A Forest Pt. 3: The Power of Love
What is most specific of all the means of the camera is obviously the power to make concrete the forces of love which, despite everything, remain deficient in books, simply because nothing in them can render the seduction or distress of a glance or certain feelings of priceless giddiness. The radical powerlessness of the plastic arts in this domain goes without saying (one imagines that it has not been given to the painter to show us the radiant image of a kiss). The cinema is alone in extending its empire there, and this alone would be enough for its consecration. What incomparable, ever scintillating traces have films like Ah! le beau voyage (continuity by Albert Lewin – further information via Some Came Running) or Peter Ibbetson left behind in the memory, and how are life’s supreme moments filtered through that beam!”
André Breton: As In A Wood (transl. Paul Hammond) from: The Shadow and Its Shadow
But I can tell here that in 1949 the film Manon, adapted by H. G. Clouzot with the help of Jean Ferry, who was at that time member of the surrealist group, and which established … (Cécile Aubry’s) fame, had moved Breton literally to tears.
Gérard Legrand: A propos de La Femme-enfant in: Obliques N° 14-15 – La Femme Surréaliste
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