Louis Malle

Question 3

1.        World War II

In the film Lacombe, Lucien, directed by Louis Malle, the theme of conflicts between individuals and the war is discussed. The main character, Lacombe’s experience, reflects a lot about the history of that period. This film also relates to Louis Malle’s personal experience in his early stage. He witnessed a Gestapo brought his friends and teachers to the concentration camp.

2.        Love, marriage, freedom, lust, self-discovery, and liberate

In the 1958 film The Lovers by Louis Malle, a story of a woman who discovered love again after adultery is told. This film shows the complex inner world of females. The husband of the woman in the film ignored what she needed because of the work in a newspaper publishing house. She decided to leave with a young archeologist, Bernard, to chase the love. It also shows the fight people have against the traditional marriage system.

Question 5

When Louis Malle was in a Catholic boarding school near Fontainebleau as an 11-year-old boy, he witnessed a Gestapo bring three Jewish students, including his close friend, and a Jewish teacher were rounded up and brought to Auschwitz. One of the most famous films in his early career stage is called Lacombe, Lucien, which is a film about the World War II. In the film,  a young French man, Lacombe Lucien, wanted to join the resistance group but got rejected because of his age. He was then disappointed about the group and joined a group that worked with the Nazis. However, he met a Jewish girl, and he felt like he fell in love with the girl. The girl’s family tried to duck around because they were Jewish. Lacombe started to feel the conflict in his mind between keeping helping the Nazis and his own morality. This film has a relation with his personal experience when he was young, looking at the Gestapos who brought his teachers and friends to the concentration camp. This triggered his thoughts on Jewish, Nazis, WWII, and individuals in this global war. This film shows the complexity of people in the war, the conflict between personal choices and national interest, and between external forces and morality. All this thinking originated from Louis Malle’s experience at an early age.

Reference

"Lacombe, Lucien." Wikipedia, Wikimedia Foundation, 6 Oct. 2024, en.wikipedia.org/wiki/Lacombe,_Lucien. Accessed 16 Oct. 2024.

https://www.rogerebert.com/reviews/lacombe-lucien-1974#:~:text=His%20%E2%80%9CLucien%E2%80%9D%20is%20a%20case,are%20clearly%20going%20to%20lose.

"The Lovers." Wikipedia, Wikimedia Foundation, 22 Aug. 2024, en.wikipedia.org/wiki/The_Lovers_(1958_film). Accessed 18 Oct. 2024.

Works Cited

Kakutani, Michiko. “LOUIS MALLE’S FASCINATION with LIFE’S TURNING POINTS.” The New York Times, 28 June 1981, www.nytimes.com/1981/06/28/movies/louis-malle-s-fascination-with-life-s-turning-points.html. Accessed 18 Oct. 2024.

Malle, Louis, and Christopher Beach. Louis Malle: Interviews. University Press of Mississippi, 2022. JSTOR, www.jstor.org/stable/jj.399526. Accessed 18 Oct. 2024.

Norris, Stephen. Grading Historical Movies: Louis Malle’s “Au Revoir Les Enfants” (1987) | Journeys into the Past | Miami University. sites.miamioh.edu/hst-journeys/2018/11/grading-historical-movies-louis-malles-au-revoir-les-enfants-1987/.

The Cinema of Louis Malle. Edited by Philippe Met, Columbia University Press, 31 Dec. 2018.

Wikipedia Contributors. “Phantom India.” Wikipedia, Wikimedia Foundation, 10 Apr. 2023, en.wikipedia.org/wiki/Phantom_India. Accessed 18 Oct. 2024.

5. Focus on Character-driven Stories:

Explore Malle's character development, using film studies literature to highlight his methods and impacts.

Provide examples from his films, citing specific sequences or character arcs that illustrate your points.

A: In "Au Revoir Les Enfants," which portrays the “free” France of the Vichy regime under Marshal Pétain, depicting the different sections of French society and their responses to the collaboration and the German presence in France. The character Julien's arc reflects a gradual awakening to the harsh realities of war and betrayal. The pivotal scene in which he confronts the consequences of his actions with his Jewish friend, Bonnet, serves as a powerful turning point.

Besides, In "My Dinner with Andre," which is a captivating and philosophical film, Louis Malle and direct the pair proceed through an alternately whimsical and despairing confessional about love, death, money, and all the superstition in between. Malle's ability to create dialogue not only build up character's depth, but also showcasing their internal struggles.

That said, Louis Malle always pays attention to detail in scenes such as the quiet moments of reflection or putting his character in a huge background, which allows viewers to connect intimately with the characters, making their journeys resonate on a profound level in terms of narrative.

2. Examples of Louis Malle’s Films Across Genres

Drama: The Lovers (Les Amants, 1958)

The plot of this film revolves around a married woman's unhappiness with her marriage and her subsequent affairs with other men.
This film explores themes of love and infidelity, pushing boundaries with its explicit content for the time. Critics praised Malle for his nuanced portrayal of complex emotional landscapes, and it is often cited in discussions of sexual liberation in cinema.

Documentary: Phantom India (L’Inde fantôme, 1969)

A documentary that captures the diverse and complex realities of India, showcasing Malle’s ability to engage with documentary filmmaking. Scholars have noted his keen observational style and the depth of cultural insights presented.

Thriller: Le Samouraï (1967)

A stylish crime thriller that blends noir aesthetics with existential themes. Film reviews highlight Malle’s ability to create tension and develop character psychology, marking him as a key figure in the thriller genre.

Comedy: May Fools (Milou en mai, 1990)

This film combines humor with social commentary set against the backdrop of the 1968 French student protests. Critics have noted Malle’s ability to weave political themes into comedic narratives effectively.

Cross-Cultural Impact

Editor Christopher Beach explicates the threads uniting such seemingly disparate works: “Malle’s films are generally set within definite historical, cultural, or social contexts, and they often deal with intense psychological, erotic, or interpersonal situations.…several of them treat themes of maturation and the loss of innocence.”

