"Truly doing movie criticism"

As part of the FILMVERMITTELNDE FILM Project Tag Gallagher has been interviewed about his video criticism, the why and the how of it.

"And the clearer my own ideas are, the fewer words I need. On paper, three paragraphs might make a point. On video, three words are better."

In addition to insights into his current video practice and the atmosphere in which it's done , Tag, who has always worked with the image, gives a wonderful little history of the use of frame-enlargements in printed articles.

At the end of the interview an invaluable filmography of Tag's is included. One wishes that dvd source information were also included, i.e. which commercial dvds include Tag's videos as "extras"; nevertheless, with the proper titles and dates one can usually locate them by searching online. And failing that, Tag is imminently approachable, via his website.

What is the translation of Filmvermittelnde film? Film mediating films? For now, it's clear that this is an extremely well mounted project by Volker Pantenburg, Stefan Pethke, and Michael Baute ( et al.) through the Vienna Filmmuseum (et al.) that thoroughly documents and explores film films, movies about movies. There are dossiers in German on Harun Farocki, Gustav Deutsch, Jean Douchet, Alain Bergala, pedagogical series, movies about movies on DVD (e.g. Janet Bergstrom on Murnau's 4 DEVILS, Jean-Pierre Gorin on PIERROT LE FOU, Bernard Eisenschitz on THEY LIVE BY NIGHT, etc) -- among others.

Stills:

1 from Tag's DREAMING OF JEANNIE (2003, on Ford's STAGECOACH), -- just as he begins a complex polemical aside (his videos are capable of that in addition to "three words are better") against Nick Browne's dead letter theories about Ford's camera and the spectator. Tag deploys superimpositions, moving repetitions, inventories of society in Ford, and camera position/axis graphs in his case against Browne's "Spectator-In-The-Text" (1975), showing that Ford gifts empathetic distance with the characters rather than (what Browne's text, through a questionable version of "suture" theory, assumes is) a submitting of the viewer to passive identification via a manipulative camera . This is part of a long standing debate about how the way-station scene in STAGECOACH works; Gilberto Perez also threw in his bit in a page-long footnote in The Material Ghost.

1 from Alain Bergala's movie about movies and Marseilles D’ANGELE A TONI (1998, FROM ANGELE TO TONI). "In 1934, two films, important in cinema history, were shot almost simultaneously around Marseilles : Angèle, the first feature film of the renowned young French author Marcel Pagnol; Toni, shot by Jean Renoir in Martigues at Pagnol’s invitation. Toni, which can be considered as the forerunner of the neo-realism movement. Both films were closed: based on the art of dialogue, love for direct sound, small-scale cinema with a taste for liberty during the shooting, and a familiy-like crew...Yet, they drew two diverging lines in the history of cinema: from Angèle to Toni, you step from Pagnol to Renoir, from a traditional vision of the Provence to a more contemporary vision of an area changed by industry, from Pagnol’s dramatic narration to Renoir’s documentary realism."

"3. In the packet of press materials that LM sent me last May is one still of Les contrebandières showing Brigitte (Françoise Vatel) scaling a bolder over a waterfall that is possibly the grubbiest I’ve ever seen — even grubbier than what the film looks like. Most people would call it “Substandard,” and they’d be right. This is the unfettered register that LM’s films occupy, breathe, and thrive in, a happy legion of the damned. Not even the $22 million spent on making Friedkin’s Sorceror look as impoverished and boring and artfully godforsaken and xenophobically unpleasant as possible could buy that sort of freedom and enlightenment."

--from Jonathan Rosenbaum's long unavailable, now available piece from 1977 **À la recherche de Luc Moullet: 25 Propositions**

a distant trumpet...

"MY CASE*: Straub complains. This time he complains that Heiner Müller who, upon meeting (the Straubs) in Berlin, lets fly something like 'it's good that people like you continue to exist!' A sentence where I, too, have heard the candid desire of death underlying it and to which one should be able to reply: 'Yes, I know I absolutely cannot count on you."

(Serge Daney in "Journal de l'an présent", TRAFIC, No. 3, été 1992.)

Interviewer: They say you are a marginal filmmaker?

