Tuesday, November 03, 2009

"The Volume"





“You go into rooms with lenses on every surface of every wall. They give you a heavy spandex suit covered in dots that are read by some sort of beam that shines across the room you are in. This room is not called the set, but ‘the volume'.”

— from Dickens's Victorian London Goes Digital by Dave Kehr, The New York Times, October 30, 2009.

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Wednesday, October 28, 2009

Questions Posed




Right after Maurice Pialat won the Palme d'or at Cannes in 1987 for the totemic Sous le soleil de Satan and gave that beautiful, legendary acceptance speech — "Si vous ne m'aimez pas, je peux vous dire que je ne vous aime pas non plus." ("If you don't like me, I can tell you I don't like you either."), a TV interviewer asked him one of the most intelligent questions ever posed to a film artist, occasioned by the catcalls and hisses directed Pialat's way when he took the stage to accept the award. —




"Did you react to these people's stupidity the same way Bernanos did when he was talking to idiots?"




Footage of the question posed and the response offered up will be included in the forthcoming MoC Series edition of Sous le soleil de Satan to be released early next year.

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Monday, October 26, 2009

Pedro Costa Interview in LITTLE WHITE LIES




"At the time the experience of listening to something by Wire and PiL was amazing. It was like seeing a Godard film. It was another world where you would get out of the movie theatre. It was a time when the person next door would probably do something amazing, but it wasn’t a commercial competition. There was also a political revolution in Portugal at the same time, where the fascist dictatorship ended and the streets were full of anarchists, communists, and socialists, so from the ages of 13 to 22 I had everything, the music, the cinema, the politics, all at the same time. What this made me see was that John Ford was a hundred thousand times more progressive and communist than so-called left wing documentaries saying things like “film is a gun”, and “change the world”. It was Ozu, Mizoguchi and Ford that were saying that really, you just had to be patient to see it."

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"The idea [for Ne change rien] then came for me to be there while [Jeanne Balibar] was rehearsing. When I filmed her in concert I didn’t want to do a film like [Martin Scorsese's Rolling Stones recent 'concert documentary'] Shine a Light with the camera turning upside down, and I wasn’t interested in doing a ‘making of’ that you have on DVDs with guys in the studio telling jokes and drinking beer."

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"The Warhol film I show [at the recent Costa retrospective + carte-blanche at the Tate Modern] is called Beauty, a film I saw recently and it’s just like In Vanda’s Room, the difference being that he made it without thinking for one second whereas I took two years of pain and blood."

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Full interview is here.

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Tuesday, October 20, 2009

Monday, October 19, 2009





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Floater (Too Much to Ask)
by Bob Dylan
from "Love and Theft" (2001)


Down over the window come the dazzling sunlit rays.
Through the back-alleys, through the blinds — another one o' them endless days.
Honeybees are buzzin' — leaves begin to stir —
I'm in love with my second cousin — I tell myself I could be happy forever with her.

I keep listenin' for footsteps, but I ain't ever hearin' any.
From the boat I fish for bullheads — I catch a lot; sometimes, too many.
A summer breeze is blowin'; a squall is settin' in.
Sometimes it's just plain stupid to get into any kind of wind.

The old men around here, sometimes they get on bad terms with the younger men.
Old, young, age don't carry weight — it doesn't matter in the end.
One of the boss's hangers-on sometimes comes to call at times you least expect.
Try to bully you, strong-arm you, inspire you with fear — it has the opposite effect.

There's a new grove of trees on the outskirts of town — the old one is long gone.
Timber two-foot-six across burns with the bark still on.
They say times are hard; if you don't believe it you can follow your nose.
It doesn't bother me, times are hard everywhere — we'll just have to see how it goes.

My old man, he's like some feudal lord — got more lives than a cat.
I've never seen him quarrel with my mother even once; things come alive, or they fall flat.
You can smell the pine wood burnin'; you can hear the schoolbell ring.
Gotta up near the teacher if you can if you wanna learn anything.

Romeo he said to Juliet: "You got a poor complexion — it doesn't give your appearance a very youthful touch."
Juliet she said back to Romeo: "Why don't you just shove off if it bothers you so much?"
They all got outta here any way they could; cold rain can give you the shivers.
They went down the Ohio, the Cumberland, the Tennessee — all the rest of them rebel rivers.

If you ever try to interfere with me or cross my path again you do so at the peril of your life.
I'm not quite as cool or forgivin' as I sound — I've seen enough heartache and strife.
My grandfather was a duck-trapper; he could do it with just dragnets and ropes.
My grandmother could sew new dresses out of old cloth — I don't know if they had any dreams or hopes.

I had 'em once though, I suppose — to go along with all the ring-dancin' Christmas carols on all the Christmas Eves.
I left all my dreams and hopes buried under tobacco leaves.
Not always easy kickin' someone out; you gotta wait awhile, it can be an unpleasant task.
Sometimes somebody wants you to give somethin' up and, tears or not, it's too much to ask.

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Moonlight
by Bob Dylan
from "Love and Theft" (2001)


The seasons they are turnin'
And my sad heart is yearnin'
To hear again the songbird's sweet melodious tone.
Won't you meet me out in the moonlight alone?