The last featured interview, with Positif in 1994, shows Malle reflecting on his cross-cultural approach. “The power of Europe,” he says, “is the sum of all our cultures.” Cultural specificity should be emphasized rather than effaced. The trajectory of mass market cinema, however, paints a portrait far bleaker than Malle likely could have imagined when he railed against filmmaking geared toward the lowest common denominator. 

Reference:

Au revoir les enfants. (n.d.). https://www.yadvashem.org/education/educational-materials/film-reviews/goodbye-children.html

Barnes, J. (2011). The sense of an ending: The classic Booker Prize-winning novel. Random House.

Le Samouraï (1967) | Crime, drama, thriller. (1967, October 25). IMDb. https://www.imdb.com/title/tt0062229/

Phantom India (TV Mini Series 1969– ) | Documentary. (1969, July 25). IMDb. https://www.imdb.com/title/tt0063914/

May Fools (1990) | Comedy, romance. (n.d.). IMDb. https://imdb.com/title/tt0097884/

Sorrento, M. (2022, November 5). Jack of All Trades – Louis Malle: Interviews - FilmInt.nu. FilmInt.nu. https://filmint.nu/louis-malle-interviews-thomas-m-puhr/

1.Tackling Challenging Themes:Identify and examine the social and historical themes in Malle's films. Utilize film analysis and academic papers to support your points.

Malle's films take a brave approach to social, historical and moral complexity.  Malle has never shied away from controversial topics such as World War II, the Holocaust and colonialism. 

One of Malle’s most controversial films, "Lacombe, Lucien" (1974), is a war drama film about a French teenage boy during the German occupation of France in World War II. It is a study of moral ambivalence during the Nazi occupation of France. The protagonist, Lucien, is a young Frenchman from a rural background who, rejected by the French Resistance, inadvertently joins the Gestapo. Lucien’s actions,  can be seen as a reaction to the class structure in rural France. The film subtly critiques the elitism of the Resistance, showing that it was not accessible to all sectors of French society. 

Personal Trauma and Historical Memory: Goodbye Children (1987)  

Marr's Au Revoir les Enfants (1987) is another film with a historical theme, but this time with a personal experience.  Set during World War II, the film follows Marr's childhood at a Catholic boarding school, where he witnessed the deportation of a Jewish classmate.  The film deftly explores themes of bystanders' innocence, guilt, and moral complicity during the Holocaust. 

REFERENCE

Wikipedia contributors. "Lacombe, Lucien." Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 6 Oct. 2024. Web. 16 Oct. 2024.

Wikipedia contributors. "Au revoir les enfants." Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 12 Oct. 2024. Web. 16 Oct. 2024.

2.Versatility as a Director:Discuss examples of Malle’s films across different genres. Use film reviews and scholarly articles as sources.Highlight his work in different cultural settings, citing interviews or critiques that discuss his cross-cultural impact.

In different cultural settings, Malle’s films have different genres and styles. Malle’s versatility as a direct is showing through his exploration in the relationship between culture settings and film genres.

Malle’s early works, Elevator to the Gallows (1958), reflect his thinkings in the French New Wave. The film, often classified as a crime thriller and noir, showcases the moral ambiguity of the French New Wave movement. Set against the backdrop of a rapidly changing French society in the late 1950s  that followed World War II.  Jonathan Rosenbaum notes that Marr's film encapsulates the sense of alienation and anxiety that prevailed during that period, reflecting a cultural landscape of a country struggling with identity after occupation.

Malle also made the documentary Phantom India (1969), a seven-part film series that explored India's complex social and cultural structures, such as the caste system.  The documentary expresses Malle's fascination with Indian culture, presenting a mixture of admiration and criticism.  Some scholars, such as Catherine Lupton, have discussed Marr's documentary style as a raw and often critical view of the sociopolitical landscape. 

Louis Malle’s films demonstrate a broad themes and stylistic range, with critics and scholars consistently highlighting his thought depth and moral complexity. 

REFERENCE

Wikipedia contributors. "Elevator to the Gallows." Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 13 Oct. 2024. Web. 18 Oct. 2024.

Wikipedia contributors. "Phantom India." Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 10 Apr. 2023. Web. 18 Oct. 2024.

Lupton, Catherine. “Phantom India: A Study in Realism.” Journal of Film Studies, vol. 14, no. 2, 2010, pp. 10-25.

Rosenbaum, Jonathan. “The Other Side of the French New Wave: Louis Malle.” The Criterion Collection, 5 Mar. 2007

Malle's impact on legacy

Louis Malle’s impact on film production is profound, particularly for his approach to narrative and genre, as well as his focus on realism and moral ambiguity. Malle’s ability to blend realism with deep moral complexity has inspired directors such as the Dardenne brothers and Michael Haneke. The Dardenne brothers’ films, known for their naturalistic portrayal of working-class life, echo Malle’s approach to social realism a lot. Like Malle’s Au Revoir les Enfants, their films emphasize the ethical dilemmas that people always face and discuss human cruelty. In addition, Malle’s documentary work, such as Phantom India, has influenced modern documentary filmmakers who aim to present observational, unbiased perspectives. Filmmakers like Werner Herzog and Errol Morris, known for blending subjective storytelling with documentary elements, are part of the lineage of filmmakers influenced by Malle’s hybrid style. Herzog has often spoken about capturing "ecstatic truth," which can be seen as an extension of Malle’s attempts to represent reality with sensitivity and depth . In conclusion, Louis Malle's work has had a lasting impact on both European and American filmmakers, particularly those interested in realism, moral complexity, and cross-cultural exploration.

