Sacha Guitry and the" young turks"

Axel Madsen on page 132 of his William Wyler: the authorized biography describes A Certain Tendency of French Cinema as
". . .an attack on a segment of French Cinema dominated (in Truffaut's view) by a tradition of verbal tyranny. The target was the well-upholstered, literary, well-acted, carefully motivated films usually scripted by the Prévert brothers, Jacques and Pierre, Michel Audiard, Pierre Bost, Jean Aurenche, and the more illustrious Sacha Guitry. In France, the connection between the cinema and the intelligentsia had always been close. (Jean Cocteau, André Malraux, Marcel Pagnol) Against this "Tradition of Quality", Truffaut listed Jean Renoir, Max Ophuls, Robert Bresson, Jacques Becker, and Jacques Tati as authentic auteurs."
This is so typical of what is written about that period in French film criticism. It is incredible how many mis-statements one can pack into so few words. But let me try to correct a few of them.

Truffaut in that article identifies "the core of the Tradition of Quality" as residing in the work of "Jean Aurenche et Pierre Bost, Jacques Sigurd, Henri Jeanson (recent work), Robert Scipion, Roland Laudenbach, etc..." No Michel Audiard, no frère Prévert, no Sacha Guitry. Not only are not not listed but toward Jacques and Pierre Prévert and of Sacha Guitry, so-called "young turks" seemed to have cast a respectful glance.

The December issues of Cahiers in that era were generally "special issues" and in 1965 the December issue was dedicated to Marcel Pagnol and Sacha Guitry.
The introduction to the spread honoring both film/theater legends reads
"To pay homage to Sacha Guitry and Marcel Pagnol, as two genuine filmmakers, and nothing less, does not go without paradox and challenge. The paradox applies obviously since both men are men of the theater before, pre-eminently, before being filmmakers. And more so, since they consider cinema as an intermediary, an intermediary at the service of the global art of drama. Thus, they are filmmakers a little bit in spite of themselves. What is admirable is that while taking cinema as nothing more than a medium, at a time when everyone had eyes only for the image and looked for the specificity of cinema only in the plastic, they served it as much through their films which begin precisely where theater ends. The exemplary is that passing beyond rules, conventions and techniques, they have invented a new language (and there lies the challenge) where the New Wave, as much as they do in the Americans, Renoir and Cocteau, should find its reason to be." (page 22-23 my translation)

Jacques Bontemps writing of Guitry in that issue wrote,
"It does not elude me that the fact of dedicating this special issue to Sacha Guitry and Marcel Pagnol will assume much an aspect of a provocation, or a paradox at the very least. If, with the latter, it is a case of one of the greatest auteurs in French cinema, the case of the first named is more complex. The object of a strong admiration previously at Cahiers, and more recently, but more rapturously, in cinephile circles, Guitry remains somewhat (and there where, next to reason, lucidity dwells) more yet than rejected, unrecognized. Unrecognized due in great part to a work itself literary and, let's agree here, a lot more legitimately,dismissed with the double label of "Parisian wit" and "boulevard theater". (again, it is convenient to ask ourselves on the legitimacy of the pejorative tone which freely coincides with the use of these expressions. But such is not our intention.) Thus, the filmmaker is accused of participating in a wit and a theatrical genre globally despised. He participates exactly a great deal too much in order not to find himself by that quiet elsewhere." (page 103 my translation)
"But, in cinema, Guitry had no patrimony. Without doubt, this is why he did it so well. Going completely against the grain, being naively content to film his own plays, he found himself an innovator and he remains one. While others wore themselves out exhausting all the possibilities of a new invention while being, in fact,unheedful of its profound mission, some, among them, Guitry and Pagnol , lost interest in its workings and placed themselves well within the cinematic in order to land on both feet on the bend of a secret road."(page 103 my translation)
Almost ten years earlier, not long before his film Si Paris nous était conté. This film was roundly panned by virtually the whole Paris critical establishment. The February 1956 noted the release of the film in its "released last month in Paris" section in the back of the issue with a short negative note and in that month's conseil des dix, the film earned 8 bullets - from both older Cahiers regulars like Bazin or non-Cahiers critics like Jean de Baroncelli and Henri Agel. Only Jacques Rivette and the producer Pierre Braunberger dissented and both only abstained. That might might have been the end of it except that in the next issue -March 1956- there was published a review of the film written by François Truffaut. that review was introduced with this editor's note,
"No one here is being taken in, but there is to be found one advocate of this film where Paris was forgotten. His name is François Truffaut. To this lone wolf, this outsider, let's give the floor."
(page 52 my translation)
Truffaut wrote,
"But a critic who possesses the qualities - verve, cult of the master, fantasy, imagination and fluency - of Sacha Guitry would be unthinkable."
"Let's be serious, the daily critics to whom I am tied by feelings confraternal can not at the same time reject Astruc for being primarily a technician and Guitry for flouting technique . . . In any History of Cinema worthy of that name, Sacha Guitry would, with no reservations, find a place in the chapter, "Auteurs of Films", his name alongside that of Cocteau and Malraux and then of Bresson, Astruc, Gance, Ophuls and Renoir. French cinema would be diminished if some of these titles which I will conclude by enumerating were expunged.
Ceux de chez nous
Le Nouveau testament
Le Roman d'un tricheur
Faisons un rêve
Ils étaient neuf célibataires
Deburau
La Poisin
Si Paris nous était conté."
Cahiers du Cinema March 1956 page 53 my translation

continues on "The Prévert brothers and the 'young turks'"

Billy Wilder and the Cahiers du Cinema "young turks"

This study purports to be little else than an examination of the relations on a critical of vis-a-vis the Cahiers du Cinema "young turks" and the American director Billy Wilder, while, also, attempting to set that reaction against the reaction of their contemporary Parisian critic brethren. It stretches form the November 1953 issue to the April 1965 issue. As chance would have it, both issues are milestones in the story of "young turk" critics at Cahiers. For the first two and a half years, articles by these young critics only appeared sporadically in that magazine, but in November this group would pretty much dominate the film review section with three of them, Jacques Rivette (Madame de), Claude Chabrol (Singing in the Rain) and François Truffaut ( Stalag 17 and Niagara -- using the pen-name Robert Lachenay). Two months later, Cahiers would publish Truffaut's Une Certaine Tendance de Cinema Francais. And, more importantly, the February 1954 issue saw the publication of the transcribed interview of Jacques Becker by Truffaut and Rivette. From that point on, the "young turks" were a force to be reckoned with. The April 1965 issue was the last in which Jacques Rivette is credited on the masthead as editor-in-chief. Beginning the next month, the younger turks -- Jean-Louis Comolli, Jean Narboni -- would be the major force at Cahiers.
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For a explanation of their thinking behind the conseil des dix, see the introduction to my study of Jacques Rivette's tenure on the conseil.
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The translations here are mine except for the two -- Stalag 17 and The Seven Year Itch -- whaich are from Leonard Mayhew's translation of François Truffaut's The Films in my Life.
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Stalag 17 Nov 1953 No. 28
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François Truffaut's review of this film from this issue was reprinted in The Films in my Life by François Truffaut; translated by Leonard Mayhew published in 1975. It appears here as translated there by Leonard Mayhew. The opening of this review is a little clearer when you realize that the title in France of this film translates as “seven years of reflection”

