Episode 12: Halls on Film Episode 12 - La Tete Contre Les Murs and Oh What A Lovely War

Well, I chose the Jules Franju film because I'm, as you may know, a big fan of Jules Pérec.

And Jules Pérec and Bernard Cézanne, when they were planning Pérec's directorial debut, which was the only film he ended up directing, which is Un Enquidor, which translates as A Man Asleep, They bonded over the films of Georges Frangieux as part of their opening discussions.

Now, Un Enquidor, I don't know whether you've seen it or not, bears no resemblance to any Georges Frangieux film ever made.

One of the references which they came back to a lot whilst making it was Hiroshima Mon Amour.

But they were both friends.

They were both fans.

What year was this? This was 73.

Okay.

73.

So whenever the Georges Frangieux film pops up, I'm always like, oh, I'll see that.

And I'll try and get into the, see what they liked about it.

There aren't too many Georges Frangieux feature films.

That's

very true.

This is his first, of course.

Yeah, and

I think before he made features, he did a lot of documentaries.

He was a

director of short documentary films, yes, which really made his name.

Yeah.

So this was his debut feature film.

The cinematographer is Eugen Schuften, who, among other things, shot Metropolis and was the inventor of the Schuften process, which is a forerunner to the blue screen process.

So the cinematography, particularly the nighttime photography in this film, is absolutely top level cinematography.

The transfer, which is a 4K transfer, I'm assuming of the camera negative because it doesn't feel like we're watching a print.

exceptional.