Straub: Who?

Interviewer: A certain press, certain people...

Straub: Those are the ones who have an interest in supressing us, namely the industry pimps and, I was going to say, the whores who work for them, but that would be unfair to the whores. There's no reason to put a yellow star on certain filmmakers. Okay, so we have a yellow star. It's more interesting to check why. That means all journalists are whores and all producers are pimps. Well, almost everyone! (…) What does it take for a film to be marginal? The fact that it is left on the sidelines! From the moment a film enters the circuit, it stops being marginal. If it has the least sucess, you stop talking about marginalization! You then have the family blessing! Some racists labels are much more polished.

(Jean-Marie Straub, Danièle Huillet. Lisboa: Cinemateca Portuguesa, 1998.)

*Notre combat by Jean Douchet *

(translated by Craig Keller HERE)

Matters of a quarter of a second...

A new short by Jean-Claude Rousseau, SÉRIE NOIRE, has been made available online at INDEPENDENCIA:

-HERE, with English subtitles

-HERE, sans subtitles

It will only be available for viewing until July 29th.

All of Rousseau's films and videos breathe quite grand fictions, or lessons, and have something of the serial in them. SÉRIE NOIRE, an allusive title, is also wonderfully concrete, as you'll see. It's a "message" movie, like LA VALLéE CLOSE and DE SON APPARTEMENT, in the sound sense, not the genre sense.

One is always astonished by the diversity of expression in Rousseau's films. What is it that will tip the scales toward comedy "or" tragedy, toward the solitary work of handicraft (a message from another always received alone) or a vast collaboration with the earth and public?

The detective takes it on a case-by-case basis. It's possible for the filmmaker and spectator to join hands, and lead one another.

"C’est l’affaire d’un quart de seconde," Rousseau says of a complete change that occurs in the movie, where music provides a strange opportunity to lift the camera into the weeds, over a vacant lot, changing the relationship between the shooter, the shot, and the spectator. An almost Mizoguchian seizure (the off sound of the claps and bangs of some kind of intimate task become the shot's score as much as its reality) and just as grand, risky, sensual, implicating, cohering, emotional...

Manny Scale (3)

February 8, 1943

Manny Scale (2)

Manny Scale (1)

"Like Straub, I think it's sinful to give the audience material it knows already, whether the material is about race relations or the car culture or the depiction and placement of a candy bar."
-Manny Farber

*

Lumiere: A Conversation Between Jean Renoir and Henri Langlois

Excerpted and translated from the French by Bill Krohn

This translation, including a preface by Krohn, originally appeared in the Summer 2006 edition of the online political journal THE NOVEMBER 3RD CLUB. It is presented here with an embedded youtube of the entire film with Spanish subtitles. Note that the date of this dialogue is 1968, when street shots, whether like or unlike Lumiere's, were by historical necessity regaining their primacy [the May/June demonstrations and strikes] and "recreating the period" had many meanings. For Philippe Garrel, whose films Langlois played every year on Christmas day, filming the streets in '68 meant not filming the streets!

*

A French television broadcast, under the rubric Aller au cinema, of films by Louis Lumiere intercut with comments by Jean Renoir and Henri Langois provides a rare opportunity to learn how these two masters of cinema regarded the birth of a new art form. The "Lumiere parts" of those films are well described by Renoir's and Langois' comments about fantasy and reality, and the recreation of the atmosphere of a period, even of the soul of a society.

The program was assembled by New Wave director Eric Rohmer, who may be one of the two questioners we never see. What follows are quotes pulled or summarized from the program, with some indication of what films Rohmer chose to illustrate the comments. With only one exception, the comments are not laid over the films, which appear to have been shown in their entirety, without music, of course. This three-way conversation (including Rohmer's film selections) is also a reminder of why the French have a special place in the history and present of the art of film. ------- Bill Krohn


Jean Renoir : I don't feel that the cinematograph was just a way of putting the present in a box for the future. There is in these films a recreation of the atmosphere of the period that is exactly what we love today in Godard.


When we look at the very first films, they're almost all extraordinary. You feel like using the word "genius." But these cameramen weren't geniuses — they were helped by the fact that technique was still difficult.

