Abstract

At the time of its publication in Cahiers du Cinéma in 1959, this text by Michel Mourlet constituted a manifesto for the Mac-Mahonists, a group of cinephiles named after the Paris movie theater, the Mac-Mahon, where they would gather, program, and watch films. This short but foundational essay stands as a vibrant defense of the near-ecstatic power of the movies, which Mourlet argues comes from the gaze of the camera and its ability to capture reality directly. For Mourlet, art must be sublime or it is of no interest; it must be intimate and passionate or it is trivial. Great movies set viewers “reeling in a vertigo,” precipitate them into a hypnotic state in which they lose themselves in a transformative experience from which they emerge whole. Praising absorption and fascination, Mourlet decries Brechtian distancing and any distortion of reality for expressive purposes. What makes filmmakers great, he writes in this text, is “the way in which their means of approaching the fundamental themes of the mise-en-scène, organized around the bodily presence of actors in a setting, is or is not capable of fascinating us.”