moullet

Wednesday, November 18 at 20:30
PREVIEW in the presence of Luc Moullet

Cannes 2009 / FID Marseille 2009

You know Truffaut, Godard, Chabrol, Rohmer Moullet ... No?
between black humor and absurdity systematism, Luc Moullet book a delightful docudrama about madness in the Southern Alps.

Moullet, the child's country director and then became a critic in Paris, landed on his home region a second look, according to jet set to work in his films. Deadpan narrator and laugh maladroit, il s’adresse à ses spectateurs face caméra, débutant son recensement morbide avec le triple meurtre commis par un de ses aïeuls, paysan en rogne après qu’on ait déplacé sa chèvre de quelques mètres sans l’avertir. S’ensuivent témoignages des autochtones, reconstitutions champêtres et techniques d’investigation redoutables : on plante des punaises sur une carte de la région et y tend un élastique, pour délimiter un « pentagone de la folie ».

Fréquemment comparé par les journalistes à Jacques Tati (même penchant pour un humour décalé built on the systematization and the absurdities of everyday life), Luc Moullet opposes a strong argument: that the comic is based on the practice floor. Then browse to the image, still, a handful of cows harmless Moullet Assen a monotone worthy of a regional JT: "a place conducive to crime." True to his method, which leads the individual to the general ("I conclude that it is more likely to be murdered by a madman when working in a place exposed as La Poste), the director films the bloody evidence in pastoral setting, working again the figure of shift and putting in motion the same death as the most banal event that either.

Asked about his ambition to make people laugh with tragedy, we cite as examples the films of Chaplin and Lubitsch on Nazism or misery, before adding: "Talking about death, c ' is the ultimate for a comic filmmaker, because it's about the most dramatic ever. But it's also a way to stay alive. "That will be enough for the Earth is suspected of madness from being a pretext for exerting effective method, the Moullet.

Born in 1937 and cinephile from an early age, Luc Moullet between the Cahiers du cinema to eighteen years alongside Truffaut Rivette, Godard, Chabrol and Rohmer. He is the author of a policy actors and essays on Bunuel, Lang and King Vidor. He made his first film in 1960. From 1966 he became an actor at the same time a producer (of his own films but also Eustache or Duras). To date he signed thirty-eight films of all sizes, from short to long film, and all kinds. All are connected by a gold wire and Ariadne, stretched from end to end: the comic. It is presented as the only comic filmmaker of the New Wave, he simply put his view of humanity and society around him to reveal the faults. The film has many historians but few geographers. Luc Moullet is one.

Luc Moullet lends itself to game film analysis of one of his favorite movies, "The Fury of Desire," a masterwork, directed by King Vidor in 1953, which describes the desire broken by the ambition social.

The work of Luc Moullet film is a maverick independent, malicious and facetious, half-way (traverse or Scrub) between the DIY amateur (the musician and inventor of instruments Patrice Moullet who did the music for several of his films is his brother) and smuggling in acrobat professional (on the thin wire stretched between thin budgets and daring projects). The true diversity of this work in terms of shapes, sizes and genres, is made of alternating over forty years of short and feature films, documentaries and fiction iridescent film genre iconoclasts, testing more or less autobiographical and object lessons and unusual practices. Because it is at the bottom here to carry on all fronts a lively and sharp critique of contemporary society radiographed in its most intimate, tiny and insignificant aberrations. And all this takes place according to principles which are economically cinematographic system and D is the most imaginative and aesthetically scholarship cinephile's finest. Such an approach is thus increased by a singular artistic apparently not as the only equivalent in the field of comedy and piercing distanced observation that in the films of Luis Bunuel, Jacques Tati and Otar Iosselliani (all these artists share in also a sense of inherited frontal silent film that is capable of turning into a real comic literalness). Indeed, are convened in the same generous impulse Luke Moullet hyper-careful approach of the real decline in frontal series of descriptive and incongruities and zany slapstick resulting the literal own this record even mania. A film by Luc Moullet, so it all together so strangely and so rigorously disciplined funny (and vice versa), an economy that is not expensive for an anthropology combined with a punctilious pataphysical socially devastating (and Luc Moullet, as his Alfred Jarry master creator of Ubu is an avid bicyclist who is not afraid to say: "The bicycle is the culture, and the car is barbarism").