I find more fantasy in certain Lumiere films than in paintings that aspire to fantasy. It's the creation of a world that exists in reality, but also of a world that exists in the imaginations of Theodore Rousseau or the Lumiere cameramen. The angle chosen by the cameraman — a humble servant of reality — is the work of his unconscious talent. Many great works of art are the result of the unconscious. I would even say that when a film we've made works, it's in spite of us.


[After a questioner mentions a comic strip that Lumiere imitated in "L'arroseur arose," adding that it is cut like a film would be today:]

That kind of cutting was easy to do with pen and ink, but not with a camera. That's what I mean when I say that the fact that the technique was difficult worked to their advantage. Because the cameraman can't cut, he has to compose more carefully.


Henri Langois : "As if by chance" a film begins with a tramway passing and ends when another one passes, close to the camera. In between you see the movement of people in the street. The cameraman saw that this set-up would give him a series of shots: You have a close-up, a long-shot and a medium shot and a movement linking them. That's not chance — it's science.


*Film: Liverpool - Church Street*


There was a big difference between Lumiere and the others at this period. There's nothing more boring on film than the inauguration of a monument, kings, queens and so on. The great thing about Lumiere is that he didn't show History — he showed Life. The force of his films is in the atmosphere of life, the ambience of life, the philosophy of the period — everything is there. When you see two little girls playing in the street, on the Champs-Elysee, you think of Proust, of Renoir.


*Film: Champs-Elysee*


Monet had painted the Gare St-Lazare before Lumiere filmed it. What you are seeing in Lumiere's film is the baton being passed from painting to film. The whole history of art from the mid-nineteenth century to the late nineteenth century leads up to Lumiere. Impressionist painting, everything that was greatest, newest in that period was absorbed by Lumiere's films. That's what gives them the quality of life. What Lumiere looked for was what is imponderable in life.


*Films: Le Bassin des Tulleries, Retour d'une promenade en mer*


[HL answering a question about improvisation and preparation in the Lumiere films:] The Lumiere cameramen when they got to a city would look for what would be best to film. They'd pick the spot, choose the angle. After that came improvisation. They didn't do it mathematically - they felt it in their hearts.


*Film: Milan - Place du Dome*


Painting describes society as it sees itself, but with Lumiere's films, for the first time we see it as it is. When I look at these films I'm often appalled. What is out of fashion in them? The bourgeoisie. What is modern? The people. Because of the evolution of society, we are more like them than like the bourgeoisie of the period, we feel closer to them.


*Films: Leaving in a car, Carpenters, Cultivation of the earth*

When a painter paints women wearing the fashions of the era, he paints them as they are supposed to fit and look. When Lumiere films them, we see what they really looked like.


*Films: Debarquement, Wedding party entering a church*


What about New York City in the Lumiere films? It isn't the city we see in fiction films, or period recreations. It's a city of business.


*Films: New York - Broadway and Wall Street, Le grand prix a Paris*


Whereas Paris in these films really is the Paris that Hollywood recreates when it wants to show this period. It really IS elegant. Look at a shot of Germany. The power of Germany shows through in it. You realize that the German empire was already there, whereas we were the flower of the nineteenth century. One observes a thousand little details like that.


*Films: Dresden: Auguste-Bencke Street, London: Westminster Bridge, Moscow: Tverskai Street*


When I see a woman walk past in a Lumiere film I see all of her psychology, all of her history, all of her life, her perspective, her "horizons." It's different in the films that are acted.


*Film: Card players watered *


Jean Renoir: In the little acted scenes it's obvious that it's Lumiere's family and employees "pretending." But it's not really being acted. What matters is not the characters; what matters is that Monsieur Lumiere has gotten them all together and had them do this. Monsieur Lumiere is filming himself. M. Lumiere expresses through their acting a certain wonderful naivete that often enters into French art. Much "good" acting is no less false.



*Films: The fake legless man, Battle of women, Nursemaids and soldier*


Henri Langois: [answering a question about whether a Lumiere cameraman was really the first to move the camera:] He didn't want to "move the camera." He wanted his camera with him in a gondola to show what he saw.


