3. February 27, 2011. - go back to the surface once our note about Paul Carpita. Without even offer a comment on Rendezvous docks (1953) , it takes a little search to see according to all information (updated), we may:
Download The dissertation studies Natacha Bécard: The missing link of the French film "censorship of Go Quays, a film by Paul Carpita , Journalism Seminar, 2001/2002, sl 91 pages.
This document recounts the turbulent history of this film, its making and its context, its prohibition and its rediscovery. He then studied the relationship between the history of this film and the French Communist Party, the French press and the world of cinema, to assume self-censorship so complicated converged Paul Carpita himself torn by the humiliation of censorship political and media, and animated by the desire to protect his comrades, who would have to contribute to the myth of the film destroyed.
Écouter Paul Carpita annoncer le 28 février 1990 au Journal télévisé (France 3) la première diffusion du film dans la région au Mazarin à Aix-en-Provence, après trente-cinq ans de censure.
Lire ces quelques propos enfin de Paul Carpita, tirés d'un intéressant entretien avec Bruno Le Dantec en juillet 2008:
can also be found on this page many memories narrated by Paul Carpita itself. This document recounts the turbulent history of this film, its making and its context, its prohibition and its rediscovery. He then studied the relationship between the history of this film and the French Communist Party, the French press and the world of cinema, to assume self-censorship so complicated converged Paul Carpita himself torn by the humiliation of censorship political and media, and animated by the desire to protect his comrades, who would have to contribute to the myth of the film destroyed.
Écouter Paul Carpita annoncer le 28 février 1990 au Journal télévisé (France 3) la première diffusion du film dans la région au Mazarin à Aix-en-Provence, après trente-cinq ans de censure.
Lire ces quelques propos enfin de Paul Carpita, tirés d'un intéressant entretien avec Bruno Le Dantec en juillet 2008:
- Pendant trente ans, j’ai cru que Le Rendez-vous était définitivement perdu, jusqu’à ce que Jack Lang, mis au défi par des dockers de Port-de-Bouc, nomme une commission d’investigation. Not without protest: "But, it's been twenty years that there is more censorship in this country!" They eventually find him, sealed in the archives of Bois d'Arcy. It was the copy seized by the police. There were also negative, precious to us, ignored by the communists ... I am told that it is voluntary ... There is some truth in that. It has stifled the film. There were "events", Guy Mollet received full powers to French Algeria. And we, to be with the socialists, we said yes, amen. "But then, if this film fate, it will bother us, "some have thought. When we found these negatives, I was angry, I went to account. But the central committee, I found the leaders too young to have a responsibility there, I gave up. Moreover, some helped me a lot afterwards and that journalists wanted to exploit it to discredit all communists. Anyway, enough chat, come, I'll show you my den. It was there, behind the house, a cafoutche where I ride my films.
2. October 25, 2009. We go that little text at the top of the site: Paul Carpita died yesterday. Our project is more than ever now to devote an entire folder. It already offers complete filmography. Remember that the best source remains the long beautiful site built by his son .
1. May 22, 2009. - From birth to Slowing Works we indicated in your sidebar in Cinema (here) and elsewhere , the existence of filial site on Paul Carpita . From that time, we promised ourselves to return soon, as this filmmaker's work is considerable, even if, for decades, which still endure, no film student has never heard any of his teachers . We have often experienced in recent years with young people in the Fémis (Ecole Nationale Supérieure des Métiers de l'Image and Sound, Paris). And even if, but litmus test now classic, it opens no occurrence in two large books bringing together all the writings of Jean-Luc Godard , which also covers much of the time IDHEC and legendary Cinémathèque (1) . Little survey too fast, I agree, but we will extend the survey of the writings of popes and all our sub-popes of French Cinephilia.
But here it is: beyond what could be the mythology of a lost film banned then, that populated the imagination of our youth in Marseille, a tad militant It is true Rendezvous docks (1950-1955) joins the popular tradition of Toni Jean Renoir any formal modernity would burst in 1960 Breathless , after so many years, and is anything but a bolt from the blue. We return in detail Rendezvous docks and the rest: this is our project, after the company John Cassavetes , systematically exploring all of this work. But if many have seen several films by John Cassavetes, few are unfortunately ceux pour qui Paul Carpita est plus qu'un nom. Or, la brise légère des parutions semble élever un peu le destin public de cet auteur et, pour notre bonheur, le servir enfin:
• Un coffret double en 2008 chez Copsi Vidéo production, Des lapins dans la tête , regroupe l'ensemble de ses courts et moyens métrages, et complète ainsi toute sa filmographie disponible en deux autres albums chez Doriane films : Le Rendez-vous des quais donc, Les sables mouvants (1996), et Marche et rêve! or Lobsters of Utopia, (2002). With some films of command and news that turned the militant group Cinépax , we can see very easily at home all the work of this filmmaker.
• Paul Carpita maverick filmmaker just released editions The Journey, 2009: a long interview with the filmmaker Pascal Tessaud, briefly and quickly especially with a foreword by Ken Loach , seeking the meaning of many films Paul Carpita to his own political beliefs - he surprised many that our artist, man of all loyalties, subscribe unreservedly to the content of these lines, but it is also too much to be alarmed by this kind of recovery - at least its importance has not escaped him.
In this business, dangerous among all, the important thing is knowing how to speak up this man too modest, self closer to emotions than words, a man of images and stories more than of theoretical discourse, but - the bonus DVDs show - speaks as a person du génie du cinéma, pour peu qu'on l'y invite et qu'on l'y installe. L'édition est foutraque, faite sans soin, mais c'est l'unique présence en librairie aujourd'hui sur cet homme. À ma connaissance, seul un livre de Claude Martino, L e Rendez-vous des quais: Un film de Paul Carpita et ses histoires , avait paru en 1996 aux éditions de Haute-Provence dans la collection «Le cinéma d'ici», mais il est épuisé depuis longtemps.
De ces œuvres dont la sincérité, la profondeur et la révolution formelle sautent aux yeux, aux oreilles, au cœur et à l'entendement. Un artiste.
1. Pascal Tessaud puts a note in his interview, he points out (footnote 52) the presence of images of Rendezvous Quays in Histoire (s) du Cinema . In such a sum, we can always go astray but neither I nor the tables of Jean-Luc Godard himself, nor the score published by Scemama Celine, fall such citations. However, it is still an opportunity for the storyteller Paul Carpita report us a nice anecdote: "It was in May 1968, was in Cannes. [...] The tone rose and it has degenerated into a brawl. Then I saw Godard! I put myself in front for ne pas qu'il prenne des coups et je me suis morflé un coup moi, terrible! Voilà les rapports que j'ai eus avec la Nouvelle Vague! Je ne voulais pas qu'on leur tape dessus! (rires). Je ne suis pas bagarreur mais j'étais devant pour m'interposer et je me suis pris un coup de poing dans la gueule pour protéger Godard (rires)! Et il ne le sait pas.»
Photogramme: © Paul Carpita : Marseille sans soleil , 1963.
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