Over hill and dale: long and short many rare, all precious

Let's talk first chain of mountains that form the feature films (fewer than short) and see how they look despite diverse we are dealing with a single coherent constellation. On the documentary, Anatomy of a report (1975) book boldly analysis sex of the author himself and his companion (the storyteller Antonietta Pizzorno) at the time of the unleashing of film X, while Genesis of a Meal (1978) unfolds into the South chains of capitalist production and consumption of foods that end up in the stomach of the director. As for fiction, this "grotesque western" (says the critic Jacques Siclier) What An Adventure of Billy the Kid (1971) with Jean-Pierre Léaud parody the clichés of a kind considered by moviegoer pointed up or well or blow them up, when his side's Comedy Labour (1987) likes to overflow and eventually scuttle the alien ideology of the value of working together with its bureaucratic management that is the ANPE (to which filmmaker was repeatedly recorded during her periods of Need).
Valley of short films (made easier when the financing feature is experiencing some difficulty) in fact provides a forum for demonstrations of the incisors Luc Moullet. Indeed, these lessons materialistic things settle on a documentary and a priori, a fortiori, rather realistic, with subjects in everyday life the most analyzed with any methodological rigor already surprising, but more such machines the unstoppable force quickly reach critical to leak and spikes protrude almost surreal, electrifying and enlightening, resulting in an ingenious work of undermining the arbitrariness on the concrete of our social conventions. My first in breaststroke (1981), Luc Moullet self-analysis by dissecting his "Aquaphobia.

In Bars (1984), the director shall prepare an inventory of the finds fraudsters face broke the iron discipline of the porticoes of metro inventory that owes as much to Jacques Prevert to his own experience as a user of the RATP. In opening test (1988), director fight valiantly against the recalcitrant capsule bottles of soft drink known worldwide with a spirit of Cartesian system so that it quickly turns to the absurd. The whole art of Luc Moullet is then set to play the game of logic with a priceless sense of humor (humor but a tongue-in-cheek, a cold humor, the filmmaker shares with Buster Keaton and Aki Kaurismäki ) in order to disrupt the trap by taking his own reasoning mind. Ambition, in fact extreme here, is indeed to the weakening of the base of our social habits rationalist curled up on themselves as ossified and, in fact so reassuring to strength never to be questioned. We are dealing with an original form of anthropological analysis, half serious and half comic, fun and head-literally amused, human behavior, such as The Empire Rover (1986), applies to dogs' anthropomorphism of the delusional of their masters, and, in the seats of Alcazar (1989), sees the face of feelings agreement and disagreement between a cinematic tastes boy critic for Cahiers du Cinema and a girl after magazine Positif enemy during the 50s. It is a mapping of the rigidities of our social structures lined with a type (or rather what might be called a "archétypographie" So faced with archetypes bounded screwing our cultural practices), an equally rigorous and accurate strict mocking, which addresses both the biting AERROPORRRT OF ORRRRLY (1990) to noise pollution on the deafening air traffic in the explosive The Cabal of Sea Urchins (1991) to mining which produced dumps, or in the more combative Always (1994) to supermarkets that have replaced the movie theaters. or in the satirical Foix (1994) in this county Ariege considered the most "cheesy" of France.




