Just a quick extra review of a late-60s New German Cinema experiment that didn’t make a whole lot of sense to me, but still impressed me as something odd and interesting. It was presented as part of a touring programme in the UK of less well-known films by women directors breaking the mould.
What a very strange film, largely due to its experimental narrative form, which intercuts these stories of women (Katharina and Anne) in a sort of associative way, just little shards or shreds of narrative, sometimes representing their fantasies as far as I can tell, sometimes humorous vignettes. It’s very hard to describe really, except that it seems to present a subjective view of women’s experiences that is both of a piece with other experiments in the New German Cinema but also quite apart from the usual patriarchal constructions of desire. I’d want to watch it again before claiming to understand any more about it, but it certainly has its heady late-60s quality.
Director/Writer Ula Stöckl; Cinematographer Dietrich Lohmann; Starring Liane Hielscher, Kristine De Loup; Length 92 minutes.
Seen at BFI Southbank (NFT3), London, Tuesday 7 August 2018.
I think if we’ve all learned anything from the last few decades of study and research about women in cinema is that there has been a paucity of women creating cinema since the silent era, i.e. from when cinema started to be seen as a viable industry and not just a hobby or a sideshow. This means a lot of women’s work in cinema has been in non-commercial spheres like the experimental avant garde, or else in oppositional contexts, and that is where we find the French/West Indian filmmaker Sarah Maldoror, who chose her surname and began to make films with her Angolan nationalist husband after having been an assistant on The Battle of Algiers. That first short I review below was also made in Algeria, but is specifically about the Angolan situation, before its independence. She made a feature film a few years later, Sambizanga (again filmed in absentia in the Republic of Congo/Brazzaville, but about Angola), which I will be covering shortly in my Global Cinema series when we get to Angola. Sadly, Maldoror died earlier this year, in April 2020, as a result of complications from COVID-19, at the age of 90. The three short films below were made available for a short time by Another Gaze journal, in support of a panel featuring her daughters, poetry recital, and a discussion amongst film critics, which was insightful and also, for me, rather unusual in centering the experiences of African and Caribbean women.
Continue reading “Three Short Films by Sarah Maldoror”
Oddly enough, this sort of stands aside from the rest of the recent run of samurai chanbara films featured in the Criterion Collection, as it has broad comic elements to its (rather elaborate and confusing) story of rival clans fighting one another. Even more to the forefront is its reliance on tropes from the Western (as perhaps filtered through Italy, given the Morricone-like musical cues). Set in the mid-19th century, our two starving heroes wander into a one-horse town (or one-chicken town perhaps), beset by squalling winds, like some blasted valley in the American West, and stumble across a local power struggle. As Genta, the ex-samurai turned yakuza/vagrant, Tatsuya Nakadai exudes a raucous energy, recalling Mifune in Seven Samurai (this film even has its own group of seven rebel samurai, presumably another of its parodic elements, though the source author is the same as Kurosawa/Mifune’s 1962 collaboration Sanjuro). However, Genta has a more self-knowing air, as he brushes off courtly introductions and chuckles at the desperate desires of farmer Hanjiro (Etsushi Takahashi) to become a samurai. The rest of the plot is too complicated to recount here, but suffice to say it’s the local chamberlain Ayuzawa (Shigeru Koyama) who’s the bad guy, playing the factions off one another. It has all the fight scenes you might expect, but the knockabout comedy moves into different, and rather refreshing, territory.
FILM REVIEW: Criterion Collection
Director Kihachi Okamoto 岡本喜八; Writers Akira Murao 村尾昭 and Okamoto (based on the short story 砦山の十七日 Torideyama no Jushichinichi “17 Days at Fort Mountain” by Shugoru Yamamoto 山本周五郎); Cinematographer Rokuro Nishigaki 西垣六郎; Starring Tatsuya Nakadai 仲代達矢, Etsushi Takahashi 高橋悦史, Shigeru Koyama 神山繁, Yuriko Hoshi 星由里子; Length 114 minutes.
Seen at home (DVD), London, Sunday 3 May 2020.
If you’re trying to find positives about Amazon Prime — assuming you already have it for whatever reason, and not as a way of trying to encourage you to sign up — it certainly has more interesting older films than Netflix. BFI Player has the quality older titles, but Amazon has a random selection of various films that you may need to search for because they’ll never come up, but if you’re looking for old noirs or obscure 60s or 70s titles you can’t find anywhere else, Amazon can be helpful. This late-60s Hong Kong film was directed by a woman, one of the few in that period, and it certainly sticks out from the usual kinds of stuff that is nowadays what we think of when we cast our minds back to 1960s HK filmmaking.
