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Bertrand Tavernier
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Bertrand Tavernier is one of the most famous names in French cinema and inversely one of the most overlooked. Sure, his films lack the visual razzle-dazzle of a Scorsese, the awe of a Spielberg or the violent grace of a Takeshi Kitano yet he matches them toe-to-toe in storytelling manipulation and technical mastery. Tavernier excels with his innate subtlety, something his international peers can rarely be accused of. And this could explain his lack of recognition. Subtlety has a habit of not standing out in the crowd.
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Bertrand Tavernier's autobiographical work about a famous filmmaker (Michel Piccoli) who escapes the disruptions of his home life by renting an apartment in a sleek, highrise building. He is immediately drawn into an obsessive affair with a much younger woman (Christine Pascal), who quickly entangles him in a tenants' fight over the brutal behavior of the landlord. "The film carries the weight of Tavernier's convictions about the injustices everyone is forced to contest, domestically and at work" (Time Out). With Michel Aumont, Gerard Jugnot and Arlette Bonnard. French with English subtitles. France 1977 113 mins.
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Dark, haunting seriocomedy from director Bertrand Tavernier transfers Jim Thompson's Southern potboiler "Pop. 1280" to 1930s French Africa. Philippe Noiret stars as a put-upon colonial police chief who uses his official powers to get back at his enemies while cleaning up the region's criminal element. With Isabelle Huppert, Guy Marchand. 128 min. Widescreen (Enhanced); Soundtrack: French Dolby Digital mono; Subtitles: English; alternate ending; theatrical trailer; interview; scene access. In French with English subtitles.
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In addition, Bertrand Tavernier has been interviewed as part of the French news radio Rendez-vous ! that is broadcast in Louisiana, and available in podcast on the site www.espacefrancophone.org for a repeat broadcast by the American public radio.
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Upon the recommendation of Melville, Tavernier went to work as a press agent for the legendary producer, Georges de Beauregard. Bertrand hawked tirelessly for the New Wave: Cleo de 5 à 7 (Agnès Varda, 1961) , Adieu Philippine (Jacques Rozier, 1963), Le Mépris (Jean-Luc Godard, 1963), La 317ème section (Pierre Schoendoerffer, 1965), Les Carabiniers (Jean-Luc Godard, 1963), L'Oeil du Malin (Claude Chabrol, 1962)...
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Tavernier usually favors fractured narratives that rarely provide the sort of closure most audiences expect, and - most important - an affection for his flawed, ordinary, all too human characters. Both of these characteristics are in abundance in Safe Conduct (Koch-Lorber DVDs).
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Bertrand Tavernier