Jean-Luc Godard’s ‘Breathless’ running at Film Forum in new print
by Sam Juliano
The Memorial Day weekend has come and gone, meaning that summer is a stone’s throw away, and many of us in the northern hemisphere are planning our well-earned vacations, and some special outdoor events that the glorious weather will allow. (our friend Donophon, for example, will no doubt be casting out his rods!) A great big congratulations to Dan Getahun on his wedding over the weekend, and hope he and his lovely bride have some wonderful contingency plans!
Allan’s 2000’s countdown reached the half way point, with Lars Von Trier’s Antichrist checking in at #50. Voters who have not get cast a ballot on the proper thread over the header are encouraged to do so, though the polling -obviously-will run nearly two months more. Jamie Uhler and the Olson brothers are moving forward on what will surely be a fantastic venture with the horror polling that will commence on or around August 1. Two posts on the television series Lost were penned by Phillip Johnston and Bob Clark, while both James Clark and Marc Bauer wrote distinguished essays on Alice in Wonderland and Mimacs. Joel Bocko’s superlative review of Von Donnarsmarck’s The Lives of Others attracted a tremendous response from commenters. Tony d’Ambra’s new post on one of the most unheralded of all works of French poetic realism is a grand slam, and it’s there at Films Noir.net, and Dee Dee’s interview with writer Paul Brazill is the best one of her blogging career! And over at Goodfellas Dave Hicks launched his ‘Great Directors’ series today, and it’s largely a culmination of weeks of marathon film viewing in preparation. And Donophon’s superb series on the works of Jean-Pierre Melville continues at The Long Voyage Home.
Lucille and I managed a hectic week on the theatre and film front, and as always I really must question my sanity to this end, though on a number of these ventures we did spend quality time with the kids.
On Broadway (and off-Broadway) we witnessed SOUTH PACIFIC a second time within three weeks at Lincoln Center on Thursday night, as this was an early Father’s Day gift for my Dad and his lady friend. It was just as glorious as it was the first time, and it sits on top in my affections among 2010 cultural events.
2009’s winner of the Tony Award for Best Play was GOD OF CARNAGE, a blistering satiric comedy winding down it’s impressive run at the Jacobs Theatre. The play is essentially about two pairs of parents, one of whose child has hurt the other at a public park, who meet to discuss the matter in a civilized manner. However, as the evening goes on, the parents become increasingly childish, resulting in the evening devolving into chaos, and some underlying prejudices spilling out in an all-out, sometimes physical assault. Christopher Hampton’s adaptation of Yasmina Reza’s is a classic in the breakdown of the veneer of civility, and Lucille and I had a whale of a time on Wednesday night while finally seeing this critically-praised work.
On Saturday night, Lucille, Bob and I took in a “musical” at ‘Theatre Horizons’ on 42nd Street, about a group of miners who survive a collapse called THE BAND PART BOYS. The music was actually ‘bluegrass’. Although Bob and Lucille disagreed, I found this a torturous show to sit through, as the music was trite and forgettable, and the staging was undisciplined. The young actors went about their business with a marked enthusiasm, and the lighting was interesting, but when it’s the kind of show that has you thinking throughout of what you’ll be ordering for dinner. ‘Entertainment’ this surely wasn’t.
On the movie front the action was frenzied:
Breathless (A Bout de Souffe; Godard) Friday night; 10:00; Film Forum
Mademoiselle Chambon ***** (Sunday afternoon; Cinema Village)
Micmacs *** 1/2 (Sunday afternoon; Angelika Film Center)
The Prince of Persia ** 1/2 (Friday afternoon; Edgewater multiplex)
Father of My Children **** (Friday night; 7:30 P.M.; IFC Film Center)
Holy Rollers ** 1/2 (Sunday night; Montclair Claridge)
While walking out of the Film Forum on Friday night after seeing one of the landmarks of the French New Wave – Godard’s BREATHLESS, Lucille overheard one elderly patron telling his wife: “For a so-called classic, this is the most boring film I’ve ever seen!” Of course, that comment is part of the intended equation, but seeing this great film in this anniversary print was a special treat. The story (a spontaneous account of the last hours of a lonely Bogart-styled criminal, played by Jean-Paul Belmondo, and of his brief relationship with with an equally lonely American girl, played by Jean Seberg), is truthfully unremarkable, and when one holds into outside it’s French New Wave parameter, it’s really nothing special. But the film was revolutionary and a major work in the development of a movement, and its technical dexterity, the honesty with which it observes human relationships, and its improvised style (shot on location without a script and with off-the-cuff dialogue) make it a cinematic landmark, that’s important for all sorts of reasons, including that it’s a classic ‘chase’ film. The fine new print is celebration of the film’s 50th anniversary.
Briefly, Jeunet’s MICMACS is another distinguished whimsical journey for the singular director. It’s admittedly plotless and sometimes inane, and I can’t say it connects on an emotional level – but it’s still irresistable, and boasts some splendid set pieces, including an engaging art cut-out sequence featuring the Greek playwright Aeschylus, and a look at Sacha Guitry’s burial place. It’s irreverent bliss for the most part. MADEMOISELLE CHAMBON is a quietly devastating French film (reviewed over the Diary) that has resulted in that all-too-rare 5 star rating. THE PRINCE OF PERSIA is comparable to CLASH OF THE TITANS. It’s harmless, popcorn fun with some arresting action sequences, but it’s dumb-witted and all over the map, and definitely no high watermark for Jake Gyllenthal. FATHER OF MY CHILDREN turned out to be the second superb French film released stateside this week, and it’s a telling examination of stress, surrender and the management of grief. HOLY ROLLERS with Jesse Eisenberg has a fascinating premise, and some interesting camerawork, but it’s a rather shallow work that avoids exploring the motivational aspect of the corruption of the main character.
Anyway, as always there are some great things going on in the blogosphere:
There’s a “personal pause” at that wonderful site ‘Getafilm’ where Dan Getahun explains his hiatus until the middle of July. Everyone here is encouraged to extend their Wedding Wishes to the now-married Dan: http://getafilm.blogspot.com/2010/05/personal-pause.html
Tony d’Ambra has hit another home run with his poetic review of a rarely-seen French classic by Jacques Allegret that legitimately well-deserved such magnificent treatment: http://filmsnoir.net/film_noir/une-si-jolie-petite-plage-france-1949-iron-in-the-soul.html/comment-page-1#comment-3327
One of Dee Dee’s greatest interviews ever in her blogging career appeared yesterday at Darkness Into Light with her fantastic chat with writer Paul D. Barzill that has attracted a plethora of terrific comments: http://noirishcity.blogspot.com/2010/05/sunday-brunch-interview-spotlightwriter.html
Donophon’s great series on Melville continues with an especially superlative treatment of one of the director’s masterpieces, Le Samourai at “The Long Voyage Home”: http://thelongvoyagehome.blogspot.com/2010/05/jean-pierre-melville-le-samourai.html
Jon Lanthier’s new Slant review is up and lo and behold it’s Mademoiselle Chambon he has penned his usually superlative review on. Yeah, I like it a lot more, but it’s still a great review: http://www.slantmagazine.com/film/review/mademoiselle-chambon/4837
Meanwhile at Goodfellas Dave Hicks has officially announced that Steven Spielberg will be the first ‘subject’ in his ‘Director’s Series’ ,which launches on June 1st: http://goodfellamovies.blogspot.com/2010/05/lets-try-it-then.html
Michael, the erstwhile ‘Coffee Messiah’ has a most interesting painting, song lyric and audio up at his always thought-provoking abode: http://coffeemessiah.blogspot.com/2010/05/time.html
John Greco has another excellent review up, this time on La Femme Infidele by New Wave master Claude Chabrol: http://twentyfourframes.wordpress.com/2010/05/29/la-femme-infidele-1969-claude-chabrol/
Troy Olson, back from China with his bundle of joy, is back to the movies, and he speaks here in his first ‘horror’ post about what he has watched in preparation for the upcoming project at WitD: http://troyolson.blogspot.com/2010/05/horror-movie-megapost-part-1.html
Judy at “Movie Classics” has another outstanding essay up at her place on The Bad Sister, a rarely seen pre-coder: http://movieclassics.wordpress.com/2010/05/28/the-bad-sister-1931/
The prolific Shubhajit has another outstanding capsule up on Ange Lee’s The Ice Storm that deserves a look: http://cliched-monologues.blogspot.com/2010/05/ice-storm-1997.html
Just Another Film Buff has some issues with an otherwise intriguing Indian film at “The Seventh Art.” As usual the writing is first-rate and the insights compelling: http://theseventhart.info/2010/05/30/ellipsis-6/
David Schleicher has a terrific feature on the television series 24 which has attracted enthused commentators at his place: http://davethenovelist.wordpress.com/2010/05/23/24-the-clock-stops-here/
Both Marilyn Ferdinand and Roderick Heath have been busy penning great film reviews all week, it’s Rod’s excellent consideration of Mann’s The Fall of the Roman Empire taht is currently headlining at “Ferdy-on-Films”: http://www.ferdyonfilms.com/?p=4843
Kaleem Hasan’s Satyamshot remains an internet cornerstone in Indian film, culture and politics: http://satyamshot.wordpress.com/
Kevin Olson has quite a review and screen cap presentation up on John Hillcoat’s The Road up at “Hugo Stiglitz Makes Movies”: http://kolson-kevinsblog.blogspot.com/2010/05/birth-in-grief-and-ashes-thoughts-on.html
Drew McIntosh has an extradinary review up at The Blue Vial on Russian director Larisa Shepitko’s Wings, which should be read by all serious cineastes: http://thebluevial.blogspot.com/2010/05/wings-larisa-shepitko-1966.html
There are all kinds of exciting updates, containing interviews and online chats about filmmaker Jeffrey Goodman’s upcoming film Peril at his blogsite: http://cahierspositif.blogspot.com/2010/05/peril-e-mail-update-53010.html
Craig Kennedy’s ever-popular Watercooler post, upon which the MMD was patterned after, is up and running and the talk is about the passing of Dennis Hopper, and some of the recent fare negotiated by Craig: http://livingincinema.com/2010/05/30/the-watercooler-the-death-of-hopper-hobbit-sex-and-prince/
Longman Oz has a very perceptive wessay up at his place on the Oliver Stone documentary South of the Border that’s well worth a look-see: http://noordinaryfool.com/2010/05/31/southoftheborder/
Samuel Wilson has penned another exceptional review, this time on the Argentinian winner of the Best Foreign Film Oscar: http://mondo70.blogspot.com/2010/05/on-big-screen-secret-in-their-eyes-2009.html
The exquisite and profound sensualist Apichatpong Weerasethakul is under the magnifying glass at Only the Cinema, where Ed Howard offers up stellar treatment of two shorts by the venerated Asian director: http://seul-le-cinema.blogspot.com/2010/05/phantoms-of-nabuaa-letter-to-uncle.html
Terrell Welch, the tireless ‘Creativepotager’ is still heading her fascinating and beautiful Thursday post at her lovely Pacific island home: http://creativepotager.wordpress.com/2010/05/27/what-seen-is-not-always-there/
Andrew Wyatt has terrific capsules up at Gateway Cinephiles of Nicolas Roeg’s Bad Timing and Walkabout that should be read pronto: http://gatewaycinephiles.com/2010/05/26/film-diary-bad-timing/
R.D. Finch has penned another excellent review of classic cinema, this time Orson Welles’s The Lady from Shanghai at “The Movie Projector”: http://movieprojector.blogspot.com/2010/05/lady-from-shanghai-1948.html
Stephen at “Checking on my Sausages” has a great batch of caps from films, under the heading ‘Romance Language.’: http://checkingonmysausages.blogspot.com/2010/05/romance-language.html
David van Poppel has what appears to be an accomplished assessment of Les Parents at his docmentary blog: http://visionsofnonfiction.blogspot.com/2010/05/les-parents.html
At “Radiator Heaven” J.D. has a re-post of an earlier review of Fletch. It’s a splendid essay: http://rheaven.blogspot.com/2008/03/fletch.html
Our friend “Anu” is still headlining his superb essay of Kurosawa’s Kagemusha at his place: http://theconfidentialreport.wordpress.com/2010/04/10/kagemusha/
Film Doctor has what appears to be an insightful essay on the “appeal” of Sex and the City at his place: http://filmdr.blogspot.com/2010/05/dont-leave-me-hanging-here-notes-and.html
Adam Zanzie is back in the game with what appears to be a spectacular long review on Wise Blood at “Icebox Movies”: http://iceboxmovies.blogspot.com/2010/05/wise-blood-1979.html
“all-too-rare 5 star rating” indeed! Will keep my eyes peeled for this one. Been quite busy and away from the internet last week. This week doesn’t look bright either. Apologies to everyone on my blogroll, I’ve not been able to visit most of them during the past week or two. Will have to catch up soon…
Thanks for the mention, AS EVER, Sam!!