*Film: The Grand Canal in Venice*


If the filmmakers of the 20s had seen these films, people like [Fritz] Lang, they could have saved themselves a lot of time. But no one at the period of the Lumiere films thought that Lumiere's cameramen had invented the moving shot or the pan, because that's not what they saw. They saw "a shot of a tram moving."


*Film: Panorama of arriving in Aix-en-Bains taken from a moving train*


We see the genius of cinema popping up all over the place, but the spectators of that time didn't have the background to see that. [The following is the one time the voice over is overlaid, during the shot entering and leaving the tunnel:] Now, after the whole development of the cinematic language discovered in the 20s, we are approaching an art of cinema that is much closer to Louis Lumiere, who is the absolute of the art of cinema.


*Films: Passing through a tunnel, Liverpool: Panorama taken from an electric train*

[HL is asked to sum up his impression of the films]: What strike me is the lumiere (light), the quality of the light, the sunlit quality of the images, which they were obliged, I believe, to film at certain times of day. And the depth of field. In other French films of the period, [Louis] Feuillade, for example, there's depth, but the shot is composed for a flat surface, like a painting. There's something more scientific in the films of Lumiere that comes, I believe, from the light.


*Films: Goldfish bowl [amazing!], Marechal-ferrant, Disembarking from a ship*


They have to be developed using the procedures of the period for that to be seen, as they first were in Venice when a scientist I knew worked out a system for doing that. Seeing them properly developed, you understand that film is a plastic art.


*Films: Venice - Pigeons in Saint Marks' Square*


[HL answering a question about diagonal compositions:] It's not a diagonal - it's a triangle. All of silent film uses that triangular composition, not just the Lumiere films. There's never anything in the center, until you get to the style built around the plan americain and the close-up.


*Films: Transport d'une tourelle, Attelage d'un camion*


Jean Renoir: [Asked to sum up:] The precision and veracity that Henri Langois sees in these films shows, he says, that cinema is a resume of all the other arts. I see it differently. For me cinema is an art in itself, even though everything is linked. The world, as I never tire of saying, is one. And the world of Louis Lumiere is one.


For me the value of these films is that they are open to interpretation. Seeing one of them, I can make up the story I want, invent a before and after. You only have a work of art when the public is a collaborator. These films open a door to the imagination, permitting the spectator to invent part of what he sees. Which is also why the art of Getrmany in the 17th Century was music, since everyone in that society could be a musician. And why France is the art of painting, because of the atmosphere of painting that bathes it.

percentage of survival (2)

"With every film the director should make it felt that man is a magnificent thing, and in the same moment that he is the curse of the planet."


"The human race I prefer to think of as an underworld of gods. When the gods go slumming they visit the earth. You see, my respect for the human race is not one hundred percent."

- percentage of survival (1)

R.I.P.

João Bénard Da Costa

"(...) buzina. Descobrindo o efeito sonoro do seu movimento, a criança repete-o um sem número de vezes, sempre de costas voltadas para a rua e sempre a olhar para a velha. Esta não esboça a mais pequena reacção ao jogo da miúda, mas, embora não lhe vejamos o olhar, sabemos que está com toda a atenção a ela. Atenção que, de certo modo, é devolvida, pois que a brincadeira da criança, sendo também uma brincadeira solitária, é uma brincadeira para a velha, ou uma brincadeira com a velha. (...)"

"Sobre NO QUARTO DA VANDA" 

João Bénard Da Costa

If sensitivity to a single shot or a film's title are worth a damn to the English speaking world, then film critic and historian João Bénard Da Costa's work will one day be recognized and translated. He died today (1935-2009). I only became aware of João Bénard Da Costa through my work on Pedro Costa, and what Pedro and other Portuguese friends have told me of João Bénard's importance. One of the few (the only?) ways you can see João Bénard Da Costa with English translation is in a penetrating interview about OSSOS (Pedro Costa) included on this dvd of the film. He wrote an entire text, a beautiful one, about the above shot, a single shot!, in IN VANDA'S ROOM (Pedro Costa). He wrote monographs on Hitchcock, Buñuel, Lang, Sternberg, Nicholas Ray, Hawks and Ford. He also did the kind of work you cannot completely transcribe or translate since it resides in the minds of hundreds of thousands of beneficiaries, that of being a great director of the Cinemateca Portuguesa since 1980. My impression is that there are many people who could say about the films and the light shed on them by João Bénard Da Costa "I would have died if you hadn't come back." Mr. João Bénard Da Costa is gone. The films will wait "all these years." Is it a lie Johnny Guitar?

