October 29, 2006

2 (Upon "Report #2", for K.V.)

(...) Himmlische nemlich sind

Unwillig, wenn nicht einer sich die Seele schonend

Zusammengenommnen, aber doch er muß; dem

Gleich fehlet die Trauer. 


For the Heavenly, When

Someone Has Failed to collect His Soul, to spare it,

Are angry, for he still must; like him

Here mourning is at fault.

Friedrich Hölderlin
Third Version
Third Stanza (1806)
trans Michael Hamburger


Il était une fois une petit cinéaste…petit mais menaçant, à peine cinéaste encore et déjà menaçant, petit et déjà menaçant, petit et cinéaste déjà -

Il n’est encore qu’un cinéaste - qui menace - mais tout de même cinéaste assez pour qu’on ait senti, que l’on sente, qu’on lui ait fait sentir, qu’on lui fasse sentir qu’il est, qu’il était menaçant... avec son cinématographe par son cinématographe; 

qu’il est menaçant son cinématographe, qu’il menaçait, qu’il menace le cinéma avec son cinématographe, par le cinématographe -
que le cinématographe menace le cinéma.

Cinéaste pour qu’on sache que son cinématographe menace le cinéma, que son cinématographe soit menaçant, soit une menace.

1962, Jean-Marie Straub.  
(2006 and onward!)

October 12, 2006


October 9, 2006

Danièle Huillet

Danièle Huillet, one of the world's greatest, most sensitive and demanding filmmakers died last night. She was 70 years old, born on May Day, 1936.

(from her NOTES ON GREGORY'S WORK JOURNAL, 1975 [on the shooting of Moses und Aron, Straub/Huillet, 1974])

at his feet
of the unanimous horizon
that there
prepares itself
is tossed and mingles
with the fist which would grasp it
as one threatens
a destiny and the winds
the one number which cannot
be another
to pitch it
into the tempest
refold its division
and pass on proudly

(from Toute révolution est un coup de dés
[Every Revolution is a Throw of Dice]
1977, Straub/Huillet
Danièle Huillet sits at Père-Lachaise Cemetary, with the slain Communards of 1871 underfoot, reciting Mallarmé's poem Coup de dés of 1897:

de cette conflagration
à ses pieds
de l'horizon unanime
que se
s'agite et mêle
au poing qui l'étreindrait
comme on menace
un destin et les vents
l'unique Nombre qui ne peut pas
être un autre
pour le jeter
dans la tempête
en reployer la division et passer fier

(Danièle in Schwarze Sünde [Black Sin], 1988, Straub/Huillet)

(Danièle at the Vienna Filmmuseum, 2004)

When I attended the Viennale/Filmmuseum retrospective in 2004, it was my first and only chance to have met Huillet; I failed. I watched her a little in the lobby, she was rather aloof to all the reunions, drinks and commotion of that first night of their arrival. During the panel she interjected with her typical clarity and sobriety, and smiled and laughed when the subject wasn't peasant wars, a bad book on Cézanne by John Rewald, pieds-noir (French colonialists in Algeria), Bush.....She made one of the most trenchant and relevant comments to why the "rules of the game" are such as they are with their films, with their political stakes, with their extreme interest in the films of John Ford. She said:

"Everything has a motive, in the military too. They are not devils or criminals. It's too easy to say Bush is crazy — to understand the thing is the only way to combat it, not to apologize for it. In Bush you know what you're dealing with, with progressives you don't always know."

Several nights later, before either a screening of Dr. Bull (1933, John Ford) or Too Early, Too Late (1978), I saw her quietly buying a copy of JOHN FORD: INTERVIEWS while everyone hobknobbed, holding it between her arm and her chest the rest of the evening.

(Huillet and Straub shooting Il Ritorno del figlio prodigo/Umiliati [Return of the Prodigal Son/Humiliation] 2003, Huillet/Straub.)