Thanks JAFB!
Well, as it is MADEMOISELLE CHAMBON has received extraordinary reviews, with the exception of a more middling one by my very good friend Jon Lanthier, whose SLANT REVIEW can be accessed on the link below. But I’d be most curious to learn what you think. You always been loyal to WitD, JAFM, and so many other places! This is definitely a time of the year people would rather escape their indoor prisons! Ha!
Sam, thanks for the mention. I am, as usual, deeply jealous of your ability to go see so many excellent films on any given weekend. BREATHLESS is one of my favorites, and I’ll look forward to seeing MADEMOISELLE CHAMBON when it becomes available around here.
It’s definitely a rich area for films, though there is such a thing as overkill too, Film Doctor. A few family members have read these diaries, and they are seriously wondering if I’ve “lost” it. Ha! But as a Film professor, you’d be at home in this cultural Mecca! Still, where you are has its benefits too! I look forward to your take on MADEMOISELLE CHAMBON.
Thank You, Sir!
Sam, I took advantage of the long weekend for some frenzied movie watching of my own. Thanks for your comment on my Secret in Their Eyes review, by the way; we seem to be in broad accord on that film. I had a good haul from the library this time out, including Gotz Spielmann’s REVANCHE (good, but Criterion-worthy???) and Ramin Bahrani’s GOODBYE SOLO, which I found a refreshing dose of oldschool working class American cinema. My major project for later in the week will be a comparative review of Sam Fuller’s I SHOT JESSE JAMES (from my own collection) and Andrew Dominik’s ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD, a double feature from two nights ago.
Personally Samuel, I must agree with you on the dubious appearance of REVANCHE on the Criterion label (after having watched it) but th efact that I bought it sight unseen is proof parcel that there are obsessive suckers out there who will recoup the outlay so to speak. Having said that it’s not a bad film at all. Yeah, SECRET seems to have been yet another example of poor decision-making by the Academy in that category, especially this year where the competition clearly should have prevailed. And I was moved by GOODBYE SOLO, so we’re essentially on the same page there.
I’ll definitely be checking out your JESSE JAMES comparison!!! Sounds like a great essay is upcoming!!!
Thanks as always my friend for the great wrap!
It was a great and relaxing Memorial day weekend down here in the South Jers’ – marked by a wild weekend for Philly sports – the Flyers going down 0-2 in the Stanley Cup Finals and Roy Halladay pitching a perfect game for the struggling Phillies on Saturday.
On the movie front, the only thing I caught in theaters was Nicole Holofcener’s PLEASE GIVE, which I would give **** and marks a nice return to LOVELY AND AMAZING form for her (after the strained and sitcom-y FRIENDS WITH MONEY). I found this to be insightful and humanist bourgeois cinema (in the vein of Woody Allen on his more serious days), and I love how Holofcener refuses to apologize for the ways in which her characters behave.
On DVD I saw:
SUMMER HOURS – a warm and contemplative **** French film that tackled some of the same themes as PLEASE GIVE and was the polar opposite of director Assayas’ film DEMONLOVER (which I am one of the few who loved that film). What a versatile guy.
THE INVENTION OF LYING– *1/2 – a huge misstep for Ricky Gervais after the underrated GHOST TOWN. I just didn’t get it.
DEVILS AT THE DOORSTEP — **** (Thanks, Allan!) Not much to say here that Allan didn’t say so well already. A great find for sure.
David, looks like another week where you and I are in the same room. I completely agree with your ratings and commentary on PLEASE GIVE, and i can’t wait to see this film a second time. Yes, Allan was the one who cut DEVILS loose, and it remains one of his finest recommendations, as you, Troy Olson and myself can attest to. I went the full distance rating-wise on SUMMER HOURS, but we’re esentailly in agreement on its virtues. It’s really a beautiful and deeply-affecting film. LYING is indeed a throwaway, which I originally saw in the theatre, sadly.
That Halliday perfect game was of course reason to celebrate, (especially after that bad series with the Mets) but even though they are down 0-2, I wouldn’t count out the Flyers (who came back from 0-3 to the Bruins). They’ve been the comeback kids all year long. And once holding season tickets to the Islanders, I know upfront what it means to play em ‘one at a time.’ Good Luck to Philly!
Thanks as always David for the great round-up!
Allo! Allo! Sam Juliano, Allan, and WitD readers,
My Lead-in: Sam, once again some very interesting films that you watched this week on your weekly quest to let your readers, know what films that you experienced at the theatre and on stage.
You have watched…on Stage…The Band Part Boys, God of Carnage, and South Pacific…By the way, what a nice gesture on your behalf toward your father.(père)
Sam Juliano said, “Lucille and I managed a hectic week on the theatre and film front, and as always I really must question my sanity to this end, though on a number of these ventures we did spend quality time with the kids.”
By the way, Sam Juliano, that is always a good thing to do too…spend quality time with your family.
Now, on the Theatre front:
Sam, I guess like Langs’ “Metropolis,” …Godard’s Breathless (A Bout de Souffe…) don’t need to be rated…
Now when it comes to the films that you watched…It appears as if the film(s) Holy Rollers and The Prince of Persia were the weakest in the bunch it appears as if Father of My Children, Micmacs, and Mademoiselle Chambon the strongest of the films that you watched over this Memorial Day weekend.
…Sam, Here is what happened on my “front”…
Films on the shelf: Act of Violence while grabbing screenshots…
…I must admit that I have been to busy to watch films…because I have been assisting two friends promoting… I’am assisting an artist as he promote his very “beautiful” artwork exhibition.
Because he is way too busy painting, but most importantly, that is his livelihood. (Just like Creativepotager, He also live in Canada…a lot of talented artist(s) there …I guess!)
I’am also assisting another friend with his message board, and like you mentioned in your opening of Monday (Oops! I mean Tuesday Morning Diary this is going to be a “short” week.)
I’am prepare to roll out the red carpet for Tony, (as I prepare to interview him about Filmsnoir.net and “wrap-up” our countdown of 31 films that he consider the most influential films noirs…) as I also try to “wrap” up some personal matters, but before I do let me announce that Micheal, from over there at Coffee Messiah, entered and won both copies of the books that were offered in my film noir contest.
Robert Coover’s A Noir Novel and Silver, Ward, and Ursini’s Film Noir: The Encyclopedia. (Congratulation! Micheal…)
Books on the shelf:… author Dennis Lehane’s Shutter Island still lead on my “online” bookshelf (Is the bookshelf on my blog)…no additional books added to my “physical” shelf (The bookshelf in my parents’ home) yet…with “yet” being the operative word.
Music on the shelf:… Nope…not yet…with “yet” being the operative word.
Food … Hmmm…a very light touch…as usual.
Sports… No Comment…
Politics…No Comment…
I guess that about wrap up my week in review for this week.
By the way, Sam Juliano thanks, for mentioning the happenings and taking part of the “happenings” over there on my blog…as usual.
DeeDee 😉 🙂
Deedee, Sam’s idea of quality time with his family is dragging them along like security blankets to watch arthouse movies.
Aye Dee Dee, I thought it would be a very good idea taking my father (and his ladyfriend) to see SOUTH PACIFIC, with Lucille and Melanie in tow. Fact is my father will turn 80 in September, and he no longer has the legs and energy to walk several city blocks (from where we parked to Lincoln Center) and his hearing -even with the aid- isn’t all that good. So as it turned out the three females had a far more enjoyable time, though my father of course was thankful we were thinking of him. In any case, I dare say I may have a third visit under my radar before the run ends in August! It’s a sickness, I know.
As far as the ‘quality time with my family’ thing, I say it is what it is, despite Allan’s admittedly hysterical comment under here. I do sometimes drag my kids along with me to Manhattan, so I don’t feel as gulity, and because I genuinely love being with them (Danny, the 11 year old is the most agreeable, I must say). But subtitled films are not very interesting for kids, irregardless of the cultural exposure! Ha! Thanks so much for your kind words in this regard of course.