“The metaphor is exaggerated. It doesn’t take seven minutes to realize that The Seven Year Itch is beyond smut and licentiousness and that it takes us past the limits of evil to a kind of worn-down regret, good humor, and kindness.” Further on, Truffaut writes, “If we admire, rather than grow annoyed, it is because the film’s verve and inventiveness, its cavalier vigor and naughtiness demand complicity.”
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Sabrina March 1955 No. 45
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Jacques Donoil-Valcroze reviewed this film. He said, in part, "The dialogue is very elaborate, sometimes, poetic and a tad precious (the couplet, "Paris, with a little spring rain' has the allure of Giradoux), sometimes progressing through allusion in order to avoid sentimental banalities. . . always brilliant, theatrical and a little snobbishly Broadway. (It will one day be necessary to speak of all that Hollywood owes to Broadway.)"
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from the Noel 1955 issue of Cahiers du Cinema no. 54
In this special Situation of American Cinema issue, Cahiers published a Dictionary of American Directors, a collection of thumbnail critiques of directors written by Jacques Donoil-Valcroze, Charles Bitsch, Claude Chabrol, Jacques Rivette and François Truffaut. This is a translation of Wilder's critique.
"Dr Jeckyll and Mr Hyde. Unfortunately, this is more often the guise to which he owes the essence of his reputation. Thus, he has given us a few film which are actually unviewable, Lost Weekend, Sunset Boulevard, The Big Carnival where the vulgarity, the hand-me-down feeling make them painful to view. but he is also the auteur of Sabrina and, most happily, Stalag 17, where the psychological acuity, the efficient simplicity of tone and the intelligence of purpose compel admiration. Yet with Brackett, at hand, The Seven Year Itch delivers us a Jeckyll a little salacious, but infinitely sympathetic in his canning of the Grand Guignol of mise-en-scene."
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The Seven Year Itch March 1956 No. 57
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The opening of this review is a little clearer when you realize that the title in France of this film translates as “seven years of reflection”.

“The metaphor is exaggerated. It doesn’t take seven minutes to realize that The Seven Year Itch is beyond smut and licentiousness and that it takes us past the limits of evil to a kind of worn-down regret, good humor, and kindness.” Further on, Truffaut writes, “If we admire, rather than grow annoyed, it is because the film’s verve and inventiveness, its cavalier vigor and naughtiness demand complicity.”
As translated by Leonard Mayhew in The Films in my Life / by François Truffaut ; translated by Leonard Mayhew
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Sitting on the conseil des dix, Truffaut - the lone "young turk" on that conseil - gave the film 3 stars. the only other panelist to give the film 3 stars was André Bazin. The film received a total of ten stars from the other six critcs who rated it. Only Georges Sadoul bulleted the film.
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The Spirit of St. Louis July 1957 No 73
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This film was not reviewed in Cahiers. Its release in Paris was noted in the July 1957 issue with this comment, "This Bressonian adventure can be excused only as an avant-garde film. Commercial neccessity constrined Wilder to intergrate into his narrative very long, very labored flashbacks. Only two reels are viewable.
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That months conseil des dix
For the "young turks'
Jacques Rivette abstained.
François Truffaut bulleted the film.
Eric Rohmer gave the film 1 star.

Among the other critics.
Four critics gave the film a total of 5 stars. The only panelist to give the film 2 stars was France-Soir's France Roche. André Bazin abstained.
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Love in the Afternoon July 1957 No. 73
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The film was reviewed by Serge Parmion and compared unfavorably to Roger Vadim's Sait-on Jamais.
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the conseil des dix
for the young turks;

Jacques Rivette abstained.

François Truffaut bulleted the film.

Eric Rohmer gave the film 1 star.

exactly as they had in the same month for The Spirit of St. Louis

The other critics gave this film a total of 9 stars. Georges Sadoul and Henri Agel bulleted the film.
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Witness for the Prosecution March 1958 No. 81
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Fereydoun Hoveyda wrote a short review which appeared in the Autres Films section. He compared the film unfavorably to Fritz Lang's Beyond a Reasonable Doubt.
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the conseil des dix
for the young turks;
Jacques Rivette and Eric Rohmer both gave the film 1 star.

This film received a total of 15 stars from all ten critics. Georges Sadoul was the only bullet.
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Some Like It Hot Nov 1959 No. 101
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Co-founder and co-editor of Cahiers Jacques Doniol-Valcroze reviewed this film for Cahiers. He wrote of how despite that about one hundred people had told him that the film was bad, he found the film, "exquisite, subtle, sharp, captivating, admirably produced and directed, . . . and not so hilarious." He went on to call it, "An ambiguous film, often bitter, sometimes a bit shocking, but always intelligent, subtle and, from time to time, moving."
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the conseil des dix
for the young turks;
Jacques Rivette and Luc Moullet gave the film 3 stars. They were the only two of the ten to give the film 3 stars. Eric Rohmer gave the film 2 stars and Jean Douchet gave the film 1 star. Jean-Luc Godard bulleted the film. 9 stars in all from the five young turk critics.
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The five remaining critics gave the film another 7 stars for a total of 16 stars. Among those five, Georges Sadoul was the lone bullet.
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The Apartment Nov 1960 no. 113
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Jean Douchet reveiewed the film for Cahiers, he wrote, in part, "The greatest reproach that I address to wilder is to not have answered the possibilities of the the subject. He grasped at a master-piece, he only succeeded in a a good film."
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the conseil des dix
for the young turks;
Jacques Rivette, Eric Rohmer and Jean Douchet all gave the film 2 stars.
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No one gave the film more than 2 stars. But neither did anyone bullet the film. The other seven critics chipped in another 9 stars for a total of 15 stars. Even Georges Sadoul gave teh film 1 star.
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One, Two, Three May 1962 no 131
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This film is the only other example besides The Spirit of St. Louis of a Wilder film from this period which was not given at least a short review in Cahiers. The May 1962 issue of the magazine simply noted its recent release in Paris with this comment. "In this painful story of the East-West rivalry, Wilder, in the end of the run, falls dead into that heaviness and vulgarity whose avoidance by working the edges makes a good part of the charm of his earlier work."
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the conseil des dix
for the young turks; Jean Douchet gave the film 1 star while Jacques Rivette and Michel Delahaye both bulleted the film. André Labarthe abstained.
Michel Mardore who had recently started to write for Cahiers and would eventually contribute in excess of !70 articles gave the film 2 stars. He was the only panelists to give the film more than 1 star as the film received a total of 5 stars. Not surprisingly, Georges Sadoul bulleted the film.

