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Archive for the ‘author Allan Fish’ Category

ghat 1

by Allan Fish

(India 1977 108m) DVD0 (India only)

Aka. The Ritual

Outcast of the agrahara

Sadananda Suvarna  d  Girish Kasaravalli  w  Girish Kasaravalli, K.V.Sabanna  novel  Ananthamurthy U.R.  ph  S.Ramachandra  ed  Umesh Kulkarni  m  B.V.Karanth

Ajith Kumar (Nani), Meena Kuttappa (Yamuna), Naraya Bhatt (Shastri), Ranaswamy Iyengar (Udupa), Shanta Kumari, Janganath, Suresh, H.S.Parvathi, Ramakrishna,

Girish Kasaravalli’s Ghatashraddha should be better known in the west.  It was voted one of the ten greatest Indian films ever made by critics in 2007 and its viewpoint, that of a child’s view of adult hypocrisy and injustice, it a familiar one in the west.  The reason for its neglect isn’t entirely clear, but language may have had something to do with it.  While very much in the tradition of great Hindi humanist cinema, it isn’t actually a Hindi film.  Kasaravalli’s film, and Kasaravalli himself, speak another language; Kannada.  The only DVD of the film as yet released advertises the fact in typically intrusive Indian style in the form of a bright logo running through the top right of the screen and a Kannada text logo below it.  Some sources have it running over half an hour longer than the running time of the DVD and quoted above; even now it seems elusive.  (more…)

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ik 1

by Allan Fish

(Czechoslovakia 1963 81m) DVD1/2

Aka. Voyage to the End of the Universe

Earth is gone

p  Rudolf Wolf  d  Jindrich Polák  w  Jindrich Polák, Pavel Jurácek  novel  “The Magellanic Cloud” by Stanislaw Lem  ph  Sasa Rasilov, Jan Kalis  ed  Josef Dobrichovsky  m  Zdenek Liska  art  Karel Lukas, Jan Zázvorka

Zdenek Stepánek (Capt.Vladimir Abayev), Frantisek Smolik (Anthony Hopkins), Dana Medrická (Nina Kirova), Irina Kacirková (Brigitta), Otto Lackovic (Michael), Radovan Lukavsky (Commander MacDonald), Miroslav Machacek (Marcel Bernard), Marcela Kartinkova (Stephie),

When one considers the cult status it had on its release in the West, it seems surprising that Jindrich Polák’s sci-fi opus is now largely forgotten.  Even more so when one bears in mind that it’s based on a novel by the same author who also provided the inspiration for Solaris.  There are certainly thematic similarities between the two, but also differences, not least in the tone.  Ikarie ends quite optimistically, while Solaris

Naturally the time it was made has much to do with that.  The Cold War was at its most freezing and there was a genuine belief that nuclear apocalypse was unavoidable. It’s set in 2163.  On board the Ikaria, a mission has set out from Earth to explore Earth’s nearest star, Alpha Centauri, to check for signs of life.  Its crew know that while the mission will only take them 28 months that 15 years will have passed back on Earth. (more…)

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CM Capture 2

by Allan Fish

this begins an infrequent series of films about childhood criminally neglected in the US to coincide with Sam’s childhood poll

(France-TV 1977 312m) not on DVD

Girl, boy, girl, boy…

p  Jean-Luc Godard, Anne-Marie Miéville  d/w  Jean-Luc Godard, Anne-Marie Miéville  ph  Pierre Binggeli, William Lubtchansky, Dominique Chapuis, Philippe Rony

Albert Dray, Betty Berr, Camille Virolleaud, Arnaud Martin,

If one was to ask a selection of serious film buffs, critics and writers to name the single-most influential director in late 20th century culture, I’d be surprised if Jean-Luc Godard didn’t top the poll.  He’s come to be seen as much as personification of the zeitgeist as a director, indeed often setting the tempo for what would become the daily zeitgeist.  One would think then that his work was easily accessible, preserved on DVD and now Blu Ray in the way that the work of, say, Hitchcock, Scorsese or Bergman is.  Yet this is only partly true; the canonical Godard has always existed, but it generally covers his work up to 1967-68; the experimental films that followed in the subsequent decades have always been somewhat harder to track down.  There are still a few I have been unable to see, and until recently one of them was France/Tour/Detour/Deux/Enfants.  It only became so when an old Channel 4 TV recording surfaced. (more…)

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macario 1

by Allan Fish

(Mexico 1960 91m) not on DVD

When we’re born we’re carrying our death

p  Armando Orive Alba  d  Roberto Gavaldón  w  Emilio Carballido, Roberto Gavaldón  story  “The Third Guest” by B.Traven  ph  Gabriel Figueroa  ed  Gloria Schoeman  m  Raul Lavista  art  Manuel Fontanals

Ignacio López Tarso (Macario), Pina Pelicer (his wife), Enrique Lucero (Death), Mario Alberto Rodriguez (Don Ramiro), José Gálvez (the devil), José Luis Jiminéz (archangel), Eduardo Fajardo (Virrey), Celia Tejeda (Chona), Consuelo Frank (Virreina), Alicia del Lago (Viuda), Miguel Arenas (inquisitor),