Malle's use of realism

Louis Malle tends to use understated and unembellished portrayal of human life and societal conditions. For example, In The Lovers, unlike traditional romance films, Malle breaks the genre conventions with his realistic portrayal of relationships. He did not romanticize depictions of love, focusing instead on the character’s complex emotions and dilemmas faced by the characters. The film's climactic moments are really in Malle’s romance style, rejecting the conventional Hollywood romantic ending, and building the story in the imperfect realities of human behavior. In addition, in Malle’s documentary Phantom India, he avoids scripted narration and instead allows the camera to capture the spontaneous, everyday life of people in India. Malle doesn’t impose his own views through commentary but rather lets the visual and auditory elements of the country speak for themselves. The raw, unscripted footage combined with ambient soundscapes immerses viewers in the environment, further emphasizing realism. Overall, Malle’s commitment to realism across genres and themes showcases his desire to portray life in its unembellished form. he tries his best to strip away from artifice, allowing viewers to confront the raw truths of human existence, making his films both intellectually and emotionally resonant.

Filmmaking Style & Focus on Character-driven Stories

Louis Malle's use of realism is a key part of what makes his films so impactful. Murmur of the Heart “is a reflection on human responsibility and the banality of evil, more than it is a documentary-like film about collaboration.” He often uses natural lighting and shoots in real locations to create a sense of authenticity. For example, in "Goodbye, Children" the way light and shadow play across the characters helps convey their innocence and the looming tragedy they face. And he was more closely to the topic of wars. Critics note that this realistic style allows audiences to connect deeply with the story. Malle's personal experiences, especially his childhood during World War II, influence his work significantly. In interviews, he has shared how these experiences shape his understanding of human emotions and moral complexity.

Malle is known for developing rich, complex characters who face tough choices and societal pressures. His films often focus on the daily lives of these characters, making them relatable and engaging. For instance, in "The Fire Within" , Alain struggles with feelings of despair and loneliness. His interactions with others reveal the difficulties of forming meaningful connections. A powerful moment in "Goodbye, Children" shows the protagonist's deep emotional pain after betrayal, highlighting how his experiences shape who he is. Through these character arcs, Malle not only tells compelling stories but also encourages audience to think about important themes like identity and morality, leaving a lasting impression on cinema.

Reference

Bfi. “Where to Begin With Louis Malle.” BFI, 29 Mar. 2021, www.bfi.org.uk/features/where-begin-with-louis-malle.

“Goodbye, Children (1987) | MUBI.” MUBI, mubi.com/en/us/films/au-revoir-les-enfants.

LOUIS MALLE - Films and Bio - French New Wave Director. www.newwavefilm.com/french-new-wave-encyclopedia/louis-malle.shtml.

The Editors of Encyclopaedia Britannica. “Louis Malle | Biography, Movies, and Facts.” Encyclopedia Britannica, 20 July 1998, www.britannica.com/biography/Louis-Malle.

View of Guilt and the Myth of the Innocent Bystander: Louis Malle’s Au Revoir Les Enfants. journals.library.ualberta.ca/constellations/index.php/constellations/article/view/9576/7516.

1. introduction to Louis Malle

The biography of Louis Malle:Louis Malle’s birthday was October 30 1932. He was born into a wealthy industrialist family in Thumeries, Nord, France, the son of Francoise and Pierre Malle (Matsen 129). His wealthy family did not support his interest in film, but the wealth of his family gave him the opportunity to study in the Institute of Advanced Cinematographic Studies in Pairs in 1950(Britannica “Louis Malle”). During his student days, he had cooperated with Robert Bresson and a underwater explorer whose name was Jacques Cousteau. One of the films that they made was called The silent world. The name in French was Le Monde du Silence. This film had won the Oscar price(New Wave Film “Louis Malle”) 

2.Versatility as a director

Not all the directors could show the pain and agonies of growing up as poetically as Louis Malle. For example, “Murmur of the Heart”; “Lacombe, Lucien” and “Au revoir les Enfants”. These films made by Louis Malle tells the story of youth, and set the background of the story in the postwar France. They are the director’s ongoing response to a world gone wrong

The film examples: 

murmur of the heart: 

Lacombe Lucien

Au revoir les enfants 

3.Tackling challenging themes

1.Matsen, Brad. Jacques Cousteau: The Sea King. New York: Vintage Books, 2010.

2.Britannica, The Editors of Encyclopaedia. "Louis Malle". Encyclopedia Britannica, 11 Jan. 2024, https://www.britannica.com/biography/Louis-Malle. Accessed 21 March 2024.

3.The Editors of New Wave Film. "Louis Malle." New Wave Film, www.newwavefilm.com/french-new-wave-encyclopedia/louis-malle.shtml. Accessed 21 March 2024.

Introduction to Louis Malle:

www.bfi.org.uk

As three of his best films land on BFI Player, we plot a beginner’s path through the eclectic filmography of Louis Malle, whose career produced classics in both France and Hollywood

Louis Malle offers a fascinating journey into the complexities of human emotions, societal dynamics, and the intricacies of storytelling. Malle's films are characterized by their depth, authenticity, and thought-provoking narratives, offering a nuanced perspective on various aspects of life and culture.

Through his films, Malle tackles a diverse array of subjects, ranging from personal relationships and identity to historical events and social issues. His ability to capture the essence of human experiences and emotions on screen resonates with audiences and invites viewers to reflect on the complexities of the human condition.

Malle's unique storytelling style and visual aesthetics have earned him critical acclaim and recognition in the world of cinema. As a university student with a passion for film, studying Malle's works provides valuable insights into the art of filmmaking, narrative construction, and the power of visual storytelling to convey profound messages and evoke emotional responses.

Focus on Character-driven Stories:

l Explore Malle's character development, using film studies literature to highlight his methods and impacts.

l Provide examples from his films, citing specific sequences or character arcs that illustrate your points.

https://journals.sagepub.com/doi/10.1177/004057367803500316

Malle also delved into more controversial and provocative subjects, such as in his film "Pretty Baby" (1978), which explores the life of a child prostitute in early 20th-century New Orleans. He also tackled issues of racism and colonialism in films like "Black Moon" (1975) and "Lacombe, Lucien" (1974).