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Wilder was interviewed by Jean Domarch and Jean Douchet in the August 1962 issue of Cahiers du Cinema.

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Irma La Douce Nov 63 no. 149
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Michel Mardore review read in part, "As all truly modern creators, Billy Wilder has been able to escape to a kind of "detachment", even involuntary. This is no "pie-in-the-face" comedy, but, on the contrary, but a pattern of tearing apart for each artist. Wilder's originality (and the process intrudes into Irma) consists in making the impossible decision for the artist. You never know who is detaching and who is being detached. The folly of a nondescript definition designates the discomfort of the spectator as a basic motive of the work.
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the conseil des dix
for the young turks; Jacques Rivette and Jean Douchet both gave the film 3 stars. Eric Rohmer gave the film 2 stars.
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The seven non-Cahiers critics added another three stars for a toal of eleven stars for this film. Georges Sadoul, Paris-Presse's Michel Aubriant and Arts' Jean-Louis Bory all bulleted the film.
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Ten best list: Jean-Luc Godard, Claude Chabrol and Luc Moullet all cited this film in the year-end lists for Cahiers.
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The Dec63-Jan64 issue of Cahiers was another special issue dedicated to American cinema. for this issues dictionary of American directors, Jean-Luc Godard produced this thumbnail.
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"After seven of itching, he decided to no longer bring tragedy to the joke. But much to the contrary to bring the comic to the serious. He took out an insurance policy on cinematographic survival and success invited itself in. Progressively, he threw into the nettles the grand subjects ‘Humane’. Billy became one of the new greats of Hollywood and, while replacing Wyler and Zinneman in the hearts of the exhibitors, he established himself as the worthy inheritor of Lubitsch in the hearts of cinephiles. For he had found once again the soul of the kid, waggishly ’berlinois’, since ruse serves henceforth as tenderness and irony serves as technical know-how. From then “Love in the Afternoon” and Marilyn and in spite one, two, three false steps, ’Irma La Douce’, thanks to the finesse and the acuity of its Panavision, the clarity of the play of Jack and Shirley, the colors of LaShelle, which I like, and Trauner. This sweet Irma I say initials wonderfully a double ascension, at the box-office and as art. The result: a collection of qualities which suffice in a droll manner to transform worldly man into a unaffected cineaste."
"Cahiers du Cinema" Dec63-Jan64 page 178
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Godard's American Director thumbnails Cahiers du Cinema Dec63-Jan64 click here
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Kiss Me Stupid Apr 1965 no. 163
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The film was reviewed by Gérard Guégan. He wrote, in part, "Wilder's cinema rest on a principle equivalent to that of Marivaux's comedies. The page is a woman whom the countess conquers and the world trembles of change at its foundation." Guégan would cite the film as one of the ten best of the year in the January 1966 issue.
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the conseil des dix ( appears in March's conseil)
for the young turks; Jean-Louis Comolli gave the film 4 stars, Jacques Rivette, Jean Douchet and Michel Delahaye gave the film 3 stars.
The six non-Cahiers critics chipped in another eight stars for a total of twenty-one stars, including two from Positif 's Robert Benayoun. Jean-Louis Bory and Nouvel-Observateur critic Michel Cournot bulleted this film.
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Ten best list:
young turk citings: Charles Bitsch, Jean-Louis Comolli, Jean Douchet, Gérard Guégan and François Truffaut.
Older Cahiers contributor Pierre Kast as well as Positif's Michel Ciment and also Charles Gauteur, Roger Therond and Michel Petris also cited the film in the ten best lists published by Cahiers.
The film was rated 15 among critics and 24 among readers by Cahiers.
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Claude Chabrol --- "Nevertheless, I Shoot"

The following two sections are translated from Claude Chabrol's "Et pourtant je tourne ... " (And Nevertheless, I Shoot ...)

"In France some tried to rise to those heights: L'Herbier, Gance. The great number remained at ground-level with bagatelles that made you laugh or cry. The first French talking film where true talent made itself evident was La Petite Lise by Grémillon in 1930.The critics massacred it and the public ignored it.
Slowly, reputations were made. The respected filmmakers of the pre-War period of the same rank: Duvivier, Carné, Feyder, and Renoir, to which sometimes Grémillon is added. What a motley crew! Duvivier, the average student -- not gifted but conscientious. Carné, a man of talent, who signed, with Prevert's help, good films such as Le Jour se Leve and Les Enfants des Paradis. Feyder, distinctly overrated. He appeared distinguished with an imposing bearing while the others lined gladly up with the proletariat and their cheap red wine. Make no mistake, the only two authentic cineastes were Grémillon and, most of all, Renoir. No one then saw what today is glaring." (page 115)

"In 1958 and 1959, I, with my friends at Cahiers, moved into film direction being plugged like a brand of soap. We were "The New Wave". The phrase came from Françoise Giroud, L'Express' editor-in-chief, and one of the most acid pens in opposition to Gaullism, who made a gift of this most "sellable" of slogans to her political adversaries of the time. For, let's not be deceived, if the press spoke as such of us, they wanted to impose the equation: DeGaulle = renewal. In film as elsewhere, the General came, the Republic changed, France was reborn. Look at the flowering of talent. People of intellect blossomed in the shadow of the Cross of Lorraine. " (page 135)

Et pourtant je tourne ... / Claude Chabrol Paris : R. Laffont, c1976.

The "young turks" and Jean Delannoy

We have all read many times of how the young critics at Cahiers du Cinema have savaged Jean Delannoy. Rarely, though, is an attempt made to specify what was said and done during these "attacks'. This is an attempt to begin to draw up a ledger of the reaction of these young critics to Delannoy.
Some Notes
The conseil des dix was a tableau where the reactions of ten critcs to recently released films were recorded. Usually it would break down to 3 to 5 Cahiers regulars and the rest from other newspapers or magazines. Some critics from other venues who would regularly weigh in would be Figaro‘s Claude Mauriac, Le Monde‘s Jean de Baroncelli, Henri Agel, Georges Sadoul, Paris-Presse’s Michel Aubriant and Positif's Robert Benayoun.
The system could be described as:
4 stars -- See it even if you have to go out of town to.
stars -- Go across town if need be to see it.
2 stars -- See it but wait till it is playing in your neighborhood.
1 star --- If you are going to the theater and it is playing, go -- it won't hurt you.
bullet --- No reason to go see it.
4 stars was used only from mid-1957 onward.

