Wednesday, June 22, 2011

Getting Acquainted


À propos de Green and The Color Wheel (Roth's My Favorite Living Writer Too!)


Getting Acquainted by Charles Chaplin, 1914:



"Stuck into her English book, right there on the floor, was the essay she had written on 'Ozymandias.' B-plus and across the front the professor had written, 'Excellent paragraph development; good understanding of meaning; good use of quotations; but please don't stuff your sentences so.' And maybe she had overdone the main topic sentence somewhat, but her intention had been to state at the outset all those ideas that she would later take up in the body of the essay. 'Even a great king,' her paper began, 'such as Ozymandias apparently had been, could not predict or control what the future, or Fate, held in store for him and his kingdom; that, I think, is the message that Percy Bysshe Shelley, the poet, means for us to come away with from his romantic poem "Ozymandias," which not only reveals the theme of the vanity of human wishes — even a king's — but deals also with the concept of the immensity of "boundless and bare" life and the inevitability of the "colossal wreck" of everything, as compared to the "sneer of cold command," which is all many mere mortals have at their command, unfortunately.' "

— Philip Roth, When She Was Good

+

"Why he brought her home, he said, was 'for a real Jewish meal.' For weeks he had been jabbering about the new goyische cashier ('a very plain drab person,' he said, 'who dresses in shmattas') who had been pestering him — so went the story he couldn't stop telling us — for a real Jewish meal from the day she had come to work in the Boston & Northeastern office. Finally my mother couldn't take any more. 'All right, bring her already — she needs it so bad, so I'll give her one.' Was he caught a little by surprise? Who will ever know.

"At any rate, a Jewish meal is what she got all right. I don't think I have ever heard the word 'Jewish' spoken so many times in one evening in my life, and let me tell you, I am a person who has heard the word 'Jewish' spoken.

" 'This is your real Jewish chopped liver, Anne. Have you ever had real Jewish chopped liver before? Well, my wife makes the real thing, you can bet your life on that. Here, you eat it with a piece of bread. This is real Jewish rye bread, with seeds. That's it, Anne, you're doing very good, ain't she doing good, Sophie, for her first time? That's it, take a nice piece of real Jewish rye, now take a big fork full of the real Jewish chopped liver' — and on and on, right down to the jello — 'that's right, Anne, the jello is kosher too, sure, of course, has to be — oh no, oh no, no cream in your coffee, not after meat, ha ha, hear what Anne wanted, Alex — ?'

"But babble-babble all you want, Dad dear, a question has just occurred to me, twenty-five years later (not that I have a single shred of evidence, not that until this moment I have ever imagined my father capable of even the slightest infraction of domestic law... but since infraction seems to hold for me a certain fascination), a question has arisen in the audience: why
did you bring a shikse, of all things, into our home? Because you couldn't bear that a gentile woman should go through life without the experience of eating a dish of Jewish jello? Or because you could no longer live your own life without making Jewish confession? Without confronting your wife with your crime, so she might accuse, castigate, humiliate, punish, and thus bleed you forever of your forbidden lusts! Yes, a regular Jewish desperado, my father. I recognize the syndrome perfectly. Come, someone, anyone, find me out and condemn me — I did the most terrible thing you can think of: I took what I am not supposed to have! Chose pleasure for myself over duty to my loved ones! Please, catch me, incarcerate me, before God forbid I get away with it completely — and go out and do again something I actually like!

"And did my mother oblige? Did Sophie put together the two tits and the two legs and come up with four? Me it seems to have taken two and a half decades to do such steep calculation. Oh, I must be making this up, really. My father... and a
shikse? Can't be. Was beyond his ken. My own father — fucked shikses? I'll admit under duress that he fucked my mother... but shikses? I can no more imagine him knocking over a gas station."

— Philip Roth, Portnoy's Complaint

===


Previous pieces on Chaplin at Cinemasparagus:

Making a Living [Lehrman, 1914] / Kid Auto Races at Venice, Cal. [Lehrman, 1914] / Mabel's Strange Predicament [Normand, 1914] / Between Showers [Lehrman, 1914] / A Film Johnnie [George Nichols, 1914] / Tango Tangles [Sennett, 1914] / His Favorite Pastime [George Nichols, 1914] / Cruel, Cruel Love [George Nichols, 1914] / The Star Boarder [George Nichols, 1914] / Mabel at the Wheel [Normand and Sennett, 1914] / Twenty Minutes of Love [Chaplin and Maddern, 1914] / Caught in a Cabaret [Chaplin and Normand, 1914] / Caught in the Rain [Chaplin, 1914] / A Busy Day [Sennett, 1914] / The Fatal Mallet [Sennett, 1914] / The Knockout [Sennett, 1914] / Mabel's Busy Day [Sennett, 1914] / Mabel's Married Life [Sennett, 1914] / Laughing Gas [Chaplin, 1914] / The Property Man [Chaplin, 1914] / The Face on the Barroom Floor [Chaplin, 1914] / Recreation [Chaplin, 1914] / The Masquerader [Chaplin, 1914] / His New Profession [Chaplin, 1914] / The Rounders [Chaplin and Arbuckle, 1914] / The New Janitor [Chaplin, 1914] / Those Love Pangs [Chaplin, 1914] / Dough and Dynamite [Chaplin, 1914] / Gentlemen of Nerve [Chaplin, 1914] / His Musical Career [Chaplin, 1914] / His Trysting Places [Chaplin, 1914]