Aye Dee Dee, on the ratings for BREATHLESS and METROPOLIS, two bonafide screen classics that are not subject to my rather arbitrary rating system! They are obviously though, five-star films. generally I only assess the stars to new releases, and leave the classic catalogue without any stars. And yes, the French films were the week’s biggest winners, while GOD OF CARNAGE (and of course SOUTH PACIFIC) were the theatrical hits. I will be seeing another critically-praised “musical” tomorrow night titled BLOODY BLOODY ANDREW JACKSON at the Public Theatre. It’s an off-Broadway show, but that didn’t stop the New York Times’s head theatre critic Ben Brantley from calling it “the best new show of the season.” This is high praise indeed. But we will see. It IS about our distinguished seventh President, though.
You will get to the films you have lined up soon enough, but I am hardly surprised that you are lending your assistance to friends, as that is your usual kindness extending in all directions. So another artist like Creativepotager, eh? I’d love to see this work at some point.
I’ll add my congratulation too to Michael (Coffee Messiah) for winning the Coover volume! And I’ll be watching for the sizzling roundup with Tony d’Ambra in that seminal noir series at your place.
Your presence here always brings a big smile to my face, my dear friend.
Hey Sam. Not terribly surprised by your respective scores for Micmacs & Father of My Children. Be interested in your detailed thoughts on the latter. I felt that it was a bold and promising work from a young filmmaker and that Louis-Do de Lencquesaing is particularly charismatic in the lead role. As you know, the plot takes a big chance around the halfway mark, but better that than the turgid predictability that I had been wondering it might slip into being! I also love the husky Dominique Frot in her supporting role here!
Had not even heard of “Mademoiselle Chambon” yet! Will avoid further comment if you are to write about it (please, no spoilers!!)
I only saw one film again this week (positive desert at the moment), as I was in Barcelona for the weekend (more on this chez Fool). However, there is now a growing treasure trove of films to get stuck into, including films from Herr Herzog (at last, it is here!), Michael Winterbottom (you wait ages for a bus and two arrive at once!), and, a favourite of mine, Eli Suleiman (in his last film, the bus never came at all)!
Anyway, that is enough mangling of metaphors for one day. Ta for the click-here!
Hey Longman!
I’ll remember what you say about “spoilers” when a pen I modest review of MADEMOISELLE CHABRON tonight that will post at WitD in the morning. I must say that is unusual that we would have a French film here in the states before it makes it’s European rounds. I can’t say for sure how this one will wash over you, but I’d predict you will go for it.
Yes, Monsieur Lencquesaing was marvelous in that lead, managing to visibly suppress the volcanic emotions that culminated in that shocking plot turn you speak of. I do agree it was far more artistically sound than the usual cliches we’d expect here. A resurrection of the film company too would have been a typical saccharine addition to the plot. Ms. Frot was impressive too for sure!
And what were you doing in Barcelona? Well at one point I do know you were on your laptop reading through a contentious thread here at WitD!!!! Ha! Hopefully your itinerary included far more rewarding endeavors, though we are flattered. I will be looking in at “Fool” to read more of the trip and about that distinguished directorial brood!
Thanks as always my very good friend!
By the way, Sam Juliano, when I mentioned that I would be glad to “hoist” a few drinks with Absolutely* Kate I meant… Ginger Ale, Root Beer, Coke Cola or any other non-alcoholic beverage.
Because I’am most definitely, a teetotaler.
DeeDee 😉 🙂
LOL Dee Dee!!!! I would never think otherwise! Like you, I never drink liquor.
At the risk of repeating myself, who needs a press agent, when you have Sam 🙂
Interesting Sam that you didn’t care for Secret in their Eyes, which opened here last weekend to rave reviews, and looks like having a long run on not only art-house screens. Mademoiselle Chambon opens here June 10. I hope to see both soon.
Hey Tony! Considering the quality of your work as of late, I think I am in for some stiff competition!!!
SECRET did well here stateside with the critics, though the general response did fall a bit short of unqualified raves. Still, it’s clear that most adored it, so I’d be most curious to know where you stand, especially with your discerning pallette!
Many thanks as always Tony!
A wonderful film and a splendid piece of writing. I’ll be back here,soon.
Thanks so much for stopping by Paul. I enjoyed that wonderful interview at Dee Dee’s place immensely!
Thanks for the nod. BTW, we had heat, torrential rain and some mighty thunderstorms all weekend. It’s all good though. Although, we are over 1/2 way in our yearly total already, with more t-storms later in the week.
The “overheard conversation” leaving Breathless reminded me of this: When we had our coffeehouse, a local theater “Honeywell Center” had a stage version of Porgy And Bess. Within a few minutes of the actors coming on stage, a slew of older people got up and left. I had never seen such a thing. Of course, remembering how “white” it is in this area ; (
Will have to revisit Breathless, as it’s been a long while since I’ve seen it.
I’m not too surprised about the action films, but look forward to seeing at some time Micmacs and Mademoiselle Chambon.
Cheers!
Hey Michael!
It appears that we are guaranteed to attract those thunderstorms you have been having here in the East later today, but essentially it’s been hot and muggy. Still, this was precisely what New Jerseyans wanted as they treked down the Parkway to all the shore points. (Lucille and I and the brood have a modest five day trip to Wildwood -in Cape May County- planned and already negotiated for late August).
That reaction to PORGY AND BESS there is somewhat disturbing, but not at all surprising. I always like hearing how other people react to films, plays or concerts that I am attending, though I’ll admit sometimes it turns out to be a position I don’t agree with one way or the others. Thanks for bringing that into the discussion as a parallel example. The “Honeywell Center” does seem like a great local venue for some of the classic though!
I’ll definitely keep you abreast on the DVD appearances of MIMACS and MADEMOISELLE CHAMBON!
Will talk soon, my friend! Thank you as always!
Thanks again for the shout out Sam. You had quite a remarkable week there. In the theater I got around to seeing Robin Hood – Ridley Scott (***1/2) – Richard Lester gave us a tired and older Robin Hood back in 1976, now we have Ridley Scott giving us Robin Hood, The Early Years with his on screen muse Russell Crowe. It’s not as bad as some critics have complained but it is not going to let anyone forget Errol Flynn or Mel Brook’s version for that matter. The battle scenes are exciting and well done but the film feels bloated and could have been trimmed down.
At home I watched the following…
What Did You Do In The War, Daddy? – Blake Edwards (**1/2) Starts off on some high notes but peters out into an overly farcical mess, some nice touches here and there. Edwards should have had the guts to make this a dark black comedy like Dr. Strangelove or Catch-22.
Le Doulos – Jean Pierre Melville (****1/2) The French have always loved the American gangster film and one of their biggest proponents was Jean Pierre Melville. Brilliantly photographed and filled shadowy light and other noirish qualities.
The Fugitive Kind – Sidney Lumet (****) recently released on DVD by Criterion this little seen film is a revelation. A full review coming up at 24frames.
Four Days in November – Mel Stuart (****) a powerfully strong documentary released in movie theaters one year after JFK’s death. Director Mel Stuart and his team compiled a fantastic and fascinating amount of actual footage to recreate (there are a few minor scenes that were recreated with the actual people) those four historic days. Many of the scenes are burned into my memory (I was in high school at the time). The flag draped coffin, the rider less horse, Mrs. Kennedy, Caroline and John, the crowds viewing at the Capital. It was all so sadly vivid.
Dangerous Blondes – Leigh Jason – (**1/2) – The intriguing title makes it sound like a lost film noir, however this Columbia programmer comes from the Thin Man school of husband-wife amateur detectives, only less the sophistication, wit and class of the William Powell/Myrna Loy starring series. A poor man’s substitute.
Lookin’ To Get Out – Hal Ashby (**1/2) – The version I watched, according to the DVD box, was an extended version based on notes from Ashby. I never saw the original released version so I cannot compare but this version does not seem to have improved the film. Jon Voight’s character is pretty annoying grating on your nerves after a while. Ann-Margret is wasted, a backdrop compared to the men’s roles but she looks good and I gave the film an extra half of a star just for her. Not much else to recommend here.
Continuing to read “Bloody Sam: The Life and Films of Sam Peckinpah by Marshall Fine. He was a difficult character to say the least. Hated producers. Liked to push people to the edge even the big stars like Holden and Robert Ryan. Only after they threatened him with physical violence did he back down. That said when making film he’d remember the smallest details and had the film completely in his head.
“It’s not as bad as some critics have complained but it is not going to let anyone forget Errol Flynn or Mel Brook’s version for that matter. The battle scenes are exciting and well done but the film feels bloated and could have been trimmed down.”
Aye John. I agree with every single point you make here. Very well said and reasoned!
Again you’ve led the charge with some glorious indulgence, and there are several here I also value highly. The JFK documentary is quite excellent and (of course) disturbing, and your vivid retelling of it’s narrative arc is superb. Allan is no fan of THE FUGITIVE KIND, but I am with you on the 4/5. (or at least 3 and a half). As far as Melville’s LE DOULOS, well that’s a great one. Our friend Donophon (The Long Voyage Home) recently reviewed it at his place as part of his Melville series. But i know you have long championed this. I have never seen DANGEROUS BLONDES I’m afraid, but the ratings on both the Blake Edwards and Ashby are right as neither is impressive. With Ashby of course this is the exception rather than the rule.
The Peckinpah volume does sound great. And yeah, this is precisely how I’d envision this uncompromising fellow. Only the threat of violence could stop him. Now how ironic is that?
Spectacular wrap my very good friend. Awesome.
Sam, thanks so much for the great words.
I love hearing about your experience of watching BREATHLESS. It’s one of these “classics” that will probably always find just as many supporters as it does detractors. Like you, I, of course, am among the former.
I will keep MADEMOISELLE CHAMBON clearly on my radar. This week, I saw GOLD DIGGERS OF 1933, THE BLACK CAT, I AM A FUGITIVE FROM A CHAIN GANG, and AU REVOIR LES ENFANTS. Once again, I enjoyed them all, very much. But probably, the Malle film, of all of them, affected me the most. Just that look on Jean and Julien’s face in the final moments.
Here’s to an excellent week. Thanks, Sam, for all that you do.
Jeffrey: My original comment to you here got eaten, and I didn’t save it! Ah well, it happens to all of us.