“Chiens Perdus sans Collier”
No review of this film was published in Cahiers. the November 1955 noted its released in Paris and commented, “The problems of delinquent youth which a good judge without any illusions does not know how to resolve.”
In the conseil des dix, the film received a bullet from François Truffaut as did non-Cahiers panelist Henri Agel. Alain Resnais and Jacques Rivette both abstained as did non-Cahiers critic Georges Sadoul.
The remaining five critics gave the film a total of seven stars, including one each from André Bazin and Jacques Donoil-Valcroze.
Comparison; The same panel considered René Clair’s “Grandes Manoeuvres”. Nine critics (Alain Resnais abstained) gave that film 21 stars, including Truffaut (1 star), Rivette (2 stars) and Bazin, J D.-V. and Georges Sadoul (3 stars)
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“Marie-Antoinette”
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This film was not reviewed, either. The June 1956 issue noted its release in Paris and commented, “Contrary to its title, it is above all, the story of Louis XVI told at the same time as that of the Queen and Fersen. This very royalist film does not move, its tone is too cold and affected, only the last scene has any beauty.
In the conseil des dix, eight critics recorded their opinions and six of them bulleted the film while the film received 2 stars in total. François Truffaut bulleted the film as did Bazin, J D.-V., Sadoul and Agel.
Comparisons: “ Voici le Temps des Assassins... ” (Julien Duvivier) The same panel (one abstaining) that month gave this film 11 stars, including two stars from François Truffaut.
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“The Hunchback of Notre Dame”
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The January 1957 published a short review of this film by André Bazin. He barely mentions Delannoy in the review but does say that he believed that only Abel Gance was up to adapting Hugo’s novel.
In the conseil des dix, the film received two stars from Positif’s Robert Benayoun, seven panelists bulleted the film, including Truffaut and Eric Rohmer.
Comparison: “The Bad Seed” was considered that month also. It received only one star, from Henri Agel. And it received 6 bullets, including one from François Truffaut.
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“Maigret Tend un Piège”
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Not reviewed by Cahiers, its realease was noted in the March 1957 issue with this comment, “A merited commercial success. Delannoy suits this work as does Gabin. The gifts of the second riase the hand of the first high.”
The film received 8 stars in the conseil des dix that month including 1 from Eric Rohmer. It was bulleted by one critic Feroun Hoveyda, while Jean-Luc Godard and Charles Bitsch abstained.
Comparison: Cecil B. DeMille’s “The Ten Commandments” was considered by the same conseil. It received five stars including one each from Godard and Rohmer. Two critics bulleted it -- Robert Benayoun and Georges Sadoul.
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“Guinguette”
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Once more, no review for this film. Its release was noted and commented on thusly in the April 1959 issue, “Can we plead ‘attenuating circumstances’ for this nasty pastiche of national conventionalities? Jeanson refinds his youth, Jeanmaire the specter of Arletty and Delannoy is in pursuit of the eternal spectator.”
This film received only two stars, including one from Luc Moullet and three bullets, including Jacques Rivette and Jean-Luc Godard.
Comparison: “Gigi” collected 6 stars that month including one from Eric Rohmer and two from Louis Marcorelles but it also collected four bullets, Rivette, Godard and Moullet and also Georges Sadoul.
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“Maigret et l'Affaire Saint-Fiacre”
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This film was not reviewed but in the October 1959 issue, its release in Paris was noted with this terse comment, “From one of the dullest Maigret’s of the Arthème Fayard epoque, Delannoy has made an adaptation even duller.’
This film does not seem to have been considered by the conseil des dix.
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“Le Baron de L'Écluse”
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Also not reviewed on its release Cahiers merely commented,
“ Umpteenth episode in the adventures of Tintin and Audiard.”
The film was given seven bullets, including François Truffaut and Luc Moullet, among the abstainers were Eric Rohmer and Jacques Rivette.
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“La Princesse de Clèves”
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Not reviewed, it release was noted in the May 1961 issue with the comment, “Umpteenth variation on the eternal triangle.”
The film film received single stars from four panelists and was bulleted by four panelists including Jean Douchet, André LaBarthe and Georges Sadoul. Jacques Rivette and Eric Rohmer abstained.
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“Le Rendez-vous”
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Not reviewed, its release in December 1961 was noted and commented on in part, thusly, “..to cinematographic nullity, let’s add dishonesty.”
The film was given seven bullets including Jean-Luc Godard, Henri Agel and Georges Sadoul. among the three abstentions were those of Eric Rohmer and Jacque Rivette.
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Venere Imperiale”
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No review. Its release in May 63 was noted by Cahiers with the comment, “..Philippe Heriat thinks he is Henri Jeanson while Delannoy schemes for the laurels of Leo Johannon, a frightening collage.”
The film was not considered by the conseil.
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“Les Amitiés Particulières”
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This film was reviewed by Jean-Louis Comolli in the August-September 1964 issue of Cahiers as part of its coverage of that year’s Venice festival. He regretted that “Jean Delannoy did not do justice to this project.”
The film received four stars from three panelists. It was bulleted by five panelists including Jean Douchet, Michel Delahaye and Jean Narboni. Jacques Rivette abstained from venturing an opinion.
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“Le Majordome”
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This film was not reviewed by Cahiers. Its release in Paris was not in the June 1965 issue, “...ersatz pastiche of a parody.”
None of the former “young turks” participated in that issue’s conseil. The film got eight bullets and no stars. Among the younger Cahiers critics, Jean-Andre Fieschi and Jean-Louis Comolli bulleted the film. Among non-Cahiers critics, Georges Sadoul, Robert Benayoun, and Michel Aubriant bulleted the film.
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“Le Lit à Deux Places”
On its release in 1966, Cahiers commented, “When the bed is not occupied, this film has no interst. It hasn’t much moer when it is.”Nine panelists bulleted the film including Jean-Luc Godard. Jacques Rivette held out as the lone abstainer.
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“Les Sultans”
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This film release was noted in the June 1966. The comment in the films released in Paris last month feature said in part, “Let’s propose it for the next prize Giff-Wiff.” Don’t ask. The film was given seven bullets and the other three panelists abstained.
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“Les Soleil des Voyous”
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On its release in June 1967, Cahiers which again did not review the film commented, “The blow of a club and anesthesia under the control of an expert.
Seven panelists bulleted the film. It received no stars.