The dusky light, the day is losin' —
Orchids, poppies, black-eyed Susan —
The earth and sky that melts with flesh and bone —
Won't you meet me out in the moonlight alone?

The air is thick and heavy
All along the levee
Where the geese into the countryside have flown.
Won't you meet me out in the moonlight alone?

Well I'm preachin' peace and harmony,
The blessings of tranquility,
Yet I know when the time is right to strike.
I take you 'cross the river, dear —
You've no need to linger here —
I know the kinds of things you like.

The clouds are turnin' crimson,
The leaves fall from the limbs and
The branches cast their shadows over stone.
Won't you meet me out in the moonlight alone?

The boulevards of cypress trees,
The masquerades of birds and bees,
The petals pink and white the wind has blown.
Won't you meet me out in the moonlight alone?

The trailing moss and mystic glow,
The purple blossoms soft as snow —
My tears keep flowin' to the sea.
Doctor, lawyer, Indian chief,
It takes a thief to catch a thief.
Well whom does the bell toll for, love? — It tolls for you and me.

A pulse is runnin' through my palm —
The sharp hills are risin' from
Yellow fields with twisted oaks that groan.
Won't you meet me out in the moonlight alone?

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Po' Boy
by Bob Dylan
from "Love and Theft" (2001)


Man comes to the door, I say, "For whom are you lookin'?"
He says, "Your wife." — I say, "She's busy in the kitchen cookin'."
Poor boy — where you been?
I already told you, won't tell you again.

I say, "How much you want for that?" — I go into the store.
Man says, "Three dollars" — "Alright," I say, "will you take four?"
Poor boy — never say die.
Things'll be alright bye and bye.

Workin' like in the mainline, workin' like a devil —
The game is the same, it's just up on another level.
Poor boy — dressed in black.
Police at your back.

Poor boy in a red-hot town,
Out beyond the twinklin' stars,
Ridin' a first-class train, makin' the round,
Tryin' to keep from fallin' between the cars...

Othello told Desdemona: "I'm cold — cover me with a blanket.
— By the way, what happened to that poison wine?" She said, "I gave it to you, you drank it."
Poor boy — layin' 'em straight,
Pickin' up the cherries fallin' off the plate.

Time and love has branded me with its claws.
Had to go to Florida, dodgin' them Georgians' laws.
Poor boy, in the hotel called the Palace of Gloom,
Called down to room service, says, "Send up the room."

My mother was a daughter of a wealthy farmer;
My father was a travelin' salesman — I never met him.
When my mother died, my uncle took me in; he ran a funeral parlor —
He did a lot of nice things for me — and I won't forget him.

All I know is that I'm thrilled by your kiss —
I don't know any more than this.
Poor boy — pickin' up sticks —
Build you a house outta mortar and bricks.

Knockin' on the door, I say, "Who's it? Where're ya from?"
Man say, "Freddy," I say, "Freddy who?", he say, "Freddy or not here I come."
Poor boy, 'neath the stars that shine,
Washin' them dishes, feedin' them swine.

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Sunday, October 11, 2009

Days Are Numbered


"I had a wonderful experience three or four weeks ago that I want to tell you about. I went to the Los Feliz Theatre to see a revival of George Cukor’s Dinner at Eight [1933]. My wife and I just wandered into the theatre by accident because we couldn’t get into various other shows around town. I said, 'I haven’t seen this film since I was 12 years old. Let’s go in and see it again.' We went in and sat there with a bunch of teenage kids and guys and girls in their twenties, who didn’t know Marie Dressler from the side of a barn, who hadn’t seen Lionel Barrymore or John Barrymore, or Billie Burke in their heydays.

"I was in tears by the end of the evening, because, when Billie Burke finished the great scene where she’s mad at the whole world — upset because the food hasn’t been prepared right for the dinner that night, when she finishes her big tirade which ran two minutes in the middle of the film — this audience of teenagers — to a person — broke into applause for this tour-de-force. My hair stood up on the back of my head, and I thought: 'A thousand years from tonight, the work you people did and that she did and all the people in this industry do will be immortal.' You are all immortal. You have beat death at the game because that scene is going to be repeated a thousand years from tonight and ten thousand years from tonight — and there’ll be other teenagers who don’t know any of you from Adam, but they’re going to break into applause because of something excellent you did once in your life, maybe — or twice, or three times when you had the breaks, and you had a good director, and you had the decent script, and you had these actors working for you and that magical thing happened.

"So I sat there and I broke into tears. I thought: 'Everyone in that film has been dead for 20 or 30 years. Marie Dressler died in 1934 — but she is still alive!'

"This is the science-fictional business you are all tied into. You’re really tacked onto the future — like it or not — so you’re going to be changing people 100 years from tonight and 500 years from tonight and a thousand years from tomorrow noon."


—Ray Bradbury, 1967, in an address to the American Society of Cinematographers. Taken from a post by Lawrence French at The Orson Welles Web Resource, Wellesnet.




