1
00:00:30,917 --> 00:00:35,501
Your obstinacy to see this
film is incomprehensible.
2
00:01:02,751 --> 00:01:07,417
If you had wanted to see Griffith's
"Intolerance" for example,
3
00:01:07,667 --> 00:01:11,376
which is an authentic
masterpiece of cinema...
4
00:01:37,542 --> 00:01:42,292
But Lemaître's film has no
aesthetic nor ideological value.
5
00:01:42,459 --> 00:01:46,292
It's just a boring jumble
of commonplace ideas.
6
00:02:24,834 --> 00:02:26,876
What shit!
7
00:02:55,417 --> 00:02:58,709
Aren't you ashamed to
want to see that?
8
00:03:35,126 --> 00:03:40,167
Couples should consider the
price of a hotel room instead.
9
00:04:08,292 --> 00:04:12,292
You're really crazy to want
to watch that!
10
00:05:36,667 --> 00:05:41,501
HAS THE FEATURE STARTED YET?
11
00:05:53,501 --> 00:05:57,334
Sound engineer:
12
00:05:57,709 --> 00:06:03,584
With the faces and voices of:
13
00:08:48,917 --> 00:08:52,709
This film is dedicated to
Jean-Isidore Isou, who will be
14
00:08:52,876 --> 00:08:56,709
always, towards and against all,
he who will come.
15
00:09:23,084 --> 00:09:30,251
Has the Feature Started Yet?
16
00:09:41,292 --> 00:09:44,959
Maurice Lemaître wonders
why he made this film.
17
00:09:45,792 --> 00:09:49,459
Isn't it a totally
absurd enterprise?
18
00:09:49,834 --> 00:09:52,917
Already, as a child,
he would hide in his bed
19
00:09:53,084 --> 00:09:55,084
besieged by darkness.
20
00:09:55,251 --> 00:09:58,917
Lying in a coffin whose
rough boards bruised his elbows,
21
00:09:59,667 --> 00:10:01,751
shredding noises like flesh,
22
00:10:01,917 --> 00:10:05,334
his brain gurgling empty
like an unclogged sink,
23
00:10:05,501 --> 00:10:10,584
he searched horrified for signs
of a useless, bland life
24
00:10:10,751 --> 00:10:14,376
with no "arc de triomphe"
at its end.
25
00:10:14,542 --> 00:10:19,292
He was rotting alive in this
carriage of gilded feet.
26
00:10:19,917 --> 00:10:21,459
He was surrounded by
27
00:10:21,626 --> 00:10:24,834
the works of men,
changing each morning.
28
00:10:25,001 --> 00:10:28,959
The names of these men were
gasped from reluctant mouths
29
00:10:29,126 --> 00:10:32,292
like the hiss of
a punctured balloon.
30
00:10:32,626 --> 00:10:35,459
The new conquerors
trample the elderly
31
00:10:35,626 --> 00:10:40,251
who cast sudden watchful glances
as they struggle and strive
32
00:10:40,417 --> 00:10:43,834
to save their pensions
and avoid a forever
33
00:10:44,334 --> 00:10:47,334
worrisome retirement.
34
00:10:47,626 --> 00:10:52,334
Maurice Lemaître mused over his
death in the same banal way...
35
00:10:52,709 --> 00:10:55,626
Like a million other imbeciles
he thought:
36
00:10:56,251 --> 00:10:57,917
"I don't want to die!"
37
00:10:58,292 --> 00:11:00,167
Millions of those guys die.
38
00:11:00,376 --> 00:11:03,792
Then the obituaries say
they "are no longer."
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00:11:04,001 --> 00:11:05,501
We should complain
40
00:11:05,667 --> 00:11:08,834
instead that Mr. or Mrs. Smith
"never were."
41
00:11:09,459 --> 00:11:11,876
But when someone
impressive dies,
42
00:11:12,042 --> 00:11:14,584
his remains are hastily
gathered in fear
43
00:11:14,751 --> 00:11:17,001
and he is proclaimed to be
still living.
44
00:11:17,626 --> 00:11:20,376
Years and years go by
45
00:11:20,542 --> 00:11:22,876
and his name is endlessly evoked
46
00:11:23,042 --> 00:11:26,251
with sacred fervor and trembling,
47
00:11:26,417 --> 00:11:28,792
standing stiffer to attention
48
00:11:28,959 --> 00:11:32,626
than a subordinate in front
of his superior.
49
00:11:33,001 --> 00:11:36,292
Mediocrity calls for a scalpel.
50
00:11:36,459 --> 00:11:40,126
It attracts insults
degrading to our purity.
51
00:11:40,292 --> 00:11:43,459
Maurice Lemaître has
slowly learned that
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00:11:43,667 --> 00:11:46,167
centuries are reduced to
a few names.
53
00:11:46,542 --> 00:11:50,834
On this earth
no one has lived but
54
00:11:51,126 --> 00:11:53,709
Socrates, Dante, Joyce!
55
00:11:53,876 --> 00:11:57,501
But if passions die, the world
has one implacable law
56
00:11:58,251 --> 00:12:02,542
one absolute determination:
the law of creation.
57
00:12:03,126 --> 00:12:07,834
In this, the little idiot,
Maurice Lemaître sees his chance
58
00:12:08,001 --> 00:12:09,876
for survival and salvation.
59
00:12:11,084 --> 00:12:15,542
Art, history and science
thus become painkillers.
60
00:12:15,959 --> 00:12:17,584
The author mocks these artifices
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00:12:17,751 --> 00:12:21,542
invented by men who cannot
admit to incongruous death.
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00:12:22,001 --> 00:12:23,917
But he needs these steps to
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00:12:24,084 --> 00:12:27,626
save himself from the grave
which his pride refuses.
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00:12:29,251 --> 00:12:32,542
At seventeen, in one of those
heathen temples
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00:12:32,709 --> 00:12:35,876
of the twentieth century
called movie theaters
66
00:12:37,667 --> 00:12:41,042
he dreamed of becoming
an important film director
67
00:12:41,209 --> 00:12:42,959
managing, in a loud voice,
68
00:12:43,126 --> 00:12:46,001
ten stars and
a hundred crew members,
69
00:12:46,167 --> 00:12:49,042
the almighty master
of these slaves,
70
00:12:49,209 --> 00:12:52,126
as they build the pyramid
of his Name.
71
00:12:53,834 --> 00:12:57,542
Since then, the author
has understood creation
72
00:12:57,709 --> 00:13:02,042
as the unique chance
to make a truly free gesture!
73
00:13:02,334 --> 00:13:07,167
That it's the only hard, white
marble in this black, muddy
74
00:13:07,459 --> 00:13:11,334
universe of filthy,
rotting stinking vermin... you!
75
00:13:12,126 --> 00:13:15,209
And if this film is like
what you will see,
76
00:13:15,376 --> 00:13:19,334
if it seems to its creator
like an unexpected offspring,
77
00:13:19,501 --> 00:13:22,709
the monster son of
a naive and romantic father,
78
00:13:22,876 --> 00:13:25,251
it is his unique possibility,
79
00:13:25,417 --> 00:13:28,042
the only means available to him
80
00:13:28,209 --> 00:13:31,251
to make a name in the
history of cinema.
81
00:13:32,501 --> 00:13:36,834
Lemaître knows, he can only
resolve his death by giving
82
00:13:37,001 --> 00:13:40,542
a unique meaning to his life
83
00:13:40,709 --> 00:13:41,709
in the meantime.
84
00:13:42,334 --> 00:13:45,001
He still has one more hope
85
00:13:45,167 --> 00:13:48,001
once expressed by Isidore Isou:
86
00:13:49,501 --> 00:13:54,084
"I treat masterpieces as
temporary moments because
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00:13:54,417 --> 00:13:56,334
if they were anything else
88
00:13:56,501 --> 00:14:01,126
they would not have left me
mortal and miserable.
89
00:14:02,626 --> 00:14:06,542
If these masterpieces and
their creators were pure beings,
90
00:14:06,709 --> 00:14:10,542
in themselves definitive
elements, they would have
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00:14:10,917 --> 00:14:15,209
already given me what I sought
between the lines,
92
00:14:15,376 --> 00:14:19,667
that which I discovered in
my books, which will be offered
93
00:14:19,834 --> 00:14:21,042
to everyone:
94
00:14:21,209 --> 00:14:24,001
immortality through
their own works
95
00:14:24,167 --> 00:14:26,584
and ultimately, actual
96
00:14:26,751 --> 00:14:29,751
immortality of their beings.