Luc Moullet, filmmaker singular plural

But Luc Moullet, living critically opposed to all systems of thought fossilized, just does not make films like the brilliant Finds Geo- imagine all his wacky inventions. For this man singular and plural has several other hats: actor, including (in many of his films and also in Pascal Kane and Laurence Ferreira-Barbosa, for example), but also occasional producer (for The Pig by Jean Eustache and Nathalie Granger Marguerite Duras), course review (since the glory days of Cahiers du Cinema from 1956 when he for example has never ceased to defend the underrated film of Cecil de Mille), and then logically meticulous essayist (about cinema of Fritz Lang or personal gesture of four major Hollywood actors - Gary Cooper, Cary Grant, John Wayne and James Stewart - in his book Politics of actors). Like many other filmmakers of the Nouvelle Vague (Jean-Luc Godard, Francois Truffaut, Claude Chabrol, Jacques Rivette ...), Cahiers du Cinema serve as a stepping stone to reach completion, which will be done with three short films decisive (A steak overcooked in 1960, Black Earth in 1961 and Capito? in 1962 in three stages, three key themes of work moulletienne already proposed, namely hunger, mountainous geography, communication failed). Then follows, in 1966, the first feature film by Luc Moullet, Brigitte and Brigitte, producing tiny but economically capitalize on that of the inventive film, which can be recognized, along with heroines almost twins (played by Frances Vatel and Colette Descombes), Eric Rohmer, Claude Chabrol, Samuel Fuller, Andre Techine and the director in person will become discrete onset recurrent home. The following smuggler in 1967, hilarious picaresque planted on an unlikely Franco-Mexican (!) While elsewhere one can canoe from the Alps to reach Boulogne-sur-Mer (!).



If you do not bike or mountain ...

critic and friend Jean Showalter said wisely Luc Moullet that "it is funny in the sense that we say a funny guy or a funny argument. There is no home of beautiful images, nor ostentatious camera effects. At its simplest, as soon as possible, at right to see what there is to it. " What meets Luc Moullet himself, stating: "I'm through being burlesque helpless and I think there is real comedy on serious subjects." This adds further by quoting one of the greatest classic Hollywood directors, Ernst Lubitsch, "the best thing for players to learn to shoot is to shoot the mountains. As I am not sure to know how to film the actors, I continue to film the mountains. " The Human Rubin made by the friend Gérard Courant in 2001 is logically a portrait filmed in the Alpes de Haute Provence where exactly Luc Moullet was born in 1937 (he turns most of his films, there is the cool and draws force of his inspiration). And the latter telling them the crazy adventures What's been several shootings anticipates what is currently in his last film date (The Prestige pending death scheduled for early 2007), The Wayward D 17 (2002), a kind of summary virtuoso and generous the whole work, which starts as a true documentary (with a voiceover telling the incompletion of learning the construction of the Departmental No. 17) and then quickly turns into delirium with, among others as the film is disheveled, a team of Cinema blocked on the set of a western mountain as broke as an adventure of Billy the Kid, a paranoid group of military who believe that the armies of Saddam Hussein invaded France at the time of the first Gulf War 1991, a smart horse trader who helps out with his cows and some cars stuck in the quagmire he has dug himself to win some money, an irascible champion race car (hilarious Bouchitey Patrick), whose appalling sexism does not prevent it from being loved by his young novice co-pilot, and finally a shepherd faun (and therefore necessarily renoirien) very friendly all women in a state of idleness sentimental.




The gay persevering scholar

Despising human absurdities (Too Human), social contradictions and cultural Hermeticism, doctor in search of symptoms most fun comic of our civilization way saturation of accumulation and commodification, cheerful and relentless adventurer whose film is paradoxically synonymous with economic marginality of centrality in terms of artistic importance (emphasized by Jean-Luc Godard and Jean-Marie Straub, Jacques Rozier, and Jean-Francois Stevenin, Alain Guiraudie and Philippe Ramos) simultaneously and mountain bicyclist, humorist and anarchist, burlesque and clinician, primitive and modern, materialist and libertarian as well as economic terms of production as that of the prodigal imagination worked in fact the body by this impulse and elementary principle of all that is hunger (his great subject, and more universal as was noted by critic Serge Daney), Luc Moullet is this filmmaker who knows persevering against comica saw his practical reason for the comedy of Pure Reason supposed to legitimize the nonsense and vices of our Preserved in its complacent society.

Saad Chakala

Labeled Trebuchet Plans

Eastwood 3 Films

Eastwood in three films






Man High Plains

With: Clint Eastwood, Verna Bloom, Marianna Hill

Death Wish magnet use the whip returns to avenge the population of a city.

