les cousins (1959)

This dagger-sharp drama won the Golden Bear at the Berlin Film Festival and was an important early entry in the French New Wave. The proof is here. Les Cousins was a folk and blues club in the basement of a restaurant in Greek Street, in the Soho district of London, England.

Jean-Luc Godard, lover of paradox, once characterized Claude Chabrol’s Les cousins (1959) as “a deeply hollow and therefore profound film,” a pronouncement, like so many of the pithy mots Godard used to reel off in the pages of Cahiers du cin…, New digital restoration, with uncompressed monaural soundtrack on the Blu-ray edition, Audio commentary featuring film scholar Adrian Martin, New and improved English subtitle translation, PLUS: A booklet featuring a new essay by film critic Terrence Rafferty and excerpts from actor Jean-Claude Brialy’s memoir, about costar Gérard Blain.

In Les cousins’ experimental fable of moral ambiguity, tainted with irony and death, one can see Chabrol developing his fascination with emotionally crippled characters caught up in murder – no wonder that he would soon be dubbed “The French Hitchcock.”. He studies.

Ironically, according to Emma Matheou whose father ran the club, the door depicted on the cover is from another address in Greek Street. In Les cousins, Claude Chabrol crafts a sly moral fable about a provincial boy who comes to live with his sophisticated bohemian cousin in Paris. A mirror image of Le beau Serge, Chabrol’s debut, Les cousins recasts that film’s stars, Jean-Claude Brialy and Gérard Blain, in startlingly reversed roles. Les Cousins was opened on Friday 16 April 1965[1] in a basement venue at 49, Greek Street, Soho (some sources give the address as 48 Greek Street[2]) which had earlier served as a 1950s skiffle club. The 400 Blows would open in Paris two months later. Other groundbreaking works such as Alain Resnais’ Hiroshima mon amour, Robert Bresson’s Pickpocket and Georges Franju’s La tête contre les murs (Head Against the Wall) would open the same year as Les cousins. Not only was he instrumental in assisting his Cahiers du Cinéma colleagues’ early productions, and his own Le beau serge (1958) the first full-length film by the magazine’s “Young Turks”1 to be released, but his follow-up work, Les cousins (1959), was also the movement’s second feature, premiering only a couple of months before Les quatre cents coups (The 400 Blows, François Truffaut, 1959) and a full year before À bout de soufflé (Breathless, Jean-Luc Godard, 1960). The blues singer and former Larry Parnes Rocker Duffy Power was also a regular performer. [15] Long sought after by collectors, the album was reissued on CD in Japan (JASKCD193) in 2007.

Chabrol, preferring small stories that he could build on over “big subjects,”4 showcases here the slow-burn, anxious progression that would become his stock-in-trade.

Shot by Henri Decaë, who also served as director of photography for Le beau serge, Les cousins’ camerawork provides a key link to the emerging movement.

Les cousins (1959 France 112 mins) Prod Co: Ajym Films, Société Française du Cinéma pour la Jeunesse Prod: Claude Chabrol, Roland Nonin Dir: Claude Chabrol Scr: Paul Gégauff, Claude Chabrol Phot: Henri Decaë Ed: Jacques Gaillard Prod Des: Bernard Evein, Jacques Saulnier … Hedonistic enfant terrible Paul, on the other hand, is amorous, doesn’t study, washes his hands of his own abortion, has a large group around him, passes his exams and plucks Florence from Charles effortlessly. 109. Les Cousins was described by Roy Harper as "a spawning ground" for musical talent. The story is a cynical look at french youth revelling in their cruel and callous behaviour.