Your selection of Louie Malle’s greatest film (ATLANTIC CITY, LACOMBE LUCIEN, MURMUR OF THE HEART and the two early gems push close) as the best of this week’s viewing is wonderful news, but I need not evaluate “your” taste Sir, as that has been well established! That final scene is indeed unforgettable and tear-inducing. I feel like watching it right now, but Allan would sue me for “wasted” time, when I have unseen films in my possession! Ha! I do love GOLD DIGGERS, THE BLACK CAT and CHAIN GANG, so in my view you had a fantastic selection this week.
I know some people find BREATHLESS tedious or narratively static, but we both know it’s all about style, and the film (with Truffaut’s LES QUATRE CENTS COUP) is the most emblematic of the New Wave movement. After you see it a few times, it becomes somewhat of an endless fascination, even being riveted by Belmondo’s fingering his lips. That final scene in the street with the dolly is extraordinary.
Thanks for your incomparable kind words of appreciation, and best luck this week with your latest efforts towards making PERIL a cinematic reality, my good friend.
Thanks very much for the kind mention, Sam. Interested to hear your comments on ‘MicMacs’ as I’m possibly going to see it later this week when it will be getting a showing at my local reopened arthouse cinema. On Friday I saw ‘Glorious 39’ there, Stephen Poliakoff’s latest – this costume drama has a great cast, headed by Romola Garai and Bill Nighy, with smaller roles for David Tennant, Julie Christie and Hugh Bonneville, but I must say I thought it was a really bad film, with a thriller/horror plot which becomes more ludicrous by the minute! Tennant and Bonneville are lucky that they aren’t in it for very long and both get a few good scenes.
On a happier note, last night my family saw a stage performance of the musical ‘Beauty and the Beast’, based on the Disney film, which we all enjoyed.
I’m also currently reading Foster Hirsch’s book on film noir, ‘The Dark Side of the Screen’, and, to tie in with that, have just watched ‘Scarlet Street’ and ‘ Double Indemnity’, both great films I’d never got round to until now – I’ll be catching up with more noirs in the next couple of weeks as I carry on with the book. I’m going to put up a posting at my blog this week on the artist whose work is featured in ‘Scarlet Street’, John Decker – have just been finding a few of his paintings on the web, though sadly I haven’t found the originals of the paintings in the film. I really want to know what they look like in colour!
Judy: That Poliakoff does sound like something to see! As you know, Allan and I are huge fans of SHOOTING THE PAST (as you are). I will definitely see what the critical reaction looks like, and I’d love to hear how it sits with you. Nighly, Tenant, Christie, Garai, Bonneville? Wow!
Judy, was that performance seen on the West End? (BEAUTY AND THE BEAST) If so, it is the same long-running production that ran here on Broadway, but did finally close. (THE LION KING and MARY POPPINS are still going) Ah, that score by Allan Menken and Howard Ashman is magnificent (and often operatic) and I am with you for sure.
Judy, the noir fans at this blog will be thrilled to hear of your upcoming plans with John Decker, not to even mention Forster Hirsch. Hirsch appeared at the Jersey City Lowes Movie Palace last year for a screening of Dassin’s NIGHT AND THE CITY for a post-film discussion. Lucille and I were lucky to be in attendance to hear his outstanding insights into the film and of noir in general. I do also have that book, courtesy of Dee Dee.
Things are really rolling at Movie Classics. Thanks as always my very good friend.
Sam, the cast for Poliakoff’s ‘Glorious 39’ is great but I’m afraid I thought it was a dreadful film – I did post a short review at my costume dramas blog but didn’t go into a lot of detail as I don’t even have time to write about all the films I like, let alone those I don’t!
‘Beauty and the Beast’ was a local production in my home town, Ipswich, but I believe it was based on the West End production which in turn was based on the Broadway one!
It must have been great to hear Hirsch – I don’t know very much about noir but am learning a lot from his book. Again thanks very much, Sam.
Sam-
Good morning! I was happy to see that you and Lucilled enjoyed “God of Carnage” and that the production continues to entertain. I am looking forward to seeing “Breathless” somewhere here on a big screen – I’ve never seen it, and I’ve long wanted to getto this Godard’s other major films.
I blush to tell you that the only new film I saw this weekend was “Sex and the City 2,” and I’ll join every other critic in the fervent hope that this one will kill off the franchise for good. I was actually quite a fan of the TV series – on HBO; the savage wit of of the original is nowhere to be found in the snipped and sanitized TBS reruns. Sadly, the film spinoffs seem to have been made for the show’s TBS fans, and Michael Patrick King seems to have suffered some kind of amnesia as to what made his characters interesting and funny in the first place. “SATC2” isn’t just dopey – it’s tasteless and offensive on a whole new scale as compared to the series and first movie.
Memorial Day here was rainy and gray, so my boyfriend and I had a little rainy day movie marathon, which inclued “Where the Wild Things Are,” “I’ve Loved You So Long,” and “Picnic at Hanging Rock” – all first-time views for me, believe it or not. There were other films, too, but those were the highlights.
I’m off on a business trip today, but preparing to relaunch “Doodad Kind of Town” upon my return. One of my first posts – Was the original Saturday Night Live cast really as great as we think? I’m working my way through a boxed set of SNL’s second season (1976-77), and a bit surprised by some of my reactions.
It’s always a special treat to have you here Pat, and that is fantastic news about the imminent re-launching of “Doodad Kind of Town” a place I do sorely miss visiting. I definitely will be keeping that link under my radar. I’m assuming then, that you will have SNL Season two as your first post. Great stuff.
Sorry about the weather being lousy on Memorial Day, but you did wind up seeing some great films (PICNIC AT HANGING ROCK especially, but I’VE LOVED YOU SO LONG has a great performance at its center for sure). I know I have been too harsh on WHERE THE WILD THINGS ARE (I’ve been reminded of this more than once in this house. Ha!) but perhaps I can’t psychologically separate it from the great Caldecott Medal winner I’ve always loved. But the music, the young actor and the cinematography were excellent, even if the screenplay was the major problem. But you may have a different position.
I hope this print of BREATHLESS makes its rounds, and that you will get a chance at it. I have my fingers crossed. And METROPOLIS as well, for that matter.
My friend Broadway Bob liked SEX IN THE CITY 2, but I have not heard another positive reaction from anyone on the planet, and your judgement has particular resonance since you did like the original show. R.I.P., indeed!
Finally, you had it called just right on GOD OF CARNAGE. That final 40 minutes or so had us in stitches! Blistering satire for sure!
Thanks so much again my very good friend!
Tell us what you REALLY think about “The Band Part Boys” Sam. hehe. It seems that the majority of the commentary on the post is on that French film “Mademoiselle Chambon”. I strongly suspect it will find it’s way to the Claridge, so I will get a chance at it. Looks like French cinema in general has a good streak going with three winners in the theatres right now. (in varying degrees)
I know how much you love “South Pacific” and think that was a great idea to treat your father and his lady friend. Hoe everybody enjoyed it.
I watched “The Prince of Persia” on Saturday night and liked it more than “Clash of the Titans”. It was campy fun. But your rating hit the mark.
I was appalled to learn about that Israeli raid. What a foreign relations blunder.
I was surprised to find out that a respectable veteran, Mike Newell directed ‘Prince of Persia.’ It doesn’t seem to be making it at the box office either.
That Israeli raid will surely have serious repercussions Frank. I shudder to think what may now happen. I understand however, where they are coming from, but I can’t say the end result was acceptable. Seems like many nations are distancing themselves now.
Yeah, PERSIA is a harmless popcorn film if you go in with low expectations, as most will do anyway. I think I preferred CLASH OF THE TITANS a bit more because of that Medusa set piece. But they are comparable.
That’s a fine observation you make there about the French cinema streak. When you factor in Audiard’s UN PROPHETE, which came out earlier this year, and the more recent BLUEBEARD and WELCOME, well you have a banner year for Francophiles.
THE BAND PART BOYS was my friend Broadway Bob’s suggestion, but I am not blaming him as you lose some and you win some! Ha!
I’ll keep you informed as to when MADEMOISELLE CHAMBON lands over here.
Thanks as always my friend!
Joe: Newell is indeed a respectable helmer. I think my personal favorite of all his films is the charming and sensory ENCHANTED APRIL(1992). Does anyone on this thread know or remember this film? I also rather like DONNIE BRASCO and INTO THE WEST, though I am no fan of FOUR WEDDINGS AND A FUNERAL. His Harry Potter film was fair enough, methinks.
Thanks for the shout-out, Sam! I was curious to know if you had a chance to see PRINCE OF PERSIA and your capsule review basically confirmed what I had already suspected about this film. From all the trailers I’ve watched I’m still not convinced that Jake Gyllenhaal can pass as a convincing buffed-up action hero!
Hey J.D.! Gyllenthal was OK, but I am sure he won’t be underlining this film, when he submits his resume. I’m sure he’ll stick with BROKEBACK MOUNTAIN and DONNIE DARKO! Ha! As I stated above I think I liked CLASH OF THE TITANS more than this, though neither film will be challenging CITIZEN KANE for cinematic pre-eminence. If you get a chance see what you think.
Thanks as always my friend!
You have me really excited to see Mademoiselle Chambon. I have a taste for those quiet, contemplative French films. I am not so sure of Mimacs, as thus far Monsieur Jeunet hasn’t flated my boat.
As you know I loved God of Carnage, especially the last half hour or so.
The New York Post had a great headline over their review of Sex and the City 2 —-Sucks in the City!
Fred: I saw that New York Post headline! They never pull any punches, though my general opinion of that “tabloid” is that it’s a right wing rag. Still, I will listen to my friend Pat, who also didn’t care much for it (and she’s a fan of the TV show!) Hope to speak to you soon on GOD OF CARNAGE, and know well how much you loved it. Jeunet is somewhat of an acquired taste I’m afraid. Some never negotiate that flavour though!
Thanks for the great wrap my friend!
Thanks again for the plug, Sam. I’ve been very lazy about writing this week; just needed a break, which I took from everything with a 5-day holiday weekend, though I’m ready to write up an oldie I saw on Saturday night at our revival house, Brute Force (1947). Before the film, they showed an episode of a serial I’d never heard of, The Mysterious Dr. Satan. It was hugely fun.
We have a couple of theatre outings planned this week: Baal and Neverwhere. I introduced the hubby to a couple of fun films, Valley Girl and The Wonderful Ice Cream Suit, and we saw a short that might interest you: Aloha New York, about surfing at Rockaway Beach.
Hey Marilyn!
I am frankly amazed that you and Rod maintain that pace, especially with the quality being of the very first-rank. And the reviews aren’t capsules either! They are long, analytical pieces. So a brief respite is the very least you need for a re-charge!