Produced by his company, Malpaso -, directed by and starring Clint Eastwood's High Plains Drifter is a fascinating film copyright. Become his own director and signing for the first time a Western, Eastwood begins by referring to the works of Sergio Leone to help get rid of this cumbersome analogy. The stranger who arrives in Lago, taciturn, sniper and unshaven, like the characters priori Eastwood played under the direction of Italian director. The resemblance ends there, and Eastwood leaves carefully hovering doubt on the identity of the rider alone. Is he the brother of Duncan? Is it the ghost of the latter, who, having cursed the inhabitants of Lago, returns to avenge them? Is the angel of death himself came to Lago to remind everyone's responsibility in the murder of Duncan? [Unlike the original, more ambiguous, the French version states, in the end, the FJ is the brother of Sheriff Duncan]. Lago is also itself a strange city. Eastwood was built by fifty-six workers during eighteen days on the shores of Mono Lake, in northern California,
a lake renowned for its water ten times saltier than the sea of actors and technicians have lived through the shooting at the edge of the lake, carrying out strictly following the script, which ends with the burning of most homes of the city. Hence the obligation to stage in continuity.

The arrival of the Stranger will change the habits of this small town whose population is composed only of adults - we do not see children - linked together by a collective criminal responsibility. Violating the one that caused, affecting an attitude weary face Belding's wife, the Stranger will humiliate the people he despises, without stripping them they can say anything and doing their scapegoat dwarf the sheriff of the place. As if the will of the destroying angel was not obvious enough, it will force them to paint their town red, the naming itself "Hell". Having killed his opponents whipping, hanging and Pistol, the Stranger will leave as he came in a mysterious halo. The unmarked grave in which lies the tortured body of Sheriff Duncan has a name ...
Playing on both the originality of the decor - each wall Lugo each house could be moved as required by the shooting - on the beauty of photography of Bruce Surtees, also adept at highlighting the red flames of the houses that destroy them at the end, and music - voluntarily and falsely inspired by Ennio Morricone,
Eastwood handles the humor and derision (dwarf and promoting dialogue between the Foreign and Mrs. Belding be seen), and fear the rise of violence, without ever indulging in the latter always justified and necessary. Rewriting the subject in its own way - the train whistle three times - the man alone, betrayed by a city and facing powerless, yet alone, in the off-the-law he wanted, the future filmmaker turns Pale Rider here the most troubling parable, a parable whose story is highlighted in red blood.
Patrick Brion.

Perfect World

1993, 2:15

With: Clint Eastwood, Kevin Kostner

During the kidnapping of a young boy by two escaped, one of two men discovered a paternal fiber.

is the story of a guy who was perfect in special education, but lack of pot life has been an offender. There is another guy who thinks he is a vigilante who is unalterable and a sheriff existential disarray. It is a police officer who gives birth to a melodrama about the painful and impossible filiation between males. Clint Eastwood became melancholy and sentimental, old age is the time it takes to make an accurate assessment of his mistakes. This Perfect World (1993) works as a mea culpa, critical look at its own character and causes espoused since Dirty Harry.

It is 1963, shortly before the assassination of JFK. A prisoner (Kevin Costner, very very good) escapes and takes a boy hostage. Eastwood, face weathered by age and bitterness, his eyes more and more depressed and distant, as caught by doubt, is conducting a manhunt that appears increasingly absurd, for n 'have no place. The child is in fact not in danger. The assumed gross and the innocent are found as father and son hand, lack of brothers anyway. The leak, in this case the protected area of a stolen car launched between past and future (the stops are dangerous, this is prohibited), their therapy is urgent, a daydream in the teeth of reality. Road movie, crazy vehicles (mobile home high tech bulky), repulsion / attraction between a macho and a female intelligent eastwoodienne detestation for boors of all kinds and unfathomable desire for redemption, neoclassicism attractive packaging is known. The trick here is an idea that the narrative structure and has both the virtues and the meaning of poetry. The confrontation between fugitives and pursuers is so remote it is ousted. Thus depriving themselves of any means to act, Eastwood locked in a sheriff's powerlessness that is about the film. It was easy to be a great avenger and inaccessible, it's another thing to protect kids two freewheel, so abandoned as they are stolen. this moral reckoning with himself and with the fucking American dream, the filmmaker filming only as a codicil stealth, but it is the issue that hovers over a perfect world and to remain so quiet until at outcome, gives the film its gentle weightlessness and allows them to welcome death as a new spring.
Isabelle Potel