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Friday, October 09, 2009

New MoC Releases




La Camargue [1966] and Nous ne vieillirons pas ensemble [We Won't Grow Old Together, 1972], both by Maurice Pialat, and included in this one release in their original aspect ratios of 1.37:1, and 1.66:1 anamorphic + progressive. La Camargue finds Pialat exercising his essay-documentary mode, condensing to six minutes' time that region in the south of France where cowboys and toreadors walked, then and forever a vision of Pialat's, not Hemingway's. For Nous ne vieillirons pas ensemble, Pialat shifts into an autobiographical story (which is, in turn, the story of all sincere expression) that sometimes takes place within this same Camargue region — hence the pairing — a story that details the disintegration of a couple already paired together, but for no good reason, as it often is in life, that is, with circumstance itself barely providing justification to man or morality. Possibly Pialat's most emotionally violent work, and unquestionably a grand masterpiece on every level (formal, scenaristic, performative), the film contains for me the single most upsetting shot in the oeuvre of this master — no — god — of the cinema. His miracle is that of the artist who can shake you with threat, who is not a provocateur, no von Trier, or Noé, or any mercantile asshole who trampled the Croix, the Alice Tully, and the .tiffs of 2009. Also included on-disc: a 19-minute 2003 video interview conducted by Serge Toubiana with Nous ne vieillirons pas ensemble lead actress Marlène Jobert; 5-minutes'-worth of interviews with Pialat, Nous ne vieillirons pas ensemble lead actor Jean Yanne and actress Macha Méril from the 1972 Cannes festival, with two scenes deleted from the film interspersed; a 1972 interview with François Truffaut about this then-latest Pialat film, shot in two parts totaling 8 minutes in length — one, before his having seen the film, and the other, directly after his (first) screening while he remains still shaken and teary-eyed; 12 minutes of footage from a 1972 conversation between Pialat and associates about Nous ne vieillirons pas ensemble at a dinner; and the original trailer for the feature, along with the trailers for the six others in The Masters of Cinema Series. A 32-page booklet accompanies the release, and includes an exemplary new essay by former editor-in-chief of the Cahiers du cinéma Emmanuel Burdeau titled "Pialat n'est pas là", and excerpts from three interviews with Pialat about the film newly translated into English.

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Passe ton bac d'abord... [Pass Your Bac First...] by Maurice Pialat, from 1979, presented progressively in its original aspect ratio of 1.66:1 anamorphic. What to say here about this film, Pialat's Strangeways, Here We Come? Maybe let them fight their own wars. Or that it's his Sixteen Candles — an inferno of genius. Included on-disc: an 11-minute 2003 interview conducted by Serge Toubiana with Pialat collaborators Arlette Langmann and Patrick Grandperret; a 35-minute 2003 piece by Serge Toubiana and Sonia Buchman that catches up with the cast and location of the film in the contemporary era; and the original trailer for the film, along with the trailers for the six other Pialat features in The Masters of Cinema Series. The release includes a 52-page booklet that contains a new essay about the film by me titled "The War of Art"; newly translated excerpts from three 1979 interviews with Pialat; and Pialat's explosive responses (newly translated) to a 20-question survey conducted in 1981 by the Cahiers. Also: Hieronymous Bosch.

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La Tête contre les murs [Head Against the Wall / Head Against the Walls] by Georges Franju, from 1959, presented progressively in its original aspect ratio of 1.37:1. The debut feature by Franju provides a glimpse into a c. '59 lunatic asylum presided over by Pierre Brasseur and Paul Meurisse. It approaches and at the same time eludes the classification of that other film of the mad that approaches then eludes — that is, approximates: the one signed both Melville and Cocteau — a mystery icing a mystery. (A mystery, then, requesting that another mystery grant it escape to a completed project. God bless the best of intentions.) No figure in Georges Franju's — that is, Jean-Pierre Mocky's — film is allowed to take events to their conclusions except for Charles Aznavour, who of course ends his own life with a hanging. The rest is a vacuum, with both protest and progress testing the limits of static walls before echoing back onto themselves in singularity's instant. Alas — a picture as intriguingly inert as life. "There are no more films about the insane." — Jean-Pierre Mocky (whose giant oeuvre has yet to really be discovered in English-speaking territories) speaking in 2008. On-disc supplements include this very video interview in which Mocky delivers the straight-scoop, for 10 minutes; and a 5-minute 2008 interview with Charles Aznavour in which Mocky pitches questions and comments from off-frame. A 48-page booklet includes a chapter about the film from Raymond Durgnat's 1968 volume Franju; a translation of Jean-Luc Godard's 1958 essay about the film; and newly translated interview excerpts with Franju.

Supplement this release with Criterion's double-feature package of Franju's Le Sang des bêtes [The Blood of the Beasts, 1948] and Les Yeux sans visage [Eyes Without a Face, 1959], and MoC's double-feature package of Franju's Judex [1963] and Nuits rouges [Red Nights, 1974].

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Sunrise: A Song of Two Humans by F. W. Murnau, from 1927, presented progressively in its original aspect ratio of 1.20:1, with its original English-language intertitles and Movietone soundtrack — available variously (with identical supplements) in a double-disc standard-definition DVD package, and a single-disc high-definition Blu-ray package. Murnau's great masterpiece is a predominantly moral vision of the world distilled like the remedy for an era (1927, 2009) overcome by the images of profligacy, selfishness, and degeneracy espoused by a Tucker Max or a Kirk Cameron. On-disc: an audio commentary by cinematographer John Bailey; outtake footage from the film, with John Bailey audio commentary; Janet Bergstrom's documentary 4 Devils: Traces of a Lost Film, newly updated; the original theatrical trailer; and a truncated only-extant European version of the film at a cropped 1.37:1 aspect ratio with Czech intertitles (and optional English-language subtitles). The booklet: a 16-page piece for the SD DVD, and 20-page affair for the Blu-ray, both containing the same detailed notes on the restoration and the differences between the two versions of the film.

