Michel Cournot
Michel Cournot , (born on May 1st 1922 with Paris and dead the February 8th 2007 with Paris), is a writer, journalist, critical cinematographic and French realizer.
Born from father at the same time professor and engineer and a mother with the hearth. Raise with the Louis-the-Large Lycée before following its studies to the faculty of letters of Paris. Man of letters devoted by the Price Fénéon 1950 for Martinique (1949), it starts his journalistic career with France-Evening where it returns after a passage to the Express train . He is also documentarist with the First spectator , making-of of the film the Spies who obtains the Prix of the Two-Nest eggs in 1958. In 1963, it is seen decreeing the Italia price for the Children of Justice (1963).
It carries out in 1968 the film Gallic blue the , which gains a thin success of regard but any business success. The film is accommodated by mockeries, the article of connected Duck had as a title: " Gallic blue… the fumeuses" and certain authors of cinema, in particular Michel Audiard which it attacked as a criticism do not deprive to turn it in derision.
As of its launching in 1964, it enters to the Nouvel Observateur like cinematographic criticism. In competition with Robert Benayoun, old of France Observer and supported by André Breton, it is selected thanks to the intercession of Henri Michaux near Jean Daniel. Carrying out Gallic blue the in 1968, it spends the following year at the literary columns where, like Mona Ozouf, Claude Roy or France Huser, it is in adequacy with the judgments of Jean Daniel in this field. For this last, its “strange and limpid style always expresses an unexpected idea” in articles which are as much of “masterpieces of honesty, culture, understanding”. Practitioner a certain intellectual hermetism, it very raises admiration as much as the indignation of the assistantship by the character slicing in these judgments of these cinematographic criticisms. Unbearable character “of intellectual claim, arrogance and violence in his judgments”, it appears then with Maurice Clavel like the genuine star of the newspaper, referee of the cinematographic good taste for the ones and “absolute clown” for the others.
He leaves Nouvel Observateur in 1973 for a dramatic place of criticism to the Monde .
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