This feels like some kind of sui generis outlier to Hong Kong filmmaking of the period, though I confess I’m hardly (not even remotely) an expert. However, it’s certainly striking film — partly shot by Subrata Mitra, best known for his work on Satyajit Ray’s Apu trilogy, and partly edited by Les Blank — and those credits suggest a genesis against a wider regional background of arthouse film practice. The fact that the film is also directed by a woman seems unusual too, and indeed the film is focused around an upstanding woman within the community, Mrs Dong (whose name provides the original language title for the film, played by Lisa Lu), in whose honour a ceremonial arch is being planned (requiring permission from the Emperor). The way that she exists within the community, and the structures of power that impinge upon her, are among the themes the film is dealing with, how she must subordinate her own desires to that of the community, and though it has a period setting, there are hints within the film that the filmmaker intends it as a more contemporary reflection. It’s a beautiful film, though, as you might expect from its cinematographer, with an expressive score (even if the subtitles in the print I saw were a little patchy).
Director/Writer Tang Shu Shuen 唐書璇 [aka “Cecile Tang”]; Cinematographer Subrata Mitra সুব্রত মিত্র; Starring Lisa Lu 卢燕, Roy Chiao 乔宏; Length 94 minutes.
Seen at home (Amazon streaming), London, Friday 14 June 2019.
Here on Filmcentric, I am doing a week of South American cinema (focused on Argentina) as La flor (2018) is being released cinematically in the UK on Friday 13 September, a film which is longer even than the one I’m discussing here. Filmmaking in South America really came to international attention in the revolutionary 1960s, under the label “Third Cinema”, and Argentine filmmakers Fernando Solanas and Octavio Getino were key amongst the figures within this movement, publishing a manifesto called Hacia un tercer cine (“Toward a Third Cinema”) the year after this three-part film. One of the key tenets was to resist neocolonialist and capitalist forces, and challenge viewers to include an awareness of class differences and power structures within the entertainment they consumed.
It’s clear at least that watching a film like this 50 years on in the institutionalised setting of the British Film Institute is a quite different experience from what the filmmakers intended, and probably effectively changes some of its meaning. After all, it’s a film that constantly mentions the necessity for the audience to continue the discussion outside the film, to reflect on it and complete its meaning themselves, and even includes intertitles exhorting them to stop the film and have discussions at various points. Instead, my impression is of an inexhaustible supply of facts and testimonies (and sometimes more-or-less propagandistic agitprop content) about post-war Argentinean politics, the rise of Juan Perón and the subsequent coup against him. If you’re not familiar with the events (as I am not) it can sometimes be a little difficult to follow, but the documentary footage, archival clips and supporting material from other “Third World” conflicts is joined by large amounts of textual quotes — alternately printed, flashed, zoomed into, or printed character-by-character on screen, to keep one’s attention presumably. It’s exhaustive, and it never quite seems to find a place to finish, but it’s a model of filmmaking that would have great impact on revolutionary modes of presentation, and still exerts its own fascination now.
Directors/Writers Octavio Getino and Fernando Solanas; Cinematographers Juan Carlos Desanzo and Solanas; Length 260 minutes.
Seen at BFI Southbank (NFT1), London, Sunday 13 May 2018.
These three films all feature on a box set put out by the Korean Film Archive, though many of their film restorations (not just these three, but many others) are available to view for free on an official website and a YouTube channel, which I’d recommend checking out if you want to follow up on classic Korean cinema. As for the director, I can’t give you much information. His name is sometimes transliterated as Lee Man-hui, and he was born in Seoul in 1931 and studied there too. He started out in the industry as an actor in the 50s, but had graduated to directing in 1961 and as a director had a prodigious output for much of the 1960s, making up to 10 films in a single year (1967 seems to have been his most prolific). He died at the age of 43 from liver cancer, in 1975.
Continue reading “Three Films by Lee Man-hee: The Marines Who Never Returned (1963), A Day Off (1968) and Assassin (1969)”
This is in some ways the ur-Cassavetes picture, which came after a few unsuccessful studio pictures in the early-60s as a return to the improvisational quality of Shadows, not to mention developing the verité-style black-and-white high-contrast camerawork into a grander form. Although it was all scripted, it does still feel like the actors are using the script as a means to finding the emotion, and that’s what Cassavetes is ultimately most interested in, those unforced moments of feeling that come through in the actors’ performances. Frequently the scenes as written feel rambling or unfocused, and often the actors are playing drunk, which doesn’t always pay off, but it captures something that a lot of cinema wasn’t doing in the US of the 1960s (Bergman is namechecked within the film, and that feels like a more fair comparison point). Thus, for all that it’s a film about an older man confronting mortality and a fairly unremarkable working life, as well as people trapped somewhat in the past, it also feels quite fresh and honest in a way.
- As with most of Cassavetes’ films, there are multiple versions that exist. The original cut was around three hours, and there was also a 147 minute cut, from which 18 minutes of an introduction feature here as an extra.