===

His Trysting Places


Reference


His Trysting Places by Charles Chaplin, 1914:



"With that unhasteful celerity Mrs. Hait turned and set the scuttle down on the brick coping of the cellar entrance and she and old Het turned the corner of the house in time to see the now wraithlike mule at the moment when its course converged with that of a choleric-looking rooster and eight Rhode Island Red hens emerging from beneath the house. Then for an instant its progress assumed the appearance and trappings of an apotheosis: hell-born and hell-returning, in the act of dissolving completely into the fog, it seemed to rise vanishing into a sunless and dimensionless medium borne upon and enclosed by small winged goblins.

" 'Dey's mo in de front!' old Het cried.

" 'Them sons of bitches,' Mrs. Hait said, again in that grim, prescient voice without rancor or heat. It was not even the owner of them. It was her whole town-dwelling history as dated from that April dawn ten years ago when what was left of Hait had been gathered from the mangled remains of five mules and several feet of new Manila rope on a blind curve of the railroad just out of town; the geographical hap of her very home; the very components of her bereavement—the mules, the defunct husband, and the owner of them. His name was Snopes; in the town they knew about him too—how he bought his stock at the Memphis market and brought it to Jefferson and sold it to farmers and widows and orphans black and white, for whatever he could contrive—down to a certain figure; and about how (usually in the dead season of winter) teams and even small droves of his stock would escape from the fenced pasture where he kept them and, tied one to another with sometimes quite new hemp rope (and which item Snopes included in the subsequent claim), would be annihilated by freight trains on the same blind curve which was to be the scene of Hait's exit from this world; once a town wag sent him through the mail a printed train schedule for the division. A squat, pasty man perennially tieless and with a strained, harried expression, at stated intervals he passed athwart the peaceful and somnolent life of the town in dust and uproar, his advent heralded by shouts and cries, his passing marked by a yellow cloud filled with tossing jug-shaped heads and clattering hooves and the same forlorn and earnest cries of the drovers; and last of all and well back out of the dust, Snopes himself moving at a harried and panting trot, since it was said in the town that he was deathly afraid of the very beasts in which he cleverly dealt."

— William Faulkner, "Mule in the Yard"

===


Previous pieces on Chaplin at Cinemasparagus:

Making a Living [Lehrman, 1914] / Kid Auto Races at Venice, Cal. [Lehrman, 1914] / Mabel's Strange Predicament [Normand, 1914] / Between Showers [Lehrman, 1914] / A Film Johnnie [George Nichols, 1914] / Tango Tangles [Sennett, 1914] / His Favorite Pastime [George Nichols, 1914] / Cruel, Cruel Love [George Nichols, 1914] / The Star Boarder [George Nichols, 1914] / Mabel at the Wheel [Normand and Sennett, 1914] / Twenty Minutes of Love [Chaplin and Maddern, 1914] / Caught in a Cabaret [Chaplin and Normand, 1914] / Caught in the Rain [Chaplin, 1914] / A Busy Day [Sennett, 1914] / The Fatal Mallet [Sennett, 1914] / The Knockout [Sennett, 1914] / Mabel's Busy Day [Sennett, 1914] / Mabel's Married Life [Sennett, 1914] / Laughing Gas [Chaplin, 1914] / The Property Man [Chaplin, 1914] / The Face on the Barroom Floor [Chaplin, 1914] / Recreation [Chaplin, 1914] / The Masquerader [Chaplin, 1914] / His New Profession [Chaplin, 1914] / The Rounders [Chaplin and Arbuckle, 1914] / The New Janitor [Chaplin, 1914] / Those Love Pangs [Chaplin, 1914] / Dough and Dynamite [Chaplin, 1914] / Gentlemen of Nerve [Chaplin, 1914] / His Musical Career [Chaplin, 1914]


===

His Musical Career


Reference


His Musical Career by Charles Chaplin, 1914:



"It had an effect on him — he stood staring. The subject of their contention had finished singing; he left the piano, and his recognition of what — a little awkwardly — didn't take place in celebration of this might nevertheless have been an acclaimed operatic tenor's series of repeated ducks before the curtain. So he bowed himself over to Daisy. 'Won't you come to the other room and have some tea?' he asked — offering Mrs. Walker's slightly thin refreshment as he might have done all the kingdoms of the earth."
— Henry James, Daisy Miller

===


Previous pieces on Chaplin at Cinemasparagus:

Making a Living [Lehrman, 1914] / Kid Auto Races at Venice, Cal. [Lehrman, 1914] / Mabel's Strange Predicament [Normand, 1914] / Between Showers [Lehrman, 1914] / A Film Johnnie [George Nichols, 1914] / Tango Tangles [Sennett, 1914] / His Favorite Pastime [George Nichols, 1914] / Cruel, Cruel Love [George Nichols, 1914] / The Star Boarder [George Nichols, 1914] / Mabel at the Wheel [Normand and Sennett, 1914] / Twenty Minutes of Love [Chaplin and Maddern, 1914] / Caught in a Cabaret [Chaplin and Normand, 1914] / Caught in the Rain [Chaplin, 1914] / A Busy Day [Sennett, 1914] / The Fatal Mallet [Sennett, 1914] / The Knockout [Sennett, 1914] / Mabel's Busy Day [Sennett, 1914] / Mabel's Married Life [Sennett, 1914] / Laughing Gas [Chaplin, 1914] / The Property Man [Chaplin, 1914] / The Face on the Barroom Floor [Chaplin, 1914] / Recreation [Chaplin, 1914] / The Masquerader [Chaplin, 1914] / His New Profession [Chaplin, 1914] / The Rounders [Chaplin and Arbuckle, 1914] / The New Janitor [Chaplin, 1914] / Those Love Pangs [Chaplin, 1914] / Dough and Dynamite [Chaplin, 1914] / Gentlemen of Nerve [Chaplin, 1914]


===

Gentlemen of Nerve


Reference


Gentlemen of Nerve by Charles Chaplin, 1914:



"There came an evening during my novitiate when, after being fed but lightly, I was taken to a Chamber, and there laced into an expensive Corset, black as Midnight, imported, I was told, from Paris, from the very workshop of the Corsetier to the Queen. They painted my face into a wanton Sister of itself, showing me, in a Hand-Mirror,— 'twas a Woman I'd never seen before,— whom, upon the Instant, sinfully, I desir'd."
— Thomas Pynchon, Mason & Dixon

===


Previous pieces on Chaplin at Cinemasparagus:

Making a Living [Lehrman, 1914] / Kid Auto Races at Venice, Cal. [Lehrman, 1914] / Mabel's Strange Predicament [Normand, 1914] / Between Showers [Lehrman, 1914] / A Film Johnnie [George Nichols, 1914] / Tango Tangles [Sennett, 1914] / His Favorite Pastime [George Nichols, 1914] / Cruel, Cruel Love [George Nichols, 1914] / The Star Boarder [George Nichols, 1914] / Mabel at the Wheel [Normand and Sennett, 1914] / Twenty Minutes of Love [Chaplin and Maddern, 1914] / Caught in a Cabaret [Chaplin and Normand, 1914] / Caught in the Rain [Chaplin, 1914] / A Busy Day [Sennett, 1914] / The Fatal Mallet [Sennett, 1914] / The Knockout [Sennett, 1914] / Mabel's Busy Day [Sennett, 1914] / Mabel's Married Life [Sennett, 1914] / Laughing Gas [Chaplin, 1914] / The Property Man [Chaplin, 1914] / The Face on the Barroom Floor [Chaplin, 1914] / Recreation [Chaplin, 1914] / The Masquerader [Chaplin, 1914] / His New Profession [Chaplin, 1914] / The Rounders [Chaplin and Arbuckle, 1914] / The New Janitor [Chaplin, 1914] / Those Love Pangs [Chaplin, 1914] / Dough and Dynamite [Chaplin, 1914]


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Dough and Dynamite


Reference


Dough and Dynamite by Charles Chaplin, 1914:



"Here it is impossible to tell whether sexual assault took place as well as murder. The undressing, again, may have been the work of cops or physicians."
— Luc Sante, Evidence: NYPD Crime Scene Photographs: 1914-1918

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Previous pieces on Chaplin at Cinemasparagus:

Making a Living [Lehrman, 1914] / Kid Auto Races at Venice, Cal. [Lehrman, 1914] / Mabel's Strange Predicament [Normand, 1914] / Between Showers [Lehrman, 1914] / A Film Johnnie [George Nichols, 1914] / Tango Tangles [Sennett, 1914] / His Favorite Pastime [George Nichols, 1914] / Cruel, Cruel Love [George Nichols, 1914] / The Star Boarder [George Nichols, 1914] / Mabel at the Wheel [Normand and Sennett, 1914] / Twenty Minutes of Love [Chaplin and Maddern, 1914] / Caught in a Cabaret [Chaplin and Normand, 1914] / Caught in the Rain [Chaplin, 1914] / A Busy Day [Sennett, 1914] / The Fatal Mallet [Sennett, 1914] / The Knockout [Sennett, 1914] / Mabel's Busy Day [Sennett, 1914] / Mabel's Married Life [Sennett, 1914] / Laughing Gas [Chaplin, 1914] / The Property Man [Chaplin, 1914] / The Face on the Barroom Floor [Chaplin, 1914] / Recreation [Chaplin, 1914] / The Masquerader [Chaplin, 1914] / His New Profession [Chaplin, 1914] / The Rounders [Chaplin and Arbuckle, 1914] / The New Janitor [Chaplin, 1914] / Those Love Pangs [Chaplin, 1914]


