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	World Cinema: Directors -- Maurice Pialat
		Originally a painter, Pialat worked for the stage and television, acted, and shot documentaries.
		Pialat's potent, bleak realism combines a demanding, quasi-cinéma-vérité approach - some non-professional actors, very long takes, improvisation, colloquial language - with the reworking of personal issues such as marital breakdown.
		But it is in his earlier work that Pialat's cinematic power is most in evidence.
	www.geocities.com /Paris/Metro/9384/directors/pialat.htm (211 words)

	Movies \| Broken lines, interrupted movements
		Pialat’s work is remarkable for the gravity and soberness it achieves while building up a richness of lived reality, both in the documentation of the real cities and towns where the films are set and in the thorough compiling of information about how people’s habits create their dcor.
		Pialat deals in a hopeless intimacy: we can go only so far with his people before a barrier rises, formed partly out of their self-protective concealments (which also separate them from one another) and partly out of the director’s refusal to compromise his sense of the opacity of existence.
		The gestural quality of these films is crucial: the human body in Pialat is always a source of disruption, and perhaps he considers violence a particular category of gesture.
	www.bostonphoenix.com /boston/movies/documents/04489821.asp (1279 words)

	Film \| Maurice Pialat
		Their primary concerns were childhood and family, and Pialat drew on his own experiences to present unyielding portraits of familial cruelty and infidelity.
		Pialat was born in Puys-de-Dôme in the Auvergne, from where his family moved to Paris when he was a child, and he studied at the École des Arts Decoratifs and the École des Beaux Arts.
		Two years later, Pialat directed his first masterpiece, La Gueule Ouverte, the story of a 50-year-old mother dying of cancer, told from the perspective of an impotent son and a promiscuous father, rather than the protagonist.
	film.guardian.co.uk /print/0,3858,4583442-3156,00.html (745 words)

	BBC NEWS \| Entertainment \| Film \| President mourns French director Pialat
		Pialat, who was once described as the true heir to Jean Renoir, died in Paris after suffering from high blood pressure and kidney problems.
		Pialat directed 11 films in a career stretching over four decades and won the Palme d'Or in Cannes in 1987 for his controversial film Under Satan's Sun.
		Pialat was greeted with boos when Under Satan's Sun, a provocative tale about a monk's encounter with the devil, won the Palme d'Or.
	news.bbc.co.uk /1/hi/entertainment/film/2653195.stm (260 words)

	Variety.com - Maurice Pialat
		Wallace & Gromit: The Curse of the Were-Rabbit
		Pialat was born in south-central France to a failed coal and wood merchant and his wife.
		Pialat's seven-part drama, "La maison des bois" (The House in the Woods), made for French state TV in 1971 and little seen since, is considered a stunning example of what the medium can be at its best.
	www.variety.com /article/VR1117878627?categoryid=25&cs=1 (608 words)

	Film Comment
		Pialat's background as a painter was a key weapon in his assault on unfolding reality.
		The push/pull of Pialat's seemingly instinctual cinema is all of a piece with his parade of prickly, discontented heroes.
		Aside from those milestones, Pialat's heart is with children and adolescents: Raoul Billerey's Roby in L'Enfance nue, the teenagers in Passe ton bac d'abord, his own son Antoine, preciously immortalized at the age of four in Le Garu.
	filmlinc.com /fcm/5-6-2004/pialatintro.htm (811 words)

	Maurice Pialat: Passe ton bac d'abord (Site not responding. Last check: 2007-10-13)
		Maurice Pialat's Passe ton bac d'abord is a film made and released in 1979, some four years after the end of les trente glorieuses.
		Maurice Pialat was born in 1925 and is still alive and working today.
		Firstly, there is Pialat's acknowledged debt to the French film director Jean Renoir as seen in his interest in provincial or regional France, rather than Paris.
	www.well.ac.uk /cfol/maurice.asp (4039 words)

