#jean-claude carriere

[theoscarsproject]

Valmont (1989). France before 1789: When a widow hears that her lover is to marry her cousin's daughter, she asks the playboy Valmont to take the girl's virginity. But first she bets him, with her body as prize, to seduce a virtuous, young, married woman.

One day I'll rate all the Dangerous Liaisons movies and this will probably be in the lower half unfortunately. Annette Bening seems to be having a lot of fun though at least, but weirdly I don't really buy Colin Firth here? Costumes are great though! 5/10.

[randomrichards]

YOYO:

Alone in mansion

Rich man forms mini circus

His son’s legacy

[pablolf]

Maybe this is the lesson I had with Jean-Claude Carriere. Carriere was one of the best scriptwriters of the cinema. He was a true narrator; not a poet, but a narrator. He said to me, “When you write the script, the audience has to be surprised by the thing after.” And this is the most difficult thing because we saw so many movies and so many things that we have to be entertaining. You follow the scene that you are watching because spectators are so quick right now. They say, “I think after this scene this is going to happen.” I wanted to build some traps for the spectator.

Louis Garrel on The Innocent, Making the Audience Happy, and How to Be a Good Cinephile

[joeinct]

Mary Ellen Mark, Paris, Photo by Jean Claude Carriere, 1970

[mumblztumblz]

I appreciate TADC Ep 2 having reference humor without beating people over the head with it like Family Guy.

[spectaculardistractions]

To Jean-Claude Carrière

Mexico City, 3 October 1981

My dear J-Cl, I wrote a – relatively – long letter to you yesterday, but I forgot something important: to congratulate you on your 50 youthful years, and to regret that we were not able to celebrate together over a glass of wine. I envy you. I was as strong as an ox at that age, and now… well, you can see how life goes by and ‘how cometh Death in stealthy surprise… How fain is memory to measure each latter day inferior to those of old’.

No news of Serge. For two months now. If you have any, please let me know in your next letter.

I’ve looked through the memoirs. Cutting out the section on my films (that was of no interest whatsoever) will make it very short. I imagine it would be good for commercial reasons to make it more ‘baroque’, as the publisher suggests, in other words, more scandalous, but you should just tell them I’m not Dalí, although if I wanted, I could be and more besides. If it wasn’t for your sake, for all the friendly interest you’ve put into writing these memoirs, I’d stop the whole thing right now. Well, if we do carry on, I’ll do my best to avoid falling into banal and foolish tales.

Write to me.

With love, Luis

PS The great Louis Malle came to see me a week ago. I had a wonderful time. He drinks like a fish.

Jo Evans & Breixo Viejo, Luis Buñuel: A Life in Letters

[darkmaga-returns]

In the cover image of the the sorcerers’ apprentice triad Gates, Collins (ex NIH) and Fauci (ex NIAID) during a Covid summit, the Quantum Dots grafted onto SARS-Cov-2 (photo NIH-US) and the Moderna patent on Lipid Nanoparticles carriers of messenger RNA which also discusses inorganic nanometallic nanoparticles and graphene oxide

by Fabio Giusdeppe Carlo Carisio

Article originally published on September 29, 2024 in Italian version

VERSIONE IN ITALIANO

«The Covid-Sars2 pandemic induced industries to develop new drugs that they called vaccines.The mechanism of action of these drugs (as declared by the pharmaceutical industries coupled with what is reported in the products’ data sheet) is clearly proves these products are not vaccines, but nanotechnological drugs working as a genetic therapy»

This is what a research published by The Scientist Club a few months ago wrote, which we have never given importance to until now.

The Dangerousness of mRNA Genetic Serums Ignored by Western Health Authorities

Firstly because it has not been published in international medical journals such as the studies of Professor Jean-Claude Perez carried out for the Luc Montagnier Foundation in memory of the late biologist who mysteriously disappeared after his denunciation of the SARS-Cov-2 built in the laboratory and the Prion-killers of Covid vaccines.

