dando
12-21-05, 04:53 PM
A friend passed this along to me today:
http://mirror.rtor.net/rendezvous20_04.mov
:eek:
Hold onto your socks, and I dare you not to flinch.
Translated German article about the joy ride:
Faster than the police permits
Of Michael Althen
09. May 2004 for many years was the film only phantom. As persistent the rumor, in the underground gives it holds itself so-called snuff movies, which actually show, how humans before the camera are killed, then applied this film as a kind damp dream of Autobahnrasern.
There thus the speech was of the fact that Claude Lelouch had fastened 1976 a camera on a racing car, which raced with two hundred things in the morning-grey by Paris, which is to have led after the first demonstration of the material to the arrest of the director. The scarcely zehnminuetige film, then was called it again and again, circulates in the net, where one could download oneself it under the title "Need for speed"; and it gives a German version, in whose link up one state, the French Formel-1-Rennfahrer Jacques Laffitte to tax sat.
The fastest director of the world
According to other sources it was Lelouch, which had used its brand-new yellow Ferrari 275/GTB for this Stunt. Version is not so wrong, because the passion of the Frenchman for running cars admits since his OSCAR-CROWNED "a man and a woman", in whom Jean Louis Trintignant plays a test driver, far away was. Anyhow Lelouch, which zuneigt otherwise rather pleonastic telling, with this kurzfilm would be a fastest director of the world.
Which one might have always held from these rumors, now one can examine her after over a quarter century for her truth content. The British documentary film producer Richard Simons was allowed themselves to pull with Lelouchs production company Les of film 13 around the rights anxious and after long negotiations of the negative a copy, those to DVD is available now ("C'etait un rendezvous", www.spiritlevelfilms.com, 14.99 Pound, thus about 22.50 euro).
The craziest documentary film
Whereupon only knappe is nine minutes film, but they are always worth the money, because they are evenly more than only one footnote to film history. They belong to the perhaps most beautiful and craziest documentary film, which was ever turned.
It begins with an insertion, to which the director attached importance: Nor in this film give it neither cheat to quick-motion apparatuses. And the movements of the passanten and the pigeons flying up in the yellow searchlight beam prove that that is not lied. But the warning is justified, because there are nowadays completely different methods, which spectator helps behind the light to lead and it not even more, if one stops the eyes. But this is 1976, when a film was still another film and no digital cheat to the material its will force upon could. Here is thus a film producer, who with his life for the authenticity of the turned material beginning, and which always one may think of the parfuemierten films from Lelouch: With the turning work of "a breath of tenderness" remaining filmrolle, which it inserted on this August morning in the year 1976 into its camera, speaks another language. Which one sees there, is more than only a breath of foolishness.
In the speed intoxication
It goes loosely on the Peripherique, where the camera at the havens Dauphine from a tunnel emerges and up-shoots the departure to the Avenue Foch, which protects the sleep of the large middle class with trees against the traffic noise. One hears a howling of the V12-Motors, a switching of the courses and Quiet the tire and comes by the near-surface perspective, which seems to accelerate the pavement as in a suction, fast into a tranceartigen speed intoxication, which actually reminds speed "of computer running plays like" Need for. Up to the Arc de Triomphe, where the last Nachtschwaermer orients itself home, Champs Elysee down there to the Concorde, there is the first half dozen of red traffic lights already over-drive. At the end there will be fifteen, in addition, without traffic lights the right of way is merrily ignored.
Over the quai of the Tuileries through the Jardin you Carrousel are in the yard of the Louvre, without looking on the right of or left, direction Opera. Before it the traffic lights continue to stand briefly again on red avoiding on the Gegenfahrbahn, eyes too and through, at the Galeries Lafayette past to Trinite and to the Pigalle. The roads more closely, the garbage disposal is on the way, sharp deceleration, a woman with dog presses itself frightened to the house wall, with the Pigalle then left the boulevard de Clichy up. To the Place Blanche a short irritation: The car swivels to the right, considers it then nevertheless differently and drives themselves straightforward to the cemetery, right into the Rue Coulaincourt, which up-leads the Montmartre in an elbow.