Throughout his career, Malle received numerous awards and accolades for his work, including multiple Academy Award nominations. He passed away on November 23, 1995, leaving behind a legacy of innovative and influential films that continue to resonate with audiences today.

Impact and Legacy:

l Assess Malle's impact on cinema and his legacy. Use critical essays, retrospectives, and reviews as sources.

l Consider current filmmakers who may be influenced by Malle, citing interviews or articles where they reference his work.

https://nmarchives.unm.edu/repositories/22/archival_objects/282955

Malle's innovative approach to filmmaking and willingness to tackle contentious issues are highlighted in critical essays and retrospectives. For instance, his film "Au Revoir Les Enfants" (1987) which managed the topics of kinship and treachery during The Second Great War, got basic praise and is viewed as one of his works of art. Malle has received praise from critics for his ability to elicit strong emotions in his audience and his nuanced character portrayal.

Malle was known for his attention to detail in depicting real-life settings and characters. His films often featured ordinary people in everyday situations, providing a glimpse into their lives with a sense of authenticity. For example, in "Au revoir les enfants" (1987), Malle drew upon his own childhood experiences during World War II to create a deeply personal and realistic portrayal of life in a French boarding school. 

Malle often incorporated documentary-style techniques into his narrative films, blurring the lines between fiction and reality. This approach lent an added layer of authenticity to his storytelling, creating a sense of immediacy and intimacy with the subject matter. In "My Dinner with Andre" (1981), for example, Malle used long takes and natural lighting to create an intimate, conversational atmosphere, allowing the audience to feel as though they were eavesdropping on a real dinner conversation.

1. Introduction to Louis Malle

   Louis Malle (1932-1995) was one of the most important directors of the French New Wave, and although he is rarely considered a "typical" New Wave director, his work remains innovative. Whether in terms of filming techniques or subject matter, Malle has maintained and attempted to incorporate them, and has developed a certain personal artistic style as a result of this exploration.

   
   

   Louis Malle was born in October 1932 to a middle-class family in a small town in northern France. With the outbreak of World War II and the social upheaval, he followed his parents around the world, causing him to change schools frequently and remain virtually unchanged from one school to another. Malle's rebellious spirit began to grow as a child: he loathed and criticized the bourgeois family in which he grew up, so his childhood was often characterized by loneliness, which led to his love and obsession with cinema, and at the age of nineteen, despite his parents' obstacles, he enrolled in the Institut des Hautes Études des Hautes Études Cinématographiques (IDHEC) to study cinema.

   
   

   In 1975, Mahler went to the United States, and moved to Hollywood. From 1978 to 1987, Mahler continued to update his film concepts and techniques in the U.S., bringing the fusion of genre and authorial cinema to its fullest extent. 1987, Mahler returned to his homeland, France, and made works such as Au Revoir les Enfants and Lacombelucien, which demonstrated his reflection on history and his profound thoughts on human nature. The film shows his reflection on history and his profound thoughts on human nature.

2. Filmmaking Style：

   In his more than forty years of creative life, Louis Malle has made a wide range of films in different styles. It seems that Malle has always maintained a student's mentality towards cinema, constantly experimenting and exploring, even touching on certain extreme styles. Someone once asked Mahler: "You've made so many different kinds of movies, what do they all have in common? Mahler replied: "Me". Although Mahler's answer is playful, it is indeed the most accurate one. He said that he "tries to treat each movie as an adventure, and tries to be as different as possible from the last one, no matter in terms of subject matter or filming method", and that his most important characteristic is to explore more possibilities without limiting himself, thus making his films "undefinable" and "impossible to be defined". "He is an "author" who cannot be defined.

   
   

   -Autobiographical movie of writing oneself

   -Comedy and tragedy with strong personal style

   -Color expression that follows the theme

3. Focus on Character-driven Stories:

In Louis Malle's films, the "child" is a symbol that cannot be ignored, and he has made a number of works with children and young people as the main protagonists. These films focus on children in different styles, and the meanings they try to reveal are also different, and he records these children in a humanitarian mood, and even achieves a psychoanalytic effect through the camera. In these films, Mahler truly records these children in a humanitarian spirit, even to the point of psychoanalyzing them through the camera. In these films, Mahler celebrates the innocence and loveliness of children with true feelings, but also exposes the influence of children growing up in the adult world, and deeply criticizes the corruption of the adult world.

In Lacombe Lucien, Mahler not only shows concern for wartime history, but also humanitarian compassion for the figure of Lacombe Lucien. This movie is very interesting in its presentation of "sex", as the director explores the dialectical relationship between power and love. Lucien is given power because he became a Nazi, and this power gives him the chance to get love, and when love comes, he has to sacrifice his power for the sake of love, where power is given a kind of dominance over sexuality.

reference;

Frey, Hugo. "Louis Malle and the 1950s: Ambiguities, Friendships and Legacies." South Central Review, vol. 23, no. 2,2006, Pp.22-35， muse.jhu.edu/pub/1/article/199904/summary. Accessed 25 Mar. 2024.

"Looking for Lacombe, Lucien in Southwestern France." Proceedings of the Western Society for French History, vol. 39,2011， quod.lib.umich.edu/cgi/t/text/idx/w/wsth/0642292.0039.027/--looking-for- lacombe-lucien-in-southwestern-france?rgn=main. Accessed 25 Mar. 2024.

Pautrot, Jean-Louis. “Music and Memory in Film and Fiction: Listening to Nuit et Brouillard （1955）， Lacombe Lucien （1973） and La Ronde de Nuit （1969）." Dalhousie French Studies, vol. 55, 2001,Pp. 168-182， www.jstor.org/stable/40838304. Accessed 25 Mar. 2024.

