For cinema, the early sixties were years of miracles.
The era saw a brilliant explosion of film talent throughout the world. Every country found its cinematic identity; from France and Italy to India and Japan, Poland and Czechoslovakia to Sweden and Denmark to North and South America, a new generation of directors sprang almost from nowhere with a shared sense of discovery to challenge the conformity of the 1950s and the sexual and political taboos of their age.
The vanguard of this revolution included Jean-Luc Godard and François Truffaut, who together spearheaded the Nouvelle vague; their fellow countrymen, Agnes Varda, Chris Marker and Alain Resnais, designated the "Left Bank” of the New Wave, along with the precocious young Stanley Kubrick and the veteran American maverick Orson Welles, almost two decades on from Citizen Kane and long exiled from Hollywood.
Chris Marker’s celebrated short film, La Jetée is a meditation on time and memory, a haunting, poetic work consisting almost entirely of still photographs. This tale of a World War III survivor travelling back and forth in time was claimed by Terry Gilliam as the inspiration for his film, Twelve Monkeys.
Jules et Jim was embraced the world over as the symbol of the New Wave, a stylish love triangle that catapulted Jeanne Moreau to international stardom and established Truffaut's reputation beyond question.
Godard's Une femme est une femme and Vivre sa vie are virtual homages to his wife, the Danish actress Anna Karina, and in both she is gorgeous, spontaneous and alive. The former is a loving deconstruction of the Hollywood musical, while in the latter charts a struggling young actresses' decline into prostitution.
Lolita and Dr. Strangelove are regarded to be the first really complete Stanley Kubrick film experiences. With Lolita, he had admired Nelson Riddle's musical arrangements for Frank Sinatra on the album, In the Wee Small Hours and commissioned him to write a similarly lush score, while with Strangelove the director made ironic and memorable use of Vera Lynn's We'll Meet Again, during the films' final scenes, deploying the song on a kind of harmony with a montage of atomic explosions.
Released on 13th January 2014
1. KRESTU TVOYEMU
(TROPAIRE EN L’HONNEUR DE LA SAINTE CROIX / TROPARION TO THE HOLY CROSS) - Sung by the Choir of the Russian Cathedral of Paris
2. THE GIRL (PROLOGUE)
3. THE GIRL (THEME)
4. THE VASTNESS OF SPACE
JULES AND JIM
5. JULES ET JIM
7. LE TOURBILLON
UNE FEMME EST UNE FEMME (A WOMAN IS A WOMAN)
9. TU T'LAISSES ALLER - Charles Aznavour
LAST YEAR AT MARIENBAD
10. THÉ DANSANT
13. LA VALSE DE MARIENBAD
CLEO FROM 5 TO 7
15. LA BELLE PUTAIN - Corinne Marchand
16. JAZZ HALLUCINATION
VIVRE SA VIE (MY LIFE TO LIVE)
17. MA MOME - Jean Ferrat
18. LOVE THEME FROM LOLITA
19. QUILTY'S THEME
20. ARRIVAL IN TOWN
21. LOLITA YA YA
22. LOVE THEME FROM LOLITA
23. HUMBERT CONTEMPLATES KILLING WIFE
24. DISCOVERY OF DIARY
25. TWO BEAT SOCIETY
26. THOUGHTS OF LOLITA
27. SCHOOL DANCE
28. MOTHER AND HUMBERT AT DINNER
29. LOVE THEME FROM LOLITA
30. WE’LL MEET AGAIN – Vera Lynn
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