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Posts Tagged ‘Band of Outsiders’

Memories of Raoul Coutard by Lee Kline

Wednesday, November 30th, 2016

Here are some memories of Raoul Coutard, one of the greatest cinematographers of all time.

Raoul Coutard, who photographed some of the most brilliant films of the New Wave, died recently at the age of 92. I don’t like to do obits in this blog, preferring to celebrate the work of the living, yet Coutard’s contribution is simply too significant to ignore. Happily, the colorist Lee Kline has recently published some thoughts about working with Coutard on digital restorations of some of his greatest films on the Criterion website, and here is part of what Kline had to say.

The first time I met Raoul Coutard was in June of 2002. I was in Paris to remaster a few films for Criterion, and one of them was [Jean-Luc] Godard’s Contempt. We had gotten in touch with Coutard and asked him to come in and help us with the color, which he did. He showed up and got right to work. I was awestruck that one of the world’s greatest cinematographers was working with us on what I considered to be one of his masterpieces.

It was not the easiest session for me because I spoke virtually no French and had to rely on people interpreting for me. Coutard worked with the colorist on the color grading: desaturating here, adding a little more contrast there, and bringing Contempt into the digital age with grace and ease.

He was fast, assured, and to the point. Because of the language barrier (or so I thought—more on that later!) we didn’t converse very much, but I got to hear translations of many great stories from the set. I could pretty much understand what he had done from the changes happening on the screen.

A few years later, we asked Coutard to come back in for a few more films. One was Band of Outsiders, and the other one was Costa-Gavras’s Z. We met at Eclair Laboratory, which was in a terrible neighborhood outside of Paris. He didn’t want to go there, and we didn’t want to go there. But Costa-Gavras wanted to go there. We met, and for some reason that I can’t remember, Costa-Gavras couldn’t make it and we had to work on Z without him.

I was with my colleague, who spoke French, and I was telling her that I thought there was something wrong with the color blue that was on the screen, trying to make my case so she could translate to Coutard. He then slowly turned to me and said, ‘What don’t you like about it?’ I was in shock that he never told me he could speak English! Everything then changed, and although his English was limited, I could finally speak directly to him.”

Coutard, famously practical and with a misanthropic streak a mile wide, could be difficult to work with. As recounted in his obituary in The New York Times by William Grimes, Coutard’s “collaboration with Godard ended when France was engulfed by the political events of 1968. ‘Jean-Luc is a fascist of the left, and I am a fascist of the right,’  Coutard told The Guardian. But the two reunited in the early 1980s to make Passion and First Name: Carmen.

He also had a falling-out with [director François] Truffaut, with whom he had collaborated on Shoot the Piano Player and The Soft Skin. The Bride Wore Black (1967) was their last film together. ‘I had the ridiculous idea to quit smoking at the same time we were filming the movie,’ Mr. Coutard told The Houston Chronicle. ‘I was very unbearable and very unpleasant, so we parted ways after that.’”

But here, readying is work for release in DVD and Blu-ray format, Coutard seems to have struck up a real accord with Kline, and it’s a pleasure to have this glimpse of the gifted artist in his last years, just as cantankerous as ever, yet assiduously making sure that his films made the jump to digital with all their pictorial values intact.

You can read the entire article by clicking here or on the image above.

Band Of Outsiders (1964)

Wednesday, October 12th, 2011

Jean-Luc Godard’s Band of Outsiders (Bande à part, 1964) finds the director in an unusually playful mood; this black and white feature is from Godard’s early period, and is a combination of sketches and improvisations, loosely wound around a thin narrative thread.

The gif above is of Arthur (Claude Brasseur), Odile (Anna Karina) and Franz (Sami Frey) doing “The Madison,” a dance sequence that sort of “interrupts” the film — which is very free form in any event — for no particular reason at all, other than the audience’s enjoyment.

As Any Taubin famously noted, “Band of Outsiders is the Godard film for people who don’t much care for Godard: a proto-slacker mood piece about two nondescript guys trying to persuade a beautiful girl to help them commit a robbery. Adapted from Dolores Hitchens’s Fools’ Gold, an American ’50s crime novel published in France as part of the pulp Série Noire, it’s more [Jean] Renoir than [Samuel] Fuller—the least preoccupied with American culture of any of Godard’s ’60s films [. . .]

Godard’s adaptation vacuums the novel of its predictable character psychology and plot twists, leaving only the most minimal narrative. In between the play-acted and the real shooting, the film kills time with a series of set pieces: the celebrated mad dash through the Louvre [. . .] and of course, there’s the sequence where Odile, Franz, and Arthur dance the Madison in a half-empty café (the sequence that both Quentin Tarantino and Hal Hartley fell in love with and borrowed for their own films).”

You can view the dance sequence from Band of Outsiders here, or by clicking on the image above.

About the Author

Headshot of Wheeler Winston Dixon Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. All comments by Dixon on this blog are his own opinions.

In The National News

Wheeler Winston Dixon has been quoted by Fast Company, The New Yorker, The New York Times, the BBC, CNN, The Christian Science Monitor, US News and World Report, The Boston Globe, Entertainment Weekly, The Los Angeles Times, NPR, The PBS Newshour, USA Today and other national media outlets on digital cinema, film and related topics - see the UNL newsroom at http://news.unl.edu/news-releases/1/ for more details.

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