Louis Malle
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And yet Baumbach hits a few killer bull's-eyes: In a late scene, the confused Frank, left alone for a weekend after his dad forgets to pick him up, riffles through his mother's underwear drawer and lays out her bra and panties on the bed, a lovely, fleeting homage to Louis Malle's "Murmur of the Heart."
The effect is that, as in My Dinner with Andre, we are staring at diffuse images but our brains are focused on Locke's conversations, perhaps trying to picture faces, or a football match, or a concrete pour.
Then again, some people might think of something even smaller and more obscure, like Louis Malle’s “My Dinner with Andre,” where the audience becomes enraptured with the fascinating dinner conversation.
But if this scripted literal "conversation piece" by and between Wallace Shawn and Andre Gregory made for a convenient punchline, a shorthand for artistic snobbery, it was also acutely self-aware and just as much thought-provoking, offering a progressive cinematic paradigm that would later sustain pictures like Richard Linklater's Before series (Before Sunrise, Before Sunset, Before Midnight).
What ensues is an ambulatory My Dinner With André for lovers -- a captivating and seamless discussion in which Jesse and Celine unravel the past while flirting with romantic possibility.
The story of a young American (Ethan Hawke) and a beautiful French jeune fille (Julie Delpy) who meet on a train and slip into a deep-thought conversation with an intensely sexual subtext, it was like a non-platonic My Dinner With Andre, a romantic daydream distilled to 190 proof: One sip made you reel.
Think My Dinner with Andre, but with better looking stars in a more photogenic surrounding.
In 1981 Louis Malle made the successful "My Dinner With Andre," wherein two old friends sit and talk and talk and talk over dinner.
It was also that rare American film keener on talk than on plot, a My Dinner With Andre in which Andre turned out to be a whip-smart, sexy French babe.
Still in the getting-to-know-each-other stage, George takes Sally to see a revival of Louis Malle's "Zazie dans le métro."
Soon enough, smitten George and the more wordly Sally are skipping school to eat takeout noodles and to catch a revival-house matinee of Louis Malle's "Zazie dans le Metro."
Despite the absurdly all-American backdrop, the film reveals a particularly French influence in its use of composer Alexandre Desplat's sprightly instrumentations and its admirably non-patronizing approach toward adolescents, which recalls the precocious protags of Louis Malle's "Murmur of the Heart" and "Zazie in the Metro."
Irina’s work would go on to inspire Brooke Shield’s mother to have her daughter pose in radically controversial photographs and featured nude in the film, Pretty Baby .
The Diary of a Teenage Girl (2015)
Directed by Marielle Heller
influenced by Murmur of the Heart (1971)
Characters
He’s an unpremeditated predator, a spiritual cousin of the mother who deflowers her 14-year-old son in “Murmur of the Heart.”
Ayoade wasn’t keen when I tried to align his seaside-set Swansea, Wales “Submarine” alongside the wittily ironic movies of the great, long-silent Scots writer-director Bill Forsyth, but “New Wave” perked up his ears, and he cited Louis Malle’s “Zazie dans le Metro,” based on the linguistically antic novel by Raymond Queneau as key.
And playwright/actor Tracy Letts (“The Lovers,” TV’s “Divorce”) tries his hand at warm and cute as “the good cop” dad, the one there to comfort and spoil his daughter and encourage the dreams her mom is hellbent on crushing.
But in recent years he’s also become one of film’s finest character actors, most recently in Indignation and The Lovers.
It's 2002 and her dad Larry (Tracy Letts, "The Lovers") is suffering in the current economic climate.
She lives with her intense, overbearing mother Marion (Laurie Metcalf, TV’s “Getting On”) and her doting nice-guy father Larry (Tracy Letts, “The Lovers”); her brother Miguel (Jordan Rodrigues, TV’s “The Fosters”) and his girlfriend Shelly (Marielle Scott, “Yield Right”) live there too.
Lady Bird’s father Larry is played by Tracy Letts, Tony and Pulitzer Prize winner and last seen onscreen in The Lovers .