Reviews of the "young turks" from Cahiers Jan 52 to Apr 59

This posting purports to be little other than a list of films reviewed in the pages of Cahiers du Cinema from issue number 8, Jan 52, through April 59, by the "second group" or "young turks". Thus, François Truffaut, Jean-Luc Godard, Eric Rohmer, Claude Chabrol, Jacques Rivette, Jean Domarchi, Jean Douchet, Luc Moullet, Louis Marcorelles and Charles Bitsch. I have also chosen to include Chris Marker's lone review from that Jan 52 issue and Jean Mambrino lone review published in May 58. Cahiers at that time published either long reviews under the rubric "Les Films" or shorter - one column or less - under the rubric "Notes on other films". The reviews that were published as "Notes" are highlighted in red.

Jan 52
The River ----- Maurice Scherer (Eric Rohmer)
Prince Bayaya ----- Chris Marker
No Sad Songs for Me ----- Hans Lucas (Jean-Luc Godard)
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Mar 52
Strangers on a Train ----- Hans Lucas (Jean-Luc Godard)
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May 52
The Lady Vanishes ----- Maurice Scherer (Eric Rohmer)
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Feb 53
Shchedroye Leto ----- Jacques Rivette
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Mar 53
Tabu ----- Maurice Scherer (Eric Rohmer)
Sudden Fear ----- François Truffaut
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Apr 53
Affair in Trinidad ----- François Truffaut
Black Crown ----- François Truffaut
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May 53
The Snows of Kilimanjaro ----- François Truffaut
Deadline ----- François Truffaut
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Jun 53
South Sea Sinner/The Narrow Margin ----- François Truffaut
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Jul 53
Five ----- François Truffaut
Europa 51 ----- Maurice Scherer (Eric Rohmer)
Le Quatrième Homme ----- François Truffaut
The Mummy’s Hand ----- François Truffaut
Man in the Dark ----- François Truffaut
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Aug/Sept 53
I Confess ----- Jacques Rivette
Le Père de Mademoiselle ----- François de Montferrand (François Truffaut)
Sailor Beware ----- François de Montferrand (François Truffaut)
Rough Shot ----- François de Montferrand (François Truffaut)
Charlie Chan in Mexico ----- François de Montferrand (François Truffaut)
Thunder on the Hill ----- François de Montferrand (François Truffaut)
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Oct 53
The Lusty Men ----- Jacques Rivette
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Nov 53
Madame de ----- Jacques Rivette
Stalag 17 ----- François Truffaut
Singing in the Rain ----- Claude Chabrol
Niagra ----- Robert Lachenay (François Truffaut)
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Dec 53
The Big Sky ----- Maurice Scherer (Eric Rohmer)
Le Bon Dieu Sans Confession ----- Jean Domarchi
The Hitchhiker ----- Claude Chabrol
Room for One More ----- François Truffaut
A Life of Her Own ----- François Truffaut
Tuna Clipper ----- Robert Lachenay (François Truffaut)
L’Autocar en Folie ----- Robert Lachenay (François Truffaut)
The Las Vegas Story ----- Robert Lachenay (François Truffaut)
The Turning Point ----- Robert Lachenay (Francois Truffaut)
Quand Tu Liras Cette Lettre ----- Robert Lachenay (Francois Truffaut)
The Naked Spur ----- Jacques Rivette
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Jan 54
The Big Heat ----- François Truffaut
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Feb 54
Angel Face ----- Jacques Rivette
La Red -----Robert Lachenay (François Truffaut)
Sensualidad ----- Robert Lachenay (François Truffaut)
Girls in the Night ----- Robert Lachenay (François Truffaut)
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Apr 54
Touchez Pas au Grisbi ----- François Truffaut
Si Versailles m’etait Conté ----- Robert Lachenay (François Truffaut)
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May 54
It Should Happen to You ----- François Truffaut
A Personal Affair ----- Claude Chabrol
Never Let Me Go ----- Robert Lachenay (François Truffaut)
Lure of the Wilderness ----- Robert Lachenay (François Truffaut)
Return to Paradise ----- Robert Lachenay (François Truffaut)
La Guerra de Dios ----- Robert Lachenay (François Truffaut)
The Manderson Affair ----- Robert Lachenay (François Truffaut)
Trouble in the Store ----- Robert Lachenay (François Truffaut)
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Jun 54
The Blue Gardenia ----- Maurice Scherer (Eric Rohmer)
Traviata 53 ----- Robert Lachenay (François Truffaut)
Treasure of the Golden Condor ----- Robert Lachenay (François Truffaut)
Dangerous Crossing ----- Robert Lachenay (François Truffaut)
Remains to be Seen ----- Robert Lachenay (François Truffaut)
Quai des Blondes ----- Robert Lachenay (François Truffaut)
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Jul 54
La Provinciale ----- Jean Domarchi
Flight to Tangier(N) ----- Robert Lachenay (François Truffaut)
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Aug/Sept 54
River of No Retrun/Prince Valiant/King of the Khyber Rifles ----- François Truffaut
Infedeli ----- Robert Lachenay (François Truffaut)
The Glass Wall ----- Robert Lachenay (François Truffaut)
Les Hommes Ne Regardent Pas Le Ciel ----- Robert Lachenay (François Truffaut)
The City is Dark ----- Robert Lachenay (François Truffaut)
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Feb 55
Ali Baba and the Forty Thieves ----- François Truffaut
Pain Vivant ----- Claude Chabrol
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Mar 55
Apache/Pushover ----- Claude Chabrol
Rebecca ----- Claude Chabrol
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April 55
Johnny Guitar ----- Robert Lachenay (François Truffaut)
Rear Window ----- Claude Chabrol
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May 55
Voyage in Italy ----- Maurice Scherer (Eric Rohmer)
La Tour de Nesle ----- Robert Lachenay (François Truffaut)
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Jun 55
A Star Is Born ----- Charles Bitsch
Vera Cruz ----- François Truffaut
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Jul 55
The Barefoot Contessa ----- François Truffaut
The Barefoot Contessa ----- Claude Chabrol
Battle Cry ----- Claude Chabrol
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Oct 55
Kiss Me Deadly ----- Charles Bitsch
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Nov 55
Les Mauvaises Rencontres ----- Jacques Rivette
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Dec 55
Land of the Pharoahs ----- Jacques Rivette
Land of the Pharoahs ----- Claude Chabrol
Hallelujah ----- Eric Rohmer
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Jan 56
Ordet ----- Eric Rohmer
Lola Montes ----- François Truffaut
The Blackboard Jungle ----- Jean Domarchi
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Feb 56
East of Eden ----- François Truffaut
The Big Combo ----- Charles Bitsch
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Mar 56
The Seven Year Itch ----- François Truffaut
House of Bamboo ----- Jean Domarchi
Si Paris Nous Etait Conté ----- François Truffaut
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April 56
The Trouble with Harry ----- Eric Rohmer
The Trouble with Harry ----- Jean Domarchi
The Trouble with Harry ----- Jacques Rivette
The Naked Dawn ----- Jean Domarchi
Cette Sacrée Gamine ----- Charles Bitsch
The Saga of Anatahan ----- André S Labarthe
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May 56
Rebel Without a Cause ----- Eric Rohmer
Rebel Without a Cause ----- Jean Domarchi
L’Amore ----- Eric Rohmer