Yakir, Dan, and Louis Malle. "Louis Malle: An Interview from "the Lovers to Pretty Baboy." Film Quarterly. vol. 31.no. 4, July 1978. Pp.2-10， https://doi.org/10.2307/1211802.

Versatility as a Director:

Louis Malle's documentary film in India reveals his diverse cultural setting. After the Indian experience, Malle embarked in the 1970s on three films with adolescent heroes and heroines, living in provincial France, two set in the recent past, one a fantasy set in the near future. For the first of these, Le Souffle au Coeur (Murmur of the Heart, 1971), the directordrew on experiences from his own childhood for a coming of age story about a 14 year old boy growing up in Dijon. Funny, high-spirited and sympathetic with an exhilarating jazz soundtrack, the film nevertheless caused controversy for it’s depiction of incest.

https://www.newwavefilm.com/french-new-wave-encyclopedia/louis-malle.shtml

Versatility as a Director

Malle made documentaries, romances, period dramas, and thrillers. He often depicted provocative or controversial subject matter [1]

Malle's a auteur theorist's bête noire. he was a sensualist, a romantic, he loved jazz and was fascinated by cultures. His documentaries took him to India and across the United States; his fiction features probed the sexual and political taboos of his day [7].

His most famous works include the crime thriller Elevator to the Gallows (1958), the romantic drama The Lovers (1958), the World War II drama Lacombe, Lucien (1974), the period drama Pretty Baby (1978), the romantic crime film Atlantic City (1980), the dramedy My Dinner with Andre (1981), and the autobiographical Au revoir les enfants (1987). He also co-directed the landmark underwater documentary The Silent World with Jacques Cousteau[2]

Documentary on India

Malle visited India in 1968, and made the seven-part documentary series L'Inde fantôme: Reflexions sur un voyage and the documentary film Calcutta, which was released in cinemas.[2] From the deplorable situation in Calcutta to the south of the subcontinent he searches for the traditional India. He films fishermen, shepherds and farmers, and is amazed about the immense contradiction between the people who are dying of hunger and the impressive landscape they do it in. Malle shows the government attempts to modernize the traditional countryside. [3]

 He also shows the contradictions between the commercial dancers who perform in musical like Indian feature films and a group of girls in Kaltchetra, who are learning the traditional sacred dances.Religion is the central theme of The Indians and the sacred. Malle argues that religion can be regarded as 'opium for the people', utilizing bizarre rituals, fetishism and (sometimes) myopia. [3]

Concentrating on real India, its rituals and festivities, Malle fell afoul of the Indian government, which disliked his portrayal of the country, in its fascination with the pre-modern, and consequently banned the BBC from filming in India for several years.[2]

Romance film – The Lovers(1958)

Equal parts scathing social satire and paean to sensualism, Louis Malle's elegant sophomore feature The Lovers (Les amants) charts the scandalous emancipation of young provincial housewife Jeanne Tournier With dialogue assistance from novelist Louise de Vilmorin. [4] Rather than following a couple, as its name would suggest, the film focuses squarely on a frustrated woman who finds what she was missing when she sleeps with a total stranger. The tension in her stillness echos the taut precision of the film’s construction. The Lovers is provocative, from its somewhat satirical title to its climactic scene of, indeed, sexual climax. [5] Malle effected a modern overhaul of Vivant Denon's Point of No Return, an obscure conte libertin dating to the eighteenth century.  [4]

Period dramas-Pretty Baby (1978)

Pretty Baby is a 1977 American historical drama film directed by Louis Malle, written by Polly Platt. The film is based on the true account of a young girl who was sexually exploited by being forced into prostitution by her mother,  which was recounted in historian Al Rose's 1974 book  who photographed various New Orleans prostitutes in the early-twentieth century [6]

Thriller film- Elevator to the Gallows

Associated by some critics with film noir,[1] and introducing new narrative, cinematographic, and editing techniques, the film is considered an important work in establishing the French New Wave and the New Modern Cinema.[2] The improvised soundtrack by Miles Davis and the relationship the film establishes among music, image, and emotion were considered ground-breaking.[8]

Tackling Challenging Themes

Filmmaking Style

From French New Wave to late surrealism to classic narrative cinema, Louis Malle was one of the most versatile, provocative, and independent directors of the postwar period [9]Although often associated with the Nouvelle Vague directors, Malle’s debut preceded the arrival of the movement and he is often considered to be a traditionalist rather than an iconoclast in matters of style.[8]

-French New Wave

The New Wave (French: Nouvelle Vague), also called the French New Wave, is a French art film movement that emerged in the late 1950s. The movement was characterized by its rejection of traditional filmmaking conventions in favor of experimentation and a spirit of iconoclasm. New Wave filmmakers explored new approaches to editing, visual style, and narrative, as well as engagement with the social and political upheavals of the era, often making use of irony or exploring existential themes. The New Wave is often considered one of the most influential movements in the history of cinema[10]

Malle’s work is eclectic, dazzling, and endlessly innovative with a bleak and violence sense of frustration. He began his career in the late 1950s, right around the time that the New Wave exploded onto the French and international scene. Malle trained at a France’s premier film school. His early work was readily associated with the Wave[9]

But he soon diverged stylistically and personally from the “Cahiers du cinéma gang”

late surrealism

release in September 1975 of what he called his “mythological fairy tale taking place in the near future” disconcerted many, especially as people had expected him to follow up on his previous work. Black Moon opens as quasi science fiction—there seems to be some kind of nuclear war going on, with soldiers wearing gas masks—but immediately evolves into an elaborate surrealist fantasy. It structured along the logic of dreams, and based in sexual allegory [11]

narrative cinema

when he was a film student, he was asked by undersea explorer Jacques Cousteau to collaborate on the nature film The Silent World. This auspicious debut went on to win both the 1956 Cannes Palme d’or and the 1957 best documentary Oscar. Malle handled much of the underwater cinematography himself, with the searching, inquisitive nature that would become the trademark of his greatest investigatory works.

short Vive le Tour, a commemoration of his country’s most watched sporting event as well as a personal reflection on one of his favorite pastimes. Malle later called Vive le Tour a “happy experience,” but it was only after he undertook the epic Phantom India, in 1968, that he established his documentary philosophy, adopting certain tenets of cinéma direct—improvisation, minimal crew, the refusal to organize reality—and applying them to a fairly consistently class-conscious, outsider perspective[12].

