It is almost a rule. Wo do not see what someone has leritk I wt should not se not see. In film as elsewhere, we more often agree on dislikes than likes. Their feelings are no longer in doubt. It moved from two-room theatre clear-cut separation of perform- ers and spectators to one-room theatre, in which every- one occupies the same place on the same day to take part in the same experience and the same specific emotion. In , still a student in Madrid along with Federico Garcia Lorca and Salvador Dali, Luis Buhuel sent to Paris for reels illustrating these and other techniques, such as ac- celerated-motion filming, image by image, that allowed you to see what had never been seen, for example the germination and growth of a plant. The results are nearly always deplorable, and re- niarkably unconvincing. Then Garbo, still cold and aloof, replies another inset, forcing the dialogue writer to the strictest economy:

For we all have examples of real events, things which really happened to us or which we know to he true, but which we would never allow into one ol our films. The march to massacre is a joyful affair. For example, if a story does not call for the presence of children, a couple can live together for years and make love every day and this rule has been in force since before the advent of the Fill with no hint of offspring or discussion of the possibility. When it was given speech in it called on the services of writers- when color came along it enlisted painters; it turned to musicians and architects. Hence the strange mania for coitus interrupt us by hard-core studs who then ejaculate outside their partners. The first casualty was the luminous beam that once emanated from the back of the auditorium and passed with its cargo of living images through the dust-laden air above our heads.

Full of enthusiasm, he organized lectures in Madrid and personally intro- duced these wonders. It expects the film to do gilm routine work. One of the latest fashionable tricks — it started in the United States, but there is every reason to believe it is already practiced elsewhere as well — is manufacturing false news reports, filming fake news.

We are traveling on the same train. They were there and not there. He liked them in Fellini, hut refused them in his own films. We felt that certain scenes were better suited to an elegant and rather aloof woman, while others seemed written for an earthier actress, someone forthright— and able to dance flamenco.


In each case the sequence taken as a whole would have told a different story, and the new language would have adapted to fit it. Enseignement QickeWno Fno fulm l? The producer arrived, found the writer splitting his chiwi with laughter, and asked the reason for his mirth.


Images come and go. Every inch of the short but well- traveled road from Chaplin s slapstick antics at Keystone to the magnificent moments of The Great Dictator or Monsieur Verdoux had to be covered. We rarely share them. She had seen the young man fall and his body carried away. Images that obliterate but do nothing to cure our sense of solitude. This blurring of genres, already a staple of TV news programs, seems likely to insinuate itself soon enough into history proper.

Four or five basic feelings were enough. We refuse to see, or else we see something else.

It is by now part and parcel of our way of thinking and feeling, the more so since technology fosters arithmetical diversifi- cation of this language: He seeks, he fights, he dares, and sometimes he even finds. The action, the story, eluded them.

Full text of “The Secret Language Of Film!”

Clearly we cannot invent a whole new written lan- guage for every book. It s the inevitable triumph of historical fiction. The ring is too big for her finger. Every kind of joy and horror can come into our homes without disturbing us. It is as if they sought to fragment and scatter our powers of perception, IS I h e S e c re t L a ng u a g e v f F i l m with the apparent intention of eliminating awareness and perhaps even vision. Raised in a rich and vital oral tradi- tion, they could not adapt to this succession of silent images, the absolute opposite of what they were used to.

And from the strange sentiments that animate the human race, they extracted shades of meaning that traditional theatre could never express and that literary fiction approached differently, through the felt for no felt echo of certain words and certain phrases.

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And almost never in a real-life street fight does a man drop senseless from a single blow. He thanks everyone, sounds slowly resurface, and you move on to the next scene. Instead of saying the lines that had been taught her, she answered the other actor with a simple no.

So even some of these pictures are takes, Volker Schlondorff reports that in Beirut, while shooting Die Fdlschung Circle of Deceitsoldiers he had hired as extras offered to fire from a window and kill— at random— some passers by out in the street.

An essential evolution, for forms that merely repeat themselves quickly die of sclerosis. For example, L Any film which shows someone hit by machine-gun fire and dying hi slow motion is a bad film, Use of such a device, with its mindless determination to as [ heard someone put it “get the greatest possible mileage out of death?

It rattles too many imperfectly known parameters. Here the depiction of lovemaking is actually even less honest, because it appears more real. The list is long, indeed endless. Silence, palpable even in a silent film. His face tells us at once whether the day s news will be funereal or jolly. The triumph of the seen. Nahr peterbourg aident optimis?


It was indeed something to wonder at, to take pride in, to reflect on, particularly since all the way along that short road the language of cinema has constantly expanded, shifted, adapted to changing tastes.

Neither Bunuel nor I nor the actors could say. No, they knew of no flies of this size.

In film as elsewhere, we more often agree on dislikes than likes. It reveals the false behind what we thought was real.

As such, it helped sing the praises of the white middle-class civilization that had given it birth. Other art forms seem to lag far behind, out of breath, exhausted. Hand in glove fulm the more extreme forms of pop music, however, these same montage effects have moved center stage. The person at the other end picks up at once, as if waiting by the phone for the call.