And this rather sweeping statement is meant, I suppose, to be a perfectly objective, non-xenophobic judgment of the cinematographic output of a whole country over more than a century. And, of course, Méliès did not pioneer anything, starting at the end of the XIXth century with countless innovative methods for shooting movement.
To dislike Le Mépris, that's nothing at all: there are hundreds, perhaps thousands of viewers who expressed their disarray after going to see a Bardot with shots of her cheeks mentioned in the publicity. Imagine how high the price was to pay for just having a glance at what are after all harmless views of her anatomy ! Maybe such people were expecting more skin, more Bardot cleavage (there is none to see whatsoever)? I'm kidding of course, because, sir (I presume), there is a lot more than voyeurism in your comments. And I am dead serious.
You will probably defend yourself by writing that you're an open-minded fellow and that you're the last person to be called a xenophobe or a racist. The worst culprits always do that: nobody wants to be associated with fascist ideas anymore. And yet! You owe lots of excuses to lots of people. Not only to French people working in cinema, but to the numerous French citizens who, guess what? can read English (as compared to the handful of anglophones who read French currently - everything being proportional - if we reverse the equation).
Now, past the completely moronic all-encompassing prejudice spewed against a whole nation, what take-home message are we supposed to keep from your post, buddy? Asking here is a figure of style, a simple prelude to my conclusion: that you're a raging francophobe and that like so (too) many people, you extend your own subjective feelings (to call them thoughts would be an insult to the human race) towards the way some French directors envision their films to the whole French cinema. On a public forum, you should at least balance your judgment (if that is still a theoretical possibility) by providing at least one or two examples of French films that make some sense according to your fascist views of cinema.
Sorry if you find that I'm overreacting, but nowadays, when someone so blatantly write such a sweeping predicament on a whole nation, I don't take this lightly. Such thinking is not only stupid (and that, sir, you are to the highest possible degree next to alienation), but also dangerous. Yes, I'm a francophone, but I'm not French. Nonetheless, I take this as personally as if you'd have said something like: "Me no like French Canadian cinema it stinks" because the French language is shared by hundreds of millions of people with a common sensibility, a common way to envision, name, describe and interact with things and people.
Next time, just think, if you have still a few intact neural centers in your frontal cortex.
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