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Alain Tanner
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Alain Tanner was born in Geneva on the 6th of December 1929 and studied Economy at the University of Geneva. In 1951 he was one of the animators of the University filomotech of Geneva created by Claude Goretta. In 1955 he moved to London and worked at the British Film institute. In 1957 he directed his first film with Claude Goretta, Picadily la nuit .(Nice time) Between 1957 and 1960 he went back to Switzerland where he made several movies and documentaries for T.V. In 1962 he co-directed the Swiss directors Guild. In 1969 he directed his first long feature "Charles dead or alive".
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Alain Tanner was born in 1929 in Geneva, Switzerland. During the late '60s and early '70s, he was the key figure in the development and popularization of the "new Swiss cinema." His other films include Charles, Dead or Alive (1968) and Messidor (1979).
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Alain Tanner's affectionate study of a group of 60s radicals trying to make the transition to the 70s. Tanner combines Godard's intellectual responsibility with Renoir's faith in the resiliency of the human spirit, resulting in a film that is both enlightening and encouraging. Funny, moving, and instructive, Jonah is that rare thing: a political film that speaks to the heart as well as the mind. Recommended (1976).
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The recent Cambridge appearance of two plans by Alain Tanner, a young Swiss director, provides a suitable target for thought for those concerned with contemporary moral and artistic decay. The widescale ballyboo over these films seems to indicate the final jading of the already over cultized Cambridge film audience.
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Tanner shows some stills of squalid rooms in which foreign workers live (leftover photos from Berger’s book?). Rather than bring these workers’ plight out into the open and make it a political issue, he handles it in such a way that he only reinforces Swiss ideas about how unclean and disorderly these people are. If Tanner means this as protest. which he might, then it is an utter failure, a wimpy, timid protest in line with the film’s overall politics.
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Now the copout of Tanner's ending becomes clear. To leave her unhappy, given her shallow personality and Tanner's feeble analysis would have been too heavy-handed given the film as it stands. To make his social criticism, she must be unhappy. To make his "artistic" statement, she must be happy and free. Neither solution is satisfactory.
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Alain Tanner