One does not know whether the driver to the Place Blanche erred or whether an obstacle came into view - the car tilts back too early. But still during one over it thinks, moves he into a u-turn into the Avenue Junot, which flows the hill still times orbited, into the Rue Norvins and leads across the Place you Tertre to Sacre Coeur. To feet of the Basilika the car comes above the stairs to standing, a blond woman comes the stages up-run, the driver steps out, approaches on it and embraces it, then the insertion: "C'etait un rendezvous films par Claude Lelouch". One does not see the head of the driver, but its Statur resembles that of the director.
The man, who pleases her
minutes it used 7:52 crosswise by Paris, from the havens Dauphine to Sacre Coeur, a distance, for which one can need one hour and which called Marcel Ayme "La Traversee de Paris" to rush hours also well times. And because those is not presumptuous Paris topography like other city kinematographisch in our head, this rage without limited liability leads also directly by film history, not only because each place is a rendezvous with the French cinema, but because the whole enterprise reminds of similar Stunts, which is in the realm of the fictions at home.
7:52, that are quite comparable with the 9:43, which needs Godards "outsider gang" with its record attendance in the Louvre, or with Alain Delon, which flies to "the adventurers" with a sport airplane by the triumphbogen.
Pulse on 180
Claude Lelouch expressed itself after silence for many decades nevertheless still to the film: The Blondine, which expects him to the rendezvous, was its life companion at that time Gunilla Karlzon, which sat down on the engine noise in motion. And in the only really dangerous place, from which Louvre outside over the Rue de Rivoli into the Avenue de l'Opera, he has its assistant Elie Chouraqui with a radiotelephone stationed if another car interferes. That did not agitate itself however, why Lelouch with full power drove through. Afterwards Chouraqui came to it and apologized that the radio did not function - there Lelouch dawned only, which for a luck he had. The pulse of the spectator is here anyway on 180.
The only disappointment expects one, if one makes oneself the trouble to actually measure the speed. Then one states that Lelouch needs 64 seconds for 1910 meters of Champs Elysee, which results in a speed of 110 km/h - however it is faster in each case, than the police permits.
Text: Frankfurt general Sunday newspaper, 09.05.2004, NR. 19/page 26
http://lnk.nu/faz.net/14c.html
-Kevin
http://mirror.rtor.net/rendezvous20_04.mov
:eek:
Hold onto your socks, and I dare you not to flinch.
Translated German article about the joy ride:
Faster than the police permits
Of Michael Althen
09. May 2004 for many years was the film only phantom. As persistent the rumor, in the underground gives it holds itself so-called snuff movies, which actually show, how humans before the camera are killed, then applied this film as a kind damp dream of Autobahnrasern.
There thus the speech was of the fact that Claude Lelouch had fastened 1976 a camera on a racing car, which raced with two hundred things in the morning-grey by Paris, which is to have led after the first demonstration of the material to the arrest of the director. The scarcely zehnminuetige film, then was called it again and again, circulates in the net, where one could download oneself it under the title "Need for speed"; and it gives a German version, in whose link up one state, the French Formel-1-Rennfahrer Jacques Laffitte to tax sat.
The fastest director of the world
According to other sources it was Lelouch, which had used its brand-new yellow Ferrari 275/GTB for this Stunt. Version is not so wrong, because the passion of the Frenchman for running cars admits since his OSCAR-CROWNED "a man and a woman", in whom Jean Louis Trintignant plays a test driver, far away was. Anyhow Lelouch, which zuneigt otherwise rather pleonastic telling, with this kurzfilm would be a fastest director of the world.
Which one might have always held from these rumors, now one can examine her after over a quarter century for her truth content. The British documentary film producer Richard Simons was allowed themselves to pull with Lelouchs production company Les of film 13 around the rights anxious and after long negotiations of the negative a copy, those to DVD is available now ("C'etait un rendezvous", www.spiritlevelfilms.com, 14.99 Pound, thus about 22.50 euro).
The craziest documentary film
Whereupon only knappe is nine minutes film, but they are always worth the money, because they are evenly more than only one footnote to film history. They belong to the perhaps most beautiful and craziest documentary film, which was ever turned.
