The permutations of cinema. The associative editing. The mind of a movie director. Marcello of the 1960s: perfection. Nino Rota round and round. Surrealism as a map to the creative process. The overproduced fog in which the mind goes away and being begins. The great death of consciousness experienced in a world of pure fiction. Artifice as truth, truth as lies, lies as cinema, women as mystery, oneiric filmmaking and artistic onanism. Pure pleasure. Spirits lift, the eye marvels . . .
The Third Man
Those magnificent noir close-ups of total strangers never to be seen again. The seedy days of occupation postwar. The chiaroscuro idealism of saving yourself by killing your friends. Harry Lime asking us to grow up. The sewer system sequence. The zither plucking away, oh, that zither, what a score! Joseph Cotton. Selznick as producer? Thriller is character. Character is plot. Plot is a game. Games matter. Extreme camera angles. Deception is filmmaking; learning to love the deception.
Pierrot le fou
Karina sings. Karina dances. Karina as the non-Karenina. The epic, kaleidoscopic odyssey. Fucking with sound. Fucking with cinema language. Fucking period. Hollywood genre soup via French countryside. Radical widescreen color exploration. Breaking rules, breaking the fourth wall, breathing cinema. Sam Fuller. JLG, the director, is but a former critic, the critics are formally challenged, the challenge is to feel, the feeling is personal. Pop culture lives . . . North London repertory cinema with the woman I love. A washed-out print. Heaven. Discovery. Frustration.
Renoir, the great humanist with Marx Brothers flourishes. Jean Gabin. War as a struggle between ruling classes at the expense of the people; love as the mechanics of survival. “Out there children play at being soldiers, in here soldiers play like children.” A great war movie, anti-war, with the war out of sight, anti-sight, all heart. Von Stroheim is the sight to behold. The use of the offscreen. Man’s desire to escape, the camera’s desire to move. Film seminar, Brooklyn College.
In the Realm of the Senses
Bleecker Street Cinema, early eighties, I winced at the climax (well, the movie’s climax, not the characters’, which are plentiful). Chekhovian hard-ons as a country marches to war. The end of masculinity. Pornography slowed down to find cinematic expressions for the language of human needs. The egg—make like a chicken! The Japanese theater of sex. The universal power of love—deadly. Decadence. Laughing at the wrong moment of dismemberment. My mind is blown. Is there nothing the screen can’t hold? The goal of art is not to be great but to be daring. Sometimes it’s both.
Robert Altman! Need I say more? Upper East Side theater with the woman I love.
The Lady Eve
Subversive Americana. Learning to laugh. The writer is the director; the director is the writer; the concept of the Hollywood writer/director is fetishized. Paris theater, Tel Aviv, Saturday afternoon—the Sabbath—double feature while the city naps. Crying when Joel McRea watches his own comedy in jail, learning to get out of my head . . . Barbara Stanwyck is more than one woman, falling for her again and again, Fonda on the ship . . . The snake. Veronica Lake is nameless—just “The Girl” (look it up).
David Maysles, Albert Maysles, and Charlotte Zwerin
Taking reality to levels of poetry that humble the viewer. Men blindsided by life, breaking your heart. Humanistic zooms. Compassionate handheld camera. The “greatest story ever told” no longer selling, no longer telling. End of an era, end of door-to-door, end of community, end of American dream, end of plot. The beginning of the future of cinema. Again. Working as a PA for the Maysleses, watching every film they made, discovering the cinematographer is sometimes the scene.
The Hidden Fortress
The glory of story entertainment. TohoScope. Mifune, a screen god, as a general—the greatest of movie stars! A Japanese Hollywood action film in the best sense of the term. Perspecta sound. Kurosawa’s painter’s eye. Absurdist comedy. The spear fight between Mifune and a rival general. Fierce compositions. Fierce atmosphere. Fierce control of every element but our feelings. All for a princess. Adrenaline. The old Tel Aviv cinematheque in the Lottery building . . .
Wings of Desire
Go Schpatzeering. Peter Falk. Longing for Chaplin. German romanticism, expressionism, impressionism, other isms. Learning to listen. Pastiche a la Radio Free Europe. Sound layering perfection. Bruno Ganz. Henri Alekan. Color is human, black and white divine. Nick Cave and the Bad Seeds. “From Her to Eternity.” Solveig Dommartin’s first movie role. Her tragic beauty, now gone. . . Aching to fly. Ponytails from heaven. Emotional overdrive in Berlin, of all places. “When the child was a child.” Central Tel Aviv cinema with the woman I’ll marry and always love.
Alan Rudolph’s Top 10
Alan Rudolph is a pioneer in the American independent film movement. He has directed nineteen narrative features, including Trouble in Mind, The Secret Lives of Dentists, Afterglow, Choose Me, and his new film Ray Meets Helen.
Wendell B. Harris Jr.’s Top 10
The director of the award-winning indie classic Chameleon Street sings Orson Welles’s praises, pays tribute to Paul Robeson and Lorraine Hansberry, and reflects on his longtime dream of remaking Nightmare Alley.