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Flic movie3/18/2023 So while he may not be the first name that comes to mind when one thinks of the French New Wave, it was he who introduced Godard to the idea of jump-cuts, for example. The same genre that would be redefined by films like “Le Samourai,” “The Army of Shadows,” and “Le Cercle Rouge” - the cornerstones of his lasting legacy. His experience during the war, coupled with a high admiration for Hollywood gangster pictures of the ’30s and ’40s, fused together a filmmaking style that thrived most vividly in the crime genre. Born Jean-Pierre Grumbach and adopting the moniker “Melville” after his favorite American author, he fought as part of the French Resistance during WWII, and started making independent films in the late ’40s after he was denied an assistant director’s license. Unlike many of the others, he didn’t go out of his way to bend the rules of cinematic convention - he did it casually, like one of his gangsters. Put them in a single room and somewhere in a shadowy corner, wearing a rain-slicked trench-coat, his eyes obscured by the brim of his fedora, sits Jean-Pierre Melville. You know the ones Jean Renoir, Jean-Luc Godard, Francois Truffaut, Robert Bresson, et al. When sifting through the catalogue of illustrious French filmmakers, the pioneers and precursors to the French New Wave, those creators of a new cinematic language, immediately pop out.
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