The fall of 1960, out "Street Prairie" of Denys de La Patelière, decorated with a biting slogan: "Jean Gabin rule its accounts to the new wave." Michel Audiard michel Audiard dans du Michel Audiard imprime le dialoguiste Arts in "Of Michel Audiard prints the dialogue writer Arts" one of his memorable formulas: "the new wave is dead." And one realizes that she was, in substance, much vaguer than new. "In short, papa France corrects its seedlings and makes them solely responsible for the alienation of the rooms... Indeed, French cinema, as all the cinemas of the world, cash, the development of a new mass entertainment: television.
Then friends spread. Chabrol enters the wilderness and task of saving his career by chaining commands. After "The soft skin", Truffaut attempts to "Fahrenheit 451" in London. It will then become a filmmaker worshiped, but eventually enough classical and rigorous. Godard, he goes turning "The contempt" in Italy. It will remain the most radical of all, it sucked in Maoism, refusing the codes formal and narrative, pushing his research into the most obscure corners... In 1962, he wrote to Truffaut that word of disenchanted ado: "it is never, this is foolish. Yesterday, I went to see turn Claude Chabrol, it's terrible, it no longer has anything to say. As in the song "pale morning, there is even more friendship". It left everyone on the planet, and it is more close-up, as before, only in plan General. Girls with which we bed separate us each day more instead of closer.
They were perhaps simply grew up. That year, Godard turns one of his masterpieces: the time had come to "live life".
That have in common the "Mavericks" youth and the love of the cinema Themselves have long disputed the label "new wave". As early as 1959, Truffaut is explained in "The world": "I see that a common point between young filmmakers: they practice all fairly systematically the device slot and Pinball, unlike the old directors who prefer the cards and the whisky." Chabrol assign later: "these stories of waves me were always excited." It came from outside, we are not is is never called the new wave! Time, two words Republic especially.
But if the new wave is a myth, it was powerful enough to influence generations of filmmakers from around the world. He inspired the "cinema novo" Brazilian in the 1960s. In the 1970s, Scorsese, Coppola, Lucas... are based on the example of the new wave in an attempt to establish the "new Hollywood". Could multiply examples, of Taiwan in the short-lived "dogma" Danish... The myth of the Group of friends that knocks the institution recessional as soon as three filmmakers appear at the same time, in the same place. The new wave also continues to dream with dazzling youth and beauty faces: the insolence of Bernadette Lafont, the class Jean-Claude Brialy but also Jean-Pierre Léaud in the armoury of the "400 blows", Anna Karina dancing madison in "band apart", Anouck Aimée adjusting its guêpière in "Lola", Bebel lying on the pavement of "A end of breath".Jeanne Moreau current between Jules and Jim in the "vortex of life..." Unlike the bravery of the classics of papa pieces, these air moments so typical of the new wave seem away with disarming ease. They give the illusion of a talent at all. Hence a few disasters among the heirs... but also the grace of the famous "pulp Fiction" twist (Tarantino called his production house "A band Apart" in reference to Godard) or the first Wong Kar Wai.
Part of the French cinema emerged groggy wave. It has condemned many children unto the ressac Lord and the feeling of being in error of youth. To the regret of not having lived 50 years earlier... When cinema filming so well the joy to film.