97
00:14:30,417 --> 00:14:34,167
Please inflict on me
what I inflict myself
98
00:14:34,334 --> 00:14:38,417
on the gods who preceded me
if I don't keep my promise.
99
00:14:38,584 --> 00:14:42,709
Let them leave me, young men
who seek themselves in me.
100
00:14:43,126 --> 00:14:47,376
Let them abandon me and
go farther and elsewhere.
101
00:14:48,709 --> 00:14:52,792
Let them treat me as desperately
as I treat books:
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00:14:53,084 --> 00:14:55,542
as a means and not as an end.
103
00:14:56,667 --> 00:14:59,209
All compositions that preceded
104
00:14:59,501 --> 00:15:02,959
cannot be accomplished
ends in themselves
105
00:15:03,126 --> 00:15:07,376
because they have not marked
the accomplishment of everyone,
106
00:15:07,542 --> 00:15:11,542
the final end, in grace,
of all humanity."
107
00:15:15,542 --> 00:15:17,376
Maurice Lemaître,
108
00:15:17,542 --> 00:15:21,584
one of the most cynical guys in
our contemporary world,
109
00:15:21,917 --> 00:15:24,959
one of the most chilling killers
110
00:15:25,126 --> 00:15:29,917
of modern sacrilege,
surpasses himself in new belief
111
00:15:30,709 --> 00:15:33,126
and swears to continue
112
00:15:33,292 --> 00:15:36,376
until death and beyond,
113
00:15:36,542 --> 00:15:41,167
in order to open
the messianic times.
114
00:15:43,042 --> 00:15:47,251
Gil J. Wolman!
115
00:17:08,709 --> 00:17:12,959
That was
"41 degrees and 5 seconds"
116
00:17:13,126 --> 00:17:16,376
by Gil J. Wolman.
117
00:17:30,292 --> 00:17:34,292
Here is how the
performance will unfold
118
00:17:34,459 --> 00:17:35,917
of Lemaître's film:
119
00:17:37,167 --> 00:17:40,667
a rose-colored screen
will be installed in front
120
00:17:41,042 --> 00:17:44,751
of the movie theater,
its neon lights turned off
121
00:17:45,292 --> 00:17:48,376
as soon as night falls
on the boulevard.
122
00:17:49,667 --> 00:17:52,959
For an hour before the film,
123
00:17:53,709 --> 00:17:58,167
an impassive projectionist will
screen classics of cinema
124
00:17:58,292 --> 00:18:01,292
like Griffith's "Intolerance."
125
00:18:03,084 --> 00:18:05,251
On the sidewalk in front
126
00:18:06,042 --> 00:18:11,126
of the theatre will be written
in huge yogurt white letters:
127
00:18:11,417 --> 00:18:14,917
"Here at 8:30"
128
00:18:15,084 --> 00:18:17,042
"Film show"
129
00:18:17,792 --> 00:18:21,667
with an arrow pointing
toward the ticket counter.
130
00:18:24,292 --> 00:18:26,376
Above the ticket counter,
131
00:18:26,542 --> 00:18:30,417
on the billboard,
a gigantic poster
132
00:18:30,584 --> 00:18:35,876
with no illustrations
will indicate the film's title:
133
00:18:36,042 --> 00:18:38,292
"HAS THE FEATURE STARTED YET?"
134
00:18:39,584 --> 00:18:43,709
Each side of the entry hall
will have photos under glass
135
00:18:43,876 --> 00:18:46,376
with images of the following:
136
00:18:48,917 --> 00:18:52,834
a) A kiss (in close-up),
it doesn't matter which stars.
137
00:18:55,292 --> 00:18:57,501
b) A skier going down a slope.
138
00:18:58,001 --> 00:19:01,876
The mountain where the shot was
taken pales in importance
139
00:19:02,042 --> 00:19:04,417
next to the foreground action.
140
00:19:07,459 --> 00:19:09,542
c) A shampoo ad,
141
00:19:09,709 --> 00:19:12,542
the brand is unimportant.
142
00:19:12,709 --> 00:19:17,459
A clip from an ad for a brand of
aperitif and sparkling water.
143
00:19:19,626 --> 00:19:23,876
d) The current French President
144
00:19:24,042 --> 00:19:28,084
dexterously laying bricks.
145
00:19:30,792 --> 00:19:34,751
e) Cowboys chasing Indians
on horseback.
146
00:19:37,959 --> 00:19:42,959
f) A step in manufacturing
buttons for men's underwear.
147
00:19:46,459 --> 00:19:49,417
g) An image from some cartoon.
148
00:19:53,667 --> 00:19:58,042
Although the film was announced
to start at 8:30,
149
00:19:59,542 --> 00:20:03,376
people will be made to wait
in line until 9:30.
150
00:20:05,292 --> 00:20:08,251
During the hour they wait
151
00:20:09,251 --> 00:20:11,376
dusty carpets will be shaken
152
00:20:12,376 --> 00:20:15,084
from the second floor above them
153
00:20:15,417 --> 00:20:19,792
and ice-cold water
will be poured over their heads.
154
00:20:21,209 --> 00:20:27,292
Those carrying out
this loathsome business will
155
00:20:27,709 --> 00:20:30,876
exchange insults with
particularly loud extras
156
00:20:31,376 --> 00:20:35,834
paid by the theater to mingle in
157
00:20:36,001 --> 00:20:37,209
the dense crowd.
158
00:20:38,292 --> 00:20:41,001
- Stop it or
we'll call the police.
159
00:20:41,334 --> 00:20:44,667
- That's good for your voice,
herring-skin,
160
00:20:44,834 --> 00:20:46,459
don't go to films then.
161
00:20:46,626 --> 00:20:48,084
- That's my business.
162
00:20:48,251 --> 00:20:50,709
- Fuck you.
- Come say that up here.
163
00:20:50,876 --> 00:20:54,251
- Why trouble myself for
a clod-head like you?
164
00:20:55,167 --> 00:20:57,209
Only at that moment,
165
00:20:57,959 --> 00:21:00,917
to avoid further scandal,
the theater doors
166
00:21:01,084 --> 00:21:04,667
will be opened violently by
another group of extras
167
00:21:04,834 --> 00:21:09,209
of all ages, in diverse attires.
168
00:21:09,876 --> 00:21:11,709
They will rush and form
169
00:21:11,876 --> 00:21:16,126
an excited crowd around the
box office, loudly exclaiming:
170
00:21:16,542 --> 00:21:19,376
- This film stinks.
- They're taunting us.
171
00:21:19,542 --> 00:21:21,501
- What the hell is going on?
172
00:21:21,667 --> 00:21:24,417
They will rush to
the screen outside
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00:21:24,584 --> 00:21:27,667
where Griffith's film
will still be showing.
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00:21:28,876 --> 00:21:32,126
They will watch attentively,
interrupting
175
00:21:32,292 --> 00:21:34,917
with noisy approval, such as:
176
00:21:35,084 --> 00:21:38,292
- This is real cinema.
- Should've watched this.
177
00:21:39,751 --> 00:21:42,167
The manager will end the scandal
178
00:21:42,334 --> 00:21:47,126
and will try to dissuade
the people in line
179
00:21:47,292 --> 00:21:49,626
from seeing the film.
180
00:21:49,792 --> 00:21:53,334
- You are out of your mind
to want to see this!
181
00:21:54,042 --> 00:21:56,501
...even insulting some couples
182
00:21:56,667 --> 00:22:00,084
- Listen, if you want I'll
give you some cash
183
00:22:00,334 --> 00:22:02,876
so you can pay for a hotel room.
184
00:22:07,126 --> 00:22:09,251
The same extras as earlier,
185
00:22:09,417 --> 00:22:13,001
will stop yelling at
the people upstairs and beg
186
00:22:13,167 --> 00:22:15,542
the manager to be allowed in.
187
00:22:15,751 --> 00:22:18,917
- Be nice, we just want
to know what it is.
188
00:22:19,501 --> 00:22:21,001
- What's the point?
189
00:22:21,167 --> 00:22:24,501
- Do you take us for idiots?
