Expanding and Enriching Cinema Knowledge with Eghosa Osula

  Coming off of films like The Murderer Lives at Number 21 (1942) (his Directorial Debut), Le Corbeau (1943), Quai des Orfevres (1947), Manon (1949) along with the Wages of Fear (1953) (one of my favorite films ever), Henri-Georges Clouzot was growing in reputation only to gain critical and commercial acclaim in the process. He was considered to be one of France's greatest directors at the time due to those string of successes in France. Clouzot originally started off as a screenwriter in the 1930s and by the time he transitioned to be a director in the 1940s, he still continued to write screenplays for his films. He directed and made his first short film called La Terreur des Batignolles from a screenplay from Jacques de Baroncelli, who started off directing silent films in France from the 1910s to the 1930s and transitioned to directing films in America and Italy in the 1940s. The short film was considered by some people to be a real introduction to Clouzot's style of express...

  The Motion Picture Production Code may be important in cinema history as a result of restoring moral history after the dominance of the scandalous Pre-Code. However, among serious cinephiles, it is considered to be well-meaning but absolutely antiquated at the same time. Cinema has come a long way from the once prevalent and ubiquitous censorship of the Code. Nowadays, Cinema is growing before our very eyes as filmmaking allows various cast and crew members to make any type of film. They make what they want to make without any type of censorship. The Code is looked at by cinephiles as an example of something outdated that was once ruling the industry with an iron fist.  It is understandable why so many cinephiles (especially younger viewers) have their issues with the Code. They take issue with the censorship that makes some of the movies of the Golden Age of Hollywood seem so dated.  The ones that were dated abided too much by the code for the worse. Dating back to the...