#Mila Parély

[louisa-malchance]

Etude n-19, dessin

#josette day #mila parély #jean marais #jean cocteau #la belle et la bête #beauty and the beast #louisa-malchance #drawing

[zumrud-watches]

The Rules of the Game (1939)

#the rules of the game #movies #stills #Jean Renoir #Marcel Dalio #Nora Gregor #Mila Parély

[genevieveetguy]

You know how it goes. Contempt has always followed possession. To spend your whole life with someone, you don't need lust - which is quickly extinguished - but a harmony of minds, temperaments, and humor.

Le Plaisir, Max Ophüls (1952)

#Max Ophüls #Jacques Natanson #Claude Dauphin #Gaby Morlay #Madeleine Renaud #Ginette Leclerc #Mila Parély #Danielle Darrieux #Pierre Brasseur #Jean Gabin #Jean Servais #Daniel Gélin #Simone Simon #Philippe Agostini #Christian Matras #Joe Hajos #Léonide Azar #1952

[filmap]

Le plaisir / House of Pleasure Max Ophüls. 1952

Church La Chapelle Engerbold, 14770 Condé-en-Normandie, France See in map

See in imdb

#max ophuls #le plaisir #church #normandie #conde en normandie #france #ginette leclerc #madeleine renaud #calvados #mila parély #mathilde casadesus #paulette dubost #jocelyne jany #héléna manson #movie #cinema #film #location #communion #first communion #crying #google maps #street view #1952

[byneddiedingo]

Simone Simon and Daniel Gélin in Le Plaisir (Max Ophüls, 1952)

Cast: Claude Dauphin, Gaby Morlay, Madeleine Renaud, Ginette Leclerc, Mila Parély, Danielle Darrieux, Pierre Brasseur, Jean Gabin, Jean Servais, Daniel Gélin, Simone Simon, Paul Azaïs. Screenplay: Jacques Natanson, Max Ophüls, based on stories by Guy de Maupassant. Cinematography: Philippe Agostini, Christian Matras. Production design: Jean d’Aubonne. Film editing: Léonide Azar. Music: Joe Hajos. 

Pleasure, as the poets never tire of telling us, is inextricable from pain.  Le Plaisir is an anthology film dramatizing three stories by Guy de Maupassant that center on what has been called the pleasure-pain perplex. An elderly man nearly dances himself to death in an attempt to recapture his youth. The patrons of a brothel quarrel and even come to blows when they discover that it is closed. An artist marries his mistress to atone for his cruelty to her. Max Ophüls brings all of his elegant technique to the stories, including his characteristic restless camera, which prowls around the wonderful sets by Jean d'Eaubonne, who received a well-deserved Oscar nomination for art direction. It's also, like Ophuls's La Ronde (1950), an all-star production -- if your stars are French. Claude Dauphin plays the doctor who treats the youth-seeking dancer; Madeleine Renaud is the madame of the brothel, Danielle Darrieux is one of her "girls," and Jean Gabin plays the madame's brother, who invites her to bring the girls to the country for his daughter's first communion, hence the temporary closure of the brothel; Daniel Gélin is the artist, Simone Simon his model/mistress, and Jean Servais his friend who also narrates the final section. Of the three segments of the film, the middle one is the longest and I think the most successful, moving from the raucous opening scene in which the men of the small Normandy town discover the brothel closed into a comic train ride to the country, which is as fetchingly pastoral a setting as you could wish. The sequence climaxes with the filles de joie dissolving in tears at the first communion -- the little church in which it takes place is one of d'Eaubonne's most inspired sets -- then returning to town and a joyous welcome. Ophuls never lets us inside the brothel: We see it only as voyeurs, through the windows. Nothing of this segment is "realistic" in the least, making the melancholy first and last segments more important in establishing the film's theme and tone. The first segment does its part to set up the course of the film as a whole, beginning with a riotous opening as tout Paris flocks to the opening of a dance hall, a pleasure palace, followed by scenes of lively dancing, then the collapse of the elderly patron, who is wearing a frozen and rather creepy mask of youth, and concluding with the bleakness of his normal existence, tended by his aging wife, who is fittingly played by Gaby Morlay, once a silent film gamine. The final segment is the bleakest of all, as the film concludes with the artist pushing his wheelchair-bound wife along the seashore, penance for having provoked her suicide attempt.

#Le Plaisir #Max Ophüls #Simone Simon #Daniel Gélin

[mkemals]

La regle du jeu - Oyunun Kuralı veya Kocası ve Aşığı 1939 

#movie #cinema #art

[lonesomedreamereccentriclover]

On June 6th, the @criterioncollection is releasing a 4K uhd-blu-ray upgrade of the all time classic Rules of the Game - with an first time new cover (see above):

The Rules of the Game

Considered one of the greatest films ever made, Jean Renoir’s The Rules of the Game is a scathing critique of corrupt French society cloaked in a comedy of manners in which a weekend at a marquis’s country château lays bare some ugly truths about a group of haut bourgeois acquaintances. The film has had a tumultuous history: it was subjected to cuts after the violent response of the audience at its 1939 premiere, and the original negative was destroyed during World War II; it wasn’t reconstructed until 1959. That version, which has stunned viewers for decades, is presented here.