The Man with the Golden Arm ----- Charles Bitsch
Love Me or Leave Me ----- Jean Domarchi
Voici les Temps des Assassins ----- André S Labarthe
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Jun 56
Lifeboat ----- Eric Rohmer
La Roman Inachevée ----- Eric Rohmer
Cela S’Appelle L’Aurore ----- André S Labarthe
Night of the Hunter ----- André S Labarthe
François Mauriac ----- André S Labarthe
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Jul 56
Mr Arkadin ----- Eric Rohmer
Les Assassins du Dimanche ----- François Truffaut
Toute Le Ville Accuse ----- Charles Bitsch
Pete Kelly’s Blues ----- Luc Moullet
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Aug/Sept56
Le Peur ----- Jean Domarchi
It’s Always Fair Weather ----- Claude de Givray
Private Hell 36 ----- Luc Moullet
Artists and Models/The Lieutenant Wore Skirts ----- Jean-Luc Godard
Ouragan sur la Vallée ----- Luc Moullet
The Court-Martial of Billy Mitchell ----- Eric Rohmer
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Oct 56
The Last Frontier ----- Eric Rohmer
When the City Sleeps ----- Jean Domarchi
Brigadoon ----- Jean Domarchi
My Sister Eileen ----- Charles Bitsch
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Nov 56
Elena and her Men ----- Eric Rohmer
Elena and her Men ----- Jean-Luc Godard
Picnic ----- Eric Rohmer
Invitation to the Dance ----- Claude de Givray
Korhinta ----- Louis Marcorelles
Attack ----- Charles Bitsch
La Mort en ce Jardin ----- Luc Moullet
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Dec 56
A Man Escaped ----- Eric Rohmer
Le Pays d’ou Je Viens ----- André S Labarthe
Paris-Palace Hotel ----- Luc Moullet
The Harder They Fall ----- Jean Domarchi
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Jan 57
Baby Doll ----- François Truffaut
War and Peace ----- Luc Moullet
...And God Created Woman ----- Claude de Givray
Guys and Dolls ----- Louis Marcorelles
Variety Lights ----- André S Labarthe
Magirama ----- Jean-Luc Godard
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Feb 57
Hot Blood ----- Jean-Luc Godard
Lust for Life ----- Jean Domarchi
The Solid Gold Cadillac ----- Louis Marcorelles
Cinerama Holiday/The King and I ----- Luc Moullet
Tennessee’s Partner ----- Luc Moullet
Ransom ----- André S Labarthe
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Mar 57
Bigger than Life ----- Eric Rohmer
Written on the Wind ----- Louis Marcorelles
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Apr 57
Giant ----- Eric Rohmer
Assassins et Voleurs ----- François Truffaut
Time in the Sun ----- Luc Moullet
Court-Tête ----- Jean-Luc Godard
Calabuig ----- Luc Moullet
Al Margine della Metropolita ----- Luc Moullet
Somebody up there Likes Me ----- Luc Moullet
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Jun 57
The Wrong Man ----- Jean-Luc Godard
The Girl Can’t Help It ----- Jean Domarchi
The Crucible ----- Luc Moullet
The Incredible Shrinking Man ----- Charles Bitsch
King and Four Queens ----- Jean Domarchi
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Jul 57
Sait-on Jamais? ----- Jean-Luc Godard
Sait-on Jamais? ----- Jacques Rivette
The Forty-First ----- Louis Marcorelles
Les Trois Font la Paire ----- Jean Domarchi
Hollywood or Bust ----- Jean-Luc Godard
The Crucified Lovers ----- Eric Rohmer
Men in War ----- Luc Moullet
Viva Villa ----- Jean Domarchi
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Aug/Sep 57
The True Story of Jesse James ----- Jean-Luc Godard
Heaven Knows Mr Allison ----- Luc Moullet
The Last Hunt ----- Claude de Givray
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Oct 57
The Teahouse of the August Moon ----- Claude de Givray
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Nov 57
Will Success Spoil Rock Hunter? ----- Eric Rohmer
Beyond a Reasonable Doubt ----- Jacques Rivette
Porte des Lilas ----- Eric Rohmer
An Affair to Remember ----- Louis Marcorelles
Retour de Manivelle ----- Claude de Givray
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Dec 57
Sawdust and Tinsel ----- André S Labarthe
Herr Puntila... ----- Louis Marcorelles
Twelve Angry Men ----- François Truffaut
Pot-Bouille ----- François Truffaut
Le Coup de Berger ----- Claude de Givray
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Jan 58
Bitter Victory ----- Jean-Luc Godard
Funny Face ----- Jean Domarchi
Designing Woman ----- Jean Domarchi
A Hatful of Rain ----- Louis Marcorelles
Les Fantastiques ----- Claude de Givray
Une Parisienne ----- Claude de Givray
Mr Cory ----- Claude de Givray
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Feb 58
The Ten Commandments ----- Luc Moullet
Elevator to the Gallows(N) ----- Eric Rohmer
The Killing ----- Jean-Luc Godard
Silk Stockings ----- Jean Domarchi
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Mar 58
The Tin Star ----- Claude de Givray
You Only Live Once ----- Jean Douchet
The Wayward Bus ----- Jean-Luc Godard
Chronicle of Poor Lovers ----- Luc Moullet
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Apr 58
Bonjour Tristesse ----- Jacques Rivette
Kanal ----- Louis Marcorelles
Something of Value ----- Luc Moullet
LesTemps des Ouefs Durs ----- Jean-Luc Godard
Rafles sur la Ville ----- Jean-Luc Godard
The Garment Jungle ----- Claude de Givray
The Man of a 1000 Faces ----- Claude de Givray
Les Ballets Bolshoi ----- Louis Marcorelles
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May 58
The Seventh Seal ----- Jean Mambrino
Les Girls ----- Eric Rohmer
Passion Juvenile ----- François Truffaut
Montparnasse 19 ----- Jean-Luc Godard
The Young Lions ----- Charles Bitsch
Sayonara ----- Jacques Rivette
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Jun 58
Illicit Interlude ----- Jacques Rivette
This Angry Age ----- François Truffaut
Hold Back the Night ----- Luc Moullet
Paris Holiday ----- Luc Moullet
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Jul 58
L’ Eau Vive ----- Jean-Luc Godard
The Pajama Game ----- Jean-Luc Godard
The Brothers Karamazov ----- Charles Bitsch
The Long Hot Summer ----- Jean-Luc Godard
Gideon of Scotland Yard ----- Louis Marcorelles
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Aug 58
The Quiet American ----- Eric Rohmer
Jet Pilot ----- Luc Moullet
Tea and Sympathy ----- Louis Marcorelles
A Man is Ten Feet Tall ----- Louis Marcorelles
Rosa Bernd ----- Louis Marcorelles
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Sept 58
The Cobweb ----- Jean Domarchi
Tarnished Angels ----- Luc Moullet
Baby Face Nelson ----- Jean Domarchi
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Nov 58
Dreams----- Eric Rohmer
Une Vie ----- Jean-Luc Godard
The Left-Handed Gun/Cowboy/The Bravados ----- Jean Domarchi
God’s Little Acre(N) ----- Jean-Luc Godard
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Jan 59
Indiscreet ----- Jean Domarchi
Wild is the Wind ----- Luc Moullet
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Feb 59
Man of the West ----- Jean-Luc Godard
The Rising of the Moon/The Last Hurrah ----- Louis Marcorelles
South Pacific ----- Eric Rohmer
Cat on a Hot Tin Roof ----- Louis Marcorelles
Les Tricheurs(N) ----- Eric Rohmer
The Roots of Heaven ----- Luc Moullet
Miles of Fire(N) ----- Charles Bitsch
The Vikings(N) ----- Luc Moullet
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Mar 59
Vertigo ----- Eric Rohmer
Le Beau Serge ----- Jean Douchet
Les Rendez-vous du Diable ----- Jean-Luc Godard
Ztracenci----- Luc Moullet
La Loi ----- Jean-Luc Godard
The Law and Jake Wade ----- Charles Bitsch
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Apr 58
Brink of Life ----- Eric Rohmer
A Time to Love and a Time to Die ----- Jean-Luc Godard
Gigi ----- Louis Marcorelles
La Femme et le Pantin ----- Luc Moullet
Twilight for the Gods ----- Luc Moullet

