Michel Ciment, Eminent French Film Critic, Is Dead at 85

Michel Ciment, a French movie critic whose ardour for cinema helped outline it as critical artwork for generations of French moviegoers, administrators and producers, even whereas irking a few of them together with his unabashed love of American movie, died on Nov. 13 in Paris. He was 85.

His loss of life was confirmed by the movie journal Positif, for which he had lengthy served as editor in chief, and by the Cannes Film Festival, which referred to as him “a free spirit with an insatiable curiosity” and “the embodiment of cinephilia.”

Mr. Ciment (pronounced SEE-mah) derived his authority from simply that: his unbounded love of flicks and an encyclopedic data of movie that sprang from it. He was an adept of the uniquely French cult of flicks as excessive artwork, and of the nice director as genius. But that was counterbalanced by an embrace of “all types of cinema,” the Cannes competition mentioned, a ardour born in his childhood dependancy to American westerns and gangster motion pictures.

Mr. Ciment was an unabashed Americanophile in a French cultural surroundings by which checking the anti-American field is commonly a prerequisite to being taken critically. He was typically reproached for it, his son Gilles recalled. In later years he turned a senior lecturer in American civilization on the University of Paris.

He communicated his enthusiasm for movie, starting together with his first essential forays within the early Nineteen Sixties, in a torrent of books, critiques, interviews and radio broadcasts. (His standing on this planet of movie criticism was such that he was typically interviewed by different critics.)

Mr. Ciment celebrated the nice administrators of the Fifties, ’60s and ’70s in books on Joseph Losey, Stanley Kubrick, Elia Kazan and Francesco Rosi, every thick with probing interviews by which critic startles director together with his detailed data of their movies.

These administrators trusted him and opened as much as him as a result of, he advised Toronto Film Review in 2020, “I asked questions that were about philosophy, about history, about politics.”

His son recalled: “They would say that an exchange with Michel Ciment was like nothing else. With him, he really knows your film, he remembers the characters’ names. And then he would put your film in relation to the history of cinema.”

For his e-book “Kazan on Kazan” (1973), Mr. Ciment spent 10 days with the director and performed 40 hours of interviews. That was typical of his strategies. He favored those that believed, like him, that “all the arts are found in cinema,” as he put it to an interviewer this 12 months with the radio channel France Culture. For him, the superior movie mixed visible, aural and literary greatness.

“All the great directors I hung out with — whether it was Losey, Kubrick, Kazan — they had a generalized culture,” Mr. Ciment mentioned in that interview. “These were people who had read an enormous amount, who listened to music, who had seen lots of paintings.”

He criticized modern administrators like Quentin Tarantino, who, he mentioned, work in a cruder idiom and have “encouraged the young toward an absence of culture.”

The son of a Jewish tailor who immigrated from Hungary after he narrowly escaped being rounded up with different Jews in Paris by Nazi collaborators throughout World War II, Mr. Ciment traced his pro-American views to childhood reminiscences of the liberation of France in 1944.

“At 6, to see the Americans disembark, pitching cans of food, chewing gum — it’s thanks to them we regained our liberty,” he advised France Culture.

In distinction to the typically doctrinaire impulses of that different pole of French movie criticism, the journal Cahiers du Cinema — the place administrators like Jean-Luc Godard and François Truffaut propagated theories of cinema that they went on to place into apply — Mr. Ciment’s intuition at Positif was free-form.

“Always a bit anarchist, libertarian, we couldn’t have cared less about fashions,” he advised Toronto Film Review. “We said what we thought about films, what we loved about films, without preconceptions.”

His critical method to movie is obvious in his e-book in regards to the politically oriented realist Italian director Francesco Rosi, who made movies in regards to the Mafia, corruption, injustice and warfare. Implicit in that e-book is the concept movie is as worthy of shut evaluation as critical literature, a view Mr. Ciment gained from his early research with two postwar French masters of literary and philosophical criticism, Paul Benichou and Gilles Deleuze.

Mr. Ciment praised Mr. Rosi for “hunting down the lie, cornering it in its hide-out”; for a “close engagement with reality in which the smallest false step would have been a betrayal”; and for being “conscious of the impossibility of reaching the truth.”

Even on this early e-book, Mr. Ciment’s consideration to element in movie is obvious: At one level, referring to Mr. Rosi’s antiwar movie “Many Wars Ago” (1970), he asks the director why “the night battle sequence is predominantly blue in color.”

Michel Jean Ciment was born on May 26, 1938, in Paris to Alexander and Helene Cziment. His father “Frenchified” the title after the warfare, Gilles Ciment mentioned. Michel’s father, who had immigrated from Hungary within the early Nineteen Twenties, was a tailor for the nice French trend homes, and his spouse labored with him.

One morning in July 1942, the police got here by the home to warn Helene that her husband had greatest not come dwelling that night: It was the eve of the nice roundup of Paris Jews referred to as the Vel’ d’Hiv, named after the stadium the place they had been taken. Some 13,000 Jews had been seized and subsequently despatched to the loss of life camp at Auschwitz.

The elder Mr. Ciment escaped to Normandy and was hidden by peasants there in the course of the warfare. His son adopted him there, and his spouse went forwards and backwards from Paris.

The household regrouped in Paris after the liberation, and Michel Ciment went on to review at two prestigious secondary faculties, the Lycée Louis-le-Grand and the Lycée Condorcet. It was as a scholar that he found, within the intense Paris movie tradition of the day, the nice silent movies of Erich von Stroheim, F.W. Murnau and Fritz Lang.

He later studied on the Sorbonne and acquired a Fulbright Scholarship within the early Nineteen Sixties, permitting him to review at Amherst College in Massachusetts. “It was American education that completely confirmed me in my tastes,” Mr. Ciment advised France Culture.

He made his debut as a critic with a protection of Orson Welles in Positif in 1963. He later joined its workers and went on to turn out to be editor in chief.

From the Seventies on, Mr. Ciment printed a stream of books. Besides those on Kazan and Rosi, there have been others on American cinema, Losey, Kubrick and Theo Angelopoulos in addition to “Passport to Hollywood,” a e-book of interviews with administrators, together with Roman Polanski, Milos Forman and Wim Wenders.

In addition to his son, he’s survived by his second spouse, Evelyne Hazan-Ciment. His first spouse, Jeannine Ciment, who labored with him at Positif, died in 1986.

Mr. Ciment’s ardour for movie by no means flagged. As Jérôme Garcin, his colleague on the favored French public radio cultural overview “Le Masque et La Plume,” mentioned of him within the French journal L’Obs, “At 85, he remained, when the lights went out and the magic lantern began to dispense onscreen its dream-colors, a child in wonderment.”