I am absolutely THRILLED to hear that you are reviewing BRUTE FORCE!!! This is precisely what the doctor ordered for me, as I just rewatched it two months ago during Dave’s noir countdown. It’s not my absolute favorite Dassin (that would be NIGHT AND THE CITY) but it’s up there, and I’d love to hear your always insightful take. The veering off into noir is great news too.
I don’t know “The Mysterious Dr. Satan” but it seems like you caught an unexpected break there! ALOHA NEW YORK does indeed appeal to me as I have been at that beach once before. I do believe we did have a fairly decent documentary on surfing a few years ago, as I remember Dan Getahun’s largely favorable review.
As to the others I plead the fifth, but look forward to your enlightenments!
Thanks as always Marilyn for the splendid wrap!
I figured you wouldn’t be anywhere near the theatres showing ‘Sex and the City 2’. I didn’t mind the tv show, but I think they’ve run out of ideas. What led you to believe that ‘The Band Part Boys’ would even have a chance?
Joe, as I explained above, THE BAND PART BOYS was “suggested” by Bob, who gets roughly 50% of the calls on what we see or experience. He has his own “tastes” which inform our own itineraries, and his is informed by ours. Still, I’ll admit that “blugrass” is not generally a favorite type of music for me.
Thank You, Sir!
Are you happy with the Yanks this week?
Saw KICK ASS over the week and, despite a few flaws, thought it one of the better “over-the-top” comedies in a few seasons. The premise was fresh, the actors superbly geeky, and the high-octane action sequences thrilling and laugh-out-loud hysterical. Highly recommended. Finished my “listening countdown of the 50 greatest albums of all time, according to ROLLING STONE magazine. Among the greats works by Dylan, The Stones, The Beatles, etc. I’ll draw everyone’s attention to two albums not always associated, quickly, with a list like this: DUSTY IN MEMPHIS proved Dusty Springfield as a major voice in 60’s R+B. Van Morrison’s ASTRAL WEEKS (in a first listening for me) could be the greatest “under-appreciated album in Rock/Pop history. WEEKS so blew me away I played it 3 times over.
Going through the Rolling Stone top 50 is a fun idea, do you have any plans on going further? Like 51-100, then on etc. In the 51-100 range you’ll get many underrated classics/surprises (Captain Beefheart’s ‘Trout Mask Replica’ at 58, Gn’R’s ‘Appetite for Destruction’ at 61, Phil Spector’s great compilation box ‘Back to Mono’ at 64, The Clash ‘The Clash’ at 71, The Zombies ‘Odessey and Oracle’ at 80, and Elvis Costello ‘This Year’s Model’ at 98) so it may be a fun, worthwhile experience. I say this as no big fan of the un-objectivity I find in Rolling Stone’s list(s) of this sort… you may also want to check out Pitchfork’s lists that are decade by decade, they seem to seek out stuff that is truer in terms of artistry and influence.
I agree with Longman below (my favorite from that era is ‘Tupelo Honey’ but I also like ‘Astral Weeks’ quite a bit–in rock circles those are not underrated by any means!)
Jamie, didn’t Captain Beefheart collaborate with Frank Zappa at some point? I may actually have a CD or two around here. But all three of those Van Morrison albums, broached by you, Dennis and Longman are great for sure in my view as well.
Yes, Captain Beefheart (aka Don Van Vliet) collaborated with Frank Zappa quite a bit, in fact Zappa helped/came up with the ‘Captain Beefheart moniker/persona for Van Vliet.
‘Trout Mask Replica’ is probably my favorite of his (though I like several others too), and should anyone try that one being unaware of it be advised it takes 3-4 listens before you realize how good it is. After one listen the thought is usually: “What the hell is this?” or “This is crap!”.
Don Van Vliet was/is a fantastic painter too, painting several of his album covers, the cover for ‘Doc at the Radar Station’ is both a fantastic painting, and one of my favorite albums covers bar none to ever exist.
What a great comment there Jamie! Your knowledge there is amazing, and passion palpable. TROUT MASK REPLICA is the CD I own, in fact. I haven’t listened to though in many years.
Oh, and by the way, SAM: 530pm pick up will be fine…
Dennis, no prizes for guessing which side of the Atlantic that you live on with that Van Morrison remark!
Anyway, if you continue to like “Astral Weeks”, then you need to also check out “Moondance”, which was written around a year after “Weeks” was released. If that goes well, then try “Tupelo Honey”. After that you are a fan and can experiment further for yourself!
MOONDANCE indeed Longman!!! That’s my own favorite Van Morrison album, though it’s true that ASTRAL WEEKS is enormously popular stateside.
My vote goes to Astral Weeks.
I will be there at the annointed place!
Thanks Sam for the mention. And wow, you had some weekend… 6 movies & 3 plays – man, that was awesome!!! I’d like to replicate that feat someday 🙂
Here’s what I watched in the meantime:
1) Rushmore
2) The Ice Storm
3) Dark Alibi – Well, TCM has sent me through courier a Charlie Chan dvd boxset containing 4 films, in order to review them at my blog. Managed watching the 1st of the lot, hoping to get done with the others asap.
4) 24 Season 8.
Anyway, had my last day at workplace today. Had a lunch at an restaurant with some of my close colleagues before I drove back home. So I’m a free bird (read: jobless, or ‘bekaar’ as we say in colloquial Bengali) for the month of July, before I head for the hills – no, not to be a hermit, rather to be at the institute that I’ll be joining.
And hoping to watch a lot of movies in the meantime, not least of all being the entire Berlin Alexanderplatz series, among others. I have a list of must-watch actually… lets see how much of that I can cover 😀
Shubhajit: Replication of that feat will gain you immediate entrance to a mental institution, where I will soon be taking up residence in no uncertain terms. If Lucille wasn’t my wife I’d be petitioned to divorce court.
Ha!!!! Truthfully, it is far better to see less and spend time pondering, as it’s too much volume to properly assess. But it does seem like a lot is going on at this time.
RUSHMORE is one of Wes Anderson’s best films, certainly in a league with THE ROYAL TENENBAUMS and FANTASTIC MR. FOX. Are you a fan of DARJEELING EXPRESS, Shubhajit? BOTTLE ROCKET is quite popular too, but I have never been a big fan of Anderson, though some friends give me hell over it.
Ang Lee’s THE ICE STORM is one of the director’s greatest (and most emotionally moving) films. It uses weather and atmosphere to great effect and the period detail is perfection. Wood, Maguire, Ricci and Joan Allen (and Kevin Kline) give compelling performances in this study of suburban angst, moral disintegration and familial dysfuction. The Criterion DVD is a must-own.
I can’t say I’m a big fan of DARK ALIBI, but I’ll wait for your assessment of the entire set. As far as the eighth season of 24, I never made it that far, but not because I didn’t like it, but rather that other persuits came up. i will look forward to your series round-up.
Thanks so much, my friend.
And Best Wishes to you Shubhajit at the institute! I’m sure your final day was rather bittersweet. BERLIN ALEXANDERPLATZ will be a major event that I’m sure you won’t ever forget!
JAMIE-I went through the TOP 50 of ROLLING STONE’s list because those titles were readily accessible to me (albeit I did have to buy ASTRAL WEEKS because I did not have it and, surprizingly, had NEVER heard it). I Van Morrison’s other work and MOONDANCE WAS my favourite… UNTIL LAST NIGHT!!!!! I’m sorry, I have to agree with Morrison, himself, on this one. Compairing MOONDANCE and his other albums to ASTRAL WEEKS, in my opinion, is like compairing Elvis’s recording of JAILHOUSE ROCK to Beethoven’s 9th Symphony. I truly feel, after now listening to WEEKS over 10 times since the purchase (plus revisiting MOONDANCE, TUPELO HONEY and a collection of his greatest hits) that WEEKS is now my preferred favorite. As for the rest of the 500? Perhaps. I’ll really have to look into finding the records (perhaps in 10 cd intervals) before I can really buck up and go through them. By the way, DUSTY IN MEMPHIS (particularly SON OF A PREACHER MAN) is a glorious listening experience-dont overlook it!
Oh I don’t overlook the Dusty, it’s fantastic. Girl pop music of the 60’s is really a personal favorite of mine. My favorite? Sandie Shaw. She has a ‘Collection’ best of that is OUT OF THIS WORLD.
Someday, somewhere a film of mine will feature her ‘Girl Don’t Come’ as the centerpiece for a pivotal moment. She’s fantastic.
Then I’d say the Crystals right after that.
Sam, you continue to amaze me with all the things you see all week long. But anybody who reads this thread will see that you are not alone. I always marvel at what John Greco and Judy are able to do, but obviously there are about a half-dozen others who are tireless.
Sue and I spent the weekend in Seaside Heights, but the beach was mobbed. Everybody had the same idea. We strolled on the boardwalk at night, and ate at an excellent seafood place inland.
Sooner or later Peter, I will need to slow down for all sorts of reasons, not the least of which is the exorbitant expense I am facing. I have college educations around the corner to fund, so what I am doing is actually irresponsible, no what what passion is involved. But I thank you as always.
Yes, John Greco and Judy Geater are troupers week in and week out, and they are great people too! There are a number of others here (Troy, Marilyn, Rod, Shubhajit, Dave, JAFB, Coffee Messiah, Longman Oz, Samuel Wilson, Joe, Dee Dee, Jamie, David S., Tony, Movie Man, Bob Clark, J.D., Jim Clark, Marc, Frank Gallo, Fred, Film Dr., Kevin, Ed, Pat, and others – not to even mention Allan) who seem to have their plate full each and every week.
Hope you had a great time, and let me know the name of that seafood place, my good man!
JAMIE-(ALSO)… I read your commentary under ANTICHRIST and I HAVEN’T forgotten the question on IS IT/ISNT IT Horror? Looking forward to seeing your listings and where you and the “boys” will annoint positions to certain films. My tastes in the gebre DO smear in many different directions. I have favourites that I personally feel should never be discounted (Kubricks THE SHINING is just one of, say, a dozen I’ll defend as a masterpiece till the end of my life). As for HENRY: PORTRAIT OF A SERIAL KILLER… I get my balls consistantly broken about this film, that I’m too enthusiastic about a film that I’m so disturbed by I don’t like rewatching it. However, with repulsive art, I think the greatest compliment to it is that it worked so well I DON’T WANNA LOOK AT IT! LOL! You get my drift? Anyway… Interested to see what titles I’ve yet to see that I can cull from the up-coming count.