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A PDF version of the new Masters of Cinema Series catalogue can be downloaded by clicking here.

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Saturday, September 19, 2009

AneKdote


Extrait de Chez les Weil: André et Simone de Sylvie Weil envoyé à moi de Tag Gallagher:

Une fois terminées les diverses manifestations et cérémonies, les trois lauréats du prix Kyoto furent ramenés à Tokyo pour être présentés à l'empereur. Par une superbe matinée d'automne, nous étions rassemblés dans un salon de l'hôtel, à attendre les taxis qui nous conduiraient au Palais impérial. André s'ennuyait et trouvait le silence pesant. Il était assis sur un divan à côté de Kurosawa. Il se tourna vers lui et lui demanda:

— L'empereur aime-t-il vos films?

Il y eut un court silence. Puis:

— Sa Majesté est un grand empereur.

Et le géant du cinéma japonais s'inclina légèrement, comme pour donner plus de gravité à sa réponse.


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Wednesday, September 02, 2009

Louise from Memory





A long poem I wrote in 2007, "Louise from Memory", has been published at The Auteurs Notebook.

Thank you.

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Thursday, August 06, 2009

Canary



Canary by Alejandro Adams, 2009:



Now up at The Auteurs: a roundtable discussion between Dave McDougall, Michael Sicinski, Ignatiy Vishnevetsky, and me on the subject of Alejandro Adams' great-and-important film, Canary. It plays tomorrow night (8/7/09) at Rooftop Films in Brooklyn. Adams' collaborator / producer / actress / spouse Marya Murphy will be in attendance. To read the roundtable, click here.

Location and ticket details for the Rooftop screening included inside the link.

To read a piece I wrote back in April about Canary, click here.

More at Cinemasparagus soon about Adams' debut feature, 2008's superb Around the Bay.

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Radiohead have released a new song — "Harry Patch (In Memory Of)".

Recorded as a tribute to Harry Patch, the last surviving Englishman to have served in the first World War (at least, the last to have still lived on English soil — The New York Times reports another British veteran residing in Australia), who died days ago at age 111 and who, in his final years, lent a moving and forceful voice to the cause of pacifism. The recording preceded Patch's death by several weeks, and the band have decided to release it in the wake of his passing. It's available for download for £1.00 GBP. All proceeds go to the British Legion.

It is a gorgeous and powerful work. Details and download at Radiohead's site, here.




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Sunday, July 26, 2009

Manifesto by Jean Douchet


I've translated from French a recent text published at Independencia by the legendary and ever-vital Jean Douchet. (Kind thanks to Antoine Thirion.)

This past Monday, former contributor Stéphane Delorme was named the editor-in-chief of the Cahiers du cinéma, under the new ownership of Phaidon Press.

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Notre combat
[Our Combat / Our Fight]


by Jean Douchet
Paris, 10 May 2009



Let's quit it with the psychodramas and come to an agreement about what, in 2009, a cinema revue should be.

The hot-button question of the day is that of the function of the image in an ultra-mediated and knowingly falsifying period. The new revue should impose its voice upon the current conversation, as the "young turks" once knew how to do. This doesn't mean an improved Premiere wrapped up in a super Studio. This doesn't mean a New Yorker for cinema written in the cosmopolitan language of The Economist. The new revue shouldn't be a revue of reference and expertise plopped down onto the cinema. That already exists; it's enough to translate Positif into English.

The new revue should be a revue of combat. An insolent, unfair, provocative revue. In short, partisan and scandalous. A revue that abandons the politique des auteurs for that of the fauteurs [troublemakers]. Fauteurs and even fouteurs de trouble [troublefuckers]. Thus a revue of youths, those youths upon whom a troubled vision of life, of their life, has been imposed. Thus, for those for whom the cinema once again becomes an existential necessity. A revue that would play favorites: on the part of the filmmakers: the function of seeing well (of presenting) in order to show; on the part of the revue: theorization, manifold reflections and their critiques in order to show that which has been seen well and felt well within a film. It's a start from scratch: a moral, and therefore aesthetic, affair. Donc, d'une politique. [Therefore, a political affair. / Therefore, a politic matter. {i.e./c.f., la politique des auteurs} ]

One year ago at Cannes, La Frontière de l'aube [Frontier of Dawn, Philippe Garrel] was booed because it held forth, metaphorically speaking, upon this discourse. A rather young man, a photographer fascinated by the image of a star, absorbed by her as one is by a roll of film [ / absorbed by her just as much as he is by a roll of film / by a film — absorbé par celle-ci comme par une pellicule], becomes unable to tolerate life, and commits suicide. What made the pricks at Le Figaro or Le Journal du dimanche snicker — to cite only two examples: that fecundity of the image, and its incessant apparitions that carry it over onto the real, speak to us, speak to us of nothing but the sickness of youth in a world where a trick-representation bears it away and gets imposed upon the present.