Claude Autant-Lara and Cahiers du Cinema

We have all read many times of how the young critics at Cahiers du Cinema have savaged Claude Autant-Lara. Rarely, though, is an attempt made to specify what was said and done during these "attacks'. This is an attempt to begin to draw up a ledger of the reaction of these young critics to Autant-Lara.
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Some Notes.
The conseil des dix was a tableau where the reactions of ten critcs to recently released films were recorded. Usually it would break down to about 3 to 5 Cahiers regulars and the reaminder critics from other newspapers or magazines. Some critics from other venues who would regularly weigh in would be Claude Mauriac, Jean de Baroncelli, Henri Agel, Georges Sadoul and Positif's Robert Benayoun.
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The system could be described as:
4 stars -- See it even if you have to go out of town to.3 stars -- Go across town if need be to see it.2 stars -- See it but wait till it is playing in your neighborhood.1 star -- If you are going to the theater and it is playing, go -- it won't hurt you.bullet -- No reason to go see it.
4 stars was used only from mid-1957 onward.
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“Marguerite de la Nuit” Reviewed in the February 1956 issue of Cahiers by Etienne Loinod (Jacques Doniol-Valcroze). Loinod wrote: “one does not know what to think of this film” and then in the conseil des dix as Jacques Doniol-Valcroze, he bulleted the film.
Nine of the ten critics weighed in on this film and the film got a total of six stars. Jacques Rivette bulleted the film. André Bazin gave it one star and Georges Sadoul gave it two stars.
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In the March 1956 monthly feature “Le Petit Journal du Cinema” a short note signed by Robert Lachenay and thus, almost certainly written by François Truffaut, reads in part: “Without a doubt Claude Autant-Lara was mistaken in filming “Marguerite de la Nuit”, but his mistake is honorable and esteemable compared to the pettiness and stupidity of certain of our colleagues…in titling their reviews “Marguerite de L’ennui”.
In his summing up article for the year 1956 published in the last issue of the weekly ARTS in that year, François Truffaut referred to this film as a “respectable failure”.
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“La Traversée de Paris”
Reviewed in the December 1956 issue Jacques Doniol-Valcroze reviewed this one also, but in his own name this time. He referred to the film as a “success” in the review’s opening sentence.
In the “conseil des dix”, the film was rated at three stars by six panelists (including François Truffaut) two stars by three others (including Eric Rohmer) and the single remaining panelist (J-P Vivet) gave it one star. That makes for 25 stars out of a possible 30.
To compare it to some other films rated that month by the same critics. “A Man Escaped” pulled off the very rare accomplishment of getting three stars from every critic. Von Stroheim’s “Queen Kelly" received only 22 stars (with two critics abstaining) and Joshua Logan’s (an American director that Cahiers tended to favor) “Bus Stop” got 22 stars with all ten critics voting.
François Truffaut wrote a most favorable review of this film for the weekly ARTS that he later in the 1970s collected into his book “The Films in My Life”.
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“En Cas de Malheur”
Reviewed in the November 1958 A full review of the film written by Phillipe Demonsablon was published.
In the conseil des dix Godard, Rivette, Jean Domarchi, and Charles Bitsch each gave the film one star. Eric Rohmer’s bullet stood as the lone bullet for the film. In total the film received 17 stars, three stars each from André Bazin (his last conseil – he died on November 11, 1958), Jacques Doniol-Valcroze, Jean de Baroncelli and Pierre Braunbarger with Henri Agel giving it one star. In comparison, in the same month Douglas Sirks’ “Tarnished Angels” received 14 stars from 7 of the ten. (Godard and Rivette gave it two stars.)
François Truffaut wrote a fairly positive review of this film which appeared in ARTS and was also collected into “The Films in My Life”.
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“Le Jouer”
This film was not reviewed in Cahiers. The January 1959 issue noted its opening in Paris and commented, “Dostoyevsky is betrayed for the sole good pleasure of MM. Aurenche, Autant-Lara, Boyer and Bost no longer even try to hide their game.”
Rivette, Rohmer, Jean Domarchi and Charles Bitsch all bulleted the film as did Claude Mauriac, Jacques Doniol-Valcroze and Henri Agel. George Sadoul gave it two stars and Jean de Baroncelli gave it one for a total of three stars. Comparison: In the same conseil John Huston’s “The Barbarian and the Geisha” was bulleted by eight of the panelists and received no stars.
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“La Jument Verte”
This film was not reviewed either. The December 1959 issue noted its release in Paris and commented, “ Having become his own producer, Claude Autant-Lara has realized his dream, the conscientious objector status of a green mare. For want of being able to congratulate Autant-Lara for good taste, intuition, comprehension or sensitivity, let’s applaud his courage, making the most scatological French film of the year.”
Six of the ten critics that month bulleted the film, including Jacques Rivette and Jean Douchet. Eric Rohmer and Louis Marcorelles abstained. The two remaining panelists – George Sadoul and Pierre Braunbarger each gave it one star.
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"Les Régates de San Francisco"
This film also was not reviews. The June 1960 issue noted its release in Paris and commented" "The most systematic, and thus the most interesting, film that Autant-Lara has ever made. Maybe offensive, depending on one's taste, but in no way loathsome."
The film received a total of six stars, five from "young turks", -- Luc Moullet and Jacques Rivette both gave it two stars and Truffaut gave it one star. Eric Rohmer bulleted the film.