Dennis if you like ‘HENRY’ that much you will be happy at what we have in store (I assume there will be a ‘if you like HENRY you’ll like these’ serial killer round-up).
I’ve always offered friends a ‘Chicago walking tour’ of Henry’s destinations, it’s such a Chicago film!
Aye, Jamie, that city is written all over the film. But unlike Dennis, I can’t watch it again. Too disturbing. Actually Dennis admitted to me tonight that he has no plans to re-watch it either! Ha!
I just – and I mean just as in five minutes ago – finished watching M for the first time in years. Silly to even bother saying this, but what a great movie! Not a perfect one either – I find the first third or so (not including the initial murder, which is chilling) drags, when we don’t have a character to focus on and the technical limitations are fairly pronounced. But as the chase narrows and of course they finally catch him and give him his day in “court” the movie is riveting.
Though the movie is usually held up as a condemnation of vigilante justice and an upholding of the rule of law, I think it plays more ambiguously than that. No one character or institution is presented in the same light consistently throughout the film. Yes, Lorre gets his frenetic speech at the end, painting himself convincingly as a victim of compulsion. But earlier in the film, when preparing for his crimes, when making faces in the mirror, when writing his vainglorious letter, he hardly seems like someone wracked by guilt. No doubt the shame and obsession are always there, but is he really and purely a victim of these or someone who relishes his role and then retreats behind excuses when pinned to the wall?
Likewise, the “rule of law” is shown as alternately bungling, corrupt, and invasive long before it’s seen as a liberal, humanist reprieve from mob rule (which only occurs in the final minutes). Most notoriously, Lang cuts between the criminals and the police repeatedly, long after he’s made his point, as if to say “I’m not trying to be ironic here, this juxtaposition is perfectly logical and more economical than showing the two groups one after another” (on the other hand, it would be nice if the echos between the two, at least in this sequence were less incidental – if we’re supposed to identify the law and the outlaws with one another, we should be doing so on the basis of more than fat men sitting around a table smoking cigars and talking about catching a criminal; Lang creates correspondences better, perhaps, when he’s not being so obvious).
As for the criminals, yes in the end they seem to be Gestapo surrogates but prior to this Lang shows them a kind of awed respect, appreciating their efficiency and canniness while the pompous police fall flat on their face. As always in a Lang film, there are certain similarities between the sensibilities and methods of the villains in the story and the man behind the camera, with his iron control and tendency to treat people like objects.
This is only to discuss the film’s themes, of course and not its rich, crackling employment of limited (and thus all the more powerfully tangible) visual fluidity and creative use of sound. I quite enjoyed re-watching this one. In a sense, it’s geometrical not only in the design of its images but its narrative qualities too (as I’m sure others have noted) – Lang allows us to “see”(feel) characters, institutions, events, and ideas from numerous emotional angles.
I’m not sure the film properly resolves the moral implications of this mental Cubism in its final minutes (the “message” to “watch your children” seems a bit of a cop-out in this regard) but how could it? Anyway, I’d rather have a work which contradicts itself and trails off yet is rich and compelling than one which ties an empty package with a neat little bow.
The intercutting between the cops & criminals, a pattern which sustains throughout much of the movie, isn’t really there as a means of commentary, I believe, or even any kind of editorial economy. Instead, it’s really just a basic kind of dramatic pacing mechanism. Lang often thought of his stories in terms of a game played by two opposing sides, each taking turns in their attempts to win. Here, the game is basically a race– who will catch Peter Lorre first, the ruthlessly efficient Cracker and his criminals, or the comically exasperated Inspector Lohman and the forces of the law? It’s possibly the clearest expression of Lang’s gagenspiel obsession, aside from the Mabuse films, and it is a great way to express his story with a large degree of objective detachment.
Well Joel, this is an utterly brilliant consideration of Lang’s masterpiece and the film that I consider to be the greatest German film ever made. As always you leave only crumbs for the rest of us, though I’ll add that the use of symbols (ie. the balloon, the blade of a pocket knife) the superlative use of buildings, and the including of the whistling song from grieg’s PETER GYNT and the influence of Brecht and THE THREE PENNY OPERA add to the film’s astonishing artistry. And few films in cinema (apart from some gens from Rene Clair and Bresson) have used sound to better effect, and have showcased such realistic stylized sets, in a distinct expressionistic mode.
In responding to your one complaint regarding the first third, it is normal for films of this era to appear slow, stagy and/or narratively static, but this one does utilized a sense of foreboding that mitigates this in my view.
That said, I think the “watch your children” coda pays off more than expected for two reasons – firstly because, after all the mental confusion, the one clear remaining idea and impulse is fear for children preyed upon, whether the murderer is compulsive or not. Secondly, because children are portrayed as innocents throughout the film (they are the one element which never gets treated ambiguously) – and the last plea plays as a peon to innocence, externalized by children, but present in all of us and ever more threatened by the dark, tumultuous clouds of Depression, Nazism, criminality. In this sense a peaceful, calm society is a childlike one and if Lang fades out on the mother’s cry it’s to extinguish that flickering flame of hope as mercifully as possible.
Bob – good point. I think the film may have been burdened over the years with too singularly moral an outlook; I remember seeing it for the first time and thinking Lorre was great but that I didn’t feel a bit sorry for the killer. This time, not expecting myself to, I was able to put myself in his shoes a little better, no longer hindered by the notion that I was supposed to be identifying with him completely in that final scene. (I realized it’s more ambiguous than I remembered.)
But in pointing out the moral complexity of it, I should have also noted that at times it isn’t moral or immoral at all, and is more fascinated by the game aspect than anything else. This too is part of its complexity.
Thanks for the compliment, Sam. In regards to the first third, it’s not so much the creakiness of it (a quality I often find winning in early talkies, that is to say the ones that attempt to overcome their staginess, however imperfectly, rather than the ones that succumb to it). It’s more about Lang’s narrative choices. We seem to be drifting from person to person in an almost journalistic style, without attaching ourselves to any of them beyond the anecdotal level; meanwhile, we have not yet met the killer or the head cop or head criminal. This ultimately pays off as Lang winds all the different strands closer and closer throughout the film, but it does make a bit of slow going at first, at least in my opinion (I like to have something, either a stylistic drift or a character’s perspective, leading me into the picture; that said, M certainly has a gripping “hook” in its first scene).
Yikes, looks like I better add HENRY to my list to rewatch. Rented it back in my younger days and don’t really remember much from it.
As for the what is/isn’t horror question (which I also saw Denis pose on the ANTICHRIST thread, but didn’t respond to, since I haven’t seen that film), I’ll agree that it should be interesting to compare everyone’s lists. I still kind of go by the lame “I know it when I see it” response (I’d say 90% of horror films fit a certain set of criteria), but Jamie had an interesting theory, which I’ll hold off on revealing until we start the whole countdown and I’m curious to get the thoughts from everyone else here as well.
And BTW (JAMIE, etc…)-SAM actually finding the FRANK ZAPPA/CAPTAIN BEEFHEART CD in THE BLACK HOLE DUNGEON is like sending BP out to the gulf to cap the oil spill. It’ll take months! INDIANA JONES would have a mess of a time with his archaeology skills finding anything in Sam’s organization system. I’ve offered to organize. Sam says “we gotta do something about it!” And then he points to WITD on the screen of his PC (cob-webs NOT INCLUDED), laughs at a comment or marvels at the numbers on the WordPress grid and, then, TOTALLY FORGETS what I said…. 😦 This has been going on for almost (GOD, IS IT THAT LONG????) 20 YEARS!!!!! I KEEP OFFERING, HE KEEPS FORGETTING! He’ll eventually, once he gives up looking, re-buy the Zappa album cause it’ll drive him nuts not being able to say its next to him at his desk. I do a lot of self-forhead-slapping… SAD.
OK with that ‘black dungeon’ business. I get the message. Ha!
YEA SAM SOME MESSAGE! If you really got the message then we wouldn’t have called the cops thinking little Jeremy ran away the other night when, in fact he was pinned underneath the FOOZBALL table after it collapsed from the weight of a million tossed DVD’s (not the precious CRITERIONS, they’re upstairs), empty coffee cups, two bags of unshelled peanuts, your work shoes, every Caldecott winner since 1965 and your dead cat Iago (Lucille wondered where the body went after he croaked-she used the shoe-box for all of Sam’s broken reading glasses-6 dozen!
Hardy Hardy Har Har.
Sam, do not get rid of the fooseball whatever you do. If I ever make it to NY again (I will sooner or later as I want to get to MoMA), a fooseball tourny is something that we’d have to have… I’ll buy the English beer. LOL
Jamie, it’s here to stay. We are waiting for you!
Thanks for the shoutout, Sam. The director’s countdown has gotten off to a rousing start today, so the entire series should be a lot of fun. As for the weekend, I was saddened to hear of Dennis Hopper’s passing. As I said on my blog, I guess I didn’t realize just how bad off he was in recent months.
So, I decided to watch Blue Velvet yet again. I still don’t have a great handle on that film, I don’t think, but it never ceases to fascinate me. It might not be my favorite Lynch, but it’s probably the one I watch the most. My favorite Hopper performance, though, I think remains his photojournalist in Apocalypse Now. He’s only in the film for a short period of time, but he is electric. Frank Booth has to be in consideration too.
I am also continuing to work my way through David Robinson’s Chaplin bio which is spectacular. It is great for knowledge concerning Chaplin and also the movie industry in general (at least through the early years that I have made it through).
I re-watched BLUE VELVET the other night as well in honor of Hopper. It holds up so well, especially his performance.
I love how that scene where he first enters Dorothy Vallens apt. still has the ability to shock no matter how many times you see it. That’s what was so brilliant about this particular Lynch film – the stuff that remains, that you remember, that you fall in love with are the more innocent moments of mystery and discovery (i.e. Laura Dern emerging from the shadows on the sidewalk or Dorothy Vallens singing at the club) – and you can effectively block the depravity of Frank Booth from your mind when you think of the film – but then you return to it wanting to fall in love all over again, and — BOOM! — Frank Booth is there and he scares the shit out of you every single time.
And Dean Stockwell singing “In Dreams” may be the best Lynch singing moment in any of his films.
Haunting, shocking, beautiful stuff this BLUE VELVET will always be.
I too watched BLUE VELVET the other day, and it was weird– I started it not thinking about Hopper, then the first time he was on screen it hit me.
