#Giani Esposito

[fidjiefidjie]

Bon Soir 💙🎻🤡👌

Giani Esposito 🎶 Le Clown

[gatutor]

Giani Esposito-Lucía Bosé "Así es la aurora" (Cela s´appelle l´aurore) 1956, de Luis Buñuel.

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Cela s'appelle l'aurore (Luis Buñuel, 1956)

[byneddiedingo]

Betty Schneider and Giani Esposito in Paris Belongs to Us (Jacques Rivette, 1961)

Cast: Betty Schneider, Giani Esposito, Françoise Prévost, Daniel Crohem, François Maistre, Jean-Claude Brialy, Jean-Marie Robain. Screenplay: Jacques Rivette, Jean Gruault. Cinematography: Charles L. Bitsch. Film editing: Denise de Casabianca. Music: Philippe Arthuis.

Paris belongs to the French, which is one of the problems Francophobes have with it. And there's much for them to find problems with in Jacques Rivette's first feature, one of the key works of the French New Wave. Even I found myself squirming at the gallery of poseurs present at the party near the beginning of the film. But then I realized that the film is a kind of critique of poseurs: Everyone plays a role, it seems to be saying, and everyone tries to bend the narrative in their direction. The narrative of Paris Belongs to Us is a deconstruction of the political paranoia thriller: Its characters are caught up on a vast international right-wing conspiracy that may or may not exist. The idea that it does exist seems to be supported by the fact that several of its characters are exiles from Franco's Spain and Joe McCarthy's America, and the fact that some of them end up dead. The idea that it exists only in the minds of the characters seems to be supported by the fact that none of these anxious artists and intellectuals ever manage to accomplish anything: They're paralyzed by their own paranoia and egotism, or rather, like Lewis Carroll's Red Queen, they're running fast to stay in the same place. Rivette admired Lewis Carroll, so we can see his protagonist, Anne Goupil (Betty Schneider), as Alice in the Parisian pays des merveilles. She falls into the chaos of a production of Shakespeare's Pericles, a mess of a play that he probably wrote only half of, directed by Gérard Lenz (Giani Esposito), who is somehow ensnared in the political mesh that claimed the life of a composer named Juan, who had taped a guitar piece as accompaniment for the production. But after his suicide (if it was one) the tape has disappeared. Anne takes on the job of finding the tape, which leads her deeper into the mesh and into encounters with more strange characters. In the conclusion, nothing is concluded except the lives of several people, and the viewers are left wondering, "What was all that about?" Which is exactly what Rivette wants them to wonder. The film is like life: full of loose ends.

[breadvidence]

'58. Ah, boy. Took me a couple weeks of off-and-on watching to get through this one. Like, today when I realized I still had forty minutes left after the fall of the barricade, I thought to myself, "You know, I haven't bleached the shower enclosure yet this month. The cat room really could use a sweep. I need to feed out the old dubias." And I went and did all those things instead because they were more engaging of tasks than watching this film. I previously categorized Les Misérables adaptations as "good", "bad good", and "good bad", but now I'm gonna have to add an "indifferent bad" bucket. Unless you are hardcore invested in watching every available adaptation, I'd say this one's fine to skip. Really—I will not rewatch and I've seen BBC 2018 twice. A few thoughts:

The version I watched is a poorly done English dub, and as such I won't speak to the acting overall. Seems unfair. That being said, this is the butchest Marius—Giani Esposito brings to mind Michael Maguire's Enjolras.

The subtitles also have their troubles, which breathed a moment of comedy into the watching experience when the closed captioner misheard "Grantaire" as "Combeferre" and impugned the latter's honor, identifying him as the one getting drunk on the day of revolution. Somehow they also mishear "Mabeuf" as "Laroche"—I'm ninety percent certain this is their ears and not mine.

Danièle Delorme's Fantine is given room to be furious and bitter, spitting on Javert as well as Valjean, mocking the idea that she had easy access to the mayor to plead her case—it's the film's best moment, IMO.

Éponine has a nice lunch with Valjean and Cosette and is gifted a new dress in a sequence that brings to mind clumsily done but sweet Cosette/Éponine fanfics.

'58 makes several alterations that I am indifferent to (see: combining II.III.VIII-X and II.V.I-V) on the principle that every adaptation needs its room to breathe, but what the fuck is up with Javert being the Toulon warden's son, Thénardier being an actual sergeant, and Mabeuf a revolutionary? Those are backstory changes that have significant repercussions to understanding the characters—and they're not repercussions really played out by the film. Granted that Thénardier as a sergeant is played for laughs, so it has some function.

Javert asks Valjean "What made you save my life this morning?" and gets the merciless response "You really don't know why? I pitied you." Brutal. Don't blame the guy for jumping in the Seine. (More seriously: the film implies that Javert has had some kind of awakening here, seeing those he has previously ignored or persecuted, twitching when a poor man flees his presence—perhaps there's a flowering of pity—it's a breath away from being an interesting interpretation of the character.)

[chansonsinternationales]

Bonnes nouvelles, grands comédiens - Giani Esposito lit un texte de Yasunari Kawabata : “La nouvelle élégie” (1ère diffusion : 07/08/1974)

[newmic]

LE CLOWN (1957). GIANI ESPOSITO. BERNARD BUFFET. + LYRICS.

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French Cancan (1955) Jean Renoir

January 1st 2022

[365filmsbyauroranocte]

Films watched in 2020.

76: French Cancan (Jean Renoir, 1955)

★★★★★★★☆☆☆

“Stars don’t have dramas, only scandals.”

[cimono]

Paris nous appartient (1961) France | Jacques Rivette | 120min

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Cela s'appelle l'aurore (Luis Buñuel, 1956)

[byneddiedingo]

French Cancan (Jean Renoir, 1955)

Cast: Jean Gabin, Françoise Arnoul, Maria Félix, Anna Amendola, Jean-Roger Caussimon, Dora Doll, Giani Esposito, Gaston Gabaroche, Jacques Jouanneau, Jean Parédès, Franco Pastorino, Michèle Philippe, Michel Piccoli, Édith Piaf, Patachou. Screenplay: Jean Renoir. Cinematography: Michel Kelber. Production design: Max Douy. Film editing: Boris Lewin. Music: Georges Van Parys. Costume design: Rosine Delamare. The Moulin Rouge is a kind of metonymy for the Parisian Belle Époque, that period of French culture that forms the core of Marcel Proust's fiction and represents an efflorescence of the arts before the disaster of World War I, which is why the cabaret has been the setting of so many movies, including at least half a dozen that bear its name in the title. So it's entirely fitting that Jean Renoir, whose father, the painter Pierre-Auguste Renoir, was so prominent a figure in the Belle Époque, should have chosen the Moulin Rouge as the setting for a film that marked his return to working in France after an exile that began in 1940. The central story of French Cancan is bogus: The Moulin Rouge was not founded by Henri Danglard, who is a made-up figure. But since he's played by Jean Gabin, the greatest of French movie stars, it doesn't really matter. Gabin gives a solidity to the character that few actors can muster. It's a lavish, riotously colorful movie, a heavily fictionalized treatment of the founding of the nightclub, and one of the best film musicals ever made. It's also a celebration of a certain kind of French insouciance about sex, a gleeful nose-thumbing at puritan moralizers.

[lyslily]

Giani Esposito Reproduction interdite, Gilles Grangier (1957).

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Giani Esposito - 'Le Clown' (Giani Esposito)

[ozu-teapot]

Paris nous appartient | Jacques Rivette | 1961

Giani Esposito