Million Dollar Baby

2004, 2:12

With: Clint Eastwood, Hilary Swank, Morgan Freeman

boxing coach Frankie Dunn is back in action when the young Maggie Fitzgerald pushes the door of his gym.

Here is a great American story, a dark meditation, an elegy and dry where twilight lyricism seems to produce the thought that lies behind. Like all great American film, is essentially an action film or, more exactly, a film about the action, like any fiction Hollywood now knows who legatee of an inheritance and memory and which must both incorporate the weight of the past and reflect a present undecided. Is not this always been the project director Eastwood: find a lost unity, merge classicism and modernity, purifies and mannerism?
Million Dollar Baby is needed very quickly as one of the vertices of a work made many short films that ambitious projects. We witnessing a miraculous synthesis of history and mythology, the perfect symbiosis between the bottom (a very nice script by Paul Haggis from news of FX Toole) and shape, whose contours are blurred respective superbly .
is a voiceover that opens the story and comment regularly, that of a narrator who rubs shoulders with the real main character, which one can say he shows great reluctance to get himself fully into the film. This voice is that of overhanging Eddie (Morgan Freeman), a former boxer became the handyman and friend of coach Frankie Dunn (Clint Eastwood), the reluctant hero. It tries to train future champions in his gym. There is an irrational caution: Frankie hesitated so long to hire a boxer in a championship he was stung by the most skilled business manager than him.

PASSING OF A SELF
The two men have so much of their lives behind them, at least they pretend to live with it. They no longer feel the tremors at a distance of a sport here transformed into a veritable metaphor for the action, as the vital principle and aesthetics, as a way to change his environment and to affirm its existence. Until Maggie makes irruption in Frankie lives. This meeting is straining the isolation and inertia of a man who spends his time reading poems by Yeats and trying to learn Gaelic. Maggie trains in his room and harassment to become his coach in an attempt to transcend its own condition. Now Dunn is reluctant as he feared that the stock price, who knows the burden of liberty, fearing that doing so is "being done". It objectively aging hero of a film by John Ford (a contemplative who does everything to avoid doing) to become one convicted of a Howard Hawks film (a technician who would know to serve a functionalism effective gestures and behaviors). Because the decision to lead the young woman will force the man to shoulder the responsibilities of his decision.
Million Dollar Baby is the first story of an apprenticeship, a transmission, also a filial relationship of substitution which gives the story an inevitable key psychological (Dunn became angry, many years ago, with his own daughter and he sends weekly letters that are inevitably returned). That is, a priori, a static diagram, that of a quest for victory, a transcendence according to the precepts of the same fiction Hollywood individualism, which seems to apply. Yet here, the path premeditated things, the laws of a story all the more determined he has taken his time to deploy (Maggie finally confronts an opponent for the world championship in Las Vegas) will experience a turning point sudden and unexpected. The disaster therefore questions the choice and consequences, action and danger, chance and moral responsibility. The melodramatic twist that is now tearing the film comes together, well beyond the vain concerns about the porosity of genres, the very nature of what is really exist a film character.