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Those Love Pangs


Reference


Those Love Pangs by Charles Chaplin, 1914:



"So we sat there quiet with her hands against my hands like Colonel Sanders and his wife at LI 87345, where he is in jail for refusing to give up the recipe for KFC Haitian MiniBreasts, and then Carolyn said, I didn't mean that thing about the rabbit, and I scrinkled up my nose rabbit-like to make her laugh."
— George Saunders, "Jon", In Persuasion Nation

===


Previous pieces on Chaplin at Cinemasparagus:

Making a Living [Lehrman, 1914] / Kid Auto Races at Venice, Cal. [Lehrman, 1914] / Mabel's Strange Predicament [Normand, 1914] / Between Showers [Lehrman, 1914] / A Film Johnnie [George Nichols, 1914] / Tango Tangles [Sennett, 1914] / His Favorite Pastime [George Nichols, 1914] / Cruel, Cruel Love [George Nichols, 1914] / The Star Boarder [George Nichols, 1914] / Mabel at the Wheel [Normand and Sennett, 1914] / Twenty Minutes of Love [Chaplin and Maddern, 1914] / Caught in a Cabaret [Chaplin and Normand, 1914] / Caught in the Rain [Chaplin, 1914] / A Busy Day [Sennett, 1914] / The Fatal Mallet [Sennett, 1914] / The Knockout [Sennett, 1914] / Mabel's Busy Day [Sennett, 1914] / Mabel's Married Life [Sennett, 1914] / Laughing Gas [Chaplin, 1914] / The Property Man [Chaplin, 1914] / The Face on the Barroom Floor [Chaplin, 1914] / Recreation [Chaplin, 1914] / The Masquerader [Chaplin, 1914] / His New Profession [Chaplin, 1914] / The Rounders [Chaplin and Arbuckle, 1914] / The New Janitor [Chaplin, 1914]


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The New Janitor


Reference


The New Janitor by Charles Chaplin, 1914:



"Did you go to't so young? Were you a gamester at five, or at seven?"
— William Shakespeare, Pericles

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Previous pieces on Chaplin at Cinemasparagus:

Making a Living [Lehrman, 1914] / Kid Auto Races at Venice, Cal. [Lehrman, 1914] / Mabel's Strange Predicament [Normand, 1914] / Between Showers [Lehrman, 1914] / A Film Johnnie [George Nichols, 1914] / Tango Tangles [Sennett, 1914] / His Favorite Pastime [George Nichols, 1914] / Cruel, Cruel Love [George Nichols, 1914] / The Star Boarder [George Nichols, 1914] / Mabel at the Wheel [Normand and Sennett, 1914] / Twenty Minutes of Love [Chaplin and Maddern, 1914] / Caught in a Cabaret [Chaplin and Normand, 1914] / Caught in the Rain [Chaplin, 1914] / A Busy Day [Sennett, 1914] / The Fatal Mallet [Sennett, 1914] / The Knockout [Sennett, 1914] / Mabel's Busy Day [Sennett, 1914] / Mabel's Married Life [Sennett, 1914] / Laughing Gas [Chaplin, 1914] / The Property Man [Chaplin, 1914] / The Face on the Barroom Floor [Chaplin, 1914] / Recreation [Chaplin, 1914] / The Masquerader [Chaplin, 1914] / His New Profession [Chaplin, 1914] / The Rounders [Chaplin and Arbuckle, 1914]


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The Rounders


Reference


The Rounders by Charles Chaplin and Roscoe "Fatty" Arbuckle, 1914:



"En mars 1972, Resnais fit un voyage aux Etats-Unis de Providence (Rhode Island), à Newport, Salem et Marblehead sur les traces de Howard Philipp [sic] Lovecraft, sur lequel il voulait réaliser une espèce de documentaire."
— Robert Benayoun, Alain Resnais, arpenteur de l'imaginaire: de Hiroshima à Mélo

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Previous pieces on Chaplin at Cinemasparagus:

Making a Living [Lehrman, 1914] / Kid Auto Races at Venice, Cal. [Lehrman, 1914] / Mabel's Strange Predicament [Normand, 1914] / Between Showers [Lehrman, 1914] / A Film Johnnie [George Nichols, 1914] / Tango Tangles [Sennett, 1914] / His Favorite Pastime [George Nichols, 1914] / Cruel, Cruel Love [George Nichols, 1914] / The Star Boarder [George Nichols, 1914] / Mabel at the Wheel [Normand and Sennett, 1914] / Twenty Minutes of Love [Chaplin and Maddern, 1914] / Caught in a Cabaret [Chaplin and Normand, 1914] / Caught in the Rain [Chaplin, 1914] / A Busy Day [Sennett, 1914] / The Fatal Mallet [Sennett, 1914] / The Knockout [Sennett, 1914] / Mabel's Busy Day [Sennett, 1914] / Mabel's Married Life [Sennett, 1914] / Laughing Gas [Chaplin, 1914] / The Property Man [Chaplin, 1914] / The Face on the Barroom Floor [Chaplin, 1914] / Recreation [Chaplin, 1914] / The Masquerader [Chaplin, 1914] / His New Profession [Chaplin, 1914]