Now, after waiting...
190
00:22:24,667 --> 00:22:26,292
- There is no cashier.
191
00:22:26,459 --> 00:22:29,584
- It doesn't matter, I can
collect the money.
192
00:22:31,251 --> 00:22:35,667
After the debate, in a despising
and weary tone, the manager...
193
00:22:36,042 --> 00:22:39,001
- Oh, after all,
what do I care...
194
00:22:40,709 --> 00:22:43,251
...will raise his hands
in helplessness
195
00:22:43,417 --> 00:22:46,917
and slowly withdraw
to the projection booth.
196
00:22:47,959 --> 00:22:52,292
The shouts and exhortations
of the extras will follow...
197
00:22:52,584 --> 00:22:55,251
- Let's go. The film is free!
198
00:22:55,417 --> 00:22:57,292
- Get a seat quickly!
199
00:22:57,459 --> 00:22:59,667
rushing joyfully into the dark.
200
00:23:01,834 --> 00:23:05,209
The theater will be
plunged into blackness...
201
00:23:05,542 --> 00:23:07,792
- We can't see a thing! Lights!
202
00:23:08,459 --> 00:23:12,209
...and no usher will
show them to their seats.
203
00:23:12,917 --> 00:23:16,251
They will seat themselves in
great confusion...
204
00:23:16,417 --> 00:23:17,709
- Don't push!
205
00:23:18,126 --> 00:23:21,917
...they will jostle each other
in controlled mayhem...
206
00:23:22,709 --> 00:23:26,959
- Sit here, it's better!
- No, I'd rather sit in front!
207
00:23:27,126 --> 00:23:29,334
A fight with angry words...
208
00:23:31,584 --> 00:23:34,667
- Excuse me, but I
was here before you
209
00:23:34,834 --> 00:23:37,167
- You could be a bit more polite
210
00:23:38,001 --> 00:23:40,042
- Who do you think you are?
211
00:23:40,209 --> 00:23:43,917
Do you need the whole row?
- Idiot!
212
00:23:44,126 --> 00:23:47,167
- Repeat that and
see what happens, imbecile.
213
00:23:47,334 --> 00:23:49,667
...will start among the extras.
214
00:23:50,209 --> 00:23:52,292
As they bicker,
215
00:23:52,459 --> 00:23:56,501
cowboys and Indians will
chase each other on the screen.
216
00:24:01,167 --> 00:24:04,501
The screen will not be
a rectangular shape,
217
00:24:05,376 --> 00:24:08,792
but a strange form rendered by
218
00:24:08,959 --> 00:24:12,334
a certain number of
brightly colored fabrics
219
00:24:12,501 --> 00:24:15,667
partly covering it and
by different objects
220
00:24:15,834 --> 00:24:20,334
hung in front of it.
221
00:24:21,626 --> 00:24:26,459
These drapes and objects can be
set in motion by stagehands
222
00:24:26,751 --> 00:24:28,917
throughout the film.
223
00:24:30,959 --> 00:24:33,126
During the pursuit,
224
00:24:33,292 --> 00:24:36,292
the audience will continue
looking for seats.
225
00:24:37,292 --> 00:24:41,917
As soon as they are settled,
or almost settled, the words
226
00:24:42,126 --> 00:24:45,001
"The End" will appear
on this wild screen,
227
00:24:45,167 --> 00:24:47,959
accompanied by triumphant music...
228
00:25:11,334 --> 00:25:13,459
...and the room will light up.
229
00:25:13,626 --> 00:25:17,917
Immediately, the projectionist's
voice will be heard...
230
00:25:18,167 --> 00:25:21,584
- Audience members who
have already seen this film
231
00:25:21,751 --> 00:25:24,542
are requested to
exit the theater
232
00:25:24,709 --> 00:25:27,709
through the door
at the back right.
233
00:25:28,084 --> 00:25:31,626
Two janitors, one with a broom
and the other
234
00:25:31,792 --> 00:25:36,376
with a bucket of dirty water,
will walk into the room
235
00:25:36,751 --> 00:25:39,001
and begin their work, saying:
236
00:25:39,209 --> 00:25:41,542
- The bastards are smoking again.
237
00:25:41,709 --> 00:25:44,917
- They take the cinema
for a brothel! They hide
238
00:25:45,084 --> 00:25:46,459
in the dark.
239
00:25:47,167 --> 00:25:51,834
Finally, the janitors will
take their tools and leave.
240
00:25:53,209 --> 00:25:56,084
The manager, projectionist
and the ushers
241
00:25:56,251 --> 00:25:59,792
will enter wearing street clothes.
242
00:26:00,209 --> 00:26:02,584
- No and no! I don't want
243
00:26:02,751 --> 00:26:05,209
to project this film!
As a communist
244
00:26:05,376 --> 00:26:08,209
I refuse to aide
this American propaganda.
245
00:26:08,376 --> 00:26:10,417
- This story is starting to
get on our nerves.
246
00:26:10,584 --> 00:26:13,542
It's okay for
the swine who sees it once,
247
00:26:13,667 --> 00:26:17,542
maybe falls asleep, but
we have to see it all week...
248
00:26:17,709 --> 00:26:20,001
- All we fucking get here is
249
00:26:20,167 --> 00:26:23,876
varicose veins. Our tips are
forged coins, torn bills
250
00:26:24,042 --> 00:26:27,751
and boxer-short buttons.
And always bits of film,
251
00:26:27,917 --> 00:26:31,334
the ends, the beginnings,
nothing but spare parts!
252
00:26:39,334 --> 00:26:42,834
At that moment, a landscape
of dazzling sun
253
00:26:43,001 --> 00:26:47,917
will appear to the eyes of the
suddenly blinded audience, and...
254
00:26:50,751 --> 00:26:52,751
It was a winter evening
255
00:26:53,584 --> 00:26:55,834
of sickening black cream.
256
00:26:56,792 --> 00:27:00,084
November or December?
I don't remember very well
257
00:27:00,251 --> 00:27:05,417
because today it is buried in
the huge crater of faded memory.
258
00:27:06,334 --> 00:27:09,042
I had boots of mud and
rustling money,
259
00:27:09,209 --> 00:27:13,626
this joyous crackling
announcing new bills in the fist,
260
00:27:14,042 --> 00:27:17,542
confirming my desire for
the warm dampness,
261
00:27:17,709 --> 00:27:21,959
for the night, for the escape
from this diluvian reality.
262
00:27:22,251 --> 00:27:27,042
The only drug at hand then,
the only cheap morphine was...
263
00:27:27,376 --> 00:27:29,292
But why tell stories?
264
00:27:29,584 --> 00:27:33,251
These stories are always
the same; literature doesn't
265
00:27:33,417 --> 00:27:35,167
want them anymore.
266
00:27:35,334 --> 00:27:39,001
People tire themselves
uselessly inventing them.
267
00:27:39,209 --> 00:27:43,001
Serious people can be seen
stuffing themselves full
268
00:27:43,167 --> 00:27:46,917
of low-rank anecdotes with
a satisfied belch.
269
00:27:47,251 --> 00:27:50,001
Well, what then?
A young man, Robert,
270
00:27:50,167 --> 00:27:53,084
falls in love with
a young girl, Michelle.
271
00:27:53,292 --> 00:27:55,667
Where could I make them meet?
272
00:27:56,001 --> 00:27:59,084
Anyway, Robert does not want
to get married,
273
00:27:59,251 --> 00:28:01,834
feeling unsuited for marriage.
274
00:28:02,001 --> 00:28:05,084
Me neither. Furthermore, I...
275
00:28:05,251 --> 00:28:08,584
Michelle, however,
a beautiful, buxom redhead,
276
00:28:08,751 --> 00:28:12,834
though she plays hard to get,
dreams only of marriage.
277
00:28:13,084 --> 00:28:17,126
- Young woman, 22, sporty,
caring, domestic, unselfish
278
00:28:17,292 --> 00:28:22,001
good body, serious, Catholic
would like to meet and marry
279
00:28:22,167 --> 00:28:27,417
a distinguished, well-bred man
in good position. Reply to
280
00:28:27,584 --> 00:28:31,667
- Widow, 50, good in all aspects
with flat, would like to
281
00:28:31,834 --> 00:28:34,417
meet and marry a man in
good standing,
282
00:28:34,584 --> 00:28:37,209
tall, distinguished,
serious, learned.
