On one hand, it is a daring and imaginative (albeit dangerous) project, one that fully mesmerizes viewers during its 10-minute run time. On the other hand, it serves as a reminder to bike commuters, pedestrians, and pigeons to always be aware of what’s going on around you—don’t take anything, even that walk signal or the fact that cross-traffic has a red light, for granted, or you could be road kill.
Wednesday, August 5, 2009
Although this blog post is only tangentially related to Nebraska adventures (that tangential relation mostly being the word “adventures”), this film positively begged to be re-introduced to a new audience.Shot in a single take in Paris in 1976, director Claude LeLoche mounted a camera to the front bumper of his car (a Mercedes-Benz 450SEL 6.9). Early one morning, LeLoche plopped behind the steering wheel and tore through the streets of Paris, leaving $200 worth of rubber on ancient cobblestone, scattering pigeons, running red lights, and giving viewers a breakneck-speed tour of the city of lights. The result is C'etait un Rendezvous (It Was a Date), a testosterone-addled, white-knuckle example of cinéma-vérité that makes The Fast and the Furious look like High School Musical.
On one hand, it is a daring and imaginative (albeit dangerous) project, one that fully mesmerizes viewers during its 10-minute run time. On the other hand, it serves as a reminder to bike commuters, pedestrians, and pigeons to always be aware of what’s going on around you—don’t take anything, even that walk signal or the fact that cross-traffic has a red light, for granted, or you could be road kill.
On one hand, it is a daring and imaginative (albeit dangerous) project, one that fully mesmerizes viewers during its 10-minute run time. On the other hand, it serves as a reminder to bike commuters, pedestrians, and pigeons to always be aware of what’s going on around you—don’t take anything, even that walk signal or the fact that cross-traffic has a red light, for granted, or you could be road kill.
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