#Suzanne Schiffman

[genevieveetguy]

. It takes two to love, as it takes two to hate. And I will keep loving you, in spite of yourself. My heart beats faster when I think of you. Nothing else matters.

The Last Metro (Le dernier métro), François Truffaut (1980)

[oui-bo-wie]

Juliet Berto - Jacques Rivette with Suzanne Schiffman

[rwpohl]

material und analyse: out 1 - noli me tangere, jacques rivette, suzanne schiffman 1971

[byneddiedingo]

Jean-Pierre Léaud, Jacqueline Bisset, and François Truffaut in Day for Night (François Truffaut, 1973)

Cast: Jacqueline Bisset, Valentina Cortese, Dani, Alexandra Stewart, Jean-Pierre Aumont, Jean Champion, Jean-Pierre Léaud, François Truffaut, Nathalie Baye. Screenplay: François Truffaut, Jean-Louis Richard, Suzanne Schiffman. Cinematography: Pierre-William Glenn. Production design: Damien Lanfranchi. Film editing: Martine Barraqué, Yann Dedet. Music: Georges Delerue. 

Day for Night has a certain notoriety as the film that caused a rift between the New Wave directors Jean-Luc Godard and François Truffaut. As the story goes, Godard walked out of a screening of Day for Night and charged that Truffaut had a fraudulent, sentimental view of the traditional movie-making that had been their targets in their first features, The 400 Blows (Truffaut, 1959) and Breathless (Godard, 1960). Godard, the purist, had maintained his radical political leftism from the beginning; Truffaut, who was an unabashed fan of movies no matter what their politics, had not maintained, in Godard's view, a strict enough awareness of his social responsibility as a filmmaker as his career advanced. Godard is, on his own terms, accurate about this aspect of Truffaut's work, so it all boils down to which filmmaker you prefer. As I happen to love them both, I won't take sides. Godard shows me things in movies that I haven't seen anywhere else, while Truffaut's humanity wins me over almost every time. Day for Night was, as it happens, a fair target for Godard's kind of criticism: It was warmly embraced by the establishment that Godard scorned, namely the Academy of Motion Picture Arts and Sciences, which gave it the best foreign language film Oscar for 1973 and, because of eligibility rules, a year later it earned nominations for Truffaut as best director and (with Jean-Louis Richard and Suzanne Schiffman) for best original screenplay, as well as a best supporting actress nomination for Valentina Cortese. Day for Night is still one of Truffaut's most enjoyable movies, an account of the difficulties encountered by a director (played by Truffaut himself) in completing a studio-produced melodrama called Meet Pamela. He has to contend with an aging alcoholic actress (Cortese) who can't remember her lines so they have to be posted around the set, and who repeatedly opens the wrong door and walks into a closet during one of her big scenes. There is also a fragile leading lady (Jacqueline Bisset) who is returning to work after a nervous breakdown, an unexpectedly pregnant actress (Alexandra Stewart) in a key supporting role, an aging matinee idol star (Jean-Pierre Aumont), and a neurotic actor (Jean-Pierre Léaud) whose life is complicated by his romantic notions about women. Moreover, one of these performers will die before filming ends, making things even more difficult. That the film also bristles with insights into the filmmaking process only makes it a more durable addition to Truffaut's canon. For once, the English title, which refers to the technique of underexposing or filtering the images so that daytime shots appear to be taking place at night, is more suggestive than the French one (La Nuit Américaine is the French phrase for the same process) in evoking the illusion/reality paradox involved in making movies. One additional plus: Georges Delerue's wonderful score.

[diario-de-um-fotograma]

Out 1, não me toque - Oitavo episódio: de Lucie à Marie (Out 1, noli me tangere - Huitième episode: de Lucie à Marie), de Jacques Rivette e Suzanne Schiffman (França, 1971)

[readingsrantsrambles]