[personal-reporter]

Gli altri sport: Didier Pironi

 Il pilota che pur di continuare a correre trovò una seconda strada nel mondo della motonautica… Didier Joseph-Louis Pironi nacque  il 26 marzo 1952 a Villecresnes, cominciò a studiare come ingegnere, ma poi dopo si iscrisse alla scuola di guida al Paul Ricard ricevendo la borsa di studio di sponsorizzazione della compagnia petrolifera francese Elf nel 1972. Il giovane pilota partecipò alla Formula Renault francese nel 1973 e l’anno successivo con il team Elf Martini conquistò il titolo con sette vittorie e fu  sempre con il team Elf Martini nel 1975 nella Formula Renault Europea ottenendo tre vittorie a Monaco, Paul Ricard e Hockenheim e l’anno successivo conquistò il titolo con dodici vittorie. Passato nella Formula 2 con lo stesso team, Pironi ebbe una sola vittoria a Estoril e il terzo posto finale e nello stesso anno corse la gara di Formula 3 a Monaco vincendola. L’anno successivo con la Renault-Alpine Didier vinse la 24 ore di Le Mans in coppia con Jean-Pierre Jaussaud e debuttò in Formula 1 con la Tyrell, riuscendo a conquistare punti in cinque gare del campionato e concludendo la stagione al quindicesimo posto con sette punti. La seconda stagione con la nuova vettura della Tyrell 009 per il pilore fu migliore rispetto a quella della passata stagione, con due terzi posti in Belgio e negli Stati Uniti e punti iridati in Brasile, Spagna e Canada, terminandola undicesimo con quattordici punti. Nel 1980 Pironì passò alla Ligier e conquistò la prima vittoria nel Gran Premio del Belgio, conquistando diversi podi e punti iridati, finendo il campionato quinto con trentedue punti. L’anno successivo passò alla scuderia Ferrari dove si trovò come compagno di scuderia Gilles Villeneuve, che divenne sua grande amico, ma la Ferrari 126CK non era competitiva e Pironi riuscì  ad avere punti solo a San Marino, Montecarlo, Francia e Italia concludendo la stagione tredicesimo con nove punti. La stagione 1982 della Ferrari, con la più competitiva 126C2, vide il pilota,  dopo il diciottesimo posto nel Gran Premio del Sud Africa, i punti conquistati in Brasile con il sesto posto e il ritiro nel Gran premio degli Stati Uniti Ovest, ottenere la seconda vittoria della sua carriere nel Gran Premio d’Imola. Quest’episodio rese difficili  i rapporti tra lui e Villeneuve, poichè il francese aveva superato il canadese nelle ultime fasi della gara, quando c’erano ordini precisi di scuderia di tenere la posizione conquistata. L’8 maggio 1982 nelle prove a Zolder del Gran Premio del Belgio Villeneuve, pur di migliorare il suo tempo, ritorna in pista,  tampona la vettura di Jochen Mass,  sbalzato fuori dalla vettura  muore in ospedale, la Ferrari per rispetto non partecipò alla gara. Dopo due podi conquistati a Montecarlo e Usa e il nono posto in Canada, Didier ebbe la sua terza ed ultima vittoria in Olanda e ottenne altri due podi nei due successivi Gran Premi. Sabato 7 agosto 1982, durante le prove del sabato mattina del Gran Premio di Germania sulla pista bagnata Pironi,  che stava tornando ai box dopo aver ottenuto la pole position, tamponò la Renault di Prost  decollando, quando atterrò la Ferrari si spezza in due insieme alle gambe del pilota, mettendo fine alla sua carriera in Formula 1. Fu superato nella classifica finale da Keke Rosberg che conquistò la sua unica vittoria nel Gran Premio di Svizzera. Dopo varie operazioni Pironì tentò di nuovo di rientrare in Formula 1, non riuscendo,  prima con la scuderia AGS e poi con una Ligier. Alla fine il pilota si concentrò sulla motonautica, con uno scafo da lui ideato detto Colibrì,  che lo portò a vincere diverse gare, ma il 23 agosto 1987 non potè sfuggire ancora una volta al suo destino, morì, insieme a Bernard Giroux e Jean-Claude Guenard,  nel Needles Trophy Race al largo delle coste dell'isola di Wight. Read the full article

