The Well Digger’s Daughter Farewell, My Queen Gypsy THAT ENDEARING AND ENDURING French actor Daniel Auteuil, who was born in 1950, whose first film was in 1974, and who has since then made several dozen, has had an unusual idea. He has chosen to re-make a film that was famous before he was born and to make his directing debut with it. Also, we might say, his second acting debut.
The 2012 campaign isn’t the first to be marked by rumors and distortions. But it’s already setting new land-speed records for the time it takes a tossed-off comment or flat-out falsehood to develop into a “fact” accepted by half the political world. The “report” that Obama would be traveling to Paris to hold a European fundraiser on the Fourth of July was just the latest example of partisan lying. Every time it happens, supporters of the rumor’s target bemoan the gullibility of their partisan counterparts. How could anyone think Obama was born in Kenya?!
Unlikely Collaboration: Gertrude Stein, Bernard Faÿ, and the Vichy DilemmaBy Barbara Will (Columbia University Press, 274 pp., $35) IdaBy Gertrude Stein Edited by Logan Esdale (Yale University Press, 348 pp., $20) Stanzas in Meditation: The Corrected EditionBy Gertrude Stein Edited by Susannah Hollister and Emily Setina (Yale University Press, 379 pp., $22) ON SEPTEMBER 29, 1951, an oddly dressed young woman appeared in an alley adjacent to the municipal hospital in Angers, a town southwest of Paris.
Before 2013 begins, catch up on the best of 2012. From now until the New Year, we will be re-posting some of The New Republic’s most thought-provoking pieces of the year. Enjoy. For any number of pundits, policymakers, and scholars, the new next hot thing, in countries developed and developing, is The City—or, more expansively and more precisely, the megalopolis and its little brother, the metropolis.
Goodbye First Love Elles Monsieur Lazhar First love, a term that often has a touch of the patronizing, is a moving truth in a new French film called Goodbye First Love. The writer-director, Mia Hansen-Løve, whose third feature this is, has addressed her subject with complete emotional confidence. She knows how it is often “understood” and disprized; she also wants us to see some aftereffects. Camille is a fifteen-year-old student in Paris when we first see her—nude, as her beloved boyfriend, the nineteen-year-old Sullivan, pulls the covers off her.
If the latest polls—and the accompanying press coverage—are to be believed, Nicolas Sarkozy's time as president of France will soon come to an end. In the all-important run-off election scheduled for May 6, most believe the incumbent will lose to his Socialist challenger, François Hollande. This is a prospect that no doubt worries Sarkozy and his supporters in France. But it should also worry people elsewhere in Europe, as well as here in the United States. To be sure, Sarkozy’s unmaking has been a long time in coming.
The Patagonian Hare: A Memoir By Claude Lanzmann Translated by Frank Wynne (Farrar, Straus and Giroux, 528 pp., $35) I. The film called Shoah runs for more than nine and a half hours. Its subject is the extermination of Europe’s Jews by the Nazis. It features Jewish survivors of the death camps, Poles who lived near the camps, and Germans who organized and ran them—and also its director, Claude Lanzmann, in the background, with his various interpreters. The languages in which these people speak include Yiddish, Hebrew, English, German, Polish, and French: a sound file of Europe.
The Steins Collect Metropolitan Museum of Art Van Gogh: Up Close Philadelphia Museum of Art Van Gogh: The Life By Steven Naifeh and Gregory White Smith (Random House, 953 pp., $40) Nobody in the history of culture has known more about the art of persuasion than the avant-garde painters, sculptors, writers, composers, choreographers, and impresarios who transformed European art from the end of the nineteenth century to the middle of the twentieth century.
The basic ideas among young American film-makers are simple: the big movies we grew up on are either corrupt, obsolete or dead, or are beyond our reach (we can’t get a chance to make Hollywood films)—so we’ll make films of our own, cheap films that we can make in our own way.