L'Humanité in English
Translation of selective papers from the french daily newspaper l'Humanité
decorHome > Culture > The Cult Film and Documentary Maker Chris Marker Has Passed (...)
 

EditorialWorldPoliticsEconomySocietyCultureScience & TechnologySport"Tribune libre"Comment and OpinionTranslators’ CornerLinksBlog of Cynthia McKennonBlog of Tom GillBlog of Hervé FuyetBlog of Kris WischenkamperBlog of Gene ZbikowskiBlog of G. AshaBlog of Joseph M. Cachia Blog of Peggy Cantave FuyetBlog of Nicola Miguleuff
About France, read also
decorBudget. Michel Sapin wants to make security rhyme with austerity decorCGT Air France. All the violence dooms them. decorJustice: how the Macron law grants out impunity to bosses decorNo Terrorists, But Lunatics decorAusterity Spoiled Economic Growth Over Last Six Months decorOECD Pits Active Workers Against Retirees decor“We Never…!”: The French Bourgeoisie’s Shameful Collaboration With the Nazis decorSocialist Party Seeks to Close Ranks Behind European Budget Pact decorWorkers’ Rights Notably Absent From the French Government’s Plan For the Car Industry decorThe CGT Calls Mittal’s London Olympic Honors "Obscene" decorPSA’s Restructuring Plan Spells a Social And Political Upheaval decorCAC 40 salaries reach new heights
About Cinema, read also
decorOscars 2012: An historic year for French cinema decorDoes Work Still Work on the Big Screen? decorL’Armée du crime: An Interview with Arsène Tchakarian decorChabrol’s Tale of Lyonnaise Morality - A Film Review decorKirikou Not for Children Under Seven decorHow Much does a Finger Cost? decorFilm Review: Fortresses of the Body decorRobert Altman’s Last Show: a Film Review decorRobert Altman, or The Film-Career of a Free Man decorA Film Whose Shining Stars Are Children
Culture

ORIGINAL FRENCH ARTICLE: Le cinéaste et documentariste culte Chris Marker est décédé

by Vincent Ostria

The Cult Film and Documentary Maker Chris Marker Has Passed Away

Translated Tuesday 31 July 2012, by Elisha Sum and reviewed by Henry Crapo

Christian François Bouche-Villeneuve, alias Chris Marker, director of short and feature films as well as documentaries, creator of La Jetée and Le Fond de l’air est rouge, has died at the age of 91. For more, take a look at a profile of the director published in l’Humanité in 2003: “Magique Marker, la solitude du filmeur de fond.”

A decidedly unconventional filmmaker, the very secretive Chris Marker was present for every battle, with his documentary essay films characterized by an inspired articulation between text and image.

Tireless globetrotter, photographer, filmmaker, videographer, Christian François Bouche-Villeneuve, alias Chris Marker, first expressed himself through literature. Born in 1921, he became known because of his novel about aviation, le Coeur net [The Forthright Spirit], in 1949, which readers say was inspired by Malraux and Saint-Exupéry. Soon after, he started collaborating with filmmaker Alain Resnais, including an anticolonial documentary, Les statues meurent aussi [Statues Also Die] (1950). From then on, Marker established himself as a staunch progressive and a fervent human rights advocate. Meanwhile, publishing an essay on Jean Giraudoux, he continued his career in the publishing industry. An innovator, he founded at Seuil [French publishing house] the series “Petite Planète” [Small World], which reflected his passion for travel and photography. The essay films that Marker later produced (Dimanche à Pékin [Sunday in Peking], Lettre de Sibérie [Letter from Siberia]) were cinematographic transpositions of these books in which text and image were inseparable and complementary.

According to Professor Raymond Bellour, interviewed on a recent France-Inter radio program, the filmmaker’s style can be explained in part by his passion for the works of Henri Michaux. “In many of Chris Marker’s films, we can see phrases and ways of speaking taken directly from Michaux. ‘I write to you from a distant country’ at the beginning of Lettre de Sibérie was inspired by one of Michaux’s most beautiful texts in Plume. Involving a woman to whom the narrator sends letters in Sans soleil [Sunless], it’s simply the opposite of what happens in Michaux’s work, Voyage en Grande Garabagne.”

For his part, Chris Marker has influenced various filmmakers, including Alain Resnais. According to Bellour, “Many things in the commentary of Nuit et brouillard [Night and Fog] are as much by Marker as they are by Jean Cayrol” (the latter being named in the credits). For André Bazin, a notable film critic of postwar cinema, Chris Marker demonstrated in his documentaries, which were hardly that, that “impartiality is an illusion,” particularly through the famous example in Lettre de Sibérie in which he describes the same street scene in Irkutsk in three different ways. A passerby first described as “picturesque representative of northern lands,” then as “a scary Asian,” and finally as a “Yakut afflicted with a lazy eye.” Far from being a sophist, the filmmaker uses his ability as an essayist for various causes in the films with striking names: Cuba si, and Loin du Vietnam (which he only produced), Le fond de l’air est rouge, ou la Grève des travailleurs de Lip. He honors other artists like Yves Montand and other filmmakers, such as Akira Kurosawa and Alexandre Medvedkine.

But the film with which Marker achieved worldwide fame was a short science fiction film, La Jetée (1962) [1]. The only great science fiction French film, it has the unique characteristic of containing only black-and-white still images. It’s the breathtaking narrative (voiceover) taking place after the Third World War of a death foretold in the foreground, which we don’t understand until the end after the hero has made disturbing journeys between the past and the future. Regarded as a cult film in Japan (a country with which Marker had a privileged relationship), this fascinating film gave its name to a bar. Hollywood used it as basis for a more classically constructed film l’Armée des douze singes [12 Monkeys] with Brad Pitt and Bruce Willis. But Marker remains the best kept secret of French cinema.

[1This film can be viewed on line at the YouTube link provided with the French version of this article.


Follow site activity RSS 2.0 | Site Map | Translators’ zone | SPIP