Comparison: "La Dolce Vita" was considered by the same panel. Luc Moullet who gave "Regates" two stars, bulleted "La Dolce Vita" and Eric Rohmer who bulleted "Regates" gave "La Dolce Vita" two stars. Rivette also gave "La Dolce Vita" two stars and Truffaut abstained. So those four "young turks" gave Autant-Lara's film one more star than they gave Fellini's.
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"Le Bois des Amants"
This film was also not reviewed but in noting its release in the October 1960 issue, Cahiers commented : "...proves that the salacity of "Les Régates de San Francisco" better suits the "auteur". Autant-Lara has lost his faith, nothing rings falser, more out-moded, and more insincere than this ill-famed "bois".
The film received five bullets including Rivette and Douchet. Eric Rohmer abstained. From among non-Cahiers panelists, Georges Sadoul and Jean de Baroncelli also abstained.
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“Vive Henri IV”
Not reviewed, its opening in Paris was noted with the following comment: “…The late loves of Henri IV make, like all historic episodes, the subject of a film. But this isn’t the film. A dull succession of jokes.”
Only three panelists bothered with the film that month and two bulleted it, including Rivette. Michel Aubriant gave it its single star.
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“The Count of Monte Christo”
Again no review, this film’s opening was noted and commented on: “…Autant-Lara has not looked to think or rethink [the book]. He has confined himself to a “mise-en-scene” correct and anonymous.” The film received three stars and three bullets:
Two of the bullets came from Jean Douchet and Andre LaBarthe. The three stars came from Michel Aubriant (2)and Jean de Baroncelli (1). Eric Rohmer and Georges Sadoul abstained.
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“Le Meurtrier”
This film was also not reviewed but only commented on briefly in the March 1963 issue. “…This is the Autant-Lara way, beyond truth, beyond reality, on terrain unreasonable and completely ridiculous.”
This film was bulleted by seven of the conseil. Two gave it one star – Jacques Rivette and Georges Sadoul. Eric Rohmer abstained.
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“Tu ne Tueras Point”
This film demonstrates a great divide between the panelists for that month because 5 gave it two stars and five bulleted the film. Among those awarding it two stars were Jacques Rivette and Georges Sadoul. Among the five who bulleted were Rohmer and Douchet, and also former Autant-Lara defenders Michel Aubriant and Jean de Baroncelli.
Comparison: Cahiers almost always looked favorably on films by Robert Mulligan in the “Pakula-Mulligan” era even when Mulligan was not teamed with Alan J Pakula. In that same conseil, “Du Silence et des Ombres” (“To Kill a Mockingbird”) was awarded a mere 4 stars, (one each from Jacques Rivette and Georges Sadoul) and was bulleted by five panelists (including Aubriant and de Baroncelli).
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“La Magot Josefa” Reviewed in the November 1963 issue by Michel de la Haye who wrote “one of Autant-Lara’s best films”. Rivette awarded it two stars while Rohmer and Douchet bulleted the film.
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"Le Journal d'une Femme en blanc"
Reviewed in the May-June issue of 1965 by Michel Madore. He called it as “sublime” as Mikhail Romm’s “Nine Days in One Year” a film that was highly regarded at Cahiers and he also described Autant-Lara as being like a “young director“.
The film was granted 17 stars including three from both Jacques Rivette and Michel Delahaye. Georges Sadoul gave it two stars. It was bulleted in that issue by Positif’s Robert Benayoun (who also bulleted Bergman’s “Winter Light” and Godard’s “Alphaville” in that same conseil) and Jean-Louis Bory (who also bulleted “Hush, Hush, Sweet Charlotte”).
****Jacques Rivette and Jean-Luc Godard both placed this film on their respective ten-best lists for 1965.****
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“Une Femme en Blanc se Révolte”
Jean Narboni reviewed this film in the May 1966 issue. Quoting from him, “Since Jacques Becker’s death filmmakers of immanence have made themselves rare in France. Today we have Claude de Givray and Claude Autant-Lara.”
The film was awarded ten stars by the conseil including two each from Jean-Louis Comolli and Georges Sadoul. Comparison: “The Spy Who Came in from the Cold” was granted eleven stars by the same panel. (Sadoul was the lone bullet).
Bertrand Tavernier placed this film on his ten best list for 1966 in Cahiers.

Jean Douchet on the "young turks"

In his “French New Wave” (by Jean Douchet; in collaboration with Cédric Anger; translated by Robert Bonnono), Jean Douchet writes of “a second, younger group [of filmmakers], born between 1928 and 1932, [which] is represented by Jacques Rivette, Jean-Luc Godard, Claude Chabrol, François Truffaut, Jacques Rozier, and Jacques Demy.” (page 11)
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He says of them, “There was a ritual aspect to the young cinephile’s behavior that consisted mainly of wandering around movie theaters, closely examining the stills of current or forthcoming films, fantasizing over the posters, imaginatively creating a climate of fear and danger around themselves....They compared films, categorized them. Gradually a list of favorites took shape: Goupi Mains Rouges by Jacques Becker, Lumières d’Ete and Le Ciel est à Vous by Jean Grémillon, Douce by Claude Autant-Lara, Les Visiteurs du Soir by Carné and Prévert, Le Destin Fabuleux de Désirée Clary and Le Malibran by Sacha Guitry, Les Anges du Péché by Robert Bresson, and a few others. These were the films they saw over and over again. But the film that received the most attention was Le Corbeau by Henri-Georges Clouzot: the film had a profound effect on these adolescents and to them represented the summit of cinematic art." (pages 21-22)