[120189hearted]

My Favorite Books. (Random books but they make up what I'm interested in: random knowledge of anything I'm interested in)

(Will probably keep updating this)

The Circle of Liars -Jean Claude Carriere

(About old folk fables from different cultures all around the world)

The Secret Lives of Color -Kassia St. Clair

(Description of different shades of colors and their symbolism throughout history)

Library of Esoterica collection of books

(Very insightful and beautifully done collection of books about Astrology, Witchcraft, Tarot, other mystic knowledge)

The Voynich Manuscript

Listomania

(Cool book about any kind of things)

Atlas of Beauty

(Pictures of women with a little description about them, capturing beauty from all parts of the world)

Haiku Illustrated

Lesser Key of Solomon

Some books about rebel women in history too.

Honorable mention: The Antiquarian Sticker Book (if I'd be a book, I'd be this one, I know it's not really a book but whatever), my 156346 journals and my other zillions of books whose names I forgot related to astrology, gems, philosophy, mystic / esoteric stuff, cultures, old folk stories, poems and fables.

[randomrichards]

LE GRAND AMOUR:

Married man gets bored

Lusts for young secretary

A world of gossip

[byneddiedingo]

Rabid (David Cronenberg, 1977)

Cast: Marilyn Chambers, Frank Moore, Joe Silva, Howard Ryshpan, Patricia Gage, Susan Roman, J. Roger Periard, Lynne Deragon, Terry Schonblum, Victor Désy, Julie Anna, Gary McKeehan. Screenplay: David Cronenberg, Cinematography: René Verzier. Art direction: Claude Marchand. Film editing: Jean LaFleur. 

David Cronenberg admitted he had trouble writing the screenplay for Rabid, and it shows. The movie begins promisingly in a somewhat isolated plastic surgery clinic in Quebec, where the surgeon, Dr. Keloid (Howard Ryshpan), is persuaded to try a new technique whose side effects are still unknown. When a young woman named Rose Miller (Marilyn Chambers) is seriously injured in a motorcycle accident near the clinic, he decides to use the technique to save her life. Rose lingers in a coma after the operation until she wakes up screaming one night with a serious hunger for human blood. The surgery has somehow left a sphincter-shaped organ in her armpit, from which a kind of stinger emerges that allows her to feed on other people. The victims wake up with no memory being attacked but with a similar hunger, and they swiftly go mad, infect others, and die. Rose escapes from the clinic and makes her way to Montreal, spreading the plague behind her. Rose doesn't suffer the madness and death that her victims do, so nobody suspects that she's the carrier of what is initially diagnosed as a new strain of rabies. Rose's story should provide a steady through line for the film, but Cronenberg gets sidetracked too often into scenes that take the plot nowhere and dissipate the suspense a thriller needs. Cronenberg had Sissy Spacek in mind for the role of Rose, but the producers disagreed, thinking that Chambers's notoriety as a porn actress wanting to go straight would attract audiences. Chambers gives a competent performance, but the role needs an actor who can generate both sympathy and menace -- the sort of thing Spacek demonstrated in Carrie (Brian De Palma, 1976).

[twittercomfrnklin2001-blog]

Belle de Jour

If it had a throbbingly romantic score, you’d almost think Luis Buñuel’s BELLE DE JOUR (1968, TCM, Max, Criterion Channel) was the last word in elegant romantic drama. The mostly upper middle-class characters move through pristinely decorated rooms. The heroine is dressed in the latest Yves St. Laurent styles. And Sacha Vierny’s camera glides serenely through it all. But this is in many ways a deconstruction of the myths of romantic drama, the idea that love will always find a way and the role of class in making romantic confusion possible. Working from a melodramatic novel by Joseph Kessel, Buñuel and co-writer Jean-Claude Carriere, in their first collaboration, present a markedly cockeyed view of romance among the well-off.