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His New Profession


Reference


His New Profession by Charles Chaplin, 1914:



" 'Thinks she's like something in the works of Tennyson. You know, chemically pure. ...' "
— Aldous Huxley, After Many a Summer Dies the Swan

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Previous pieces on Chaplin at Cinemasparagus:

Making a Living [Lehrman, 1914] / Kid Auto Races at Venice, Cal. [Lehrman, 1914] / Mabel's Strange Predicament [Normand, 1914] / Between Showers [Lehrman, 1914] / A Film Johnnie [George Nichols, 1914] / Tango Tangles [Sennett, 1914] / His Favorite Pastime [George Nichols, 1914] / Cruel, Cruel Love [George Nichols, 1914] / The Star Boarder [George Nichols, 1914] / Mabel at the Wheel [Normand and Sennett, 1914] / Twenty Minutes of Love [Chaplin and Maddern, 1914] / Caught in a Cabaret [Chaplin and Normand, 1914] / Caught in the Rain [Chaplin, 1914] / A Busy Day [Sennett, 1914] / The Fatal Mallet [Sennett, 1914] / The Knockout [Sennett, 1914] / Mabel's Busy Day [Sennett, 1914] / Mabel's Married Life [Sennett, 1914] / Laughing Gas [Chaplin, 1914] / The Property Man [Chaplin, 1914] / The Face on the Barroom Floor [Chaplin, 1914] / Recreation [Chaplin, 1914] / The Masquerader [Chaplin, 1914]


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The Masquerader


Reference


The Masquerader by Charles Chaplin, 1914:



"Palm Springs. Deciding about God."
— Susan Sontag, Reborn: Journals & Notebooks: 1947-1963

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Previous pieces on Chaplin at Cinemasparagus:

Making a Living [Lehrman, 1914] / Kid Auto Races at Venice, Cal. [Lehrman, 1914] / Mabel's Strange Predicament [Normand, 1914] / Between Showers [Lehrman, 1914] / A Film Johnnie [George Nichols, 1914] / Tango Tangles [Sennett, 1914] / His Favorite Pastime [George Nichols, 1914] / Cruel, Cruel Love [George Nichols, 1914] / The Star Boarder [George Nichols, 1914] / Mabel at the Wheel [Normand and Sennett, 1914] / Twenty Minutes of Love [Chaplin and Maddern, 1914] / Caught in a Cabaret [Chaplin and Normand, 1914] / Caught in the Rain [Chaplin, 1914] / A Busy Day [Sennett, 1914] / The Fatal Mallet [Sennett, 1914] / The Knockout [Sennett, 1914] / Mabel's Busy Day [Sennett, 1914] / Mabel's Married Life [Sennett, 1914] / Laughing Gas [Chaplin, 1914] / The Property Man [Chaplin, 1914] / The Face on the Barroom Floor [Chaplin, 1914] / Recreation [Chaplin, 1914]


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Recreation


The Last Chaplin Film Is A Countess from Hong Kong


Recreation by Charles Chaplin, 1914:



Split-reel, 6 minute 22 second runthrough of various Keystone motifs: meeting a woman in a park, sitting on a bench, ducking a blow so the lady takes the punch, winging a brick (across cuts — the long shot wasn't in the vocabulary yet), people falling in water... the cop on the scene / Charlie wears the same sportcoat as in The Face on the Barroom Floor, paint splotch on the rear / Recreation is phoned-in, but the compositions (once the non-duped footage kicks in, fairly pristine) are a definite refinement over previous Keystone efforts, the natural setting here alive and charged

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Previous pieces on Chaplin at Cinemasparagus:

Making a Living [Lehrman, 1914] / Kid Auto Races at Venice, Cal. [Lehrman, 1914] / Mabel's Strange Predicament [Normand, 1914] / Between Showers [Lehrman, 1914] / A Film Johnnie [George Nichols, 1914] / Tango Tangles [Sennett, 1914] / His Favorite Pastime [George Nichols, 1914] / Cruel, Cruel Love [George Nichols, 1914] / The Star Boarder [George Nichols, 1914] / Mabel at the Wheel [Normand and Sennett, 1914] / Twenty Minutes of Love [Chaplin and Maddern, 1914] / Caught in a Cabaret [Chaplin and Normand, 1914] / Caught in the Rain [Chaplin, 1914] / A Busy Day [Sennett, 1914] / The Fatal Mallet [Sennett, 1914] / The Knockout [Sennett, 1914] / Mabel's Busy Day [Sennett, 1914] / Mabel's Married Life [Sennett, 1914] / Laughing Gas [Chaplin, 1914] / The Property Man [Chaplin, 1914] / The Face on the Barroom Floor [Chaplin, 1914]


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The Face on the Barroom Floor


The Last Chaplin Film Is A Countess from Hong Kong


The Face on the Barroom Floor by Charles Chaplin, 1914:



Based on the poem / The tale of a fine-artist turned drunk, The Face on the Barroom Floor marks a progression toward storyline rather than premise, arc of development / Splatter of paint on his shirttail, he sees the woman who left him for the portrait sitter, pushing a carriage in a park, their children trailing them — a remarkable response crosses Charlie's face / The pathos of his attempt to draw Medeline's face in chalk on the barroom floor, the pathetic scribble, the birth of Chaplin

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Previous pieces on Chaplin at Cinemasparagus:

Making a Living [Lehrman, 1914] / Kid Auto Races at Venice, Cal. [Lehrman, 1914] / Mabel's Strange Predicament [Normand, 1914] / Between Showers [Lehrman, 1914] / A Film Johnnie [George Nichols, 1914] / Tango Tangles [Sennett, 1914] / His Favorite Pastime [George Nichols, 1914] / Cruel, Cruel Love [George Nichols, 1914] / The Star Boarder [George Nichols, 1914] / Mabel at the Wheel [Normand and Sennett, 1914] / Twenty Minutes of Love [Chaplin and Maddern, 1914] / Caught in a Cabaret [Chaplin and Normand, 1914] / Caught in the Rain [Chaplin, 1914] / A Busy Day [Sennett, 1914] / The Fatal Mallet [Sennett, 1914] / The Knockout [Sennett, 1914] / Mabel's Busy Day [Sennett, 1914] / Mabel's Married Life [Sennett, 1914] / Laughing Gas [Chaplin, 1914] / The Property Man [Chaplin, 1914]


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The Property Man


The Last Chaplin Film Is A Countess from Hong Kong


The Property Man by Charles Chaplin, 1914:



Hides a pitcher of beer in his sagging overalls, then bends over to pick up the purse a dame has dropped / Have to define oneself as one thing — the property master: part of the story doesn't get underway till the end of the first reel / There's more continuity across cuts here than in any of the Sennett-Chaplin films / Get out there and make my voice listenable / When a star rises up to his boss — 'Do you know who that was? — Jack Dempsey' / Ends in another chaos blitz, well-executed, well-executed / I hate clever comedians / Comedians who entertain the eyebrows, coax your grin / Chaplin was no Reggie Watts

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Previous pieces on Chaplin at Cinemasparagus:

Making a Living [Lehrman, 1914] / Kid Auto Races at Venice, Cal. [Lehrman, 1914] / Mabel's Strange Predicament [Normand, 1914] / Between Showers [Lehrman, 1914] / A Film Johnnie [George Nichols, 1914] / Tango Tangles [Sennett, 1914] / His Favorite Pastime [George Nichols, 1914] / Cruel, Cruel Love [George Nichols, 1914] / The Star Boarder [George Nichols, 1914] / Mabel at the Wheel [Normand and Sennett, 1914] / Twenty Minutes of Love [Chaplin and Maddern, 1914] / Caught in a Cabaret [Chaplin and Normand, 1914] / Caught in the Rain [Chaplin, 1914] / A Busy Day [Sennett, 1914] / The Fatal Mallet [Sennett, 1914] / The Knockout [Sennett, 1914] / Mabel's Busy Day [Sennett, 1914] / Mabel's Married Life [Sennett, 1914] / Laughing Gas [Chaplin, 1914]


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Laughing Gas


The Last Chaplin Film Is A Countess from Hong Kong


Laughing Gas by Charles Chaplin, 1914:



Charlie, assistant to the dentist "Dr. Pain" / Hits two men in the face with Keystone bricks; they consequently drool broken teeth / Has a day ever passed in the United States where no citizen bashed the tooth of another? / The end goes back to the beginning — in and out of rooms, A Countess from Hong Kong, the final Chaplin film, the one sanctioning bodies don't acknowledge

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Previous pieces on Chaplin at Cinemasparagus:

Making a Living [Lehrman, 1914] / Kid Auto Races at Venice, Cal. [Lehrman, 1914] / Mabel's Strange Predicament [Normand, 1914] / Between Showers [Lehrman, 1914] / A Film Johnnie [George Nichols, 1914] / Tango Tangles [Sennett, 1914] / His Favorite Pastime [George Nichols, 1914] / Cruel, Cruel Love [George Nichols, 1914] / The Star Boarder [George Nichols, 1914] / Mabel at the Wheel [Normand and Sennett, 1914] / Twenty Minutes of Love [Chaplin and Maddern, 1914] / Caught in a Cabaret [Chaplin and Normand, 1914] / Caught in the Rain [Chaplin, 1914] / A Busy Day [Sennett, 1914] / The Fatal Mallet [Sennett, 1914] / The Knockout [Sennett, 1914] / Mabel's Busy Day [Sennett, 1914] / Mabel's Married Life [Sennett, 1914]


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Sunday, June 19, 2011

There Was a Father


Scale


Le Salaire du zappeur from José Oliveira on Vimeo.