I think BLUE VELVET contains my favorite and quintessential Hopper moment: when Stockwell is singing (so happy you pointed it out) the camera cuts to Hopper twice and he looks like he is going to cry both times, while every one else hoots and hollers, and acts weird, here he is, silent, still and emotional… as if he’s saying “I get the beauty in Orbison’s voice, and how it brings something beautiful to this shit life I/we lead”.
It really moved me like never before.
I also (by chance) had watched MY AMERICAN FRIEND and ELEGY in the last 6 weeks or so… I love Hopper in the former a lot, and ok in the later (though ELEGY with his death seemed quite poignant ).
Jamie – I love this scene as well… you pinpoint Hopper’s expression and mood perfectly and I always am fascinating by his faint lip-syncing of the song as Stockwell does his performance. Definitely an unforgettable scene.
Count me in with David Scheicher, Jamie, and Dave on BLUE VELVET, my absolute favorite Lynch. What could I possibly add to these great comments?
“Raymond, We’re gonna take our neighbor for a joy ride.”
“Get your fuckin robe!”
“You’re like me”
“Heinecken. Fuck that shit! Pabst Blue Ribbon!”
“You are so fuckin suave”
Sam — LMAO — Hopper’s hopped-up tirades on Pabst Blue Ribbon and Stockwell’s “suave”-ness are classic. Also great is watching his commentary on Blue Velvet’s legacy and how he got the role — where he talks about using the mask and how he convinced Lynch to change it from helium to whatever (cause he knew whatever would get one high) — and how in hindsight he realized Lynch’s original helium idea was even more f***ed-up because what a truly demented individual one would have to be to inhale helium simply for how it made your voice sounded — just the way he told the story and how he realized just how crazy Lynch was – hilarious stuff.
But perhaps the most fitting line of his in light of his passing would be…”And now it’s dark.”
Oh, and on side personal note — this was the first time I’ve watched the film since vacationing in Wilmington, NC (where it was filmed) and it was a special treat to be able to recognize some of Lumberton’s streets!
Funny, too, that this was filmed in the same city as The Andy Griffith Show.
Ahhhh….Lynch.
David: Brilliant comments, Sir!!!!
Aye on that “dark” line in view of Hopper’s passing. Perfect indeed.
when Stockwell is singing (so happy you pointed it out) the camera cuts to Hopper twice and he looks like he is going to cry both times, while every one else hoots and hollers, and acts weird, here he is, silent, still and emotional… as if he’s saying “I get the beauty in Orbison’s voice, and how it brings something beautiful to this shit life I/we lead”.
Bingo! This is EXACTLY how I see that scene. As I wrote in my review of Blue Velvet a while ago:
“The film holds you at a distance, but if you can get through to its inner life, you’ll find it contains a sadness that is not poignant but corrosive. Dennis Hopper as the sadistic Frank yells and curses and gnashes his teeth and beats up Dorothy (Isabella Rossellini) but it all seems to be in a kind of existential fury, close in kin to the existential sorrow that Jeffrey comes to feel. Frank cries while watching Dorothy perform, and again when a friend lip-syncs to Roy Orbison, but then he lashes out in frustration. He’s weeping because he can never truly visit the pristine worlds suggested in these songs (the Orbison song is “Only in Dreams”); the world surrounding him is ugly and cold and above all empty. There’s nothing pinning these people down, they’re in free fall, and the film’s conception of good cheer and small-town values, to the extent that these qualities exist at all, is paper-thin. All that’s really real is Frank’s rage and Dorothy’s sexual masochism and Jeffrey’s aching emptiness.”
I think Hopper might say something in one of the Velvet interviews that informed my view on this, but if so I can’t remember what it was.
I’d add, and indeed did add at the time, that the only time something full and rich and beautiful is evoked is in Laura Dern’s monologue about her dream, but even here the joy is “offscreen”, suggested, tantalizingly ascertained but not grasped, a utopia, much as in Roy Orbison’s lyrics (just look at the title!).
4 some reason, I never pictured Sam as a Beefheart fan. I couldn’t believe what I heard when they played Trout Mask Replica on the local underground station in SF.
Have you hear Morrisons live version of Astral Weeks? It has aged well and sounds great too.
Although not rock, Mickey Newbury played a lot in the bay area. Looks Like Rain is still one of my favorites, up there with Astral Weeks, and came out about the same time. He’s dead now, but saw him twice, once at the Boarding House in SF and met him backstage with a folk musician friend. He was an amazing man and could make you feel the pain in every song he sang.
Sorry, nice to read a small bit about the old music! Cheers!
Michael: Like many of us in our 50’s here, I was a HUGE rock fan in my teen years, and until I was about 31 this was my music of choice. As I say when I turned 31 I started listening to classical and opera, and I’ve now rarely left that parameter, except to occasionally hear some classic rock, jazz and blues, and of course film and theatre music. I went through the period of attending concerts (but I never once tried smoking pot ever, and haven’t in my whole life) and my favorite groups and soloists are: The Beatles, The Who, The Beach Boys, The Everly Brothers, Hank Williams, Buddy Holly, Jethro Tull, The Supremes, Marvin Gaye, CSNY, The Kinks, Muddy Waters, Leonard Coen, Elvis PresleyThe Smiths, Joni Mitchell, Judy Collins, Creedence Clearwater Revival, The Mamas and the Papas, Elliot Smith, The Stones, Frank Sinatra, Don McLean, Neil Young, The Doors, Chuck Berry, Roy Orbison (I bet Dave, David S. and Jamie are fans of him as per their sentiments on BLUE VELVET), James Taylor, Barbra Streisand, The Temptations, and a wide array of AM popular hits. My early years were spent religiously following the weekly top 100’s on WABC radio here in NYC with Cousin Brucie, Dan Ingram, Ron Lunday, Harry Harrison, et al, and I ran weekly polls in high school. i distinctly remember Mercy’s LOVE (a rather saccharine ditty with little substance) placing #1 for 8 weeks in a row, the longest. It was knocked out by The Beatles’ GET BACK.
I wasn’t a huge Beefheart fan Michael, but I found his work interesting. Zappa never really had me as a fan, but PEACHES AND REGALIA and ANDY were two songs I did love. I know someone who listened to him like he was God, always smoking pot while doing so.
When you have time, I’d love to hear about your own tastes, which what I have already learned are most diverse.
Sam I am a Roy Orbison fan. To these ears his unheralded ‘Workin’ for the Man’ is pure bliss.
My favorite Orbison is the plaintive “Blue Bayou”, and a second close is his rendition of “Coming Home” with Carl Perkins, Johnny Cash, and Jerry Lee Lewis on the must-have 1986 collaboration album ‘Class Of ’55: Memphis Rock & Roll Homecoming’.
Oh, Sam, you betcha on the Roy Orbinson thing! The Spanish rendition of “Crying” in MULHOLLAND DRIVE —
Hotchey-motchey! What a trip!
Sam, for whatever reason I can’t picture you getting high at all. Allan, on the other hand… (though I wouldn’t be surprised if he wasn’t into weed, I would not at all be surprised if he was.)
Sam, your list brings back memories. Cousin Brucie and WABC, though I listened more the WMCA until the went talk radio. The two stations use to battle it out especially when The Beatles arrived on theses shores. Of course, there was also WINS before they went talk with Murray the K and his submarine race watching!
Everybody here is going to be shocked but Breathless (and Weekend) is one of the few famous Godards I still haven’t seen. My Blockbuster Online service has it at a Very Long Wait status at this point, and neither my local Borders or Barnes & Noble is selling it anymore. Even the newly restored print won’t be playing in theaters here in St. Louis. Guess my only hope now is Amazon! I hate it when this happens.
In the meantime I’ll have to make up for lost time on Godard by watching My Life to Live. And maybe I’ll even watch The Last Metro and brush up on some of my Truffaut, too.
Adam if you do buy BREATHLESS make sure you go with the Criterion… is the best transfer out there, and contains the most accurate subs.
Aye, Jamie is right.
Adam, please reach me if you will at TheFountain26@aol.com. I have a suggestion.
Thanks for the kind words as always Sam. In addition to the Melvilles I got in, I finally got around to Park’s Thirst, which strikes me as his best film. Still, it has some pretty serious problems. The best moments are the most absurd and flamboyant, and that set-piece in which they slowly kill their poker friends in their crazy lit-up house is fantastic. But classicism never hurt either, and if Park could find a way to wed his incredible cinematic intuition to traditional storytelling modes he’d be the next De Palma. Also re-watched Wichita, Charade and Collateral. Wichita isn’t as good as Canyon Passage, but it’s an excellent Tourneur western, and Collateral is even better than I remember it. It’s probably one of Mann’s best films. Charade was a revelation though. I probably haven’t seen it since I was fourteen, and didn’t really expect it to hold up for whatever reason, but it’s even better than I remember it. I’ve read some critics who have labelled it as Hitch-lite, which is just idiotic because Hitchcock could have never made this film. Donen was incapable of not making a musical, and Charade has a looseness and visually ecstatic nature antithetical to what Hitch was doing at this or any other time (that’s not to say Donen was a better filmmaker than Hitchcock or vice versa; they’re just different). A great film.
Thank YOU Donophon for the wonderful submission here. I’m not a fan of THIRST, but I will give this one another chance, as many people I respect )yourself included) have sung its praises. I found little beyond all the surface choreography to ponder, and I didn’t care for OLDBOY either (for much the same reason). But you did say here that there were issues. Fair enough.
I have never been impressed with Michael Mann, but this problem must lie with me, as so many find much of his work exceptional. With COLLATERAL Mann seemed to ignore his existential side for a film that centered on coincidence, action sequences and clunky plot development. That’s my take, but again, the supporters make a great case.
I agree with you on WICHITA and on the Hitchcock/Donen clarification. CHARADE is certainly a classic.
Thanks as always my friend!
GUYS/GALS-I was fortunate enough, back in 1989, to procure tickets to a CONCERT ON THE PIERS in NYC that summer. SOUTHSIDE JOHNNY AND THE JUKES were the start up band with their Springsteen-esque sound and enthusiasm. NOTE: The following lines contain illegal drug use-cover your kids eyes: After downing a gallon milk container of Smirnoff Vodka and Orange Juice, a “fatty” (cigar sized joint) and a hit of acid, my dear friend Steve “M” and I forced our way towards the stage where Z-100 FM’s Carole Miller introduced keyboardist Elvis Costello, back up singers Bonnie Raitt, Jackson Browne, Linda Ronstadt, Tracy Chapman, Art Garfunkle and Etta James. Steven Van Zandt (SILVIO on THE SOPRANOS) was lead guitarist. MR ROY ORBISON was then brought on stage when the audience got as quiet as a church. He started the show with Pretty Woman. He ended the show with IN DREAMS. Little did I know that what I was tripping along to would be his very last concert appearance. He died several months later. Talk about luck, huh?