- Making ‘Faces’ (2004) is a fairly standard making-of Criterion extra, which is structured around interviews with four key members of the production who were still alive: the cameraman/editor Al Ruban, and actors Gena Rowlands, Seymour Cassel and Lynn Carlin. All of them provide stories from the film’s set that suggest Cassavetes’ methods, how he helped actors to find the performance, as well as the way his artistic direction manifested itself (he wanted actors to find their own way into the characters, rather than providing notes, as one example). Al Ruban (the cinematographer and editor) expands on some of the technical challenges, such as finding all the sound was un-synched at the end, or having too few lights to film the big club scenes.
- Ruban also contributes a separate 12-minute extra just about his choice of film stock and lighting for the film’s relatively restrained number of locations, which is probably more for those with an interest in lighting.
- Finally, there’s a two-part interview for the French TV series Cinéastes de notre temps, conducted during the making of and after the release of Faces. We get much of his credo and philosophy of filmmaking — and one which has informed a lot of independent cinema ever since: the idea that even if you don’t have any money, you should go out and make your vision, in the hope that at least someone will share your passion somewhere down the line. Cassavetes comes across as supremely relaxed and chatty in the first part, filmed presumably in some manic period during production, as he paces around his offices and home, and introduces the people around him, all bonhomie and gregarious host, which the filmmakers cannily intercut with footage of laughter and joviality in the film he’s made, suggesting the direct line from his lived experience to his art.
FILM REVIEW: Criterion Collection
Director/Writer John Cassavetes; Cinematographer Al Ruban; Starring John Marley, Gena Rowlands, Lynn Carlin, Seymour Cassel; Length 130 minutes.
Seen at National Library, Wellington, Wednesday 8 May 2002 (and earlier on VHS at home, Wellington, March 1999, and most recently on Blu-ray at home, London, Monday 27 May 2019).
In some ways, this film may be my favourite of the Antoine Doinel series Truffaut and Léaud made over 20 years between 1959 and 1979 (though in others, it’s still his debut, The 400 Blows). It returns to the character as a young 20-something beginning his first adult relationship with Christine (with Truffaut’s semi-autobiographical tendencies apparently extending to the actor who played Christine, Claude Jade). That said, like the subsequent films in the series, it remains broadly comic, with Doinel’s character being easily distracted by women — most notably Delphine Seyrig as Fabienne, a shopkeeper’s wife — and unable to hold down a job — he meets Fabienne through a client at a private detective agency where he works, who wants to know why everyone hates him. It’s the film that probably most excoriates Doinel’s romantic tendency and fecklessness, and there’s a beautifully-judged extended scene in front of a mirror where he just says the central characters’ names repeatedly.
FILM REVIEW: Criterion Collection
Director François Truffaut; Writers Truffaut, Claude de Givray and Bernard Revon; Cinematographer Denys Clerval; Starring Jean-Pierre Léaud, Claude Jade, Delphine Seyrig, Michael Lonsdale; Length 91 minutes.
Seen at home (DVD), London, Saturday 30 December 2017.
Watching this directly after the first film in the diptych (Yellow) is to involve oneself in more of a slog through its director’s statement on Swedish society than perhaps one can handle in one sitting. In this, the central character of acting student Lena does more interviews with people in the street, and the film extends its bitter commentary towards religion, as Lena continues to provoke people with her slogans, and the director continues to break the continuity by showing up with his crew and needling the actors. It’s interesting I think, but the dividends seem less clear than in the first film.
FILM REVIEW: Criterion Collection
Director/Writer Vilgot Sjöman; Cinematographer Peter Wester; Starring Lena Nyman, Vilgot Sjöman; Length 107 minutes.
Seen at a friend’s home (DVD), London, Sunday 12 November 2017.
If you’re a fan of classic 60s rock and pop music, then there’s plenty here to enjoy, with beautifully captured performances by the Mamas and the Papas (who helped organise the festival), Jimi Hendrix, Otis Redding and Ravi Shankar, amongst many others. Of course there are still a few of those acts whose legacy has been somewhat obscured by history (I have no idea who Country Joe are, nor much surpassing interest in finding out), but on the whole it’s a fine document. The filmmakers tend to prefer the close-up which can be a little frustrating at times, and their cameras wander to the audience with regularity, though plenty of little moments are captured thereby, the film being at times as much a document of late-60s counterculture fashion and style as of the music. But with the excellent soundtrack, it all coasts by very amiably.
FILM REVIEW: Criterion Collection
Director D.A. Pennebaker; Cinematographers Nick Doob [as James Desmond], Barry Feinstein, Richard Leacock, Albert Maysles, Roger Murphy and Pennebaker; Length 79 minutes.
Seen at a friend’s home (DVD), London, Sunday 24 September 2017.