	MTV.com - Movies - Maurice Pialat
		Once described as the true heir to Jean Renoir's legacy, French filmmaker Maurice Pialat is noted for his brutal, insightful portraits of the less savory aspects of family life and French society, as well as for his ability to evoke unusually powerful and realistic performances from his actors regardless of their professional status.
		Pialat, who is known as one of his country's more "difficult" directors due to both his subject matter and on-set clashes, was born in Puy-de-Dôme but raised in Paris after the age of three.
		In the late '50s, Pialat became fascinated with cinema, and he got his start making short films, notably L'Amour Existe (1961), which won a prize at the Venice Festival.
	www.mtv.com /movies/person/94162/bio.jhtml (284 words)

	village voice > film > "Every Man for Himself: The Films of Maurice Pialat" at Walter Reade by Michael Atkinson
		Maurice Pialat, who died last year at age 77, was a Euro-film conundrum—hailed yet reviled, widely distributed yet rarely appreciated, popular yet biliously anti-populist, high-profile yet contemptuous of the movie culture around him.
		His films are never merely stories; each entry in the scant Pialat canon has the sense of having been edited down from a work twice as long—by a seditionist flagrantly derisive of narrative sutures, dramatic accumulation, and psychological clarity.
		This was also Pialat's personification of Depardieu's tortured priest in Under the Sun of Satan—a holy man capable of miracles but incapable of hope—and Jacques Dutronc's eponymous angst-saint in Van Gogh (1991), a reimagining of the most famous art life in cultural history as a dyspeptic yearning for death.
	www.villagevoice.com /issues/0427/atkinson2.php (666 words)

	Maurice Pialat: A Cinema of Surrender
		We have often heard that the work of Maurice Pialat (1925-2003) is defined by its realism, that he was a master at laying bare reality.
		Pialat brings such energy to the scene; it’s as if he repotentialises it, redistributes its forces, drains it of its actuality, its ‘moment-ness’.
		Pialat’s manner of setting reaction against itself is his way of stripping resentment of its force, on occasion even creating a margin of freedom for his characters.
	www.rouge.com.au /1/pialat.html (1976 words)

	Maurice Pialat. Articles. Analyses filmiques. On Pialat and Loulou
		It was the insecurity a young child experiences when his parents leave him or her in the company of strange adults.
		Pialat, it seemed to me, hadn't made this picture for the audience ; he had made it for the characters.
		The resulting film had an emotional life of its own, the terrifying truthfulness of which was brought about both through the intensity of the performances, which appeared unpredictable when compared to traditional cinema, and the screen time given to the actors to live and breathe in this environment.
	www.maurice-pialat.net /lecain1.htm (736 words)

	Maurice Pialat
		Maurice Pialat creates an acerbic and unsentimental, yet hauntingly poetic and profoundly engaging exposition on urbanization, alienation, reconstruction and cultural transformation in L'Amour existe.
		It is this recurring theme of impersonal institutionalization and conformity that invariably propels the thoughtful and elegiac tone of the film: the cultural trauma of depopulation, marginalization, and loss of identity in the face of delusive prosperity, socially regressive national policy, and dehumanized progress.
		However, in contrast to the deeply religious Bernanos' predominant exploration of the spiritual themes of God's silence, the sin of complacency, and the immediacy of evil, Pialat focuses on the physical and tangible manifestations of temptation, suffering, and despair on the individual psyche.
	www.filmref.com /directors/dirpages/pialat.html (455 words)

	[No title]
		Pialat's films are often compared to those of Cassavetes, one of the few directors Pialat admitted to admiring, along with Bresson and the pre-war Jean Renoir.
		Pialat is thus the bridge between the New Wave and contemporary French cinema, and for that alone he deserves to be better known.
		Jean Yanne, a Pialat look-alike, won the Best Actor award at Cannes for his portrayal of the vengeful, weary, cruel and selfish man. He is matched by a fine ensemble, including Macha Méril as the wife who loses herself in the past rather than confront her husband's betrayal.
	www.cinema.ucla.edu /calendar/calendardetails.aspx?details_type=2&id=146 (1770 words)