The condition of "early Ozu" which in parlance = "before Late Spring" / The father and son close the shôji simultaneously, the bond that cannot be broken
will the end / An incredible encapsulation of time / A funeral of all events
d

The angle and the paradise / Begins, in the second shot, after credits, by repeating with the women the angle and parade of the opening Only Son / Like Ryôsuke in that film / _____ / Horikawa (Chishû Ryû) teaches geometry / on a class excursion, / the student Yoshida disobeys / teacher's orders to stay
Lifeboat [Alfred Hitchcock, 1944]
he; /

"Pillow shot" as teens yell out onto the lake / the soundtrack

the Iowa Writers' Workshop

one of the Buddhist markers / capsized boat /

Horikawa, Hirata sit and talk, Horikawa announcing his resignation from the school deflecting Hirata's advice to the contrary: a tree bound to support stake in background echoes chalkboard image from schoolroom lesson of circumscribed forms, angles,
what is between these men /



"The grave next to your mother's is your grandfather's.
He sold that house to put me through school."
/

Holidays alone without a wife

Dad went through the roof, Ignatiy Vishnevetsky on Alex Ross Perry

the sewing and son, synchronously fishing: the Tale of Floating Weeds / The spinning wheels, The Only Son, Horikawa, Tokyo job, overseer at a textile plant, Ryôhei's boarding-highschool, / The Only Son, the mother's occupation — now automated wartime,
and jobs for men /

He meets Hirata in a go — thirteen years since, and Hirata's daughter grown —

but he is a YOUNG SON, SEIICHI (where is mother?) /

Ryôhei is leading! = teaching chemistry — specifically, manufacture molecular makeup of TNT / First event mentor: "Your older brother was drafted, wasn't he?" /
The son offers the father spending money, the father's pledge to offer it to the dead mother's and wife's
star altar /
Old students a former teacher no longer recognizes by face, but honors their call / Ryôhei's shaved his head for the draft / At the dinner for Horikawa and Hirata:
"Sensei, remember how you punished Iwamoto and me for fighting in third grade?"

"I'm afraid I don't."
/

The shot past these same former students, into the hospital room and deathbed of Horikawa, surrounded by family and friends, his head, face, dim / "It's nothing to be sad about. I did the very best I could."

— not entirely definitively ring, though perhaps they do, — "I am happy."

After the father passes, the son Ryôhei tells Fumiko his new wife that the time he spent together with his father was "the best week of [his] life" / She buries her face in a handkerchief and weeps, / and Ryôhei off to war

Chichi ariki [There Was a Father] by Yasujirô Ozu, 1942:









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Previous pieces on Ozu at Cinemasparagus:

A Straightforward Brat [1929]

Friends Fighting Japanese-Style [1929]

Tokyo Chorus [1931]

A Picture-Book for Grown-Ups: I Was Born, But... [1932]

Where Have the Dreams of Youth All Gone? [1932]

Passing Fancy [1933]

A Tale of Floating Weeds [1934]

Kagamijishi [1936]

The Only Son [1936]


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Monday, June 13, 2011

Sam Wells


November 4th, 1950 - June 3rd, 2011


A little over a week ago, Sam Wells died. Sam, ever humble and self-effacing, was a gifted filmmaker and photographer; a lifelong and devout cinephile; an expert on movie and Mac tech; a fellow Princetonian and friend. With Jason Murphy, Sam did the image-lighting and sound-recording on my film Finding the Criminal, a two-hour conversation-picture featuring Pedro Costa, myself, and Andy Rector, which was shot in late 2008, and which I was finally able to finish work on only a few months ago.

I first encountered Sam on an online listserv in the early '00s. I remember him expressing at times his admiration for the work of Stan Brakhage and Hou Hsiao-hsien, and, when called for, demonstrating a far-reaching grasp of the science and (im)practical limitations of optics, lighting, the apparatus of filmmaking.

When it came time to assemble a crew for Finding the Criminal, Dan Sallitt suggested Sam, noting his Princeton vicinity. As it so happened, Sam was the same guy I'd spotted a couple times a week for the last few years, hanging out in front of Small World on Witherspoon, drinking coffee, chain-smoking, chatting with passing acquaintances, and whom I'd catch sight of at some of the (rare) film screenings on campus: Gehr, Kluge, Kiarostami, Bresson.

Sam was thrilled to take part in the shoot. When I told him in no more than forty-five seconds what I wanted in the way of lighting and sound, he replied with a refreshing matter-of-factness assuring me there would be no problems, suggesting we use this, that, and the other. Perfect. No bullshit, no film-technician preciousness. Three days later, we filmed in a single session lasting from 8 at night until 4 in the morning. An hour setup, hour break-down; the only difficulties arose from minor paranormal incidents at the start of the shoot. (We filmed in a friend's studio loft which had once been part of an enormous 'funeral home complex' on the outskirts of Williamsburg.) We got everything exactly as we'd set out to. During the car-ride back to Jersey, Sam raved about various things that Pedro had said in the course of the filming, exclaiming that finally someone gets it, how finally someone had put a certain idea into words.