Time is pressing. It is essential that plans for a new revue be put out in the open and discussed, post-haste. That a united line be drawn and affirmed. That a small committee lead the discussions. That the business plan and the editorial plan be linked. In short, to insure that the heritage of militant criticism possesses a present-day feel.

From two things, one: either the Cahiers dreams on, or it bites the dust, as I said one year ago already, at the start of the revue's crisis. It has chosen to bite the dust. Our solution remains open to whoever wishes to seize it.

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Some recent releases from The Masters of Cinema Series —



Il grido [The Cry / The Shriek] by Michelangelo Antonioni, from 1957. Antonioni's Odyssey in Grey — a man against the landscape, the performance of a theme in female variations. Presented in a new progressive transfer, with new optional English subtitles, and supplemented by the scenes excised from the original pre-censor cut of the film, which Antonioni never opted to reinstate into the distributed version. Also included is the original Italian theatrical trailer for the film, and a 52-page booklet containing an excellent and comprehensive piece of criticism on Il grido extracted from William Arrowsmith's posthumous work Antonioni: The Poet of Images, along with the 1959 essay by Antonioni "Making a Film Is My Way of Life", and a series of excerpts from interviews and discussions with Antonioni about the film that took place between 1958 and 1979.

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Tokyo Sonata by Kiyoshi Kurosawa, from 2008. Possibly the greatest film to date (next to Sakebi [The Scream, aka Retribution, 2006] ) by possibly the greatest director with the surname "Kurosawa." Frequently summarized as a social diagnosis of Japan's modern malaise and late-'00s economic implosion, Tokyo Sonata is something much more complex, human, adventurous, by a filmmaker for whom the creation of a well-tempered shot is tantamount to, and as paramount as, existence itself. Available in a progressive presentation, with optional English subtitles, on both region-free Blu-ray and standard-def DVD. Both include a 61-minute making-of documentary; twelve minutes of footage from a September 2008 Q&A session with Kurosawa in Tokyo; fifteen minutes of footage from the Tokyo premiere; nine minutes of discussion of the DVD; and the UK theatrical trailer, cut by Nick Wrigley. The accompanying booklet holds a short statement by Kurosawa about the movie, and a brilliant new (and booklet-length) essay by B. Kite titled "Open Parenthesis on Kurosawa Kiyoshi", that elucidates Tokyo Sonata and contextualizes the film within Kurosawa's larger oeuvre-to-date.

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Tuesday, July 14, 2009

An Independencia Sampler


Raya Martin.

Pedro Costa.

Jean-Pierre Gorin.

Luc Moullet.

Interviews and images by Cyril Neyrat, Eugenio Renzi, Antoine Thirion, and Quentin Mével. Et al. Courtesy Independencia.fr.

In the final clip, Moullet's remarks in French are very funny. As happens at screenings and festivals, the English translator intermittently interjects with on-the-fly renditions of approx. one-fifth of what the maestro's saying, and is seemingly unaware of why it might be entertaining to make a special point in translating the funny stuff making the audience LOL. Then again, she might not have a sense of humor. Inutile, mais bonne projection.

Conversation avec Raya Martin 1 from Independencia on Vimeo.



Pedro remix from Independencia on Vimeo.



Vladimir et Rosa from Independencia on Vimeo.



Luc Moullet 1/2 from Independencia on Vimeo.



FID Ouverture from Independencia on Vimeo.



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Thursday, July 02, 2009

A Short Response to Jonathan Rosenbaum's Recent CINEMA SCOPE Column


In the most recent issue of Cinema Scope, which should be hitting newsstands soon, Jonathan Rosenbaum was kind enough to single out some recent Masters of Cinema Series releases for praise and comment. You can read the column here — scroll down to somewhere around the middle of the piece to get to the MoC-related section.

I need to respond to one section in particular. Rosenbaum writes:

"In all three cases, it seems that many pertinent contributions are being made to scholarship, which makes me all the more regretful that Keller, who outdoes himself on Une femme mariée, can’t always distinguish between writing and blogging, and winds up raising perhaps even more questions, issues, and outright puzzles than he settles. Consider only the incoherent music credits that he offers on page 2, which list “Louis [sic] Beethoven,” “Dave Brubeck,” and “Claude Nougaro who turned ‘Blue Rondo à la Turk’ into ‘A bout de souffle.’” Come again? Even if he’s simply pulling our legs here in some elaborate fashion, it would be helpful to know how and why."

Rosenbaum seems to imply that one difference between "writing" and "blogging" is that the latter consists of playing fast-and-funny with the facts, whereby one indulges in following a notion to its (potentially non-)conclusion; whereas the former will exude a scholarly sobriety and exhibit a feeling that everything is explainable, that the artwork can ultimately be controlled. In "writing," the Critical Voice stakes its claim as authority — the artwork posited as a kind of mathematical conundrum or occurrence in the world, awaiting its own solution from the entity in 3D-space who can condition order... Such a delineation of Art and Criticism has never seemed too real, or really important, to me...

But there are some very simple reasons for the presentation of the Une femme mariée music credits in the book.