	Maurice Pialat. Articles. Analyses filmiques. Cries, whispers, silence and space : death and the family in films by ...
		At first glance it may seem that Andersson’s character is a pious vision of the Christian martyr, gentle and saintly, dying for the sins of those around her.
		While it would, of course, be untrue to say that the illness that first renders the wife (Monique Mélinand) of a provincial draper (Hubert Deschamps) paralysed and bedridden, and subsequently kills her, does not upset the patterns of day to day life for her family, it is nevertheless contained within these rhythms.
		Not only is catharsis absent in Pialat, but the significant character development and self-confrontation that not only Bergman but most filmmakers would have drawn from this material are nowhere to be seen- if they do occur, they remain internal to the characters’ minds and hidden from the viewer.
	www.maurice-pialat.net /lecain22.htm (709 words)

	Maurice Pialat
		Maurice Pialat (August 21, 1925 - January 11, 2003) was a French film director and actor.
		Pialat won the Palme d'or[?] at the Cannes Film Festival in 1987 for Sous le soleil de Satan[?] (Under the Sun of Satan).
		The text of this article is licensed under the GFDL.
	www.ebroadcast.com.au /lookup/encyclopedia/ma/Maurice_Pialat.html (59 words)

	Rotten Tomatoes Forums - Maurice Pialat getting a World Tour, new prints, and a DVD box set...
		When Maurice Pialat died in early January 2003, it was of course a great loss for all who loved him, as well as for all of those who admired his work.
		Maurice Pialat is arguably the most influential French director of the last 20 years: his expressive, emotionally complex brand of naturalism has left its mark on everyone from Erick Zonka to Edward Yang.
		When Pialat's intensely personal vision of Van Gogh's final days was unveiled at the 1991 Cannes Film Festival, Cahiers recognized it for the towering achievement it is (the cover of the June issue was Pialat and his co-star Jacques Dutronc in their tuxes over the words, "Pialat Est Grand").
	www.rottentomatoes.com /vine/showthread.php?p=4718339 (3180 words)

	[Deathwatch] Maurice Pialat, French film director, 77 (Site not responding. Last check: 2007-10-13)
		French Film-Maker Maurice Pialat Dies at 77 Sat Jan 11, 7:52 AM ET PARIS (Reuters) - French film director and actor Maurice Pialat, famed for his brutal, realistic depictions of emotionally tortured characters, died in Paris on Saturday at the age of 77.
		Booed by some members of the audience, Pialat accepted the award brandishing a clenched fist and famously spat: "I want you to know that if you don't like me, I don't like you either." Fiercely solitary, he had a reputation for making his actors suffer, insisting on endless takes and improvised dialogue.
		Pialat was born on August 31, 1925 in the mountain village of Cunlhat in the central region of Auvergne.
	slick.org /pipermail/deathwatch/2003-January/000350.html (455 words)

	Maurice Pialat. Articles. Analyses filmiques. Passe ton bac d'abord par Tony Mc Neill
		Maurice Pialat's Passe ton bac d'abord is a film made and released in 1979, some four years after the end of « les trente glorieuses ».
		However, there are a number of similarities : like the films of la nouvelle vague, Pialat was interested in young people and the challenges they face and like the earlier « nouvelle vague » films, he preferred to use unknown or non-professional actors shot on location with lightweight equipment.
		This kind of scene is typical of Pialat and Keith Reader has claimed that « the rawness of...emotional confrontations » is « a virtual trademark of the work of Maurice Pialat » (Reader : 1993, p.
	www.maurice-pialat.net /tonymcneill1.htm (4350 words)

	An Email about Maurice Pialat
		Pialat's occasional use of long takes is a characteristic of his early films; after 1974, he uses a more fragmented style.
		Pialat was said to be moody and difficult to work with, and his confrontational and sometimes belligerent interviews certainly reinforce that idea.
		Pialat is unique, and other filmmakers are likely to trip up badly if they try to do what he does.
	www.panix.com /~sallitt/DailyBruinPialatEmail.html (775 words)

	Van Gogh / 1991 / film review / Maurice Pialat / Jacques Dutronc
		Pialat is far more concerned with portraying Van Gogh as an ordinary man, not the stereotypical image of the insane tortured genius we are all taught at school.
		Pialat’s cold, detached treatment of his subject, the film’s slow pacing and near-epic length (nearly three hours) prevent the film from being accessible to all but a narrow spectrum of enthusiasts.
		Maybe this is fortuitous, or maybe it reflects Pialat’s own profound interest in painting – he has stated he would have preferred a career as an artist to that of a film-maker.
	frenchfilms.topcities.com /nf_Van_Gogh_rev.html (707 words)

