"Two or three years ago I felt that everything had been done. "In my opinion the cinema should be more poetic," Godard told Cahiers du Cinema in 1965. He experimented with video editing, sound editing, 3-D, and smearing colors. Typically shunning traditional forms of editing, composition and music, Godard would regularly break the fourth wall, using stylized dialogue and off-handed delivery, suggesting the actors were self-consciously aware of being in a film, watched by an audience. As critic Roger Ebert noted, "Godard depends on us to do the heavy lifting." The film became an international success – a breath of fresh cinematic air – and began a string of Godard movies that were more blatantly political, and more esoteric, than those of his contemporaries. It was a hybrid of Continental and Hollywood styles that paid homage to Godard's hero Howard Hawks, while also reveling in an untethered narrative.
A fan of such giants as Alfred Hitchcock, Godard was an advocate of the "auteur" theory behind filmmaking, in which a single vision (usually the director's) aimed all facets of filmmaking through their personal lens.Īfter making a documentary and several shorts, Godard directed his first feature, "Breathless (A Bout de Souffle)" (1960), a brisk, dark comedy shot on the streets with a handheld camera, starring Jean-Paul Belmondo as a petty thief and Jean Seberg as an American ex-pat. The director of such classics as "Breathless" and "Weekend," and the recipient (though begrudgingly) of an Honorary Oscar from the Academy of Motion Picture Arts and Sciences, Godard's narrative tricks and his weaving of personal observations into his films would inspire younger generations of filmmakers, including Martin Scorsese, Brian de Palma and Quentin Tarantino.Ī contributor to the French film journal Cahiers du Cinema in the 1950s, Godard and several like-minded film buffs began making their own films, founding what came to be known as the French New Wave ( Nouvelle Vogue) – works that reinvigorated staid, traditional forms of motion picture storytelling and eschewed the artifice of Hollywood. | AFP via Getty Imagesįrench-Swiss filmmaker Jean-Luc Godard (December 3, 1930-September 13, 2022) was a lightning rod for film fans and critics since his emergence as a founding member of the French New Wave movement. In 1992, starring in a production of "Medea" in Barcelona, Papas evoked the mystery of acting: "I don't know if I am living memory, or a ghost that encourages."įrench director Jean-Luc Godard filming a Paris demonstration, May 6, 1968.
Her recordings included collaborations with Mikis Theodorakis, Aphrodite's Child, and one of that band's founding members, Vangelis. Of her stage work she was particularly celebrated for Greek tragedies, appearing on Broadway in "Medea" and "The Bacchae." Among her films were "Tribute to a Bad Man," The Brotherhood," "Z," "Anne of the Thousand Days," "Christ Stopped at Eboli," "Mohammad, Messenger of God," "Chronicle of a Death Foretold," "Lion of the Desert," "Captain Corelli's Mandolin," and the miniseries "Moses the Lawgiver."
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She appeared in more than 80 movies and TV programs, from classical tragedies ("Antigone," "Electra," "The Trojan Women," "Iphigenia") to Walt Disney family fare ("The Moon Spinners"). Greek actress and recording artist Irene Papas (September 3, 1929-September 14, 2022) became an international star with her roles in the films "The Guns of Navarone" and "Zorba the Greek." The Associated Press contributed to this gallery. | Rino Petrosino/Mondadori via Getty ImagesĪ look back at the esteemed personalities who left us this year, who'd touched us with their innovation, creativity and humanity.īy senior producer David Morgan. Greek actress Irene Papas in Venice, 1970.
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