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Spine 626: Les Visiteurs du Soir
Manage episode 455346416 series 2883660
Treść dostarczona przez Lost in Criterion. Cała zawartość podcastów, w tym odcinki, grafika i opisy podcastów, jest przesyłana i udostępniana bezpośrednio przez Lost in Criterion lub jego partnera na platformie podcastów. Jeśli uważasz, że ktoś wykorzystuje Twoje dzieło chronione prawem autorskim bez Twojej zgody, możesz postępować zgodnie z procedurą opisaną tutaj https://pl.player.fm/legal.
Marcel Carné made Les Visiteurs du Soir (1942) during Nazi occupation of France for a Nazi-owned production company, and while one could argue that this is collaboration and one could also argue that Carné used his position to help Jewish artists keep working, that fact that this is a Nazi-produced film is somehow not the most egregious part of the production. We spend a lot of time on what the most egregious part actually was in this week's episode, actually. Carné was clearly a man in conflict during production, but it's still mostly a delightful film and another data point for my list of cinematic Satans.
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Manage episode 455346416 series 2883660
Treść dostarczona przez Lost in Criterion. Cała zawartość podcastów, w tym odcinki, grafika i opisy podcastów, jest przesyłana i udostępniana bezpośrednio przez Lost in Criterion lub jego partnera na platformie podcastów. Jeśli uważasz, że ktoś wykorzystuje Twoje dzieło chronione prawem autorskim bez Twojej zgody, możesz postępować zgodnie z procedurą opisaną tutaj https://pl.player.fm/legal.
Marcel Carné made Les Visiteurs du Soir (1942) during Nazi occupation of France for a Nazi-owned production company, and while one could argue that this is collaboration and one could also argue that Carné used his position to help Jewish artists keep working, that fact that this is a Nazi-produced film is somehow not the most egregious part of the production. We spend a lot of time on what the most egregious part actually was in this week's episode, actually. Carné was clearly a man in conflict during production, but it's still mostly a delightful film and another data point for my list of cinematic Satans.
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