Start Over

French Impressionist Cinema: Film Culture, Film Theory, and Film Style (December 1974)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

Ce n'est pas assez, l'adultére. Cen rest nee assez le revolver inattendu, ni la cour d'assises et le coup de théatre en pleine audience. Les bias lumiéres, méme assez, les clichés lumineux, le halo, Lnedit, je erois’. aut “nimbe la téte du pers onnage principal evr le désigne, pendant les’ scénes intenses, da notre attention, autant de piéges pour des artis a simplement honorables. 1 It seems not too much to conclude that The Cheat revealed to many French viewers a promising range of pictorial possibilities in the’cinema./5 It is this Visual quality that Delluc, for one, stressed: "On ne croirait jamais que nos metteurs en scéne ont vu tant de fois le film de B. dé Mille (sic }i°" Mais ‘4 '6nt! Gis vu"? The impact of The Cheat on French cinema was clear in subsequent years. When Camille de Morlhon pointed to the film as an example for film-makers to follow, she had perhaps no idea of how much the film would be imitated. 7 Delluc charged Roussell's La Faute d'Odette Maréchal (1920) with copying The Cheat and observed that even Gance was not above borrowing from De Mille in Mater : eK ‘ Q : ! : Dolorosa, La Dixiéme Symphonie, and J 'Accuse. 79 Tn addition, the film's Stars, Hayakawa and Fanny Ward, enjoyed a wide vogue in France, both being eventually imported for French. films. The Cheat even became the libretto for an opera,/? and was remade by Marcel L' Herbier in 1937. Delluc's estimate seems Only a little overstated: "Si les Francais arrivent peu a peu 4 comprendre quelques