283
00:28:37,876 --> 00:28:41,292
- Paris, 30, elegant, nice flat
would marry
284
00:28:41,459 --> 00:28:47,167
a smart, loyal, caring man
Standing not important.
285
00:28:47,334 --> 00:28:49,751
If not seriously interested,
abstain from replying.
286
00:28:50,209 --> 00:28:55,084
- All these women... What the
hell do I care about all this?
287
00:28:55,334 --> 00:28:57,709
Or better: a very young man
288
00:28:57,876 --> 00:29:02,209
spends a short holiday on a
fashionable beach. One day,
289
00:29:02,376 --> 00:29:05,751
in the blue water of the bay,
he meets a...
290
00:29:06,959 --> 00:29:10,542
With his stinginess, yes,
with his stinginess.
291
00:29:11,209 --> 00:29:15,584
He meets a charming woman with a
sexy name, Veronique, who is
292
00:29:15,959 --> 00:29:18,376
scarcely older than he is.
293
00:29:18,917 --> 00:29:20,917
How can you not fall in love?
294
00:29:21,251 --> 00:29:24,792
Yes, how can you not
fall in love with Veronique?
295
00:29:25,001 --> 00:29:29,876
Little pills, perhaps?
296
00:29:30,126 --> 00:29:34,751
Stuffs himself with fish soup,
the satisfied burp of a man.
297
00:29:35,459 --> 00:29:36,751
Or still:
298
00:29:37,334 --> 00:29:39,459
George has been married
299
00:29:39,626 --> 00:29:42,959
for six years to
a gorgeous woman named Suzanne.
300
00:29:43,209 --> 00:29:46,626
But he meets...
- Enough, enough!
301
00:29:47,542 --> 00:29:50,584
The screen will then turn
completely black
302
00:29:50,751 --> 00:29:54,376
and a man will climb up
on stage with a flashlight.
303
00:29:54,542 --> 00:29:57,667
Directing its beam
at different viewers,
304
00:29:57,834 --> 00:30:02,084
he will cry out:
305
00:30:02,501 --> 00:30:04,626
- What did you come here for?
306
00:30:05,751 --> 00:30:07,834
After this alarming remark,
307
00:30:08,251 --> 00:30:12,876
another individual from the room
will join him by saying:
308
00:30:13,042 --> 00:30:15,084
- That's what I want to know.
309
00:30:15,251 --> 00:30:17,417
What did I come here for?
310
00:30:17,584 --> 00:30:20,709
To sleep? To forget?
To forget what?
311
00:30:21,501 --> 00:30:26,084
And aiming the flashlight
at a couple,
312
00:30:26,334 --> 00:30:29,209
- and you are kissing,
you're petting.
313
00:30:29,376 --> 00:30:33,667
Ladies and Gentlemen,
the latest statistics show
314
00:30:33,834 --> 00:30:38,042
that X% of the audience is
under twenty years old,
315
00:30:38,459 --> 00:30:41,667
Y% between twenty and thirty,
316
00:30:41,834 --> 00:30:45,376
and Z% over thirty.
317
00:30:49,542 --> 00:30:51,126
I am really wondering...
318
00:30:51,792 --> 00:30:54,209
His elbow's beginning to bug me.
319
00:30:54,917 --> 00:30:59,001
To escape from this
diluvian reality.
320
00:30:59,501 --> 00:31:01,584
This wet rat smell.
321
00:31:02,292 --> 00:31:04,042
Ugly face.
322
00:31:04,251 --> 00:31:06,709
This smug and idiotic smile.
323
00:31:07,084 --> 00:31:10,042
There he is, embracing
the beautiful tart!
324
00:31:10,209 --> 00:31:12,167
- I love love stories!
325
00:31:12,709 --> 00:31:16,834
Love, complicity in baseness,
while falling, as said...
326
00:31:17,292 --> 00:31:20,376
The back door, with a sign
327
00:31:20,542 --> 00:31:25,334
"Projection room, do not enter"
will open and...
328
00:31:25,751 --> 00:31:28,917
- Mr. Lemaître, you've
forgotten the credits.
329
00:31:29,959 --> 00:31:33,501
- What? Who's the son
of a bitch...? Marcelle!
330
00:31:33,667 --> 00:31:36,126
Where did you put the credits?
331
00:31:36,292 --> 00:31:41,459
- The credits! The credits!
332
00:31:41,709 --> 00:31:43,001
- Silence!
333
00:31:44,292 --> 00:31:46,376
A long silence will endure.
334
00:31:58,584 --> 00:32:01,292
And where are
the stars in this film?
335
00:32:01,459 --> 00:32:03,042
Ladies and gentlemen,
336
00:32:03,209 --> 00:32:07,001
due to financial difficulties
facing French cinema
337
00:32:07,167 --> 00:32:10,501
and the great demand for stars,
we must inform
338
00:32:10,667 --> 00:32:14,292
our amiable patrons that
there will be no stars in...
339
00:32:14,459 --> 00:32:16,167
- OK, Albert, let's go.
340
00:32:16,917 --> 00:32:18,376
The wolf and the lamb.
341
00:32:18,542 --> 00:32:22,126
Master Crow, perched,
held a cheese in his beak.
342
00:32:22,292 --> 00:32:25,417
Master Fox came
for the odor... this language.
343
00:32:25,584 --> 00:32:27,584
- Got a light?
- Thanks.
344
00:32:27,751 --> 00:32:31,001
- Hello, how are you?
- Is your stop next?
345
00:32:31,167 --> 00:32:33,417
- Fine.
- Sorry, did I hurt you?
346
00:32:33,584 --> 00:32:34,667
- There you go.
347
00:32:35,209 --> 00:32:37,834
- Taxi, are you free?
- What weather...
348
00:32:38,001 --> 00:32:40,792
- Yes, it's brisk
compared to the summer...
349
00:32:40,959 --> 00:32:43,334
- What's the time?
- Waiter, beer!
350
00:32:43,792 --> 00:32:44,792
- How much?
351
00:32:45,167 --> 00:32:46,917
- A token, please.
352
00:32:47,459 --> 00:32:49,959
- Officer, where can
I find a cinema?
353
00:32:50,126 --> 00:32:51,501
By order.
354
00:32:52,001 --> 00:32:53,334
In line.
355
00:32:54,042 --> 00:32:55,709
Wait for police.
356
00:32:55,876 --> 00:32:57,667
- You haven't seen it all.
357
00:32:57,834 --> 00:33:02,042
- So I told him... what do you
think... I told him though...
358
00:33:02,959 --> 00:33:05,376
- You'll grow out of it.
359
00:33:05,584 --> 00:33:07,376
- And what do you do?
360
00:33:08,292 --> 00:33:13,042
In accordance with the law of
November 7, 1945, the audience
361
00:33:13,459 --> 00:33:16,292
is reminded that it is
strictly forbidden
362
00:33:16,459 --> 00:33:19,584
to smoke in the theater.
Thank you.
363
00:33:19,751 --> 00:33:22,209
- Come on. The cop is gone.
Hide it!
364
00:33:22,376 --> 00:33:24,917
Next week on this screen,
365
00:33:25,292 --> 00:33:30,084
you can see a story of love
and death, an unforgettable film
366
00:33:30,251 --> 00:33:32,917
set on the marvellous
island of...
367
00:33:33,084 --> 00:33:36,209
Tell me, George, have you seen
"City in Fear"?
368
00:33:36,376 --> 00:33:40,751
Do you remember when Hayworth
tells Bogart in the car...
369
00:33:40,917 --> 00:33:44,417
Sir, please put out your
cigarette. It is forbidden.
370
00:33:44,584 --> 00:33:48,084
No, it wasn't in "City in Fear,"
371
00:33:48,251 --> 00:33:51,417
it was in "Desperate in the Desert."
372
00:33:51,584 --> 00:33:54,626
Are you sure?
Yes, of course.
373
00:33:54,792 --> 00:33:56,917
The usher's beacon.
374
00:33:57,084 --> 00:34:00,459
I am a boat lost in the storm.
375
00:34:00,626 --> 00:34:02,084
What a banal image!
376
00:34:03,709 --> 00:34:06,876
- You have time to waste!
- Nice to meet you.
