The New Biographical Dictionary of Film (6th ed., David Thomson). I love this guy (I know many don’t). He has some of the tastiest film writing out there, and his knack for getting to the core of an actor or director is eerie (and often hilarious). His insights into film are trenchant and revealing, built on decades of viewing and writing. He brings to his writing a wonderfully holistic quality: clearly he’s read a lot (I even spotted an AJ Liebling reference in there somewhere) and he knows about art history too. He’s also not afraid to slay sacred cows (if you’re a John Ford fan, go ahead and skip that entry). In all, I respect him the most for prodding filmgoers to become more demanding viewers, to ask more of films. I can’t think of higher praise for a critic than that.
I didn’t find the right solution from the Internet.
Cependant, si l’on n’avait tant abuse de cette expression, je dirais qu’il eut, a son insu, des freres obscurs qui, loin de lui et par une sorte d’inconsciente sympathie, rappelaient ses moeurs et ses sentiments. J’avais passe Villiers, et je commencais de monter la longue cote boisee, quand je vois sur la pente une carriole qui venait, et dedans le pere Jojot, le meunier de Moulot, qui, me reconnaissant, s’arrete, leve son fouet, et crie: Mon pauvre gars!