act, the hero of Million Dollar Baby, throw it in the world and expose it to light his young gifted boxing. The chiaroscuro contrasts and cut and carve the faces of the protagonists regularly remind us that the films Eastwood is constantly haunted by the prospect of a disappearance of the human face. This is the consequence of an inability to maintain the old stories. It is also an expression of anguish in the face of the obvious: there is no choice but action.
It has always been the driving force of American cinema, which has nurtured his mythological dimension as much as what determined the aesthetic model that has imposed the world. It certainly has been the subject of questioning when a certain modernity has touched Hollywood, but it remains the essential principle of fiction. It is in the action that the American hero is beyond any contingency. The film returns to Fitzgerald's phrase, quoted also highlighted by Bird, his biography of Charlie Parker, that "there is no second chance for an American hero." The main character in Million Dollar Baby experimenting with stoicism and resignation almost sublime metaphysical imperative, that of an "everything must be accomplished" religious confirms that this is absolutely obvious: for an American hero, be it done and do is be. Jean-François
Raug

Penthouse Read Online

TONI

Toni

Jean Renoir

France, 1934, 1:25

With: Charles Blavette, Jenny Helia. .

Out with the film studio turned at the time, Toni figure precursor film made of neo-realism. Financed by Marcel Pagnol Martigues filmed without background music, using as secondary characters and locals, the scenario is also based on a true story, which reinforces its documentary aspect.

Monument Renoir's career, Toni is not yet his most famous film. Back on a masterpiece.

When he realizes Toni in 1934, Jean Renoir dixit itself undergoes a phase of extreme realism. One of those recurring periods in his biography where only subtle seams real important to him. After several business failures in which he suffered multiple setbacks with producers and distributors, Renoir, just to recharge, invests the south of France and plateaus of his friend Marcel Pagnol who just finished Angela. Renoir picnic to the creator of Marius part of its technical team, some of his players and chose to film a truly sordid news story: the story of a murder committed by a woman unhappily married to a foreman Verreux. But what is primarily interested in Renoir's Toni, is painting a mixed environment that Martigues, Provence where immigrants from southern Europe came to try their luck. The film exudes a familiarity with the place and its inhabitants, without the need to chat beyond measure of 'real life that feeds the shooting. "

Toni rital Aboriginal wife Mary, but it likes to tear the heart Josepha the Spaniard. Renoir browses the way and not really addressing the structural melodramatic script only half the film before, temporal ellipses of rare for modern times have wound up with merciless rigor romance doomed by social determinism . For Renoir, that season, the key is elsewhere.

He needs eg film men on the way to work, listen with your eyes the wind caress the scrubland, everything is going to pan, just to set the show in the changing nature ... This scrupulous attention to minute variations of the real and obvious love for the working class was born the legend Toni justified, "film precursor of Neorealism." In fact apart Grémillon we hardly find any trace in the cinema franchouillard prewar such a manic desire to record for best transcend the spectacle of objective reality.

But if Toni remains an absolutely remarkable film, is also compared to Renoir. Echoing the reasons already at work in previous films jealousy and murder recall fishwife The Bitch, love the banter and some secondary characters refer to Boudu, Renoir concocted in mixtures of formal Toni who will feed his great films to come: movement of the train that the circular structure of fiction will be included in The Human Beast, the camera moves after the players in the maze of nature Announce Party campaign and work on ladders plan anticipates the finale of The Great Illusion ...

historically Film fundamental and very revealing of the practice of the filmmaker in the 30's, Toni, like all Renoir recalled silly string lacks the clothes yet never intimidating the great work. Here, everything is as simple as a handshake fraternal and transparent as the light-drenched Provençal sun. Nothing but trivial magnified by the staging. More than ever, Renoir endorsed the award of Flaubert on literary practice: "Being present everywhere but visible nowhere." Like the great Gustavus, arabesques of John the boss means inimitable art of love of reality.