377
00:34:07,042 --> 00:34:10,126
- Has the feature started yet?
- No, newsreels.
378
00:34:10,292 --> 00:34:13,251
How often have
these women heard that?
379
00:34:14,542 --> 00:34:16,959
Nauseating. I can't do that.
380
00:34:17,417 --> 00:34:20,376
To go to the cinema
ready for anything.
381
00:34:20,584 --> 00:34:22,417
The incredible adventure...
382
00:34:22,834 --> 00:34:25,876
- One ticket please
- Orchestra or balcony?
383
00:34:26,459 --> 00:34:27,876
- Want a program?
384
00:34:28,042 --> 00:34:31,376
It's always the same.
Trying to refuse without...
385
00:34:33,126 --> 00:34:37,126
Sir, could you move along,
so that we may...
386
00:34:37,292 --> 00:34:40,959
Why do people leave empty seats
between each other?
387
00:34:41,251 --> 00:34:44,084
Myself. Oh shit, her arm.
388
00:34:45,042 --> 00:34:47,417
Dear sir, re: yours of the 30th.
389
00:34:47,584 --> 00:34:50,001
Our correspondents in London.
390
00:34:50,751 --> 00:34:53,626
Have supplied us with
the necessary help.
391
00:34:53,834 --> 00:34:55,667
Would you be so kind as to.
392
00:34:56,501 --> 00:35:00,251
It should be understood that
in case we are incapable.
393
00:35:01,042 --> 00:35:02,292
Please.
394
00:35:03,292 --> 00:35:06,709
This sensation of thrusting
a sword into putty.
395
00:35:06,876 --> 00:35:10,667
This violent desire to go right
through her, hurt her,
396
00:35:10,834 --> 00:35:15,667
stab her with this sword, plunge
this burning revolver into her.
397
00:35:16,001 --> 00:35:19,417
To make her guts
explode in the sun...
398
00:35:20,709 --> 00:35:23,917
Like... barbarians, huns.
399
00:35:24,334 --> 00:35:26,959
- Men. Not one
can redeem another.
400
00:35:27,126 --> 00:35:29,792
They are all the same.
401
00:35:29,959 --> 00:35:34,542
- Women. They are all bitches.
They all want to be in movies.
402
00:35:35,167 --> 00:35:37,084
- Will there be a war?
403
00:35:39,376 --> 00:35:43,167
There have been up to the
present two economic models:
404
00:35:43,334 --> 00:35:45,084
classical and critical.
405
00:35:45,376 --> 00:35:47,542
According to this discipline,
406
00:35:47,709 --> 00:35:50,001
the theories can be divided into
407
00:35:50,167 --> 00:35:52,709
classical conceptions and
408
00:35:52,876 --> 00:35:55,709
abstract ones, dealing with
pure subjects.
409
00:35:58,667 --> 00:36:02,292
How then do you account for
the fact that after
410
00:36:02,459 --> 00:36:04,584
the proletariat came to power
411
00:36:04,751 --> 00:36:07,792
there were still civil wars,
class problems,
412
00:36:07,959 --> 00:36:11,459
the formation of the new caste
of bureaucrats and
413
00:36:11,626 --> 00:36:14,959
innumerable trials since
the one in Moscow.
414
00:36:38,042 --> 00:36:41,042
Manifesto for an
uprising of youth:
415
00:36:42,417 --> 00:36:44,709
"As long as youths suffer
416
00:36:44,876 --> 00:36:47,334
slavery and hierarchical abuse
417
00:36:47,834 --> 00:36:50,084
they will devote themselves to
418
00:36:50,251 --> 00:36:52,709
all violent follies
and barbarities
419
00:36:52,876 --> 00:36:55,501
to escape their inexistence.
420
00:36:56,376 --> 00:37:00,251
There are men who want
to stay the way they are
421
00:37:00,792 --> 00:37:03,042
who don't want any changes.
422
00:37:03,584 --> 00:37:05,751
And there are masses of
423
00:37:06,501 --> 00:37:09,876
young people, who fight
to overthrow everything.
424
00:37:11,042 --> 00:37:14,626
That's why the Fascists,
who addressed youths
425
00:37:14,959 --> 00:37:18,042
with false claims have
vanquished more
426
00:37:18,209 --> 00:37:22,542
successfully than anarchists,
who continued to hold on to
427
00:37:22,709 --> 00:37:24,667
factories and proletariats.
428
00:37:25,917 --> 00:37:30,334
In Italy, where the population
equals France, Mussolini
429
00:37:30,917 --> 00:37:34,376
gained power with 200,000
young people.
430
00:37:35,459 --> 00:37:38,876
In Russia
(160 million inhabitants)
431
00:37:39,042 --> 00:37:44,667
Lenin created a revolution
with 500,000 - 800,000 men.
432
00:37:46,709 --> 00:37:48,792
The 'established' are passive
433
00:37:49,376 --> 00:37:52,459
because they don't want
the risk. They have
434
00:37:53,167 --> 00:37:56,292
possessions or children
to defend.
435
00:37:57,376 --> 00:38:00,334
Young people, who have
nothing to lose,
436
00:38:00,792 --> 00:38:04,459
represent the attack and
adventure itself.
437
00:38:06,292 --> 00:38:08,417
The young people carried out
438
00:38:08,584 --> 00:38:11,042
the resistance, not the leaders,
439
00:38:11,209 --> 00:38:13,792
commanding from their armchairs.
440
00:38:15,001 --> 00:38:18,834
Revolutions were made by
the young of all classes, that
441
00:38:19,001 --> 00:38:23,292
betrayed and rejected them.
May the young be not commodities
442
00:38:24,834 --> 00:38:29,626
but consumers through
their own impetus.
443
00:38:31,084 --> 00:38:33,209
If you don't save the young
444
00:38:34,084 --> 00:38:36,042
the young will be your ruin."
445
00:38:36,834 --> 00:38:39,417
I felt warmth flushing my cheeks.
446
00:38:39,584 --> 00:38:43,042
The girl's elbow relaxed,
motionless, on my arm.
447
00:38:43,209 --> 00:38:45,876
I understood less and less
the images
448
00:38:46,042 --> 00:38:49,251
on the screen, this rope of
noise and desire.
449
00:38:49,417 --> 00:38:53,959
My arm and leg were paralyzed
by agonizing prickling.
450
00:38:58,334 --> 00:39:03,126
The audience laughed on a gag
I didn't. I forced a guffaw.
451
00:39:03,501 --> 00:39:05,876
A lightening. Their eyes met.
452
00:39:06,042 --> 00:39:08,792
Their intimacy
immediately became
453
00:39:08,959 --> 00:39:11,292
intense, the uproar complicit.
454
00:39:11,667 --> 00:39:13,792
- We could go for a drink.
455
00:39:13,959 --> 00:39:15,959
- Did you like the film?
456
00:39:16,126 --> 00:39:18,084
Our antennas are touching.
457
00:39:18,959 --> 00:39:21,709
This waiting for the catalyst
458
00:39:21,876 --> 00:39:26,459
that unbridles everything, that
hurls us towards the chaos of.
459
00:39:26,709 --> 00:39:30,167
What kind of girl?
Book on her knees. Her knees.
460
00:39:30,626 --> 00:39:33,084
The triumphant classical music.
461
00:39:33,251 --> 00:39:35,792
The impossible unexpected,
unless.
462
00:39:35,959 --> 00:39:38,834
- Get your "France Soir," "Le Monde."
463
00:39:39,042 --> 00:39:40,501
- What are you reading?
464
00:39:40,834 --> 00:39:44,292
Maxine van der... bitch.
465
00:39:44,542 --> 00:39:46,126
All of them are.
466
00:39:46,292 --> 00:39:50,084
To crush her breasts,
to lacerate them in one's teeth.
467
00:39:51,417 --> 00:39:54,167
- Do you think it will rain?
468
00:39:54,334 --> 00:39:56,959
- I don't read much. No time.
469
00:39:57,126 --> 00:39:59,751
- Do you want to have a drink?
470
00:40:00,376 --> 00:40:04,542
All the research to project
in 3D: the embossed screen,
471
00:40:04,709 --> 00:40:08,542
the oscillating grid screen,
the water tank, filters,
472
00:40:08,709 --> 00:40:11,626
are completely
devoid of interest.
