Cheers!

By the time Verdoux was released Chaplin had been subject to much controversy in the United States, personally and politically, so I can readily understand Bazin’s assumption that the film is “a revenge of sorts.” With many celebrities and political icons Americans have a love affair with placing these heroes or symbols on a pedestal and then proceed to knock them down when they do not act as anticipated. I am old to enough to remember Jackie Kenndy’s iconic status after the President’s assassination and how she was denigrated some years later after marrying Onassis.

IMO Verdoux is in the same class City Lights, Modern Times and The Gold Rush. It is a brilliant black comedy, pioneering for a time when there was nothing like it on the screen.

I read this book back in the 70’s when I still had not seen many of the films discussed, but having corrected that position over the years, I probably should revisit it.

You have a fantastic blog here, and this post about a set of books I’ve wanted for some time is superb. Consider yourself bookmarked, and the recipient of a new found ‘regular’.

The statement that Paisa is arguably the greatest neorealist film, here, is actually my opinion. Bazin seems to wholeheartedly agree with your contender here. So would I, almost. Paisa’s strict refusal of sentiment, its to-the-book execution of neorealist principles and its rigorous aesthetics were a revelation to me, compared to the much-talked about Bicycle Thieves (which is one of my all time favorites too, but the joy of discovery was lesser in that).

I’m not sure why critics cite Sansho as the greatest. I was swept away by Ugetsu, which I felt was far superior and timeless. I’m seriously Ozu-deficient. Have to start eating Ozu sometime!

Hmm, I’ve seen a very few Italian films. I like De Sica and Antonioni very much, but I would like to believe, as of now, that Bertolucci and Rossellini are the greatest Italian directors followed by Fellini (his use of symbols turns me off sometimes) and Pasolini (gotta see more of his works to arrive at a conclusion).

THanks for the comments, Sam!

I would strongly contend that De Sica’s BICYCLE THIEVES is the greatest neo-realist film, though certainly another look at Rossellini’s PAISAN in the January Criterion release of his three masterpieces in this form will give us another chance to explore Bazin’s vaunted contention. Still, when Bazin contends that “love and compassion” are at the center of De Sica’s cinema he explains basically the wide appeal of the great italain, whose UMBERTO D several years later must surely be counted among cinema’s masterpieces.

I am also one who prefers Mizoguchi to Kurosawa, (I also prefer OZu to him) but with Bazin, he admits later here that it’s not a statement of humanity or style, but rather perhaps of taste. (although he dosen’t say that exactly). SANSHO THE BAILIFF (SANSHO DAYU) may well be the greatest film in the entire history of the cinema, a position that Robin Wood actually supports. It’s final scene may be the most piercingly wrenching of all cinematic codas. Of course French critics in general have always believed Mizoguchi to be the greatest Japanese director.

I love Rossellini (and Visconti) by the way, but only De Sica (perhaps because of the irresistible emotions he brings) challenges Fellini as greatest Italian director.

I have the first Bazin book on my shelf, but not this second, JAFB, so thanks for this truly essential and magnificent post.

I have already read though his position on MONSIEUR VERDOUX, and buy much of what he says, though CITY LIGHTS is Chaplin’s masterpieces, and one of the truly great film sof all-time. (MODERN TIMES and THE GOLD RUSH are the strongest runners-up).