It begins with an insertion, to which the director attached importance: Nor in this film give it neither cheat to quick-motion apparatuses. And the movements of the passanten and the pigeons flying up in the yellow searchlight beam prove that that is not lied. But the warning is justified, because there are nowadays completely different methods, which spectator helps behind the light to lead and it not even more, if one stops the eyes. But this is 1976, when a film was still another film and no digital cheat to the material its will force upon could. Here is thus a film producer, who with his life for the authenticity of the turned material beginning, and which always one may think of the parfuemierten films from Lelouch: With the turning work of "a breath of tenderness" remaining filmrolle, which it inserted on this August morning in the year 1976 into its camera, speaks another language. Which one sees there, is more than only a breath of foolishness.
In the speed intoxication
It goes loosely on the Peripherique, where the camera at the havens Dauphine from a tunnel emerges and up-shoots the departure to the Avenue Foch, which protects the sleep of the large middle class with trees against the traffic noise. One hears a howling of the V12-Motors, a switching of the courses and Quiet the tire and comes by the near-surface perspective, which seems to accelerate the pavement as in a suction, fast into a tranceartigen speed intoxication, which actually reminds speed "of computer running plays like" Need for. Up to the Arc de Triomphe, where the last Nachtschwaermer orients itself home, Champs Elysee down there to the Concorde, there is the first half dozen of red traffic lights already over-drive. At the end there will be fifteen, in addition, without traffic lights the right of way is merrily ignored.
Over the quai of the Tuileries through the Jardin you Carrousel are in the yard of the Louvre, without looking on the right of or left, direction Opera. Before it the traffic lights continue to stand briefly again on red avoiding on the Gegenfahrbahn, eyes too and through, at the Galeries Lafayette past to Trinite and to the Pigalle. The roads more closely, the garbage disposal is on the way, sharp deceleration, a woman with dog presses itself frightened to the house wall, with the Pigalle then left the boulevard de Clichy up. To the Place Blanche a short irritation: The car swivels to the right, considers it then nevertheless differently and drives themselves straightforward to the cemetery, right into the Rue Coulaincourt, which up-leads the Montmartre in an elbow.
One does not know whether the driver to the Place Blanche erred or whether an obstacle came into view - the car tilts back too early. But still during one over it thinks, moves he into a u-turn into the Avenue Junot, which flows the hill still times orbited, into the Rue Norvins and leads across the Place you Tertre to Sacre Coeur. To feet of the Basilika the car comes above the stairs to standing, a blond woman comes the stages up-run, the driver steps out, approaches on it and embraces it, then the insertion: "C'etait un rendezvous films par Claude Lelouch". One does not see the head of the driver, but its Statur resembles that of the director.
The man, who pleases her
minutes it used 7:52 crosswise by Paris, from the havens Dauphine to Sacre Coeur, a distance, for which one can need one hour and which called Marcel Ayme "La Traversee de Paris" to rush hours also well times. And because those is not presumptuous Paris topography like other city kinematographisch in our head, this rage without limited liability leads also directly by film history, not only because each place is a rendezvous with the French cinema, but because the whole enterprise reminds of similar Stunts, which is in the realm of the fictions at home.
7:52, that are quite comparable with the 9:43, which needs Godards "outsider gang" with its record attendance in the Louvre, or with Alain Delon, which flies to "the adventurers" with a sport airplane by the triumphbogen.
Pulse on 180
Claude Lelouch expressed itself after silence for many decades nevertheless still to the film: The Blondine, which expects him to the rendezvous, was its life companion at that time Gunilla Karlzon, which sat down on the engine noise in motion. And in the only really dangerous place, from which Louvre outside over the Rue de Rivoli into the Avenue de l'Opera, he has its assistant Elie Chouraqui with a radiotelephone stationed if another car interferes. That did not agitate itself however, why Lelouch with full power drove through. Afterwards Chouraqui came to it and apologized that the radio did not function - there Lelouch dawned only, which for a luck he had. The pulse of the spectator is here anyway on 180.
The only disappointment expects one, if one makes oneself the trouble to actually measure the speed. Then one states that Lelouch needs 64 seconds for 1910 meters of Champs Elysee, which results in a speed of 110 km/h - however it is faster in each case, than the police permits.
Text: Frankfurt general Sunday newspaper, 09.05.2004, NR. 19/page 26
http://lnk.nu/faz.net/14c.html
-Kevin