473
00:40:11,876 --> 00:40:13,876
Cinema is an art, by God,
474
00:40:14,042 --> 00:40:17,251
get that into your skull,
it's an art!
475
00:40:17,417 --> 00:40:22,417
There is no essential difference
between poetry, music and cinema.
476
00:40:22,917 --> 00:40:26,501
An art is a composition
of meanings and techniques
477
00:40:26,667 --> 00:40:29,584
and something more
in its masterworks.
478
00:40:29,917 --> 00:40:34,459
Film already has its techniques,
this something more needs work.
479
00:40:35,376 --> 00:40:39,001
Mechanical research alone
will not make cinema evolve.
480
00:40:39,167 --> 00:40:42,417
It might create another
art-form, but cinema
481
00:40:42,584 --> 00:40:47,584
will pursue it's evolution,
in which this film is a step.
482
00:40:47,876 --> 00:40:50,667
My screen is not
the perfection of the technique.
483
00:40:50,834 --> 00:40:54,084
Hanging objects on it
is not enough.
484
00:40:54,459 --> 00:40:56,626
It only breaks the normal frame
485
00:40:56,792 --> 00:41:00,667
of cinematographic
representation.
486
00:41:01,751 --> 00:41:06,084
The smell of stink bombs thrown
by the extras will spread
487
00:41:06,251 --> 00:41:09,709
through the theater and
be greeted by cries.
488
00:41:09,876 --> 00:41:12,334
- What is this smell?
489
00:41:12,501 --> 00:41:15,542
- Open the windows or
we'll suffocate!
490
00:41:16,417 --> 00:41:20,209
Here is a letter from Mr. N.
in Bécon-les-Bruyères.
491
00:41:20,626 --> 00:41:23,876
I'm a skilled worker
in a construction business
492
00:41:24,042 --> 00:41:25,834
earning a good living.
493
00:41:26,084 --> 00:41:30,917
I was a painter, but sometimes
one must sacrifice passions
494
00:41:31,376 --> 00:41:33,459
to insure one's well-being.
495
00:41:33,626 --> 00:41:37,834
I was twice deceived by love,
but not discouraged, having
496
00:41:38,334 --> 00:41:42,709
a terrible fault of thinking
my desires to be realities.
497
00:41:43,459 --> 00:41:47,917
Selfishly, I believed myself
to be forgotten by Providence
498
00:41:48,292 --> 00:41:51,376
and I had to read your column
to understand
499
00:41:51,542 --> 00:41:56,042
that I'm not alone and there are
many others unhappier than me.
500
00:41:56,959 --> 00:42:01,209
So I take courage and hope
to find with your help a serious
501
00:42:01,709 --> 00:42:06,417
hard-working young woman, who
will love me as I am.
502
00:42:07,959 --> 00:42:11,584
I'll try to give her
the happiness I've never known.
503
00:42:11,751 --> 00:42:16,667
This is a candid letter full of
optimism, appealing to women.
504
00:42:16,834 --> 00:42:19,376
If our column
distracts from concerns
505
00:42:19,542 --> 00:42:22,917
and causes compassion,
we thank it for doing so.
506
00:42:23,126 --> 00:42:26,292
Forgetting sorrows means
escaping from them.
507
00:42:26,459 --> 00:42:29,584
Here is another letter
from Mr. G in Nancy:
508
00:42:30,209 --> 00:42:32,292
I am a specialized worker.
509
00:42:32,459 --> 00:42:36,459
And if I am a little awkward
expressing myself on paper,
510
00:42:36,834 --> 00:42:41,834
at least she'll feel my loyalty
and affection, which is the key.
511
00:42:42,501 --> 00:42:44,751
I earn a good living and regret
512
00:42:44,917 --> 00:42:49,376
always being alone and unable to
involve another in my projects.
513
00:42:49,626 --> 00:42:54,001
I remain deeply convinced
that the ideal woman exists,
514
00:42:54,167 --> 00:42:58,292
she only needs to be discovered,
we could be perfectly happy.
515
00:43:01,584 --> 00:43:06,709
You will remark as we go on
up there the time will come,
516
00:43:07,917 --> 00:43:13,251
he hasn't changed, I told you
not to do it, this is blackmail.
517
00:43:13,917 --> 00:43:18,042
Ich bin der Geist, der stets
verneint! Und das mit Recht;
518
00:43:18,209 --> 00:43:22,084
denn alles, was entsteht,
ist wert, daß es zugrunde geht.
519
00:43:22,417 --> 00:43:26,709
he asked my forgiveness never
before this is all your fault
520
00:43:27,167 --> 00:43:31,459
at the right time whatever
I beg you but this is stupid
521
00:43:32,167 --> 00:43:35,542
you are very kind
it's none of your business
522
00:43:36,626 --> 00:43:40,251
let's go she would have
done anything for him
523
00:43:40,667 --> 00:43:42,959
you must be firm with this child
524
00:43:43,209 --> 00:43:45,292
I permit you to slap him
525
00:43:45,792 --> 00:43:50,376
due mile due cento mila cinque
cento cinque cento cinque cento
526
00:43:50,542 --> 00:43:53,001
vai via vai via
527
00:43:53,501 --> 00:43:55,126
I've got heartburn
528
00:43:55,709 --> 00:44:00,501
obviously he wasn't satisfied
with that the frog
529
00:44:00,709 --> 00:44:04,542
ti ponimaesh po ruski ia
ne znayu dosvidania tovarish
530
00:44:04,876 --> 00:44:06,876
what's playing on the boulevards
531
00:44:07,251 --> 00:44:09,251
eat now or go away
532
00:44:14,001 --> 00:44:19,042
England 1697 April 24th mourns
the greatest of it's musicians
533
00:44:19,209 --> 00:44:22,501
Henry Purcell, dead at 36
534
00:44:22,667 --> 00:44:26,292
give me a pack of Gauloises
if you believe little one
535
00:44:26,542 --> 00:44:28,459
what is it with him
536
00:44:29,001 --> 00:44:33,417
you cannot he is lazy good for
nothing lucky he has his parents
537
00:44:33,584 --> 00:44:37,542
to support him without that
what would you do
538
00:44:38,167 --> 00:44:39,834
someone's phoning you
539
00:44:40,792 --> 00:44:45,709
two tickets to Trocadero when
does it end you're confused
540
00:44:45,876 --> 00:44:48,376
I've had it
my god what have I done
541
00:44:48,542 --> 00:44:50,459
I met him in the courtroom
542
00:44:50,626 --> 00:44:53,917
he makes furniture now
the dirty bastard
543
00:44:54,084 --> 00:44:57,126
the other tall guy died
in Spain or somewhere
544
00:44:57,292 --> 00:45:00,209
as he was rejoining
the free French forces
545
00:45:04,376 --> 00:45:07,084
your father is a sub-Appolinaire
546
00:45:07,667 --> 00:45:10,042
he has a sort of perfection
547
00:45:10,584 --> 00:45:14,584
pass me the dictionary
Christiane go and find it
548
00:45:15,709 --> 00:45:21,334
get it yourself exaggerate,
insult, overdo, tease, bluff
549
00:45:22,084 --> 00:45:25,917
the printing press invention
is not as new as we think
550
00:45:27,126 --> 00:45:29,876
from cro-magnon to
the men of tomorrow
551
00:45:30,584 --> 00:45:35,167
il monumento di Vittorio
Emmanuele mi sono perduto...
552
00:45:35,501 --> 00:45:39,667
es gibt keine ties pockets
hankerchiefs scarves
553
00:45:40,667 --> 00:45:44,417
I'm totally exhausted
second-class gunner
554
00:45:44,584 --> 00:45:48,751
one two three four
one two three four
555
00:45:49,501 --> 00:45:51,042
ti voglio bene
556
00:45:56,084 --> 00:46:01,292
cinque cento cinque cento cinque
cento cinque cento cinque cento
557
00:46:01,459 --> 00:46:03,334
vai via
558
00:46:08,001 --> 00:46:14,084
From now on phrases will become
completely incomprehensible
559
00:46:14,251 --> 00:46:18,792
as a result of playing
the soundtrack backwards.
560
00:46:47,042 --> 00:46:49,792
One of the extras will stand up
561
00:46:50,126 --> 00:46:52,917
and shoot at the screen
with a revolver.