4K UHD + BLU-RAY SPECIAL EDITION FEATURES

New 4K restoration, with uncompressed monaural soundtrack

One 4K UHD disc of the film and one Blu-ray of the film with special features

Introduction to the film by director Jean Renoir

Audio commentary written by film scholar Alexander Sesonske and read by filmmaker Peter Bogdanovich

Comparison of the film’s two endings

Selected-scene analysis by Renoir historian Chris Faulkner

Excerpts from a 1966 French television program by filmmaker Jacques Rivette

Part one of Jean Renoir, a two-part 1993 documentary by film critic David Thompson

Video essay about the film’s production, release, and 1959 reconstruction

Interview with film critic Olivier Curchod

Interview from a 1965 episode of the French television series Les écrans de la ville with Jean Gaborit and Jacques Durand

Interviews with set designer Max Douy; Renoir’s son, Alain; and actor Mila Parély

PLUS: An essay by Sesonske; writings by Jean Renoir, Henri Cartier-Bresson, Bertrand Tavernier, and François Truffaut; and tributes to the film by J. Hoberman, Kent Jones, Paul Schrader, Wim Wenders, Robert Altman, and others

New cover by Raphael Geroni

#The Rules of the Game #Jean Renoir #cult film #The Criterion Collection #4k restoration #4k uhd blu ray

[filmes-online-facil]

Assistir Filme A Bela e a Fera Online fácil

Assistir Filme A Bela e a Fera Online Fácil é só aqui: https://filmesonlinefacil.com/filme/a-bela-e-a-fera-3/

A Bela e a Fera - Filmes Online Fácil

Um comerciante vive com seu filho Ludovic (Michel Auclair) e com suas três filhas. Duas delas, Felicie (Mila Paréli) e Adelaide (Nane Germon) são muito malvadas e pretensiosas e se aproveitam da irmã Bela (Josette Day), fazendo-a de empregada. Porém, um dia o comerciante, perdido na floresta, encontra um castelo e pega uma rosa do seu jardim para Bela. Mas o dono do castelo, um ser meio humano e meio fera, captura o comerciante e o condena à morte, ou então que uma das filhas dele o substitua na prisão. Bela se sacrifica pelo pai e vai ao castelo, onde descobre que a fera não é tão selvagem e desumana.

[vincentdelaplage]

DESSIN DE CHAT PAR COCTEAU Jean Cocteau, né le 5 juillet 1889 à Maisons-Laffitte et mort le 11 octobre 1963 à Milly-la-Forêt, est un poète, peintre, dessinateur, dramaturge et cinéaste français. Regardez "Village People - In the Navy Music Video 1978" sur YouTube https://youtu.be/InBXu-iY7cw Libre, plus que jamais, Marais l'est aussi au privé, qui reste dévoué à Cocteau, mais le trompe avec d'autres hommes et partage même, durant deux ans, la vie de l'actrice Mila Parély. Blessé, son mentor se projette dans le personnage du monstre qu'il lui offre au sortir de la guerre. #culturejaiflash https://www.instagram.com/p/CeLJW4mKgNM/?igshid=NGJjMDIxMWI=

#culturejaiflash

[ulrichgebert]

Jean Renoir (im Bärenkostüm) zeigt in seinem berühmten Film von 1939, noch mit schwarzweißem Vorhang, ein prophetisches Sitten- und Weltenbild, in dem sich niemand an die Spielregeln hält und alles im Chaos versinkt.

#La règle du jeu #Nora Gregor #Paulette Dubost #Marcel Dalio #Roland Toutain #Mila Parély #Julien Carette #Gaston Modot #Film gesehen #Jean Renoir #Der französische Film der Woche

[ferretfyre]

#beauty and the beast #le belle et la bete #criterion channel #criterion collection #jean cocteau #jean marais #josette day #mila parély #nane germon #michel auclair

[mariocki]

Snowbound (1948)

"This is not your law-abiding, neat little island of England; this is Europe. Europe after seven years of war, where people starve, and hate, and go on fighting. It's a jungle. Here it is no good to meddle into matters which do not concern you."