One evening last summer I ran into Sam outside the A&B. He told me he had finally caught up with watching both In Vanda's Room and Ne change rien, and clearly he was blown away: the ideas in both films moved way beyond words. Sam said: "Goddammit, he cracked it. Someone finally cracked the fucking digital video thing. Before it was only Godard, but now it's Costa too." He said: "Those images are as beautiful as Rembrandt. There's a Rembrandt living in our time. Now I've seen Ne change rien, and I can say I helped make a film in the presence of Rembrandt." It wasn't just that Sam was emotionally overwhelmed by the film itself — and he was, obviously — it's that Ne change rien had confirmed for him, shown him, the existence of New Possibilities that he was desperately eager to begin exploring in his own films, specifically the recent work(s)-in-progress he'd been shooting for several years.

A word about those films: I don't know what the status is of the materials or work(s)-in-progress that Sam has left behind. Hopefully he had time to prepare some kind of direction for their archiving and preservation. He had been hoping to screen his 1999 film Wired Angel in an outdoor park in town at some point last September, but various obstacles rose surrounding the availability of necessary equipment for the projection.

Because Sam was a fan of this blog, and because for Sam cinema was life (and often better), I'll post the following epitaph: the artists he loved:

Stan Brakhage

Hou Hsiao-hsien

Carl Theodor Dreyer

Robert Bresson

Gregory Markopoulos

Kenji Mizoguchi

Peter Kubelka

Nathaniel Dorsky

Jean-Luc Godard

Josef von Sternberg

Abbas Kiarostami

Ernie Gehr

Jacques Rivette

Yasujirô Ozu

Jean Cocteau

Sergei Eisenstein

Fritz Lang

Chris Marker

Alfred Hitchcock

Douglas Sirk

Stanley Kubrick

Andrei Tarkovsky

Pedro Costa


I'm probably leaving out many others, but those are the names I'd heard him passionately invoke.

Ah: and one more: he had a special place in his heart for Bulle Ogier.

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Sam Wells on Wikipedia


Sam Wells' Website




ABOVE: Frame from Finding the Criminal. Left to right: Sam Wells, Andy Rector, Pedro Costa.


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Tuesday, June 07, 2011

Sunday, May 29, 2011

Friday, April 29, 2011

Pylon






"—the man whom the editor believed (certainly hoped) to be unmarried, though not through any knowledge or report but because of something which the man's living being emanated—a creature who apparently never had any parents either and who will not be old and never was a child, who apparently sprang fullgrown and irrevocably mature out of some violent and instantaneous transition like the stories of dead steamboatmen and mules: if it were learned that he had a brother for instance it would create neither warmth nor surprise anymore than finding the mate to a discarded shoe in a trashbin—of whom the editor had heard how a girl in a Barricade Street crib said that it would be like assessing the invoked spirit at a seance held in a rented restaurant room with a covercharge."

•••


"—one day Hagood looked up and watched a woman whom he had never seen before enter the city room. 'She looked like a locomotive,' he told the paper's owner later with bitter outrage. 'You know: when the board has been devilled and harried by the newsreels of Diesel trains and by the reporters that ask them about the future of railroading until at last the board takes the old engine, the one that set the record back in nineteen-two or nineteen-ten or somewhere and sends it to the shops and one day they unveil it (with the newsreels and the reporters all there, too) with horseshoe rose wreaths and congressmen and thirty-six highschool girls out of the beauty show in bathing suits, and it is a new engine on the outside only, because everyone is glad and proud that inside it is still the old fast one of nineteen-two or -ten. The same number is on the tender and the old fine, sound, timeproved workingparts, only the cab and the boiler are painted robin'segg blue and the rods and the bell look more like gold than gold does and even the supercharger dont look so very noticeable except in a hard light, and the number is in neon now: the first number in the world to be in neon?' He looked up from his desk and saw her enter on a blast of scent as arresting as mustard gas and followed by the reporter looking more than ever like a shadow whose projector had eluded it weeks and weeks ago—the fine big bosom like one of the walled impervious towns of the middleages whose origin antedates writing, which have been taken and retaken in uncountable fierce assaults which overran them in the brief fury of a moment and vanished, leaving no trace, the broad tomatocolored mouth, the eyes pleasant shrewd and beyond mere disillusion, the hair of that diamondhard and imperviously recent luster of a gilt service in a shopwindow, the goldstudded teeth square and white and big like those of a horse—all seen beneath a plump rich billowing of pink plumes so that Hagood thought of himself as looking at a canvas out of the vernal equinox of pigment when they could not always write to sign their names to them—a canvas conceived in and executed out of that fine innocence of sleep and open bowels capable of crowning the rich foul unchaste earth with rosy clouds where lurk and sport oblivious and incongruous cherubim."

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Thursday, April 28, 2011

Bruno Dumont on Stanley Kubrick



Bruno Dumont parle de Stanley Kubrick by lacinematheque


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Previous pieces on Bruno Dumont and Stanley Kubrick at Cinemasparagus:

La Vie de Jésus by Bruno Dumont [1997]

Paths of Glory by Stanley Kubrick [1957]


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