Macario is generally the first Roberto Gavaldón film people get to see, but I only got to it after seeing his melodrama In the Palm of Your Hand, a faintly Hitchockian piece which gave Alberto de Cordoba another chance to shine.  Not a great film, but by a director with one in him, and Macario is that film.  It’s not an easy film, however, in that it is in essence that most problematic of tales, a parable.  It focuses around the Mexican ritual of Day of the Dead, that bizarre hybrid of Pagan and misdirected Christianity where the rich have their own place in the dead world and the poor theirs, totally belying the words of that pesky Christ; what’s he got to do with it, after all?  Yet it’s a tale that could have been told by Christ at Cana just as easily as unfold as it does in colonial Mexico.  (more…)

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plea 2

by Allan Fish

(USSR 1968 72m) not on DVD

Aka. Vedreba; The Prayer

The whole village here gathered…

p  Aleqsandre Jagarbekovi, Tina Ochiauri  d  Tengiz Abuladze  w  Tengiz Abuladze, Anzor Saluqvadze, Rezo Kveseleva  poems  Vazha Pshavela  ph  Aleksandr Antipenko  ed  Lusia Vartikyan  m  Nodar Gabunia  art  Revaz Mirzashvili  cos  Tengiz Mirzashvili

Tengiz Archvadze (Aluda), Spartak Bagashvili (Gvtisia), Rusudan Kiknadze (woman in white), Otar Megvinetukhutsesi (Jokola), Nana Kavtaradze (Gaza), Zura Qapianidze (Zviadauri), Geidar Palavandishvili (Mutsali), Irakli Uchaneishvili (Musa), Ramaz Chkhikvadze (Matsili),

For those who know Georgian director Tengiz Abuladze through his most famous late masterpiece Repentance, The Plea will come as something of a revelation.  And I use that term in a way not forgetting the original 27th and final book of the New Testament.  Watching The Plea one feels that John the Evangelist was here, even Christ himself.

They weren’t the only ones, however.  Nearly forty years earlier the great Russian director Mikhail Kalatozov came here, at 26, to make his first great film, the dramatized documentary on life in the Caucasian mountains, Salt for Svanetia.  His film had depicted ancient stone towers, structures like sentinels from a distant past and how transport had finally connected Svanetia to the modern world.  In The Plea, we’re back in time, but it’s not entirely certain how far.  We’re told that the film is based on the poems of Vazha Pshavela, and as such we presume we’re around the turn of the 20th century.  Yet in Pshavela’s work there’s a sense of something far more remote, as if he was merely a scribe taking down oral traditions going back centuries, after listening to storytellers in tents and caravans for countless hours.  (more…)

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1983 Our Century.mp4_snapshot_00.06_[2015.05.08_10.05.34]

by Allan Fish

(USSR 1983 47m) not on DVD

Aka. Mer dare

a + b + c + ab = 0

d/w/ed  Artavazd Peleshian

Whatever happened to montage, as many film students have asked?  It became a noun is the simple answer, adapted outside of its meaning by Hollywood, no longer anything to do with the old film theory equations; where Pudovkin believed montage meant that one shot followed by another gave a combined meaning (a+b=ab), Eisenstein argued that instead the first two shots gave a third meaning (a+b=c).  It all became literally academic, for these schools of montage gradually evaporated with the coming of sound.

It would be a director, appropriately from the old Soviet Union, who would sound the death knell for old school montage.  Artavazd Peleshian is an elusive figure in every sense, who made just nine films in a 28 year career, with a care taken over each to rival Andrei Tarkovsky.  The difference being all Peleshian’s films run to less running time combined than Andrei Rublev alone.  Peleshian became known – where he is known, for in the west he’s still neglected – for inventing ‘distance montage’, an appropriately  detaching methodology where montage was used to reduce meaning to nothing, where each individual shot meant nothing; the finished film was the meaning. (more…)

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mom 1

by Allan Fish

(Canada 2014 138m) DVD1/

Selfie on a square screen

p  Nancy Grant, Xavier Dolan  d/w  Xavier Dolan  ph  André Turpin  ed  Xavier Dolan  m  Noia  art  Colombe Raby

Anne Dorval (Diana Després), Antoine-Olivier Pilon (Steve Després), Suzanne Clément (Kyla), Patrick Huard (Paul), Alexandre Goyette (Patrick), Michéle Lituac (director of centre), Viviane Pascal (Marthe), Natalie Hamel-Roy (Natacha),

Back in 2008, an Irish film was released that got little attention outside of the Emerald Isle, but which comes flooding back to memory upon watching Xavier Dolan’s Cannes Prix Jury winner.  On the surface they have little in common, except in a single artistic decision made by the director.  The film was Lance Daly’s Kisses, a tale of two kids, boy and girl, living in the slums on the outskirts of Dublin – who run away from their respective domestic hells to the city centre.  It begins in steely monochrome, but no sooner have they mounted a canal barge to make their journey to the Emerald City, their world slowly – and I mean slowly – begins to discover its colour, until by the time they reach the city centre, the monochrome has entirely been dispelled.  (more…)

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