Founded in 1999, Senses of Cinema is one of the first online film journals of its kind and has set the standard for professional, high quality film-related content on the Internet. Les Cousins (1959) Les cousins (1959) French filmmaker Claude Chabrol (1930-2010) made his directorial debut with Le beau Serge (1958), one of the first films (some say the first) of the groundbreaking Nouvelle Vague (New Wave), a very loose film "movement" begun by former critics Chabrol, Jean-Luc Godard, Franois Truffaut, and others. Far from a conventional thriller, Les cousins slowly rises and charges on the underlying contrast between the grotesque Paul and the angelic Charles, the film seeking out “the most disturbing undertones in apparently ordinary, nothing-much-happening scenes,” as film scholar Terrence Rafferty has noted.3 Charles lets Paul take Florence. Noel Murphy was the first resident musician and compere. The sexual jealousy in Paul and Charles’ fatal triangle with Florence mirrors the envy and revenge fuelling the triangle between devious Ronald (Brialy), unassuming Arthur (Charles Belmont) and their shared romantic interest Ambroisine (Le beau serge’s Bernadette Lafont) in his Les godelureaux (Wise Guys, Chabrol 1961); while Chabrol would again return to similar ideas of murder and carnal desire in L’oeil du malin (The Third Lover, 1962), casting Stéphane Audran as a conflicted, bored housewife caught between a young, infatuated journalist, Albin (Jacques Charrier), and her husband, Andreas (Walther Reyer). Synopsis. For his sophomore effort, he once again used … Criminals Against Decoration: Modernism as a Heist, Claustrophobia and Intimacy in Alex Ross Perry’s, Thresholds of Work and Non-Work in Tulapop Saenjaroen’s, The 34th Cinema Ritrovato Has Full Resuscitation under COVID, Women at the 2020 Toronto International Film Festival, A Vitalising Cinema in an Agitated Age: The 58th New York Film Festival, Your Daughters Come Back to You: The 28th Pan African Film and Arts Festival. Drama. It was most prominent during the British folk music revival of the mid-1960s and was known as a venue where musicians of the era met and learnt from each other. But the compositions become more claustrophobic; the gatherings, louder, smokier, more hellacious. In Les cousins…

The club closed in 1972. Through these seeming opposites, Chabrol conjures a darkly comic character study that questions notions of good and evil, love and jealousy, and success in the modern world. Like Le beau serge, Les cousins also stars Jean-Claude Brialy and Gérard Blain; but where, in the earlier film, Brialy played a meek city slicker and Blain an alcoholic ruffian, here, Brialy is Paul, a playboy par excellence visited by reserved country boy Charles (Blain).

Synopsis. Get info about new releases, essays and interviews on the Current, Top 10 lists, and sales. In 1970 a compilation LP 49 Greek Street was released[citation needed], featuring artists associated with the club such as Synanthesia, Keith Christmas, Andy Roberts, Robin Scott, Tin Angel, Al Jones, Mike Hart and Nadia Cattouse, although most of the tracks were studio recordings. Rather I want to engage in drawing out certain elements that are less obvious, but even more interesting.”2.

Les cousins: The Nature of the Beast Jean-Luc Godard, lover of paradox, once characterized Claude Chabrol’s Les cousins (1959) as “a deeply hollow and therefore profound film,” a pronouncement, like so many of the pithy mots Godard used to reel off in the pages of Cahiers du cin… However, far from being in thrall to the Master of Suspense, Chabrol discovered his voice through the self-consciousness and subversion of convention and genre that were key to the Nouvelle Vague. [11], As of 2007 a club in Oxford, at the Holywell Music Room, calls itself "Les Cousins". Synopsis: Charles is a young provincial coming up to Paris to study law.

Outsider Documentary and the Technologically Mediated Self: Stairways to Paradise: Youssef Chahine and, Waiting for Rain: Oppression and Resistance in Youssef Chahine’s, https://www.criterion.com/current/posts/1989-les-cousins-the-nature-of-the-beast, http://www.newwavefilm.com/about/camera-stylo-astruc.shtml, “A Happy Sense of Solitude”: Exterior Space in, See Claude Chabrol, “Evolution du film policier,”, Alexandre Astruc, “Du Stylo à la caméra et de la caméra au stylo,”. [6] Other residents included Alexis Korner and Roy Harper. Decaë, a favourite of New Wave progenitor Jean-Pierre Melville, shot films for many directors of the era, including Louis Malle (Ascenseur pour l’échafaud [Elevator to the Gallows, 1958] and Les amants [The Lovers, 1958]), (Les Amants), Roger Vadim (La ronde [1964]) and Truffaut (The 400 Blows). In Les cousins, Claude Chabrol crafts a sly moral fable about a provincial boy who comes to live with his sophisticated bohemian cousin in Paris.


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