	Turner Classic Movies - Movie News (Site not responding. Last check: 2007-10-13)
		Maurice Pialat, the highly influential, award winning French film director, who focused unflinchingly on brutal, realistic portrayals of marital problems, adolescence, and family life, died December 11 at his Paris home of kidney failure.
		This trenchant study of middle-class boredom and the cathartic benefits of hedonism and thuggery drew praise from all quarters and proved Pialat to be one of the toughest critics on modern French society.
		Pialat's last two films were met with lukewarm reception: Van Gogh (1991), was his overlong look at the last year of the painter's life; and his final film, Le Garcu (1995) was a refreshingly simple story about a young boy (Pialat's son Antoine) and his aimless, womanizing father (Depardieu).
	www.turnerclassicmovies.com /MovieNews/Index/0,,21302,00.html (618 words)

	Pialat, Maurice -- Encyclopædia Britannica
		French author and journalist Maurice Leblanc is best known as the creator of the French gentleman-thief turned detective Arsène Lupin, who is featured in more than 60 of Leblanc's crime novels and short stories.
		Canadian professional ice hockey player Maurice Richard was known as The Rocket and played as a hard-hitting forward (right wing).
		A French painter noted especially for his paintings of the Montmartre district of Paris, Maurice Utrillo was mostly self-taught.
	www.britannica.com /eb/article-9395430?tocId=9395430 (635 words)

	Maurice Pialat and John Cassavetes
		Maurice Pialat and John Cassavetes are both modern directors whose art reached its maturity during the years that followed the French New Wave.
		Pialat thus inserts into the very core of his fiction this idea of the actor's body, “primary material” in its raw state, yet to be chiselled into shape by the director.
		Otherwise, it is easy to fall into generalities of the type: Maurice Pialat choses professional actors as well as absolute beginners for his films in order to rattle the former, or to have the latter bring along their so-called freshness, their spark of innocence.
	www.sensesofcinema.com /contents/05/35/pialat_and_cassavetes.html (6837 words)

	Newsday: French Director Maurice Pialat, 77@ HighBeam Research (Site not responding. Last check: 2007-10-13)
		Maurice Pialat, a prickly but influential film director, sometime actor and former painter who earned the Cannes Film Festival's Palme d'Or for his 1987 "Under the Sun of Satan," starring his friend Gérard Depardieu, died Saturday.
		Pialat, often described as the most important French director after Jean Renoir, died of kidney failure at his Paris home.
		Pialat came late to directing and made 11 feature films.
	highbeam.com /library/doc0.asp?DOCID=1P1:70997448&refid=ip_almanac_hf (164 words)

	Maurice Pialat (1925 - 2003) - A Tribute
		Gérard, first of all (whom one recognizes as Pialat's alter-ego, giving the film the sense of a subtle self-portrait) appears to struggle with ties of all sorts – loving ties, paternal ties, filial, friendly, sexual, etc. – but doesn't quite know how to situate himself in relation to each one.
		Pialat, it seemed to me, hadn't made this picture for the audience; he had made it for the characters.
		Pialat is the master of intangible day-to-day emotion: drunken falls and embraces, fights which bubble up for no reason, ennui sitting in bars, the fleeting joy of a shared meal – in short, the immediacy of life closing around us despite our plans otherwise.
	www.sensesofcinema.com /contents/03/25/pialat.html (1962 words)

	Film Comment: The paintings of Maurice Pialat
		Aside from the obvious anomaly of Van Gogh (91), there, is little in the films of Maurice Pialat, at least in terms of narrative, to suggest an affinity for painting.
		Apart from clear parallels--foregrounded bathers by the bank of a river, expansive bridge blending seamlessly into the background flora--there is also an important sense of the subjects' station in life (i.e., their class).
		If we are to fathom Pialat's belief in the inability of art to progress, but still grant its "viability," we can perhaps allow that a young artist in the Forties could turn to the then outdated practice of impressionism.
	www.24hourscholar.com /p/articles/mi_m1069/is_5_40/ai_n7179010 (866 words)

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