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Newspapers all over the world had made much of the mystery of Ambrose Bierce.But what could the disappearance of one Ambrose, in Texas, have to do with the disappearance of another Ambrose, in Canada? There was in these questions an appearance of childishness that attracted my respectful attention.” — Charles Fort, Wild Talents (1932) The Accompanist can be viewed as a producer’s film, as a writer-director’s film, and as a quintessentially French film.We’re told in the dialogue that Charles has lots of “questionable” business dealings but learn so little about them that his war profiteering and subsequent change of heart have to be taken on faith; though his working-class origins are lightly sketched in, the film fails to do very much with them.His mysteriousness, unlike that of Schindler in Schindler’s List, seems vague and nonfunctional.

The book gave me the basic root for the story, then provided the freedom to embellish and turn it into my own piece of work.” Narrated by a poor pianist in her early 20s named Sophie Vasseur (Romane Bohringer), the story begins during the winter of 1942-’43 in German-occupied Paris.Thus alleged critics of bourgeois culture like Chabrol sometimes sing its praises while poet laureates of conformity like Berri, Lelouch, and Sautet sometimes get improbably praised as subversive artists.And less personal filmmakers, like Autant-Lara and Miller, who mainly depend on adaptations exhibit both dubious tendencies, oozing pat noncomformity and conformity in almost equal measure.Miller started out promisingly as an assistant to some key French filmmakers during the 60s, including Robert Bresson (Au hasard Balthazar), Jacques Demy (Les demoiselles de Rochefort), and Jean-Luc Godard (Weekend).He then served as production manager or production supervisor on Godard’s Two or Three Things I Know About Her and La chinoise and no less than seven Francois Truffaut features, from Stolen Kisses to The Story of Adele H.

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