••• "Louis Beethoven" because that's how Godard presents it in the film credits; because everyone knows he's referring to "Ludwig van Beethoven"; because "Louis" is the French 'version' of "Ludwig"; because Une femme mariée takes place in a world where Louis XIV and Louis Armstrong both still exist — side-by-side; and because for Godard there's no delineation between 'high-art music' (Ludwig van Beethoven) and 'popular music' (Louis Armstrong).

••• "Dave Brubeck" because an arrangement of his composition "Three to Get Ready" from the famous Take Five album plays on the soundtrack in the film.

••• "Claude Nougaro who turned 'Blue Rondo à la Turk' into 'A bout de souffle' " — because Nougaro is also listed in the film's opening credits (and to whom the rearrangement of "Three to Get Ready" can likely be attributed); and because one of his most famous pieces is a rearrangement, with lyric, of Brubeck's "Blue Rondo à la Turk" (also from Take Five), which Nougaro then retitled — in homage to Godard — "A bout de souffle", the French title of Godard's first feature, Breathless, from '59. Everything comes full-circle.

So no leg-pulling, it can be blogged.

Une femme mariée, fragments d'un film tourné en 1964 et noir et blanc [A Married Woman: Fragments of a Film Shot in 1964 in Black and White] by Jean-Luc Godard, 1964:





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Saturday, June 13, 2009

Passion Flower


A Reminder


The word "documentary" has taken on unpleasant connotations around its relation to a general cinema, no matter how inclusive, that must and will always define its force only by its own relation to the aesthetics of certain ontological givens. So let's not talk about Jarrod Whaley's 20-minute film from 2008, Passion Flower, with any more reliance on the term "documentary" (no 'readership'-taxonomies) than we would, say, for talking about Pedro Costa's In Vanda's Room — although we note the two films represent the work of wholly different personalities. Beyond the shudder of constructing a lazy lede, let's just say "documentary" really falls away in Passion Flower because the relationship between the movie-apparatus and its subject is like a membrane so permeable that inside and outside become indistinguishable, irrelevant even, all to the extent the idea of cellular-anything — in the case of the film, "the filmed" itself — dissipates in the second before becoming metaphor.

The film was made (is made) with a middle-aged woman who, in her recent past, had undergone procedures for a double-mastectomy on account of breast cancer. At the time of shooting she has arrived at a Chattanooga tattoo parlor for the application across her upper chest of the image of a sprawling and intricate flower.

Now I'll pull back to describe a wider interplay: the film (as though by osmosis) comes to take on the same qualities as the tattooing itself — a surface beauty; a formidable complexity; an openness to the act of exchange. The woman, or the "subject" (in documentary parlance), is 'without' the camera, that is, she's completely one with her own monologue as she relates to the tattoo artist, to the women at the business, to the film crew, the story of her self-process. There's a relentlessness in her speaking, but such is the presence-in-the-moment — of both the woman, and of the film itself — that, despite the focus on "writing," the viewer never feels exposed to a d(en)omination of the id. Her story is her story. And Whaley proceeds with artistry — forget "sensitivity," filmmaker and subject are, in Passion Flower, equals at last — as he homes in on the details of the parlor environment itself (in place of needling inks, he photographs colors like de Staël's), and arranges, via camera-angles and cuts masterfully spaced and unobtrusive, the woman's body in alternately foreshortened and elongated compositions as though it were being 'dressed' (in place of oils, he makes montage like Holbein) — and thus acknowledges, in tandem with this Woman-as-Body and this Woman-as-Voice, the ever-present vicinity of death to life. For the future's never known, just as every moment of the past dwells also in the here-and-now: and Whaley-and-subject tease the 'doubling' motif out most explicitly in the implicit echo of the prone, tattooed body with that same body once laid flat on the operating table (unseen, unfilmed, 'in the past') undergoing amputation. The buzz of the tattoo gun even has its own correlatives as it saws and dips beneath the woman's speech. One of which, to gauge from the shots where the blue cable of the machine crosses the frame (the gun's correlatives exist in opposition), appears strictly umbilical. A sign, then, a mark, of intercessory calm — in a film essentially as beautiful as Utamarô.

But enough about the 'cinema' of the piece. Passion Flower (a film without a score) makes an appeal above aesthetics. That is, all tribal trappings aside, don't let yourself be fooled by the shaman who says that happiness comes only from within. These cells are transitory and delicate: cherish the women that you love and hold dear, and take nothing of them for granted, — as this present's a gift.

Passion Flower by Jarrod Whaley, 2008:




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Friday, June 05, 2009

LOL


les Larmes n'Ont pas du Lait


Joe Swanberg's second feature, sickly sweet as a liqueur, warrants many more words than what shows in this space — and at least as many as I gave to his first feature, Kissing on the Mouth [2005], written about here. The problem is that 'now' is not the time, 'here' is not the place, for any elaboration of my thoughts about LOL [2006]. It's a very good movie, underrated a lot, would connect with a wide audience. Let's leave it both at that, and at a passage I wrote in a notebook after watching the movie again a couple weeks ago. I apologize in advance if this makes no sense except to (if even then) the handful who've seen the film — but maybe others will look at it anyway (the film), as it's almost certain to entertain you better than the new Transformers thing, which'll be a hundred percent sucker-punch lemon-drop gadzooks.

