Cartier-Bresson Documentary Now Showing
wxwax
Registered Users Posts: 15,471 Major grins
Well, probably not in your neighborhood. A film like this doesn't get very wide distribution. But maybe at some point you'll be able to rent it. Or catch it on cable.
I'm going to let the NYTimes sue me, because I'm reposting their short review. (You can't link to NYT stories without signing up.)
Henri Cartier-Bresson: The Impassioned Eye
2003 - Switzerland - Special Interest
Reviewed by Stephen Holden
REVIEW SUMMARY
"Taking pictures means holding your breath with all your faculties concentrated on capturing a fleeting reality," declares the pioneering photojournalist Henri Cartier-Bresson near the end of Heinz Butler's austere documentary portrait.
In this small but stately film, completed a year before the pioneering photojournalist Henri Cartier-Bresson's death at 95 in August 2004, he slowly leafs through volumes of his black-and-white photographs, shows some of his later drawings and muses on his art to the severe, prickly strains of Bach piano music. Even when viewed secondhand in a movie, these photographs are something to see. Their formal elegance is balanced by an intense, pulsing humanity.
The documentary, which subscribes to the Great Man school of reverential portraiture, is not a biography but an interview (in French, simultaneously translated into English) conceived as a master class on art appreciation, with guest commentators augmenting Cartier-Bresson's own sparsely chosen words.
I'm going to let the NYTimes sue me, because I'm reposting their short review. (You can't link to NYT stories without signing up.)
Henri Cartier-Bresson: The Impassioned Eye
2003 - Switzerland - Special Interest
Reviewed by Stephen Holden
REVIEW SUMMARY
"Taking pictures means holding your breath with all your faculties concentrated on capturing a fleeting reality," declares the pioneering photojournalist Henri Cartier-Bresson near the end of Heinz Butler's austere documentary portrait.
In this small but stately film, completed a year before the pioneering photojournalist Henri Cartier-Bresson's death at 95 in August 2004, he slowly leafs through volumes of his black-and-white photographs, shows some of his later drawings and muses on his art to the severe, prickly strains of Bach piano music. Even when viewed secondhand in a movie, these photographs are something to see. Their formal elegance is balanced by an intense, pulsing humanity.
The documentary, which subscribes to the Great Man school of reverential portraiture, is not a biography but an interview (in French, simultaneously translated into English) conceived as a master class on art appreciation, with guest commentators augmenting Cartier-Bresson's own sparsely chosen words.
Sid.
Catapultam habeo. Nisi pecuniam omnem mihi dabis, ad caput tuum saxum immane mittam
http://www.mcneel.com/users/jb/foghorn/ill_shut_up.au
Catapultam habeo. Nisi pecuniam omnem mihi dabis, ad caput tuum saxum immane mittam
http://www.mcneel.com/users/jb/foghorn/ill_shut_up.au
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