Cremer bruno biography sample
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1. Introduction
Simenon remarked more than once how much he loved painters, particularly the impressionists, who made their colors sing, and who no doubt influenced his own literary work. In his own way, Simenon also knew how to use color to depict an atmosphere, a landscape, or a character.
In this study I'd like to examine the use of color terms in the Maigrets, to see how the author uses them, which are used most often, for which descriptions they are reserved, how they contribute to the rendering of an atmosphere, to set a scene, and to highlight feelings and impressions.
We recognize, following Michel Pastoureau ([Dictionary of the colors of our times], Bonneton, ), that color is a symbolic and cultural notion, and thus linked to a given society. Historically, color in Western culture is organized primarily in a ternary mode, dating back to prehistoric times and built on the three colors, white, black and red. From the Middle Ages, and up to our time, the symbolic s
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Sorcerer (film)
film by William Friedkin
This article is about the U.S. film. For other films with similar name, see Sorcerer.
Sorcerer is a American action-thriller film produced and directed by William Friedkin and starring Roy Scheider, Bruno Cremer, Francisco Rabal, and Amidou. The second adaptation of Georges Arnaud's French novel Le Salaire de la peur, it is often considered a remake of the film The Wages of Fear,[12] although Friedkin disagreed with this assessment.[13] The film depicts four outcasts from varied backgrounds living in a South American village assigned to transport two trucks loaded with aged, poorly kept dynamite that is "sweating" its dangerous basic ingredient, nitroglycerin.[9]
Sorcerer was originally conceived as a small-scale side project to Friedkin's next major film, The Devil's Triangle, with a modest US$ million budget.[14] The director later opted for a more ambitious production, which he env
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The art of movies started for me with Jean-Luc Godard’s first feature, “Breathless,” from , and therefore with its star, Jean-Paul Belmondo, who died on Monday, at the age of eighty-eight. I first saw the film as a teen-ager, in , but even before then I knew the name and the face of Belmondo and considered him to be the height of cool—his film “That Man from Rio,” a James Bond spoof for which he did his own hair-raising stunts, had been broadcast a few years earlier, on network TV, on a Saturday night. inom was well aware of the notion of Gallic charm, but I had never witnessed Gallic swagger, and inom learned in a flash that there were kinds of sophistication—and fun—far beyond my ken that awaited discovery in, and even defined, adulthood.
By Belmondo’s own account, “Breathless” made him famous overnight. He was twenty-six when it was released, and its success took him by surprise. He had trained for a career in the theatre and never expected to remain in movies. But, with “Breathless,”