Thank you Mark Brady for finding this image of me filming the 25th Anniversary Concert for Dinosour Jr’s release of the ‘You’re Living All Over Me’ LP. It was an amazing night as the band’s original line up was joined by a star studded supporting cast: Lee Ranaldo and Kim Gordon of Sonic Youth, Frank Black from the Pixies, Johnny Marr of The Smiths, Dale Crover from the Melvins, Tommy Stinson of The Replacements, Kyle Spence from Harvey Milk, Kurt Vile, Al Cisneros from Sleep, Kevin Drew of Broken Social Scene, Suzanne Thorpe of Mercury Rev, Don Fleming, Dante Ferrando, John Petkovic and Fred Armisen. December 1, 2012 @ 11:55 PM Many thanks to the ever generous Scott Jacobson and Rebecca Schiffman for hiring myself and Simeon Moore for this very loud gig. It was amazing to be on the stage with J. Mascis, Lou Barlow and Murph as they played what had always been one of my favorites LPs and then some. @straintest @rebeccaschiffman @jmascis @dinosaurjr @kurtvile @tommystinson @kimletgordon @johnnymarrgram @kdrewmusic @beerforallthebulls http://www.nyctaper.com/2012/12/dinosaur-jr-december-1-2012-terminal-5-flac-mp3-downloads-streaming-songs/ (at TERMINAL 5) https://www.instagram.com/p/CovomwKLXMU/?igshid=NGJjMDIxMWI=

[womeninmovieswearinghats]

Juliet Berto in Out 1 (1971)

Direction: Jacques Rivette and Suzanne Schiffman

Costumes: Not credited

[theoscarsproject]

The Story of Adele H. (1975). Adèle Hugo's unrequited love for a lieutenant.

This is an interesting story in a lot of ways about obsession and infatuation, and it’s really grounded in a pretty excellent performance by Isabelle Adjani. The movie ebbs and flows in ways that gives her the opportunity to really chew the scenery, albeit sometimes in ways that are frustrating or perhaps go on for too long. Still, it’s a compelling adaptation of a story I actually didn’t know about, so that was fun! 7/10.

[tvln]

le moine et la sorcière (fr, schiffman/berger 87)

[forhandsthatsuffer]

Out 1: Noli Me Tangere (1971), dir Jacques Rivette & Suzanne Schiffman

[emisaris]

Out 1: Noli me tangere (1971)

[laplanetesauvage1]

Out 1 (1971) dir. Jacques Rivette

[modbeatnik]

Suzanne Schiffman, Henri Serve and Jeanne Moreau on the set of Jules et Jim, 1962

[byneddiedingo]

Gérard Depardieu and Fanny Ardant in The Woman Next Door (François Truffaut, 1981) Cast: Gérard Depardieu, Fanny Ardant, Henri Garcin, Michèle Baumgartner, Véronique Silver. Screenplay: François Truffaut, Suzanne Schiffman, Jean Aurel. Cinematography: William Lubtchansky. Music: Georges Delerue. François Truffaut's penultimate film skims along the surface of romantic melodrama (not to say soap opera) without ever really picking up any of that genre's essential energy the way filmmakers like Douglas Sirk or his great European admirer Rainer Werner Fassbinder were able to do. It's a film full of Truffaut touches, such as having the story introduced by a secondary character, Mme. Jouve (Véronique Silver), an older woman who has her own history of disastrously blighted love. Mme. Jouve even orders the camera about as she sets up the narrative. There are also some intriguing details about the characters that seem to have symbolic potential. For example, both husbands, Bernard (Gérard Depardieu) and Philippe (Henri Garcin), have managerial jobs that involve transportation: Philippe is an air traffic controller, and Bernard trains the captains of supertankers, working in a large outdoor scale model of a harbor for tankers -- a job that superficially resembles the one Antoine Doinel held in Truffaut's Bed and Board (1970), except that Bernard takes it much more seriously than Antoine did. Unfortunately, there's not much story here: Bernard and Matilde (Fanny Ardant) had been lovers, and after their separation each married someone else. Now Matilde and Philippe have moved in next door to Bernard and Arlette (Michèle Baumgartner), and the old love affair resumes, with painful results. It's only the finesse in the direction and acting, and the attention to secondary details, that give The Woman Next Door resonance and depth -- though perhaps not enough.

[diario-de-um-fotograma]

Out 1, não me toque - Sétimo episódio: de Emilie à Lucie (Out 1, noli me tangere - Septième episode: d'Emilie à Lucie), de Jacques Rivette e Suzanne Schiffman (França, 1971)

[fuckyeahwomenfilmdirectors]

Sorceress dir. Pamela Berger & Suzanne Schiffman (1987)

A Dominican friar visits a 13th-century French village in search of heretics. Despite the opposition of the local priest and the indifference of the villagers, he finds a seemingly perfect suspect: a young woman who lives in a forest outside the village and cures people with herbs and folk remedies.