1 ("Where to begin with Louis Malle". BFI. Retrieved 2021-11-04.)

3 https://www.idfa.nl/en/film/8a158949-282e-4fe5-a26a-a74434eaba74/l'inde-fantome/

4 https://letterboxd.com/film/the-lovers/

7* https://bampfa.org/program/risk-and-reinvention-films-louis-malle

8  https://www.newwavefilm.com/french-new-wave-encyclopedia/louis-malle.shtml

9 https://www.europenowjournal.org/2019/03/04/the-cinema-of-louis-malle-transatlantic-auteur-edited-by-philippe-met/

11 https://www.criterion.com/current/posts/1907-black-moon-louis-in-wonderland

12 https://www.criterion.com/current/posts/561-eclipse-series-2-the-documentaries-of-louis-malle

Introduction:

He’s a French film director, screenwriter, and producer who worked in both French cinema and Hollywood.

Malle made documentaries, romances, period dramas, and thrillers. He often depicted provocative or controversial subject matter.

Malle's most famous works include the crime thriller Elevator to the Gallows (1958), the romantic drama The Lovers (1958), the World War II drama Lacombe, Lucien (1974), the period drama Pretty Baby (1978), etc.

Tackling Challenging Themes:

At the crossroads of the New Wave, he tackled all subjects, defying the restrictions and taboos that constricted ‘proper’ French society. Malle did not hesitate to explore unpopular themes, and he was equally skilled treating such themes as French collaboration with the Nazis, child prostitution. One of his film Lacombe, Lucien (1974) was about a French boy who collaborated with Nazis during the German occupation of France in World War II.

In the 1970s, Pretty Baby (based on the life of photographer Ernest J. Bellocq) and Murmur of the Heart provoked considerable controversy. With the collaboration of Jean-Claude Carrière, he produced May Fools, a surreal and hilarious depiction of the bourgeoisie in the aftermath of May 1968.

Filmmaking style:

While showing the theme of war in his films, he avoids talking about it directly. In one of his interview, he said:

It was between Munich and the beginning of the Second World War, and I was deeply disturbed by the state of mind of French society and the world in general. It seemed to me that one way of interpreting this state of mind would be to avoid talking about it directly and tell a light-hearted story instead. For inspiration I looked to Beaumarchais, to Marivaux, to the classical authors, and to the field of comedy.

His experiences of studying at a Roman Catholic school in Fontainebleau that sheltered Jewish boys during World War II, inspired his production of the film Goodbye, Children (1987), which became one of his best-known films.  Resources: https://www.newwavefilm.com/french-new-wave-encyclopedia/louis-malle.shtml https://www.britannica.com/biography/Louis-Malle

https://2022.festival-lumiere.org/en/programme/louis-malle-prog.html

1. introduction to Louis Malle

The biography of Louis Malle:Louis Malle’s birthday was October 30 1932. He was born into a wealthy industrialist family in Thumeries, Nord, France, the son of Francoise and Pierre Malle (Matsen 129). His wealthy family did not support his interest in film, but the wealth of his family gave him the opportunity to study in the Institute of Advanced Cinematographic Studies in Pairs in 1950(Britannica “Louis Malle”). During his student days, he had cooperated with Robert Bresson and a underwater explorer whose name was Jacques Cousteau. One of the films that they made was called The silent world. The name in French was Le Monde du Silence. This film had won the Oscar price(New Wave Film “Louis Malle”) 

1. Versatility as a director

1. Tackling challenging themes

1.Matsen, Brad. Jacques Cousteau: The Sea King. New York: Vintage Books, 2010.

2.Britannica, The Editors of Encyclopaedia. "Louis Malle". Encyclopedia Britannica, 11 Jan. 2024, https://www.britannica.com/biography/Louis-Malle. Accessed 21 March 2024.

3.The Editors of New Wave Film. "Louis Malle." New Wave Film, www.newwavefilm.com/french-new-wave-encyclopedia/louis-malle.shtml. Accessed 21 March 2024.

1.    Introduction to Louis Malle:

Louis Malle is a French Director that is awarded and celebrated for his eclectic movies and stylistic approaches.

Critique Roger Ebert made a comment on his style: ‘Malle's only constant was unpredictability’. (Rogert Ebert)

This remarkably outlines the varied topics and techniques Malle uses.  For example, his works in films ranges from romance:” The lovers(1958)”, comedies “Zazie in the Metro (1960)”, to thrillers “Elevator to the Gallows(1958)” and suspenseful stories, he is not focusing particularly on one genre, but the genre act as the weapon of his in order to provoke discussion and draw attention to a social problem. (BAMPFA)

He is known for his complex auteur identities and genres. His most famous films include Elevator to the Gallows" (1958) and “Lacombe, Lucien” (1974).

NewYork Times writer Terrence Rafferty critiques: “In Every Film, a Different Louis Malle” (Rafferty Terrence)

2.    Focus on Character-driven Stories:

Apart from his diversity of genres and styles, his portray of characters are also famous for its depth and details. His characters are especially attractive since they are full of emotional arcs and personal growths.