For me, at this moment, there's no point in trying to delineate what was Huillet and what was Straub in their films. They worked together on every film, including the early ones where only Straub is credited. One look at Pedro Costa's film on Huillet/Straub's work ethic Ou git votre sourire enfoui? (Where Lies Your Hidden Smile?) will show you that while Jean-Marie is a raging current, Danièle also drives the turbines and maintains the power station. Perhaps an industrial metaphor is too crude; as a child Huillet wanted to be a peasant farmer, then a veternarian (Huillet on The General Line: "if you're going to say that tractors are extremely useful you should also mention the damage they cause....You can't help thinking that he [Eisenstein] didn't follow his work to its conclusion." ). In any case, there's no need for the forthcoming obituaries and articles to treat her role as secondary. It's also worth noting that every poster for their films since Antigone (1991) is printed "Film de Danièle Huillet et Jean-Marie Straub".

Of course one is interested in the facts about their precise roles in the creation and execution of some of the greatest works of all of cinema, but eternal inaccessability to Huillet/Straub's personal/craft dynamic aside (can one really trace these kinds of dialectics? Or perhaps it's Sam Fuller's "third face"?), maybe we'd do better to remember Huillet's words:

"we are interested in the products not the names"

or even:

"Ultimately, about Pavese himself we couldn't care less by the end of the film. What interests us are the good people who say Pavese's texts, what they do in life, how they say these texts, the problems they have saying what they say – which makes what they say all of sudden no longer belong to Pavese but to the good people who say it – who at the outset had never heard of Pavese. The only interest that the text or what you call the culture has is that the person who wrote it did a certain work, he produced something which touched us and which subsequently has resisted – from which one can judge that he did his work well.”

This weighing of all consquences, be it in their use of a Pavese text and all the reverberations of how, who and why; be it with animals, camera distances, political terms (D: "But one can't use the term “fascist” loosely. It’s a precise term, with a certain historical meaning"); agit-prop films (D: "it's not worth making such films out of anger, either. Rage. Fury."); ultimately one's own subjectivity (D: "Of course we react to circumstances, as individuals. But that's not a good enough reason to insert these individual reactions into a film, for it would bring us back to sentimentatlity." ) -- in all this the work will live. Though at this painful moment this no consolation for the loss of such an artist.

But, too, Danièle Huillet wasn't some provincial puttering old woman in the end, in fact she leaves at least one project up in the air, and two recent finished films sadly unaccompanied. She (along with Straub of course) not only had the new film Quei loro incontri (2006) about to open in Paris, which they planned to accompany, but also planned to shoot yet another film in the coming months, with cast and crew arranged, to be shot in the Loire region of France. Then there's their 12 minute short film EUROPA 2005, 27 OCTOBRE (2006), shot last spring and, though it may be shown as an anonymous cine-tract, it will screen along with 4 of their Italian films at the Villa Medici on October 21st. The film was commisioned by Enrico Ghezzi as a "sequel" to Rossellini's EUROPA '51 and the "27 OCTOBRE" of the title refers to the day two teenagers (Bouna Traore, 15, and Zyed Benna, 17) were electrocuted and killed while hiding from the police in an electric station - the event that sparked the uprising in France last year.

Huillet, Straub and two other filmmakers shot the movie on digital video (their first) on the site of the teen deaths, in the suburb Clichy-sous-Bois.



October 7, 2006

this is an audio post - click to play


this is an audio post - click to play

Cinema is a storehouse, a silo....!

October 5, 2006

"I was constantly driving my car around the country, especially in the Southwest. "
-Fritz Lang

Above stills taken from Fritz Lang's 16mm film of Tombstone, Arizona. The University of Wisconsin website is carrying twenty clips of Lang's 16mm short films of the Southwest, U.S.A., taken in the years 1938-1953.

Only occasionally do these clips have the character of home movies and some, like the Tombstone clip, are very exacting; one could even speculate that they were intended as inserts for some unknown Lang film. The majority of clips are like landscape films; endless pans, occasional reverse shots...