Severine (Catherine Deneuve) and her surgeon husband Pierre (Jean Sorel) have been married for a year and either haven’t consummated their marriage or haven’t engaged in mutually enjoyable sexual relations. Instead, she has a vivid fantasy life in which various males, including her gentlemanly to a fault husband, humiliate her in ways she finds arousing. Hearing of an acquaintance who’s moonlighting in a brothel, she hunts down one run by a chic lesbian (Genevieve Page) and arranges to work there afternoons under the name “Belle de Jour,” which means afternoon beauty but also is a play on “belle de nuit,” meaning prostitute. In the brothel, she’s able to indulge her fantasies in real life and finds herself opening up more to her husband, particularly after her encounters with a magnetic thug (Pierre Clementi). You can almost envision a 1950s Hollywood-style film poster with Dorothy Malone or Lana Turner saying, “You can call me a slut, but it saved my marriage.”

Buñuel cuts fluidly between Deneuve’s real world and her fantasies, with only the sound of carriage bells as a clue that we’ve entered her dream world. There are also a few quick glimpses of her childhood that might suggest the source of her pathology. I don’t think they do, nor do I feel any great need to delve into that. Although Deneuve breathes life into the character and develops a persuasive arc for Severine, I don’t think we need to understand why she acts as she does. She is, and she acts. That’s all that matters. Her motivation is as open as the often-asked question of what’s buzzing in the Japanese john’s lacquered box. It’s just there, and what matters is that after it leads the other women in the brothel to reject him, it helps make him the first client to give Deneuve any real pleasure. She finds middle-class romance by moving in the opposite direction.

[alrederedmixedmedia]

Alredered Remembers Prolific French author, playwright and screenwriter Jean-Claude Carrière , on his birthday.

"Faith doesn't begin until reason stops."

-Jean-Claude Carriere

[spectaculardistractions]

To Jean-Claude Carrière

Mexico City, 19 January 1981

My dear and favourite disciple, As always, great happiness at the arrival of your two most recent letters, and this reply from me is mainly to the second one.

I’m in no fit state to travel and still less for tributes. What would I do in Cannes – even though I love it – with all these years on my back? Greet dozens of people and waves of journalists, etc.? I’d rather stay in my monastic cell and allow the time I have left, that I neither think nor hope will be long, slip sweetly by. Thank Jacob and Favre Le Bret on my behalf for the invitation, I am sadly unable to accept.

As for my biography, I don’t think it’s a bad idea in principle, and it would mean we could spend about a month together. You could come to Mexico whenever you like, and we could go up to San José; because I could do with getting some oxygen in my lungs before we start. But we’d need to set up some kind of contract with Laffont beforehand, the main clause being that whatever you write would have to be approved by me. I’m very much afraid of your excessive and inventive imagination. Je connais mes moutons. So I accept, in principle, and you can come whenever suits you.

I got the lovely little letter from Iris. Give her a kiss from me, another for Auguste and, for you, my greetings, although cold and correct ones, for fear that you’ll invent things for that biography of yours.

Luis PS I’ve completely recovered from the operation and am smoking and drinking much more than before.

It would be good if Laffont would pay for the stay at San José.

Jo Evans & Breixo Viejo, Luis Buñuel: A Life in Letters

[pixnflixnwrites]

The gang's all here:

(Front) Billy Wilder, George Stevens, Luis Buñuel, Alfred Hitchcock, Rouben Mamoulian (Back) Robert Mulligan, William Wyler, George Cukor, Robert Wise, Jean-Claude Carriere, Serge Silverman.

Ph: Marv Newton

[azulfantasma]

“El libro es como la cuchara, el martillo, la rueda, las tijeras. Una vez se han inventado, no se puede hacer nada mejor. El libro ha superado la prueba del tiempo... Quizá evolucionen sus componentes, quizá sus páginas dejen de ser de papel, pero seguirá siendo lo que es.” Eco / Carrière - Nadie acabará con los libros.