Just as people might ask what we would like to see on our tombstone, so the more fatalistic among us might already be planning our last words. But last words don’t have to be all doom and gloom – they can be witty, profound, or just plain absurd.
Of course, it’s all a matter of opinions as to whether you want to go out with a laugh or with a tear. And there’s much debate about the authenticity of many last words, with Admiral Nelson’s “Kiss me, Hardy” being perhaps the most famously erroneous example (we’ll print the true one later). I’ve made every effort in this article to ensure that what people said is the truth, but I apologise in advance, to both you and them, if any of them turn out to be incorrect.
In each case I’ll provide a bit of...
Of course, it’s all a matter of opinions as to whether you want to go out with a laugh or with a tear. And there’s much debate about the authenticity of many last words, with Admiral Nelson’s “Kiss me, Hardy” being perhaps the most famously erroneous example (we’ll print the true one later). I’ve made every effort in this article to ensure that what people said is the truth, but I apologise in advance, to both you and them, if any of them turn out to be incorrect.
In each case I’ll provide a bit of...
- 8/4/2012
- by Daniel Mumby
- Obsessed with Film
Concluding our short series celebrating the films of the Pathé-Natan company, 1926-1934.
Above: Maurice Tourneur invents the film noir style while nobody's looking in Justin de Marseille.
Bernard Natan, CEO of Pathé, was as conservative in his tastes as any studio boss, but he can be considered a brilliant talent scout on the basis of a few risks he took: casting Jean Gabin in his first feature (Chacun sa chance, 1931, an operetta-film), giving Jacques Tourneur his first directing job (Tout ça ne vaut pas l'amour, 1932, a comedy), and allowing Pierre and Jacques Prevert to make their first film (L'affaire est dans le Sac, 1932) on leftover sets, although admittedly he was so baffled by the resulting film he refused to release it.
But Natan often preferred to work with tried and true filmmakers with the added insurance of long track records. Leonce Perret, who made his directing debut in 1909, was...
Above: Maurice Tourneur invents the film noir style while nobody's looking in Justin de Marseille.
Bernard Natan, CEO of Pathé, was as conservative in his tastes as any studio boss, but he can be considered a brilliant talent scout on the basis of a few risks he took: casting Jean Gabin in his first feature (Chacun sa chance, 1931, an operetta-film), giving Jacques Tourneur his first directing job (Tout ça ne vaut pas l'amour, 1932, a comedy), and allowing Pierre and Jacques Prevert to make their first film (L'affaire est dans le Sac, 1932) on leftover sets, although admittedly he was so baffled by the resulting film he refused to release it.
But Natan often preferred to work with tried and true filmmakers with the added insurance of long track records. Leonce Perret, who made his directing debut in 1909, was...
- 4/5/2012
- MUBI
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