For example, the film Lacombe, Lucien released in 1974, portrays a character’s ambition, betrayal and growth, showing a complete and fluctuating arc of character development. “Kael, Pauline. “Lacombe, Lucien.” The Criterion Collection.”His films also express the naturalistic and realistic approaches, he is particularly good at story-telling and the character establishment because of just how “predictable” and natural the emotions are, and how their decisions would be made if the audience was the character. For example, in “Lacombe, Lucien”, the transformation of the innocent French boy into a torture machine will start to make sense when we finally understand, through the story, how the decisions of the character (to join the Germanies) step by step led him into this destiny.

3.    Filmmaking Style:

Malle has developed his unique style of speaking within movies, one of which is the open discussion of the taboo topics. In his movies, he fearlessly talks about the dark side of history, sexuality and social problems.

Malle grew up in a very wealthy family, but his childhood was not as we will expect, because of an event that happened when he was 11. He witnessed his close friends, teachers and head masters being caught and sent into a concentration camp. So when he grew up, he started creating similar topics, like Lacombe, Lucien. 

The topic he talks about also has a lot of cultural and historical depth in it. Because of his own unique experiences, identity as a French, from a rich family, all of these which formed the capability of him to either find and express the social problems. For example, in “Lacombe, Lucien”, he talks a. lot about the post-war world of France, the sensitive topics about Germanies and concentration camps are all addressed and used to make the character more attractive.

The techniques that he uses ranges from the wit of comedy to lyrical quality, using a lot of experimental techniques.(New wave film)

His use of unique techniques to express emotions are also strong, like using an unstable handheld camera to illustrate the sad and depressed mood of the character in “The Fire Within(1963)”. (Sam Woolfe)The color grading in his film can also be manipulated for different themes and styles accordingly. For example, “Lacombe,Lucien”’s color grading can range from a low saturation and a high saturation depending on the character’s mood and condition.

Citations:

Ebert, Roger. “Malle’s Only Constant Was Unpredictability: Interviews: Roger Ebert.” Interviews | Roger Ebert, www.rogerebert.com/interviews/malles-only-constant-was-unpredictability. Accessed 21 Mar. 2024.

Kael, Pauline. “Lacombe, Lucien.” The Criterion Collection, www.criterion.com/current/posts/416-lacombe-lucien. Accessed 21 Mar. 2024.

Rafferty, Terrence. “In Every Film, a Different Louis Malle.” The New York Times, The New York Times, 19 June 2005, www.nytimes.com/2005/06/19/movies/in-every-film-a-different-louis-malle.html.

“Risk and Reinvention: The Films of Louis Malle.” BAMPFA, 2 Apr. 2018, bampfa.org/program/risk-and-reinvention-films-louis-malle.

Sam Woolfe. “The Portrayal of Depression in the Fire within (Louis Malle, 1963).” Sam Woolfe, 11 July 2023, www.samwoolfe.com/2022/10/depression-louis-malle-the-fire-within.html. 

“LOUIS MALLE .” Louis Malle - Films & Bio - French New Wave Director, www.newwavefilm.com/french-new-wave-encyclopedia/louis-malle.shtml. Accessed 28 Mar. 2024. 

3. Trackling challenging themes:

- Occupation and Collaboration:

Lacombe, Lucien (1974): Set in Nazi-occupied France during World War II, this film explores themes of collaboration, resistance, and moral ambiguity. Malle presents a complex portrait of the protagonist, Lucien, a young peasant who becomes involved with the Gestapo. Through Lucien's story, Malle raises questions about individual responsibility and the choices people make in times of crisis. In her essay "The Ethics of Louis Malle's Lacombe, Lucien," scholar Carrie Tarr examines the film's portrayal of moral ambiguity and its critique of both collaboration and resistance movements during the occupation.

- Class and Social Inequality:

The Fire Within (1963): This film follows a disenchanted writer struggling with alcoholism as he contemplates suicide. Through the protagonist's interactions with various characters from different social backgrounds, Malle explores themes of alienation, privilege, and the existential crisis of the intellectual elite. Film critic Jonathan Rosenbaum, in his analysis of The Fire Within, highlights Malle's critique of bourgeois society and its failure to provide meaning and fulfillment for its members.

- Colonialism and Post-Colonial Identity:

Black Moon (1975): Often regarded as one of Malle's most enigmatic and allegorical films, Black Moon explores themes of colonialism, gender, and the collapse of social order. Set in a surreal, dystopian world, the film follows a young woman as she navigates through a landscape inhabited by both humans and animals. Scholar Stephen Heath, in his essay "Louis Malle's Black Moon: A Film of Her Time," analyzes the film's use of imagery and symbolism to critique patriarchal and colonial structures.

www.bilibili.com

www.bfi.org.uk

As three of his best films land on BFI Player, we plot a beginner’s path through the eclectic filmography of Louis Malle, whose career produced classics in both France and Hollywood

https://www.kibin.com/essay-examples/an-analysis-of-symbolism-in-au-revoir-les-enfants-a-film-by-louis-malle-coRQQH4T

4. Filmmaking Styles

Malle's approach to realism is marked by his keen observation of human behavior and his commitment to portraying life's complexities authentically on screen. He often employed documentary techniques and naturalistic performances to create a sense of immediacy and intimacy in his films. For example, Au Revoir les Enfants is based on Malle's own experiences attending a Catholic boarding school during the war, lending the film a sense of personal resonance and authenticity.

Critics and scholars have noted Malle's mastery of realism and his ability to capture the nuances of everyday life. For example: Film critic Roger Ebert praised Malle's realistic depiction of French society in Au Revoir les Enfants, noting how the film's attention to period detail and the naturalistic performances of the child actors contribute to its emotional impact.

Malle's personal experiences and background undoubtedly influenced his filmmaking style and choice of subject matter. Born into a wealthy family in France, Malle had the opportunity to observe various social strata and cultural milieus from an early age. His experiences as a student in Catholic boarding schools during World War II, as well as his travels and interactions with people from different backgrounds, provided him with a rich tapestry of stories and perspectives to draw upon in his films.