O. de Bruyn

Biography / Filmography / Resources

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the footsteps of TONI

Swollen Knees From Driving

PSYCHOSIS

Psycho
Alfred Hitchcock
USA, 1960, 1:49
Starring: Anthony Perkins, Janet Leigh



Psycho thriller fierce, persistent nightmares, is a work eminently retina. A black hole that sucks the viewer's eye into a vortex hopeless. Typically, fatality Hitchcock is gearing logic. Here, it is inevitable organic collapses on itself so absurd. The sequence inaugural plunge almost "arbitrary" in the hotel room where Marion Crane and Sam Loomis have ébattus, fixed from the outset this dynamic spiral.

telluric The horror of Psycho, magnified by the faithful musical collaboration of Bernard Herrmann, compounded by the gaming power of Anthony Perkins, is also enormously to the benefit of Janet Leigh. Minor actress of the 50s, icy beauty as the Hitchcock liked, she emerges here a magnetic sexuality and ambivalence, but without offering us more than what the situation requires. It has often been said that the magic Black's shower scene is the result of a learned emotional cocktail in the viewer, between its desire / pleasure of seeing the naked heroine and terror caused by the surprising burst.
The shower scene, concentrated in 45 seconds, is the fruit of seven shooting days. She would need 70 different shots. It is a festival of subliminal manipulation that devastates the subconscious with its own weapons: horror spectral shearing music, after a nightmare. And we must add, aesthetic virtuosity of each plan, exceptional timing of each effect. Psychosis is not a masterpiece because it is appalling, but because it is frighteningly beautiful.
Marc Autret

Rarely film was also completed in structure and rich in its thematic and psychosis. Just to be convinced, to question this masterpiece through the interactive network that links in images, scenery, music, characters and words

Analysis of the film by Henri Philibert-Caillat.

click on the document:

Sequence Analysis of the murder of Arbogast in Psycho, by the master himself "...
(André S. Labarthe, Cinema Cinemas)





Janet Leigh recalls filming the shower scene
(Philippe Garnier and Claude Ventura, Cinema Cinemas)




The Music of Bernard Herrmann

In 1955, Bernard Herrmann Alfred Hitchcock meets the director who will remain as key a career was booming, the bucolic and enigmatic The Trouble with Harry (The Trouble with Harry?, 1955), embodies their debut. The Man Who Knew Too Much (The Man Who Knew Too Much, 1956) - which contains the famous scene in the concert hall where he directs the orchestra itself, The Wrong Man (The Wrong Man, 1957) - Movie generic enough to jazzy, romantic Vertigo (Vertigo, 1958), the dynamic North by Northwest (North by Northwest, 1959) at the beautiful love theme, especially Psycho (Psycho, 1960), which was written for strings only (and whose influence will forever mark the history of music film) will be as milestones essential and indispensable in their fruitful collaboration.

1000 Photo Film :

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Alfred Hitchcock / Gus Van Sant

In 1998 Gus Van Sant takes the Alfred Hitchcock film shot by shot. Far from the vanity of a simple remake, Psycho is perceived more as a reflection on the perception of things, on the impregnation in the imaginary, on the memory.

The shower scene in Alfred Hitchcock
and in Gus Van Sant


(click photo)

montage of the shower scene:

Film Analysis:

click on the poster


Hitchcock Truffaut
Conversation on Psycho


click on the photo



FILMOGRAPHY:

Interview with Francois Truffaut who presented his book "Hitchcock movies as"

BIBLIOGRAPHY :



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In Additions
Media Louis Aragon

Games Workshop
Games Hoc Inquiry
Wednesday 23 and Saturday, September 26, 2009
14h - Room meetings - Target young
On entry to home : 04 42 80 27 97

Workshops Film
"The small factory chiller"
workshop production of a short animated film on
the theme of fear and suspense ,
led by Sylvain Coupet (director)
Monday 26 to Friday, October 30
from 9am to 12 noon and 1:30 p.m. to 4:30 p.m.
Hall Conte - Reservations
Public Child ( 6-9 years, 10-12 years)

"Pieces of suspense! "
assembly workshop from certain sequences
of Hitchcock's films.

The objective will be to work on specific sequences from a Hitchcock movie.
Trainees must, from a sequence "dismantled", recreate, in their way by doing the installation. This is an opportunity for them to realize from an example of the importance of editing and its role in a movie. A professional editor
accompany youth plans for handling the editing software, movies Jean Renoir will guarantee the film analysis.

Monday 26 to Wednesday, October 28
from 9am to 12 noon and 1:30 p.m. to 4:30 p.m.
Forum - Target young
On reservation