#snowbound #the lonely skier #british cinema #1948 #films i done watched #david macdonald #hammond innes #novel adaptation #robert newton #dennis price #herbert lom #marcel dalio #mila parély #stanley holloway #guy middleton #catharina ferraz #willy fueter #richard molinas #gilbert davis #massimo caen #a good old british post war melodrama. a disparate group of strangers come together at an isolated ski lodge where #mystery and mayhem ensues. honestly this is right up my alley. the results are not entirely satisfactory. i mean it's good clean #fun but it takes quite a while for the group to become stranded by a snowstorm and the secrets to start coming out. until then #there is a lot of awkward exposition. it's helped by a starry cast including heavyweights newton and price and french star parély #unsurprisingly they all take a back seat to the ever wonderful herbert lom. here he's in exactly the type of role he excelled at as the #nominative villain who's actually a lot more charming and genial than the so called heroes. he's pure joy here especially in the last act #as chaos breaks out around him and people start to draw weapons as he calmly sits at the piano playing quietly and somehow still totally in #control. regrettably he is playing a nazi but he does it so well... i've said before and i'll say again: i really don't know how actors lik #lom who had actually fled nazi persecution could not only play them on film (and this is only 1948 remember. the war only three years over) #but throw their whole self into the performance. it's a type of courage i suppose. anyway this is no masterpiece but it's fun

[zumrud-watches]

The Rules of the Game (1939)

#the rules of the game #movies #stills #Jean Renoir #Marcel Dalio #Nora Gregor #Mila Parély

[genevieveetguy]

Angels of Sin (Les anges du péché), Robert Bresson (1943)

#Robert Bresson #Raymond Leopold Bruckberger #Renée Faure #Jany Holt #Sylvie #Mila Parély #Marie Hélène Dasté #Yolande Laffon #Paula Dehelly #Silvia Monfort #Gilberte Terbois #Louis Seigner #Philippe Agostini #Jean Jacques Grünenwald #Yvonne Martin #1943

[filmap]

La belle et la bête Jean Cocteau, René Clément. 1946

Farm Chemin de Touvoie, 37210 Rochecorbon, France See in map

See in imdb

#jean cocteau #la belle et la bête #josette day #jean marais #horse #rochecorbon #france #rené clément #mila parély #nane germon #michel auclair #marcel andré #movie #cinema #film #location #google maps #street view #1946

[byneddiedingo]

Jean Renoir, Roland Toutain, and Nora Gregor in The Rules of the Game (Jean Renoir, 1939)

Cast: Nora Gregor, Paulette Dubost, Mila Parély, Odette Talazac, Claire Gérard, Anne Mayen, Lise Elina, Marcel Dalio, Julien Carette, Roland Toutain, Gaston Modot, Jean Renoir, Pierre Magnier. Screenplay: Jean Renoir, Carl Koch. Cinematography: Jean Bachelet. Production design: Max Douy, Eugène Lourié. Film editing: Marthe Huguet, Marguerite Renoir. 

The first time I saw The Rules of the Game, many years ago, I didn't get it. I knew it was often spoken of as one of the great films, but I couldn't see why. I had been raised on Hollywood movies, which fell neatly into their assigned slots: love story, adventure, screwball comedy, satire, social commentary, and so on. Jean Renoir's film was all of those things at once, to my confusion. I had to be weaned from narrative formulas to realize why this sometimes madcap, sometimes brutal tragicomedy is regarded so highly. And I had to learn why the period it depicts, the brink of World War II, isn't just a point in the rapidly receding past, but the emblematic representation of a precipice that the human world always seems poised upon, whether the chief threat to civilization is fascism, pandemic, or global climate change. The Rules of the Game is about us, dancing merrily on the brink, trying to ignore our mutual cruelty and to deny our blindness. Renoir's characters are blinded by lust and privilege, and they amuse us until they do horrible things like wantonly slaughter small animals or play foolish games whose rules they take too lightly. I'm afraid that makes one of the most entertaining (if disturbing) films ever made seem like no fun at all, but it should really be taken as a warning never to ignore the subtext of any work of art. Much of the film was improvised from a story Renoir provided, to the glory of such performers as Marcel Dalio as the marquis, Nora Gregor as his wife, Paulette Dubost as Lisette, Roland Toutain as André, Gaston Modot as Schumacher, Julien Carette as Marceau, and especially Renoir himself as Octave. Renoir's camera prowls relentlessly, restlessly through the giddy action and the sumptuousness of the sets by Max Douy and Eugène Lourié. It's not surprising that one of Renoir's assistants was the legendary photographer Henri Cartier-Bresson. And, given my own initial reaction to the film, it's also not surprising that The Rules of the Game was a critical and commercial flop, trimmed to a nubbin of its original length, banned by the Vichy government, and after its negative was destroyed by Allied bombs in 1942, potentially lost forever. Fortunately, prints survived, and by 1959 Renoir's admirers had reassembled it for a more appreciative posterity.

#The Rules of the Game #Jean Renoir #Roland Toutain #Nora Gregor