562
00:46:53,292 --> 00:46:56,459
Another one will tear it up
with a knife
563
00:46:56,626 --> 00:47:01,417
and, passing through to the
other side, will attack the wall.
564
00:47:41,667 --> 00:47:44,001
The police will be called and
565
00:47:44,167 --> 00:47:47,459
many viewers will be
taken in the raid.
566
00:48:36,834 --> 00:48:40,417
At this point in his film,
the author insists
567
00:48:40,917 --> 00:48:43,459
on declaring his regrets about
568
00:48:43,626 --> 00:48:47,001
being unable to predict
the rest of the screening,
569
00:48:47,167 --> 00:48:51,167
as he is too busy making
a desperate escape.
570
00:49:49,751 --> 00:49:50,834
Nevertheless
571
00:49:52,334 --> 00:49:54,084
this film,
572
00:49:54,251 --> 00:49:57,917
to be in line with itself,
and to please assholes,
573
00:49:58,417 --> 00:50:02,959
must itself announce the many
innovative creations introduced
574
00:50:03,126 --> 00:50:06,626
into film history
with its appearance.
575
00:50:09,834 --> 00:50:13,917
First: destruction of the screen
as we now know it
576
00:50:14,084 --> 00:50:17,709
and research into possibilities
for a new screen.
577
00:50:18,584 --> 00:50:23,376
Second: Use of the first
Joycean sentence in film,
578
00:50:23,542 --> 00:50:27,251
its explosion into a series
of inarticulate sounds.
579
00:50:28,167 --> 00:50:32,917
Third: Defacing this process
by total destruction of all
580
00:50:33,084 --> 00:50:35,917
possible screenplays
past and future.
581
00:50:37,126 --> 00:50:42,709
Fourth: introduction of the dust
of cinema in its chiseling stage,
582
00:50:42,876 --> 00:50:46,042
that is: introduction of
the projectionist,
583
00:50:46,209 --> 00:50:51,584
the ushers, the crowd and the
screening room into a film bent
584
00:50:51,751 --> 00:50:53,417
on self-destruction,
585
00:50:53,584 --> 00:50:57,292
and not enrichment as was
the case up to now.
586
00:50:57,542 --> 00:51:00,792
Fifth: from the point of view
of the image,
587
00:51:00,959 --> 00:51:03,376
the destruction continues
588
00:51:03,542 --> 00:51:06,542
and the creation of
a new, unseen world.
589
00:51:25,667 --> 00:51:27,167
Dear listeners,
590
00:51:27,334 --> 00:51:29,959
here now are theater reviews.
591
00:51:30,209 --> 00:51:33,709
Afterwards, you can hear
the evening news
592
00:51:33,876 --> 00:51:38,417
on 52 meters and 63 meters 20 or
64 kilocycles, and, at 8:30,
593
00:51:38,584 --> 00:51:42,084
the rest of the news.
594
00:51:42,626 --> 00:51:45,959
But first, an overview
of all the shows in Paris
595
00:51:46,126 --> 00:51:48,417
by Jean-Jacques Laurence.
596
00:51:50,001 --> 00:51:51,834
Last night was the premiere
597
00:51:52,001 --> 00:51:56,042
of a Maurice Lemaître film
with a strange, promising title
598
00:51:56,209 --> 00:51:58,376
"HAS THE FEATURE STARTED YET?"
599
00:51:58,542 --> 00:52:02,126
The audience reaction to this
unusual work was mixed.
600
00:52:02,292 --> 00:52:05,959
The diversity of criticism is
a witness, so before talking
601
00:52:06,126 --> 00:52:07,751
about the film we will
602
00:52:07,917 --> 00:52:12,001
first give you some diverging
opinions from the Paris press.
603
00:52:12,209 --> 00:52:15,417
To start with a lively attack
against this film
604
00:52:15,584 --> 00:52:19,542
this is what George Rosnay
writes in "Prolétaire Libéré":
605
00:52:20,417 --> 00:52:23,209
"Being occupied by hordes of
Americans,
606
00:52:23,376 --> 00:52:26,501
we are used to
centralized productions, funded
607
00:52:26,667 --> 00:52:30,876
from abroad upon governmental
agreement for the sole profit
608
00:52:31,042 --> 00:52:35,292
of foreign capitalists and
the stupefecation of the French.
609
00:52:35,667 --> 00:52:40,126
But never has one seen such
cynicism and complacency as in
610
00:52:40,292 --> 00:52:43,834
the vulgarity of the Trotskyists
who cover screens
611
00:52:44,001 --> 00:52:48,376
with Fascist propaganda, while
the government closes its eyes.
612
00:52:48,751 --> 00:52:53,792
Compared to the incomparable
productions of the Soviet Union,
613
00:52:53,959 --> 00:52:58,084
Maurice Lemaître's film bursts
with flattery and ass-kissing,
614
00:52:58,251 --> 00:52:59,834
the very image of
615
00:53:00,001 --> 00:53:04,667
a bourgeois terrified
by the victory of popular vote.
616
00:53:04,917 --> 00:53:08,626
Maurice Lemaître must have
complied with his sponsors.
617
00:53:08,834 --> 00:53:11,292
His film, of pure
Nazi inspiration,
618
00:53:11,459 --> 00:53:14,084
is an insult to our comrades who
619
00:53:14,251 --> 00:53:19,126
gave their lives for Lemaître's
liberties he so abused today.
620
00:53:19,584 --> 00:53:22,709
We must unite in the face
of this menace."
621
00:53:23,167 --> 00:53:26,001
We hear the same
from Roger Diamil
622
00:53:26,167 --> 00:53:29,209
of the "Film Worker's Echo°:
623
00:53:29,417 --> 00:53:31,126
"While our workers,
624
00:53:31,292 --> 00:53:34,876
worn out by long labor days
in capitalist factories,
625
00:53:35,042 --> 00:53:40,084
refuse salary increases, denied
the sacred right to a vacation
626
00:53:40,251 --> 00:53:45,001
that would bring their
faded children to the country,
627
00:53:45,334 --> 00:53:49,126
papa's boy Maurice Lemaître
throws out the window
628
00:53:49,292 --> 00:53:54,292
the money of doubtful origins
that he did not earn
629
00:53:54,459 --> 00:53:58,709
to make a film without any
value, ideological nor artistic,
630
00:53:58,876 --> 00:54:03,334
that scorched the hands of
personnel with famine-rate wages.
631
00:54:03,751 --> 00:54:06,001
All unite against this threat.°
632
00:54:06,667 --> 00:54:08,251
On the opposite
633
00:54:08,417 --> 00:54:12,376
political horizon,
we find similar complaints.
634
00:54:12,584 --> 00:54:15,792
Francois Derais of
"France-Toujours" writes:
635
00:54:16,209 --> 00:54:18,542
"In films like Lemaître's
636
00:54:18,709 --> 00:54:22,501
one can see the deep influence
of Marxism on the youth.
637
00:54:22,751 --> 00:54:26,001
No new generation filmmaker
tries to defend
638
00:54:26,167 --> 00:54:29,084
the essential French values,
perpetuated
639
00:54:29,251 --> 00:54:33,876
in history of the glorious
name and spirit of France.
640
00:54:34,334 --> 00:54:38,584
Only nebulous philosophers
are imported into our country by
641
00:54:38,751 --> 00:54:40,792
Talmudists across the Rhine.
642
00:54:41,042 --> 00:54:45,292
French cinema is dying from
suffocation in filthy caresses
643
00:54:45,459 --> 00:54:49,167
of those wanting to destroy
everything beautiful
644
00:54:49,334 --> 00:54:53,667
and noble in us: the French
taste for fine workmanship which
645
00:54:53,834 --> 00:54:56,626
made us renowned throughout
the world.
646
00:54:57,126 --> 00:55:00,084
We must defend our values
if we don't want
647
00:55:00,251 --> 00:55:03,751
our children to accuse us of
selling their heritage
648
00:55:03,917 --> 00:55:06,667
the heritage of Joan of Arc,
of Saint-Louis
649
00:55:06,834 --> 00:55:11,042
to the carpet merchants
just out of the Polish Ghettos.°
650
00:55:11,459 --> 00:55:14,334
Here is
Maurice de la Ruchardière
651
00:55:14,501 --> 00:55:16,917
of the "Le Catholique Libéré":
652
00:55:17,584 --> 00:55:21,542
"When one thinks that some
of our boys and girls have
653
00:55:21,709 --> 00:55:25,042
unfortunately seen
the film by Lemaître,
654
00:55:25,209 --> 00:55:26,959
one shudders.