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Something amazing happens whereby the film seems to endorse the — via its form, by way of its relentless excerpts from these — insipid synthetic a cappella collages contributed by the characters' 'community of friends'. These segments — composed of cutaways to a miniDV + cellphone-cam + etc. patchwork — are clever and charming, make no mistake. (Okay, their accumulation eventually wears out their welcome, though this compounding coincides exactly with the gradual malignization of the Bewersdorf lead. Skip a few words ahead.) But LOL is unique in the fact that one's innate suspicions that the character Alex/Bewersdorf is a facile, vacuous prick whose 'identity' and appeal (as they were) come to be constructed only by his noodling-'artistic' pastime (cf. Kevin Pittman in Kissing on the Mouth), are confirmed full-bore in the film's second half, once the cutaways to Alex's After Effects-driven audiovisual work go away completely, and we're left to witness only the narcissism, the self-deception, and the pathos of an individual I'm (personally) tempted to label, from my own encounters in life, a total archetype. "Look at my artisticness; be spellbound." The total jagoff fraud-charlatan, finished by 42.

The 'foil' for said prick's meltdown comes in the form of net-gal "Tessa," portrayed by Kissing on the Mouth's Kate Winterich — she of the looking in the mirror and acknowledging she won't have the same body forever ambient-fame. That she performs this 'role' in the film, driving the close of the picture (all the way to the pathetic and unsentimental and honest last shot), is the 'reveal' which, on the first-viewing and up to the 50-minute mark or so, struck me as gratuitous and faux-provocative. Of course, first impressions are worthless, especially when the film's not close to over.

LOL is something to see, restitutive and all in spite of its own design, like the graveyard where our grandparents are buried.

LOL by Joe Swanberg, 2006:




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Social Olympics from Craig Keller on Vimeo.



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Hissy Fits


and Giggles


A short video-film at seven minutes forty-two seconds, — a sketch, really — and included on the Benten DVD for LOL as a kind of study for the main feature, Hissy Fits doesn't impress on a pictorial level, but provokes admiration for the economy in its development of a single idea.

Hissy Fits by Joe Swanberg, 2005:



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"Not genuinely poor or an exploited worker, / Not sick with an incurable disease, / Not thirsty for justice, or a cavalry officer, / Not, in short, within any of those social categories depicted by novelists / Who pour themselves out on paper because they have good reasons for shedding tears / And who rebel against society because their good reasons make them think they're rebels. // .... // And I don't have the excuse of being socially concerned. / I have no excuse at all: I'm lucid. // Don't try to persuade me otherwise: I'm lucid. / It's like I said: I'm lucid. / Don't talk to me about aesthetics with a heart: I'm lucid. / Shit! I'm lucid."
—from "We crossed paths on a downtown Lisbon street" by Álvaro de Campos, c. 1930. From a translation from the Portuguese by Richard Zenith.

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Social Olympics from Craig Keller on Vimeo.



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Friday, May 22, 2009

Young American Bodies: Season 1


Unidentifiable Effing Objects /
Young American Spirits


I'm fulfilling a contract with myself here. Notes on the now-three-years-old first season of Joe Swanberg's web-serial. You can figure out how to find it if you want to watch it...

For Swanberg, there can be no right way to frame them for Nerve/IFC.com, these UFOs. The imposition of dramatic heft at the moment of incidental music cues. Just have the characters talk about willpower, and in their talking pretend the feelings don't count. "You build yourself a structure," says Casey / Eve Rounds, the moral conscience of the show.

"A lot of my friends are going out with me, tonight, to a club, and I just wanted to invite you to come." "Okay..." — cut to Greta Gerwig, etc.

"You can go online, you can find your bed-and-breakfasts..."

The stairwell communal space is the Sign of the Dorm. It spills over no matter how many years you're out of the institution, because you'll keep building others, your own, to recapture. "You want to tell me what happened last night?" All of life is a fort.

And here's the word: "Fine." Even still there are others. And I'm glad I'm not 23 anymore.

Things presented via the word "they" as universals. But there's a gigantic divide between what's filmed, or narrativized, and what's actual. The sincerity of Ben/Swanberg pulls this apart. Every 'serial episode' here carries the danger and the step-to and step-back of a modern and early-twentysomething Eyes Wide Shut. "Communication's... what you don't have."

"I think so..." — Picking up from the sedimented balls-of-feet of Kissing on the Mouth. "I dunno, he really wants to, y'know?"

Free-jazz-like disasters and general vacuity make me throw up. And then you get a sense that human beings still care for each other —

"I want to do whatever it takes to make it work." You get tenderness, and perfect teeth.

"It's so crazy that people are starting to get married. ... It's like, adult. ... I guess I didn't think that I would be... that, that I would be, last... y'know... not like I'm sure I'd be last, but I guess I never thought..."

Theme-music cue-cut as self-dramatization of importance of totally transitory events. Swanberg cuts OUT of an episode the same way you can drop a chapter-stop at any random point in the drama of life's goings-on — really, everything has meaning.

Missed connections — followed by communication and discussion. Completely unlike the Hollywood movies where everything is irrevocable and "fate"-driven.

"I think it's definitely awesome that you guys are hanging out, I think it's really good for him." "Yeah, I'm a good influence, on everyone." "Not that he's like lame or anything — he's totally cool."