It may seem like having a child protagonist might restrict the themes and subject matter that you would explore, but just take a quick look through an array of films of this kind to see the depth that’s possible: Louis Malle’s Au Revoir Les Enfants (a favorite of Branagh’s) handles the shame and complicity of bystanders during the Holocaust, Spike Lee’s Crooklyn celebrates a Brooklyn childhood without once losing perspective of race and class, Terrence Davies’ The Long Day Closes is a blossoming poem to the childhood memories that we carry with us for life, Abbas Kiarostami’s Where is the Friends House?
In the past, Baumbach has acknowledged the influence of Louis Malle (specifically hhis 1971 masterpiece, “Murmur of the Heart”) on his work.
Carnage (2011)
Directed by Roman Polanski
influenced by My Dinner with Andre (1981), Vanya on 42nd Street (1994)
Themes Visuals
CARNAGE 3 stars (out of 4) Stars: Jodie Foster, Kate Winslet, John C. Reilly, Christoph Waltz Rated: R for language How long: 1 hour 19 minutes Opens: Friday at Sundance For fans of: "My Dinner With Andre," "Crimes and Misdemeanors," PTO meetings that turn into shouting matches…
Like Robert Altman, or Louis Malle's Vanya on 42nd Street, Polanski retains the physical confines of the play but smashes through the proscenium, setting his camera loose inside the apartment.
The Science of Sleep (2006)
Directed by Michel Gondry
influenced by Zazie dans le Métro (1960)
Visuals
Gondry, who even takes a wee rim shot at Bushian “age of terror” trauma, briskly echoes some of the fabled effronteries of the French New Wave's “Pierrot Le Fou,” “Jules et Jim” and “Zazie dans le Metro.”
It works more along the lines of something like My Dinner With Andre (1981) or Mindwalk (1991) than it does Clerks (1994).
"Dogma" is a hulking slice of Zeitgeist contagion, energized to the hilt by a vast, wisecracking cast that makes "It's a Mad Mad Mad Mad World" look like "My Dinner With Andre."
A misfired attempt by director Franco Zeffirelli to rekindle the adolescent ardor he had captured in his Romeo and Juliet, the earlier film was a bloodless affair starring a nubile Brooke Shields, fresh from playing a 12-year-old prostitute in Pretty Baby, and the previously and thereafter unknown Martin Hewitt.
A whole lotta sly class-clash comedy tumbles through the snow while Kim learns her way around this aristocratic new world: her collisions with Georgie (who turns out not to be such an idiot after all) solidify into unexpected friendship, even if those with arch American matriarch Caroline (Brooke Shields: Pretty Baby ) do not... especially after romance accidentally rears its head via Caroline’s veddy English son, Jonny (Ed Westwick: Breaking and Entering ), who is careening toward marriage with a far more appropriate young lady.
When Ben confides to Jongsu one night that he burns down greenhouses as a hobby (while Haemi dances naked in the sunset before them, a kind of embodiment of the fantasy the two men have constructed between them, sublimely and portentously scored to Miles Davis jazzy improvisations from Elevator to the Gallows), it isn't clear if he's speaking literally or metaphorically.
The dance is accompanied by Miles Davis’s score for “ Elevator to the Gallows ” (1958), and deepened still further by the light—or, rather, by the failing of the light, which turns Hae-mi into a semi-silhouette.
The film’s standout scene sees Jongsu and Ben share a joint as Haemi strips to the waist and dances to Miles Davis’ jazzy score for Elevator To The Gallows , not for the men’s pleasure but lost in her own reverie.
And after the film’s most remarkable sequence, at Jong-su’s farm—with Hae-mi doing a seminude sunset dance to Miles Davis’s crepuscular music from Louis Malle’s Elevator to the Gallows —the rich but gainfully unemployed Ben confesses that he occasionally burns down abandoned greenhouses for fun.
Catherine Breillat's Fat Girl and Louis Malle's Pretty Baby are unstinting in their honesty while retaining awareness of the sensitivity of their subject matter.
I felt some of the same feelings during " Pretty Baby ," the 1978 film in which Brooke Shields , playing a girl of 12, has her virginity auctioned away in New Orleans.
In 1992’s Damage, when Jeremy Irons started having an affair with his son’s fiancee (Juliette Binoche), director Louis Malle graphically depicted the ferocity of their illicit encounters, making us understand why Irons was unable to resist his disastrous desires.