- a.r.

Separation

Danièle Huillet : There is something else in cinema besides directors, on which all the cinema rests: its craftsmen, its technicians, and that's also a social history. People who entered the cinema of the generation of Louis Hochet, our sound engineer, were generally people who came out of the working class and for whom the cinema was a possibility of upward mobility. But they brought their classes with them, their intelligence and experience. Now, this has also disappeared from cinema: the cinema became a Mafia, the son of a technician becomes a technician, the daughter of an actor becomes an actress... And that represents a loss of fantastic energy.

Louis Hochet - Class Relations (1984)

Jacques Aumont : It's true from this point of view, the lists of students at IDHEC or FEMIS are interesting, there is a high proportion of surnames of film people or known intellectuals.


D.H : We see it in concrete terms. The young technicians are often very nice, relatively less pretentious than directors. Nevertheless, there is a loss in terms of intelligence and experience, which is also frightening.


Jean-Marie Straub : And then, there’s too much vanity. There’s almost only vanity, there’s no ambition now.


D.H. : But ambition is also a social fact: someone that comes from below and wants to climb has ambition.


(...)


J.-M. S. : A musician condenses time with time. That’s the affinity between music and cinema. The work to be done is of not getting bogged down in the space that we show; it’s terribly annoying to see tracking shots, never ending pans. When I hear talk about sequence shots (plan-sequence) I want to vomit; that consists of being bogged down, and besides people now don’t even know what it means concretely. One must know how to, with space, condense time, and how to condense space to get time; also, if the actors speak there can be a relationship to vocal music (or not, if we don’t want it). After all, when someone says hello, it can be notated, no? [To Danièle Huillet:] Why are you staring at me like that?


D.H. : I was thinking about the time when all that wasn't separated...


J.-M.S. : It was well before cinema!


D.H. : Yes... But cinema could find something, and that's what has been lost. It's frightening when you look at old films, to see what was lost en route, all that was possible and that has been ransacked, looted, repressed. This is especially frightening because it's a model for what happens in general.


J.-M.S. : That money is profit. Barbarism is not just in society, it's also produced at the individual level.


J.A. : How then to continue to make films?


D.H. : By saying every time that this will be the last -- not like (Ingmar) Bergman, but concretely, in the knowledge that one has no future.

                  -- 1987

---------------CINEMASCOPE

only good for funerals and snakes,
and bread lines around the block,

for food vouchers, ending in riots,
which are also mainly good

for funerals and snakes.

-in Milwaukee '08-

....with Gloria in Laughton's garden -


GARDEN IN PROGRESS

High above the Pacific coast, below it
The waves' gentle thunder and the rumble of oil tankers
Lies the actor's garden.

Giant eucalyptus trees shade the white house
Dust relics of the former mission.
Nothing else recalls it, save perhaps the Indian
Granite snake's head that lies by the fountain
As if patiently waiting for
A number of civilizations to collapse.

And there was a Mexican sculpture of porous tufa
Set on a block of wood,portraying a child with malicious eyes
Which stood by the brick wall of the toolshed.

Lovely grey seat of Chinese design, facing
The toolshed. As you sit on it talking
You glance over your shoulder at the lemon hedge
With no effort.

The different parts repose or are suspended
In a secret equilibrium, yet never
Withdraw from the entranced gaze, nor does the masterly
_____hand
Of the ever-present gardener allow complete uniformity
To any of the units: thus among the fuchsias
There may be a cactus. The seasons too
Continually order the view: first in one place then in another
The clumps flower and fade. A lifetime
Was too little to think all this up in. But
As the garden grew with the plan
So does the plan with the garden.

The powerful oak trees on the lordly lawn
Are plainly creatures of the imagination. Each year
The lord of the garden takes a sharp saw and
Shapes the branches anew.