In interviews, Malle often spoke about the importance of drawing from his own experiences and observations as inspiration for his films. He believed in the power of personal storytelling and sought to infuse his work with authenticity and emotional truth.

Interview：https://www.youtube.com/watch?v=wHTxooDbb-M&t=55s

https://www.youtube.com/watch?v=9Yfp02KvZko

https://www.britannica.com/biography/Louis-Malle

2. Versatility as Director:

- Drama:

Au Revoir les Enfants (1987): This film is a poignant drama set in France during World War II, inspired by Malle's own experiences. It tells the story of a young boy attending a Catholic boarding school who befriends a Jewish boy, unaware of the dangers surrounding them. The film explores themes of friendship, betrayal, and the impact of war on innocence. Critics praised Malle's sensitive portrayal of the subject matter and his ability to evoke powerful emotions from the audience.

- Documentary:

Phantom India (1969): Malle embarked on a journey across India to create this ambitious documentary series. Divided into seven parts, the film offers an intimate and insightful look into various aspects of Indian society, culture, and religion. Malle's observational style and willingness to immerse himself in different cultural settings without imposing his own judgments impressed critics, making Phantom India a landmark in documentary filmmaking.

- Thriller:

Elevator to the Gallows (1958): Malle's debut feature film, Elevator to the Gallows, is a stylish thriller that follows a man who gets trapped in an elevator after committing a murder. The film is celebrated for its atmospheric cinematography, innovative use of the jazz score by Miles Davis, and its exploration of existential themes. Malle's mastery of suspense and his ability to create a tense atmosphere captivated audiences and laid the groundwork for his future

- Comedy:

Zazie dans le Métro (1960): Based on the novel by Raymond Queneau, Zazie dans le Métro is a whimsical comedy that follows a young girl named Zazie during her adventures in Paris. Malle's playful direction and irreverent humor make this film a delightful romp through the streets of Paris. Critics praised Malle's ability to capture the surreal essence of Queneau's novel while infusing the film with his own unique visual style.

Critique: “Every scene is masterful!” -- Peter Bradshaw

His work in different cultural settings:

In an interview with The Paris Review, Malle discussed his approach to filmmaking and his interest in exploring different cultures. He emphasized the importance of empathy and curiosity in understanding the perspectives of people from diverse backgrounds.

https://www.theguardian.com/film/2015/jan/28/au-revoir-les-enfants-review-louis-malle

www.rogerebert.com

Which of us cannot remember a moment when we did or said precisely the wrong thing, irretrievably, irreparably? The instant the action was completed or the words were spoken we burned with shame and regret, but what we had done never could be repaired. Such moments are rare, and they occur most often in childhood, before we have been trained to think before we act. “Au revoir les enfants” (“Goodbye, Children”) is a film about such a moment, about a quick, unthinking glance that may have cost four people their lives. The film was written and directed by Louis Malle, who based it on a childhood memory. Judging by the tears I saw streaming down his face on the night the film was shown at the Telluride Film Festival, the memory has caused him pain for many years. His story takes place in 1944, in a Catholic boarding school in Nazi-occupied France. At the start of a new semester, three new students are enrolled, and we realize immediately that they are Jews, disguised with new names and identities in an attempt to hide them from the Nazis. To Julien Quentin (Gaspard Manesse), however, this is not at all obvious. Julien, who is intended to be Malle’s autobiographical double, does not quite understand all of the distinctions involving Jews and gentiles in a country run by Nazis. All he knows is that he likes one of the new boys, Jean Bonnet (Raphael Fejto), and they become friends. Jean is not popular with the other students, who follow the age-old schoolboy practice of closing ranks against newcomers. But then, Julien is not very popular, either. The two boys are a little dreamy and thoughtful, absorbed in themselves and their imaginations, as bright adolescents should be. Malle’s film is not filled with a lot of dramatic incidents. Unlike such roughly comparable Hollywood films as “The Lords of Discipline,” it feels no need for strong plotting and lots of dramatic incidents leading up to the big finale. Instead, we enter the daily lives of these boys. We see the classroom routine, the air-raid drills, the way each teacher has his own way of dealing with problems of discipline. More than anything else, we get a feeling for the rhythm of the school. Malle has said that when, years later, he visited the site of the boarding school he attended, he found the building had disappeared and the school forgotten. But to a student enrolled in such a school, the rules and rituals seem timeless, handed down by innumerable generations and destined to survive forever. A schoolboy cannot be expected to understand how swiftly violence and evil can strike out and change everything. Julien and Jean play together, study together, look at dirty postcards together. One day - one of those cold, early spring days when the shadows seem ominous and there is an unsettling wind in the trees - they go exploring in a nearby forest and darkness falls. They get lost, or almost lost, and they weather this adventure and become even closer friends. One day, Julien accidentally discovers that Jean Bonnet is not his friend’s real name. A few days later, when Julien’s mother comes to visit, he invites Jean to join them at lunch in a local restaurant, and they witness an anti-Semitic incident as a longtime local customer is singled out because he is Jewish. That is about all the input that Julien receives, and it is hard to say exactly what he knows, or suspects, about Jean. But when Nazis visit the school, Julien performs in one tragic second an action that will haunt him for the rest of his days. Malle has said the incident in “Au revoir les enfants” does not exactly parallel what happened in real life, but the point must be the same: In an unthinking moment, action is taken that never can be retrieved. Is the film only about guilt? Not at all. It is constructed very subtly to show that Julien only half realized the nature of the situation, anyway. It isn’t as if Julien knew absolutely that Jean was Jewish. It’s more as if Julien possessed a lot of information that he had never quite put together, and when the Nazis came looking for hidden Jews, Julien suddenly realized what his information meant. The moment in which he makes his tragic mistake is also, perhaps, the moment when he comprehends for the first time the shocking fact of racism.

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Don't miss this resource:

https://www.criterion.com/current/posts/416-lacombe-lucien