Quick recap of my week — just continuing the horror movie viewing. I watched RE-ANIMATOR, MARTYRS, DEATHDREAM, MARTIN, CHILDREN OF THE CORN, CHRISTINE, FEAR NO EVIL, HELLRAISER, PHANTASM, REPULSION, and HABIT. Phew.
Most of those were good to great, with RE-ANIMATOR, MARTIN, and REPULSION being my favorites and CHILDREN OF THE CORN being the only abject failure (FEAR NO EVIL, while not good, was at least interesting).
Still tons more to watch and lots of blogging to catch up on. Just trying to find time to fit all of this in my busy days!
Troy, you are truly relentless when you’re involved in a project, but as always, your readers benefit quite a bit. I did like that contemporary vampire take on drug addiction, MARTIN, and Stephen King’s CHILDREN OF THE CORN has always been a guilty pleasure. The Polanski REPULSION is one of the director’s greatest films, and HELLRAISER is a classic of its kind (sometimes terrifying). RE-ANIMATOR has many fans, but I’m kinda so so with it, and another guilty pleasure is CHRISTINE, even though the concept is preposterous. MARTYRS, DEATHDREAM and HABIT are ones I’ve set to see, while FEAR NO EVIL is reasonably solid.
I’ll be looking forward to reading your summary judgements at your place Troy!
Thanks as always for the amazing report my friend!
Well Sam I have taken awhile to wonder over this week and it has gotten really late as I read through your inspiring post and the accompanying comments. Mademoiselle Chambon with its ***** has been emailed to my partner for ordering. Not much new here in the Southwest coast of Canada on Mayne Island. The carrots, beans and peas are up. The rain is treating us like it is January instead of June. I went for a walk in the drizzle tonight and saw my first fawn of the season. That was a lovely bright spot within the gray wet.
Take good care Sam, thank you for the mention and summer is sure to be here any day:)
Ah, Terrell, to be honest I prefer that kind of weather to the scorching heat and oppressive humidity that has made outdoor walking most uncomfortable here in the Northeast. But I well relize that you rely on the beautiful weather at your island paradise to embark on some rewarding projects. In describing your siting of the first fawn of the seaon, you say this—“That was a lovely bright spot within the gray wet.” I positively love that sentence!
Thanks as always for checking out the diary, and that’s great news that you’ve already put forth the word on MADEMOISELLE CHAMBON. Hope Mother Nature is “generous” to Mayne Island this summer!
Have a great week, my very good friend!
I found this headline quite amazing folks!!!!
http://www.people.com/people/article/0,,20390429,00.html?xid=rss-topheadlines
I want to get to that Breathless screening myself (incidentally I am heartened by the person who found it boring.. this is as it was in the heyday of ‘foreign cinema’ when many audiences found many films canonized since unwatchable.. today when we enter movie halls screening classics we are much more likely to feel we’re in a temple where the audience is so absurdly solemn about witnessing the work in question.. you even offend people when you go for a bathroom break!). And I will also submit my nominations for the poll soon. But here are brief thoughts I put up on the 50th anniversary of Breathless elsewhere:
“Is there anything more iconic than this film? It defines in so many ways the very essence of the cinematic at the very moment when the curtain was perhaps being drawn on the medium’s greatest treasure — the ‘gestural’. And so even as Godard was ‘new’ at the time and even as this film stays perennially fresh it is also one of cinema’s glorious resting places. Where cinema truly runs ‘out of breath’.
After this there was still the iconic but where it occurred it got incorporated into the persona of the male star. The female-iconic started fading rapidly but also the overall ‘text’ of cinema lost this configuration. The wonder in experiencing a film like Breathless is not just that Belmondo seems forever one of the summits of the iconic and gestural but that the entire film works in this fashion. This is of course a great love letter to Paris but also with all its allusions to other kinds of cinema it manages to imbue every moment and every character with an iconic sheen. The entire film is a museum of the gestural.
To hear the final ‘dirge’ on all of this one has to wait a bit.. till one gets to Leone’s Once Upon a Time in the West.. when the Western (perhaps the genre that housed the ‘iconic’ more than any other.. the genre that always by definition was a little wake-like) and all its mythic types, all its gestural treasures are forever laid to rest.
Since then cinema has been a bit like Godard’s imagining of it in Contempt. The medium has been secularized, haunted by ghosts… and we struggle to locate that which once was..”
The Man Who Shot Liberty Valance strikes me as containing that “dirge” more than Once Upon A Time In The West. It doesn’t seem right for an outsider like Leone to be seen as putting the nail in the coffin.
Sometimes the ‘outsider’ has the greatest perspective. I think Liberty Valance is certainly a superb elegy on its own but Leone seems to announce an ‘end’ not just in the Western but also in the ‘cinematic’. In some ways it is questionable whether cinema has really ‘advanced’ in any sense since the end of the 60s. There have been great works without doubt but has there really been anything epochal that has changed the nature of the medium. This is debatable. Having said that one’s perspective should not be too Euro-centric either. For example Scorsese has in many ways been the dominant figure for many ‘third world’ (to use a politically incorrect term) cinemas. There is also this to be said for Scorsese — there are those theorists who argue that the introduction of naturalistic conversation in the medium is a revolution every bit as great and perhaps greater than many of those in editing patterns and others that can be indexed by way of ‘formalist’ categories. In other words changing the way how people converse in films subverts how cinema is received by the audience more than or at least on par with those other innovations. Here again Scorsese becomes crucial. As we go across the terrain of many of these newly emergent cinemas we see this potent ‘mix’ of Scorsese and Godard in so many ways. The ‘art house’ cinema of many of these same ‘national’ regions has involved a great engagement with Antonioni’s works, almost unexpectedly.
I certainly agree with a lot of your points here, and do think that when looked within the context of what came before its hard to find post-sixties cinema as anything but disappointing. Like you said, there’s been great movies, as well as great filmmakers (Tarkovsky, Malick and Denis being a few of my favorites), but it’s a more jumbled and fractured thing, and the idea of a cinematic tradition is in some sense rendered nonsensical. At the same time, however, I think the argument you’re trying to make here is somewhat compromised by the fact that you’re not really defining what advancements you’re thinking of in, say, the classical period. The problem is that everyone defines these epochal turning points in different ways, so unless you outline what you think they are, it’s hard for us to approach the issue from a similar angle (for example, how are David Lynch’s and Michael Mann’s defining employments of digital video not epochal in the same sense?).
Thanks so much Kaleem for this exeedingly thoughtful and thorough response on BREATHLESS. And I do hope you are able to get over to the Film Forum for this.
And that’s a most interesting addition there Donophon!
Doniphon, you are quite right. One should be more precise in these matters. But don’t you think that digital video in essence completes the loop? Recall that moment at the end of Taste of Cherry when suddenly you see the video footage.. this film prompted Godard to say (and I don’t remember the exact quote but it’s a beautiful thought) that the train which left the station at La Ciotat found its end in Taste of Cherry. I think it would take a great deal of space to reflect on what I believe to be the truth of this statement (though of course it implies a somewhat different periodization than the one I suggested even if not necessarily a contradictory one) but on that particular of digital technology and so forth isn’t the employment of this technology really a ‘signal event’ marking the complete exhaustion of the cinematic medium? So for an entire history we had movement within the frame (wide angle shots, mise-en-scene, the movement of the camera to enlarge or diminish the frame without relying on an edit etc.. in other words, and to be a bit Deleuzian here, the elements were reordered ‘within’ the frame in all sorts of ways) but also ‘conversation’ between frames or how one frame would lead onto the next one (here implicating all sorts of editing patterns). Eventually there was the digital age where from being able to radically alter what one had filmed by all sorts of methods or using ‘technological manipulation’ in profound ways after the event or after filming was essentially complete. This last age which we have been living through for a while and which shows cinema its newest possibilities does not necessarily offer a ‘renewal’ of any kind because it gives over the cinematic process completely (potentially) to technological manipulation. In other words cinema becomes a fantasy where literally ‘everything’ becomes possible and the tension between what can be represented on screen as a function of the illusion that can be phsyically created off screen completely vanishes. It is as if a painter could dream a painting and see it on his (or her) canvas without ever having to paint it. I exaggerate somewhat (!) but I hope you see what I’m getting at. So video technology again indicates that ‘cinema’ in some sense has become ‘impossible’. One can only innovate in ‘uncinematic’ ways.. blowing up video footage for the theater and so on. Again I have neither the space here not frankly the formal education to lay out all of this some more but the essential point I think stands.. the book of cinema I think is more or less over and we have been in the ‘epilogue’ stage for a while.
Fantastic essay here Kaleem (my only quibble is why do you need to doubt yourself so?)
The easiest way I’ve always looked at ‘Breathless’ that could also lead to quite a bit of pondering is this:
‘Breathless’ is Jesus, as far as film time lines go– every thing before it is BC, and everything after it is AD. It’s really a lever film if there ever was one– the seesaw of pre- and post- film histories sway at it’s release point (well ‘BREATHLESS’ and Hitchcock’s PSYCHO, as both came out in 1959-60). The interesting debate then is what are the roles of film since that one in the ‘Jesus Christ’ model. What are the films that are the crucifixion of the form, then the resurrection (like above is a Leone western as resurrection film at least for it’s genre?)? And if these films are those things (crucifixion and resurrection) and all at least 40 some years old where does that leave us now and where does that point us towards, the ascension? Is this postmodernism (which we’ve been in for decades perhaps?), or are we just always splintering off further and further?
Also, your comment “It is as if a painter could dream a painting and see it on his (or her) canvas without ever having to paint it.” made me think of a great comment by the fantastic graphic designer Neville Brody, one of the first graphic designers to embrace the computer in the mid-1980s.
“Digital design is like painting, except the paint never dries. It is like a clay sculpture that is always being twisted into new shapes without ever being fired.”
Imagine this…
Love your entire analogy here!
great comments here Jamie.. thanks..
Love that Brody quote.. perhaps such ‘art’ is appropriate for our ‘virtual’ age..