Untended beyond the hedge, however, the grass runs riot
Around the vast tangle of wild roses. Zinnias and bright
_____anemones
Hang over the slope. Ferns and scented broom
Shoot up around the chopped firewood.

In the corner under the fir trees
Against the wall you come on the fuchsias. Like immigrants
The lovely bushes stand unmindful of their origin
Amazing themselves with many a daring red
Their fuller blooms surrounding the small indigenous
Strong and delicate undergrowth of dwarf calycanthus.

There was also garden within the garden
Under a Scotch fir, hence in the shade
Ten feet wide and twelve feet long

Which was as big as a park
With some moss and cyclamens
And two camelia bushes.

Nor did the lord of the garden take in only
His own plants and trees but also
The pants and trees of his neighbors; when told this
Smiling he admitted: I steal from all sides.
(But the bad things he hid
With his own plants and trees.)

Scattered around
Stood small bushes, one-night thoughts
Wherever one went, if one looked
One found living projects hidden.

Leading up to the house is a cloister-like alley of hibiscus
Planted so close that the walker
Has to bend them back, thus releasing
The full scent of their blooms.

In the cloister-like alley by the house, close to the lamp
Is planted the Arizona cactus, height of a man, which each
_____year
Blooms for a single night, this year
To the thunder of guns from warships exercising
With white flowers as big as your fist and as delicate
As a Chinese actor.

Alas, the lovely garden, placed high above the coast
Is built on crumbling rock. Landslides
Drag parts of it into the depths without warning. Seemingly
There is not much time left in which to complete it.


b.b. c. 1945

NE CHANGE RIEN (Pedro Costa, 2009)

"Although people sometimes act like they think so, a singer is not like a saxophone. If you don't sound right, you can't go out and get some new reeds, split them just right. A singer is only a voice, and a voice is completely dependent on the body God gave you. When you walk out there and open your mouth, you never know what's going to happen."

Billie Holiday, Lady Sings the Blues.












There is now an entry for Pedro Costa's latest film Ne change rien at pedro-costa.net . The entry includes a synopsis, photos, biographies/ filmographies, and notes on singing and cinema by Jeanne Balibar. Ne change rien is to premiere at The Director's Fortnight, Cannes, this Friday the 15th of May.

.
.
.
.

.
.
.
.
.

.

.

.

.

.

.

.

.

*from C-

" — 'Pourquoi les juifs?'
Olho para uma mesa redonda e digo que ela é redonda porque assim me parece, mas depois começo a duvidar. (Qu'est-ce que ça veut dire, regarder? C'est garder deux fois.) No fundo não acredito na objectividade, ou então só acredito numa objectividade silenciosa, imponderável — as palavras são demasiado vivas, demasiado frenéticas, passam-nos a perna num instante.
De um filme de Godard, por exemplo, não se pode dizer quase nada, é literalmente feito de material inflamável. — 'Uma mulher casada' são fragmentos de um filme rodado em 1964 a preto e branco, dura 95 minutos. — Pois bem e o que é que isso significa? — Ah, Bérénice, o amor é um mistério."

Several notes on Brody's Godard biography...

...after reading Adrian Martin's "Contempt" :

1) When I first read Adrian Martin's review, I found his comparison of Brody's Everything is Cinema to Fuegi's biography of Brecht, The Life and Lies of Bertolt Brecht (at least Fuegi wears his thesis on his sleeve) very apt. There's the mutilation of the artist's works into a series of exposé-fueled interpretations pivoting on spurious biographical speculation and crude biographical judgments; hysterical ideological reductivism and wild revisionism; a completely knowing disregard and/or distortion of the artist's strivings and working methods, especially with regard to political being (in the case of the Fuegi, Brecht's collective adaptation methods are interpreted as life-long plagarism!); the well-crafted intent to do grave harm to the understanding of certain works (perhaps even to the man) -- all this is evident in both biographies.

But the comparison is not completely apt. Fuegi contributed to Brecht studies for at least 10 years (the BRECHT YEARBOOK, for example) before he (for ideological reasons) turned on the artist and the work. Brody, however, has produced little if any of what can be called solid scholarship on Godard before, during, or since his biography.

