There’s little on their surface that strikes me as remotely similar: mer‘s stilted, black-and-white compositions to the Technicolor explosion of The River the intensely rigorous speech patterns of Melville’s three characters against the slips of the tongue that define Renoir’s subjects and the grave seriousness that paints every frame of la mer to the ingénue perspective of universal growing in The River. New releases by The Criterion Collection from each of these directors have put these contrasting styles into conversation: Melville’s piece-de-resistance, Le silence de la mer, and Renoir’s quasi-travelogue to India, The River. On the other: the old master, Jean Renoir, who makes every moment of cinema feel accidentally captured, and thus indelibly human. On one side, the young blood of Jean-Pierre Melville, a so-called American in Paris - but, more accurately, a geometrician of human calculations. And while there was a certain tendency in French cinema, two of the era’s great directors (both exalted by Cahiers) designed two very different, albeit complimentary systems to tell stories.
#Moviemaker renoir how to#
Narratives are puzzles that present a question: how to best physically represent the story at hand in the way that points audiences to whatever is considered crucial? Though not all cinema must take narrative form, much of what emerged from France post-World War II were filmed stories. A filmmaker friend once explained me that directing is a form of problem-solving.
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