Many feature films should have been either shorts, or more action should have been added.
I recently reviewed "Les Quatre Cent Coups" (1959) directed by Truffaut. I am convinced that "The 400 Blows" would be much better as a short, like "Le Ballon Rouge" (1956) ("The Red Balloon"), another film made in the same period about a lonely Parisian child.
For example, Truffaut devotes more than a minute to Antoine carrying a bag of trash downstairs. He tracks the schoolteacher walking from the front of the classroom to the entrance door over and over, rather than breaking up the scene with cuts. I am convinced this 99 minute film, which I like a lot, would be twice as good if it were half as long.
My criticism of "The Auteur Theory," the subject of my essay, was that giving a director complete control over a film makes the final result vulnerable to this kind of self-indulgence.
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Simply because most of the time short films are not meant to become feature films. Pretty much like not all short stories are made to become novels.
Many feature films should have been either shorts, or more action should have been added.
I recently reviewed "Les Quatre Cent Coups" (1959) directed by Truffaut. I am convinced that "The 400 Blows" would be much better as a short, like "Le Ballon Rouge" (1956) ("The Red Balloon"), another film made in the same period about a lonely Parisian child.
For example, Truffaut devotes more than a minute to Antoine carrying a bag of trash downstairs. He tracks the schoolteacher walking from the front of the classroom to the entrance door over and over, rather than breaking up the scene with cuts. I am convinced this 99 minute film, which I like a lot, would be twice as good if it were half as long.
My criticism of "The Auteur Theory," the subject of my essay, was that giving a director complete control over a film makes the final result vulnerable to this kind of self-indulgence.
Okay. Why is that some needs to be segments in an anthology?