"Hey Casey, it's Ben, um... soooo... yeah, um, shoot, I was hopin' to talk to you, but um call me back, when you can, I want to make sure that whatever's going on, it doesn't get in the way of us hanging out and spending time together, because, I really like that... So... umm... hopefully I hear from you soon — and, if, oh actually maybe I hear you on the stairs right now, so, um, maybe I, will, see you in a second?, and if not, then, call me back?, when you can? Okay. Talk to you soon."

Jealousy'ish movement-things. It'll be okay. Just stop by.

Movement-things.

Movements.

No eyeline countergaze dénouements. Swanberg cuts at the end of the last episode before the eyeline takes hold. Noble ending to the season, inside-out version of a Sopranos season-end, — and very strong for the fact.

Young American Bodies: Season 1 by Joe Swanberg, 2006:











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Something different (put it in your heart where tomorrow shines) —


Social Olympics from Craig Keller on Vimeo.



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Sunday, May 17, 2009

Social Olympics


Social Olympics from Craig Keller on Vimeo.



SOCIAL OLYMPICS - a new small-movie I made - 2009. SD / 15 frames per second / 1.33. Currently hosted at Vimeo. And currently the compression and blocky artifacts are pretty shit, which'll be remedied upon my upgrading to Vimeo Plus in the next few days, at which point the current version will be replaced with a less digi-blocky version — please be patient, and enjoy this at least as a preview version. The (slight) interlacing will be vanquished once I finesse the export settings, too.

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For the time being, I'm extremely tired of writing here about movies. They're not saying anything to me right now, and I don't know whom I'm writing for — all I know is I've got no zealous compulsion (anymore? ever had?) to communicate via this blog with the Movie-Cultists, the Cinephiles, or the Aesthetico-Plastico-Dogmatists, who in spite of all sincerely good intentions describe one face of a pyramid I can no longer comprehend. This is not the fault of my readers, but of myself — and the fact that my readership is probably 96% male (again, nobody's fault but my own) makes me, theoretically, puke. The fact that I can describe the nuances of a Jerry Lewis movie that I find very beautiful (Lewis who, by the way, has been appropriated, like Ford, by the aforebrushstroked Aesthetico-Plastico-Dogmatists of Political/Moralistic Ordure) does not, never does, and I-don't-know-why-it-even-should, feed back into my actual non-virtual life. At the present, I only want to write for close friends and farther strangers — and write what? I don't know today. I have a good mind to devote myself purely to comic sketches and madrigals. Writing here about cinema exaggerates (in my own mind) a divide between my inner-life and that of those I'm near to — which divide, in all actuality, is a negligible, purely nominal chasm, — because the cinema is something I want (and need) to carry inside more than to proselytize, and does not regulate connections "as [with] a credit card, yes," or so once said Godard. If anything, when friends visit this blog, or pick up something I've written about a movie elsewhere, it's — all postures aside — as exciting for them to read as if they were thumbing through a copy of the fucking tax-code. Though a movie is direct communication, the writing about it's the obfuscation, — is that which precisely inhibits communication.

I reserve the right to think about, and to write here about, a film, films, etc., of course — and it's part of my job, which I care deeply about and which trumps this space — but the present fact is that the same-old-same broadcasts here at Cinemasparagus seem to me to parley in an echo-chamber, and this distresses me, and their reverberation sounds like "Rename it 'My Nebbish Hobby'."

This does not edify. Or, at least, does not bring as much comfort as Murmur, Fables of the Reconstruction, Automatic for the People, or The Reminder — which is a problem.

That said, here are some song lyrics from a notebook of mine I found. Enjoy. —

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Oak Tapped-Barrel Song


The guests have walked in.
It's time for me to leave.
They're reading Bakhtin.
Really time for me to leave.
I'm leaving early —
I'm leaving old —
I'm leaving with a girl on my soul.

Square-jawed vacationers,
And it's time for me to leave.
Outlaw sensations
Or just time for me to leave?
If they're leaving confused —
Or if they're leaving on time —
They can't leave those abuses behind.

"It's just a Category 2," they said in a huff.
I know storms well — I've smelled them enough.

Someone mentions that payola talks,
And it's time for me to leave.
Cigarettes in the Crayola box —
Now it's time for me to leave.
I'll leave by myself —
I'll leave with a friend —
I'll get left on the shelf till the end.

Boston prick's got a charter,
Claims it's time for me to leave.
Can't tell if he said "Carter" or "Cotter,"
But it's time for me to leave.
I'll leave here alive —
I'll feel fortified —
There's not one man alive with God on his side.

A hundred percent of emotion's invisible.
The atoms between us have proven divisible.

I've been waiting for hours.
Now it's time for me to leave.
Been drained of my powers,
So it's time for me to leave.
But I'll leave you something —
I'll leave it inside.
I'll leave you something about breadbox-size.

The onslaught of arrows
Says it's time for me to leave.
And Inês de Medeiros
Says it's time for me to leave.
I'll leave in a dust-cloud
The way some leave in a Hearse,
But I'll make sure I'm loud when I curse you.

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Friday, May 08, 2009

Socialisme


[Vimeo video was removed]


HD trailer for the new film by Jean-Luc Godard. True 1.78:1 ratio. Shot in 24-frame HD. Alain Badiou. Patti Smith. Silence is golden.

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