I was just using the term "artist" to describe the subjects of Brody and Fuegi's biographies. It can be a very limited term, especially in relation to the work of Brecht and Godard. I wouldn't want to be in league with the term "artist" when it's used to to say that Godard sacraficed being one by becoming militant, by speaking about the Palestinians, as if those concerns were "self-denial" of an "obstinate artistic quest" (pg. 625-6, Brody). To be in thrall to, or worse propagate, such a stodgy and couth definition of "art" as Brody's is as backward as it has ever been -- and over a body of work like Godard's, it's quite a reactionary feat. This definition of art has certainly been forced on us before. (Andrew Sarris for example, also speaking of Godard: "the death of an artist is too high a price to pay for the birth of a revolutionary, even when the revolution seems to make more sense than ever before.") To that definition I say thank goodness Brecht and Godard haven't always proceeded as "artists" alone, or else we wouldn't have TO THOSE BORN LATER, DER MESSINGKAUF, GALILEO or ICI ET AILLEURS, SAUVE QUI PEUT (LA VIE), HISTOIRE(S) DU CINéMA.

An astute reviewer of the Fuegi biography (click here to read the review) reminds that Brecht and his work fought and survived much, including every kind of force for reaction -- no reason to think Godard's work won't do the same.

2) The last group of stills in my post of Adrian's review

• one of Godard, Suzanne Schiffman, and Truffaut on the set of FAHRENHEIT 451

• one from Godard's HISTOIRE(S) with Truffaut and Léaud ["YOU/YOU"]

• and two from GRANDEUR ET DéCADENCE D'UN PETIT COMMERCE DE CINéMA, Godard's film with Léaud from 1986

are dedicated to Adrian's recent comment at Girish's blog:

"(...) I don't think I have ever seen it mentioned that, for example, the film project that Godard 'menaced' Truffaut with in their bitter 1973 letter exchange (called A FILM at that stage, if I remember correctly), is substantially the film he made 13 years later as GRANDEUR ET DECADENCE ..."

Yet another deepening of that exchange. I don't think I would be alone in calling GRANDEUR ET DECADENCE... one of Godard's greatest films of the 80's, perhaps of his entire career. Brody gives it a one-and-a-half page plot synopsis (funny since this is one of Godard's most self-sufficiently plotted films and an admirable self-criticism) and nothing else.

3) and of that exchange -- the letters between Truffaut and Godard, and the anecdote about the slurring of Pierre Braunberger: for those who've only read Adrian's review and not Bill Krohn's KINBRODY AND THE CEEJAYS, the latter really must be referred to for a deepening of the issues and events at hand in those letters and that slur. At Dave Kehr's always interesting blog, Glenn Kenny finds:

"Krohn’s attempt to reduce the Godard/Braunberger 'Sale juif' incident to nothing more than Godard attempting an allusion to Renoir and Braunberger not 'getting' it is a real stretch."

But Kenny does not need to stretch because this is not what Bill Krohn is suggesting at all. Bill's review would not be 8000 research-based words (in a book review!) if he were asking us to actively "reduce" and think the "sale juif" remark "nothing more" than anything. In short, there's more -- to consider, to argue, to think about, to remember, etc.. Brody's book, and the reactionary attitudes it has empowered (cf. Kenny's blog post on Godard and Brasillach, recent New York Times articles, etc) give the opposite impression. By doing the research on that letter that Brody did not do (or withheld), I think Bill is suggesting that it's impossible to accept Brody's long-armed judgements which, in this case, hinge upon the spoken word with no witnesses. This does not make the slur against Gorin by Godard (reported in the Brody) any less unfortunate. Nor does it make NOTRE MUSIQUE or any of Godard's films anti-Semitic. Brody is craftily counting on these slurs as they appear in his book to pass into and strengthen his perspective against Godard's anti-Zionist films -- and only in this vile book could it pass.


Rolle, witness




New York, witness



West Bank, witness




4) For a similarly complicated affair accusing Jean Renoir of anti-Semitism, including the rebuttals to that charge, see the wonderful Jdcopp's definitive post here.