Catherine Deneuve in UN FLIC Screens at The Classic French Film Festival This Friday

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The Classic French Film Festival celebrates St. Louis’ Gallic heritage and France’s cinematic legacy. The featured films span the decades from the 1920s through the 1980s (with a particular focus on filmmakers from the New Wave), offering a comprehensive overview of French cinema. UN FLIC will screen as part of the festival  at 7pm Sunday, June 27th at Webster University’s Moore Auditorium

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In UN FLIC piano-playing Edouard (Alain Delon) and nightclub owner Simon (Richard Crenna of “Wait Until Dark” and “Body Heat”) both love Kathy (Catherine Deneuve). If that’s not trouble enough, Edouard’s a post-burnout cop and Simon’s bent on the heist of a lifetime, and they seem to be looking past Kathy at each other. Jean-Pierre Melville’s final work features iconic performances from the star trio – a never more jadedly detached Delon, a never more chillingly icy Deneuve, and a surprisingly effective, smilingly insinuating Crenna. The film features two trademark Melville heists: the first a near-wordless bank job on a deserted, bleakly rain-sodden seaside street; the second a nerve-shredding, timed-to-the-second drug snatch done via helicopter-to-train transfer.

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Former Village Voice critic J. Hoberman writes of the director: “The high priest of tough-guy mysticism and master of the attitudinous gangster thriller, Melville not only anticipated the French new wave but served as a model for the neo new wave of Jim Jarmusch, Quentin Tarantino and Wong Kar-wai.” And Time Out New York observes: “With barely a word spoken between them – mostly a series of virile glances – Delon and Crenna paint an idealized portrait of masculine camaraderie, one that’s exposed at the end of Melville’s bracing last testament as a soul-shattering illusion.”

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UN FLIC will screen  at 7pm Sunday, June 27th at Webster University’s Moore Auditorium (Winifred Moore Auditorium in Webster Hall – 470 E Lockwood Ave – Webster Groves, MO 63119)

With an introduction and post-film discussion by Diane Carson, professor emeritus of film at St. Louis Community College at Meramec and adjunct professor of film studies at Webster University.

Admission: $12 general admission; $10 for students, Cinema St. Louis members, Saint Louis Art Museum (SLAM) members, and Alliance Française members; Webster U. screenings free for Webster U. students.

A PDF version of the Classic French Film Festival program is available to download HERE:

http://www.cinemastlouis.org/sites/default/files/downloads/2014/Classic_French_Program_2014_lo_res.pdf

Check back later in the week here at We Are Movie Geeks for more information about the Classic French Film Festival

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Classic Revival: ‘Le Samourai’ (1967)

First, let me just say this … if you’re wondering why I sometimes write about “old” movies, its because I like to watch “old” movies as much as I enjoy watching “new” movies … and there’s some really cool “old” movies out there to be seen. So, for any of you who’ve seen them … right on! For those who haven’t, maybe these little blasts from the past will spark a curious itch that just must be scratched.

Le Samourai was written and directed by Jean-Pierre Melville. The film holds a subtle but monumental influence on some future films with similar themes. The story follows Jef Costello, a lone hit-man who is cool-headed and flawlessly calculated in his work. Nothing is left to chance. Costello completes a job, but finds himself picked up along with several other suspects. After a lengthy interrogation, Costello is released and he meets with his contact to collect payment. Costello learns that this job has taken a turn for the worse and he must turn the tables on his employer while eluding the law.

More than any other reason, the visual style of Le Samourai is what makes this film so great. The drab colors combined with the sharp angles and edges of the city and Costello’s environment, compliment the contrast of lighting and shadows and emphasize the straight-faced, almost robotic demeanor of Costello’s personality. While watching the film, its not difficult to pick out how it has influenced future film-makers. One of the most apparent is that of Luc Besson, best known for films with similar themes like La Femme Nikita and Leon: The Professional.