655
00:55:27,126 --> 00:55:31,292
One aspires to defend them from
these enterprises inspired
656
00:55:31,459 --> 00:55:33,792
by the devil to turn them away
657
00:55:33,959 --> 00:55:38,876
from God's path, those souls
who suffer and search.
658
00:55:39,167 --> 00:55:42,459
A Christian facing these films,
that should be
659
00:55:42,626 --> 00:55:46,667
banned by a smart censor
anxious to save our children,
660
00:55:46,834 --> 00:55:49,751
really feels like
a soldier of Christ,
661
00:55:49,917 --> 00:55:54,376
sustained in his efforts by
the mystery of incarnation."
662
00:55:55,001 --> 00:55:58,126
Finally, a "Mondanités
Parisiennes" columnist
663
00:55:58,292 --> 00:56:01,834
Robert Lezise will provide us
with a conclusion:
664
00:56:02,959 --> 00:56:05,292
"A charming evening," he writes,
665
00:56:05,459 --> 00:56:09,251
"which enabled us to admire
an all new and charming hat
666
00:56:09,417 --> 00:56:13,834
on the beautiful Parisian head
of our colleague, France Roche.
667
00:56:14,417 --> 00:56:18,792
Do you know, by the way, what's
whispered in left bank salons?
668
00:56:19,209 --> 00:56:22,292
It appears that France Roche
hates hats;
669
00:56:22,459 --> 00:56:26,751
that servitudes to fashion
enslaved her against her will.
670
00:56:27,251 --> 00:56:29,167
That will make people talk!
671
00:56:29,417 --> 00:56:32,042
We can also mention,
in the audience
672
00:56:32,209 --> 00:56:34,917
Baron de Toussac accompanied by
673
00:56:35,084 --> 00:56:39,667
Isabelle, a famous model,
wearing a two-piece suit
674
00:56:39,834 --> 00:56:42,876
in flaming yellow linen
with gold buttons
675
00:56:43,042 --> 00:56:46,626
and a reversible bodice
with Pekinese ornaments.
676
00:56:46,792 --> 00:56:50,126
This outfit, which
elegant women will die for
677
00:56:50,292 --> 00:56:53,334
and run jealously to Weim
to buy the same,
678
00:56:53,501 --> 00:56:56,542
was set off by a necklace
of Caucasian blue pearls,
679
00:56:56,709 --> 00:56:59,917
by the evocative name Flamenco.
When we left
680
00:57:00,209 --> 00:57:02,126
this oh so Parisian event
681
00:57:02,292 --> 00:57:04,917
and arrived at
Marquise de B's soirée,
682
00:57:05,126 --> 00:57:08,209
the worst scandalmonger
in our dear capital
683
00:57:08,376 --> 00:57:12,334
told me all the new gossip
our women readers will be the
684
00:57:12,501 --> 00:57:17,501
first to hear and due to lack of
space I must reveal next week."
685
00:57:26,251 --> 00:57:30,084
Maurice Lemaître wonders
why he made this film.
686
00:57:30,917 --> 00:57:34,292
Isn't it a totally
absurd enterprise?
687
00:57:35,042 --> 00:57:38,167
Already, as a child,
he would hide in his bed
688
00:57:38,334 --> 00:57:40,251
besieged by darkness.
689
00:57:40,417 --> 00:57:44,501
Lying in a coffin whose
rough boards bruised his elbows,
690
00:57:44,667 --> 00:57:46,959
shredding noises like flesh,
691
00:57:47,126 --> 00:57:50,626
his brain gurgling empty
like an unclogged sink,
692
00:57:50,792 --> 00:57:55,709
he searched, horrified, for
signs of a useless life
693
00:57:55,876 --> 00:57:59,542
with no "arc de triomphe"
at its end.
694
00:57:59,709 --> 00:58:04,542
He was rotting alive in this
carriage of gilded feet.
695
00:58:05,001 --> 00:58:09,876
He saw around him the works of
men changing each morning.
696
00:58:10,042 --> 00:58:13,959
The names of these men were
gasped from reluctant mouths
697
00:58:14,126 --> 00:58:17,376
like the hiss of
a punctured balloon.
698
00:58:17,667 --> 00:58:20,459
The new conquerors
trample the elderly
699
00:58:20,626 --> 00:58:25,209
who, casting around them the
abrupt beams of their alarmed
700
00:58:25,376 --> 00:58:28,876
gaze, struggle violently
to save their pensions
701
00:58:29,042 --> 00:58:32,417
and avoid a forever
worrisome retirement.
702
00:58:32,584 --> 00:58:37,584
Maurice Lemaître mused over his
death in the same banal way...
703
00:58:37,792 --> 00:58:41,084
Like millions of other imbeciles
he thought:
704
00:58:41,251 --> 00:58:42,834
"I don't want to die!"
705
00:58:43,292 --> 00:58:45,209
Millions of those guys die.
706
00:58:45,376 --> 00:58:48,917
Then the obituaries say
they "are no longer."
707
00:58:49,126 --> 00:58:54,167
We should complain instead that
Mr. or Mrs. Smith "never were."
708
00:58:54,334 --> 00:58:56,792
But when someone fantastic dies,
709
00:58:56,959 --> 00:58:59,876
his remains are hastily
gathered in fear
710
00:59:00,042 --> 00:59:02,584
and he is proclaimed to be
still living.
711
00:59:02,751 --> 00:59:05,376
Years and years go by
712
00:59:05,542 --> 00:59:07,751
and his name is endlessly evoked
713
00:59:07,917 --> 00:59:13,126
with sacred fervor and trembling,
standing stiff at attention,
714
00:59:13,292 --> 00:59:17,417
stiffer even than a subordinate
in front of his superior.
715
00:59:17,626 --> 00:59:20,792
Mediocrity calls for a scalpel.
716
00:59:20,959 --> 00:59:24,917
It attracts insults
degrading to our purity.
717
00:59:25,084 --> 00:59:28,334
Maurice Lemaître has
slowly learned that
718
00:59:28,501 --> 00:59:31,209
centuries are reduced to
a few names.
719
00:59:31,376 --> 00:59:35,751
No one has ever lived on this
earth but Socrates!
720
00:59:35,917 --> 00:59:40,209
Dante! Joyce!
He knows that if passions die,
721
00:59:40,376 --> 00:59:42,959
the world is subject to one
722
00:59:43,126 --> 00:59:46,959
implacable law, one absolute
determination: creation.
723
00:59:47,834 --> 00:59:52,792
Here, the little idiot Maurice
Lemaître finds his great chance
724
00:59:52,959 --> 00:59:54,834
for survival and salvation.
725
00:59:56,334 --> 01:00:00,876
Art, history and science
thus become painkillers.
726
01:00:01,042 --> 01:00:02,834
The author mocks these artifices
727
01:00:03,001 --> 01:00:06,667
invented by men who cannot
admit to incongruous death.
728
01:00:07,209 --> 01:00:09,167
But he needs these steps to
729
01:00:09,334 --> 01:00:13,334
save himself from the grave
which his pride refuses.
730
01:00:30,209 --> 01:00:34,959
Ladies and Gentlemen, this is
the theater manager speaking.
731
01:00:35,876 --> 01:00:39,876
As unlikely as this may seem,
732
01:00:40,042 --> 01:00:44,042
the projectionist has just
warned me that he cannot find
733
01:00:44,209 --> 01:00:47,584
the last reel of
Mr. Lemaître's film.
734
01:00:48,459 --> 01:00:52,209
We don't know whether it was
misplaced or
735
01:00:52,376 --> 01:00:54,042
not delivered to us.
736
01:00:54,834 --> 01:00:59,626
We apologize for this situation
and regret, cherished customers,
737
01:00:59,792 --> 01:01:03,876
that we are unable to finish
the show.
738
01:01:04,792 --> 01:01:08,959
Ask for candy, mints,
chocolate ice cream.
739
01:01:10,501 --> 01:01:13,209
Adaptation: Natasha Lesser
Pip Chodorov, Moira Tierney