From Monthly Film Bulletin, December 1976 (Vol. 43, No. 515). — J.R.
One Second in Montreal
Director: Michael Snow
Dist–London Filmmakers’ Co-op/Cinegate. p.c /p/ph/ed–Michael Snow. 612 ft. (at 16 f.p.s.) 26 mins.; (at 24 f .p.s.) 17 mins.
A series of thirty-odd black and white still photographs – all showing park sites for a projected monument in Montreal covered with blankets of snow — are rephotographed and shown in succession; the duration of each photograph on the screen progressively increases during the first section of the film, and progressively decreases during the second, which ends with a ‘flash’ repeat of the initial title card. A simple experiment in what might be described as the phenomenology of duration in relation to the viewer’s attention and grasp of detail, One Second in Montreal apparently owes its title to the fact that the combined exposure time of the original photographs adds up to only one second.
Praised somewhat hyperbolically as a ”cinematic construction which plays upon the seriality of film images” (Annette Michelson) and a “snow film so silent you can hear the snow fall” (Jonas Mekas), the film is an ‘open’ work in the sense that it can be projected at either 16 or 24 frames per second.… Read more »
From Monthly Film Bulletin, December 1976 (Vol. 43, No. 515). — J.R.
Coilin & Platonida
Great Britain, 1976
Director: James Scott
The 1920s. Thrown out of the house by her uncle, Aksinya marries her lover, a sexton, and five months later gives birth to a son, Coilin. After the sexton drowns in a stream, she works as a servant to nuns, introducing and dressing Coilin as a little girl. Entering school at the age of twelve, Coilin is expelled for backwardness, and finds work as an apprentice to various craftsmen. After three years in the army, he returns to find his mother dead and is turned away from his uncle’s house. Visiting two orphaned boys who are distant relatives and finding them hungry and maltreated, he takes them under his wing and persuades his cousin Platonida to give them clothes. Settling in with the children in an unused room at Granny Rochovna’s cottage, he sells home -made polishand ink, does odd jobs, and applies unsuccessfully for work at the postoffice. Given an island by the town council, he builds a hut and teaches the boys to read. Four years later, Platonida’s husband dies, and her father-in-law promises to leave her his fortune.… Read more »
From the November-December 1976 Film Comment and exhumed now mainly as a telling time capsule of this period in the world of English film criticism. I’m still indebted to Laura Mulvey for introducing me to Zoo, or Letters Not About Love in her own list, which has subsequently become a touchstone for me.
For illustrations, I’ve selected the first film cited in each list whenever possible, even when there’s no particular significance to the order (when I couldn’t come up with one for The Nightcleaners, at least until Ehsan Khoshbakht — see below — furnished me with production stills or framegrabs, I accorded the late Claire Johnston two others)….Because of a scanning error and oversight, I originally had to omit two entries, those of David Pirie and Paul Willemen, which are now included.) In the remaining 27, I’ve corrected a few typos for the first time, and accidentally introduced a few others, but thanks to the generous efforts of my good friend and best proofreader, Ehsan Khoshbakht, on December 4, 2014 (as well as Adrian Martin three days later, who caught a few more glitches), these are now corrected, and five additional illustrations (again, courtesy of Ehsan) have been added.… Read more »
A program note written for the London Film Festival in 1976, held at the National Film Theatre in November. On November 17, at the first of two screenings, Duelle appeared as a double bill with the world premiere of Noroît, which was shown immediately afterwards, with Rivette in attendance. –- J.R.
Labelled the second feature in [Jacques] Rivette’s four-part Scènes de la Vie Parallèle, Duelle is in fact the first to be completed. Like all the films in the projected series, it covers the ‘Carnival’ period between the last new moon of winter and the first full moon of spring: the only time when goddesses can appear on earth and have commerce with mortals. These goddesses are split between moon ghosts and sun fairies; in Duelle, we find a ghost (Juliet Berto) and a fairy (Bulle Ogier) competing for possession of a diamond known as the Fairy Godmother which can keep them on earth past their allotted forty days.With a non-existent word (the female form of a masculine noun) as title and an imaginary muth as starting-point, Duelle deliberately defines itself through contradictions and clashes, maintaining a perpetual disequilibrium of elements that equally flirts with and refuses the comforting balances of ‘classic’ narrative.… Read more »
From Monthly Film Bulletin, November 1976, Vol. 43, No. 514. — J.R.
Ultima Donna, L’ (The Last Woman)
Director : Marco Ferreri
Cert—X. dist–Columbia.Warner. p.c—Flaminia Produzioni Cinema (Rome)/Les Productions Jacques Roitfeld (Paris). p—Edmondo Amati. p. managers–Maurizio Amiti, Roberto .Giussani. asst. d—Enrique Bergier, Bernard Grenet. sc–Marco Ferreri, Rafael Azcona, Dante Antelli. story–Marco Ferreri. collaboration on dial–Noël Simsolo. ph—Luciano Tovoli. col—Eastman Colour. ed–Enzo Meniconi. a.d—Michel de Broin. m—Philippe Sarde. m.d—Hubert Rostaing. cost—Gitt Magrini. sd. ed— Gina Pignier, sd. rec–Jean-Pierre Ruh. l.p—Gérard Depardieu (Gérard), Ornella Muti (Valérie), David Biggani (Pierrot), Michel Piccoli (Michel), Renato Salvatori’ (René), Giuliana Calandra (Benoîte), Zouzou (Gabrielle), Nathalie Baye (Girl in Shopping Mall), Soulange Skyden (Girl at Night-club), Carole Lepers (Anne-Marie), Daniela Silverio (Jane), Vittorio Ganfoni (Policeman with Dogs), Guerrino Totis. 9,799 ft. 109 mins. French dialogue; English subtitles.
French title–La Dernière Femme
Gérard, a young engineer whose wife, Gabrielle, has recently left him, meets Valérie, the attractive teacher at the factory nursery where he goes to collect his thirteen-month-old son Pierrot, and invites her home with him; she agrees, and is assured by her lover Michel thathe won’t interfere.… Read more »
This appeared in the Autumn 1976 Sight and Sound, and I hope I can be excused for omitting the article that occasioned it, Lucy Fischer’s “’Beyond Freedom and Dignity’: an analysis of Jacques Tati’s Playtime,” that was included in the same issue. (In her subsequent book-length bibliography of writings about Tati, Fischer omitted this Afterword, along with much else, so I guess that this exhumation of my Afterword without her article could be interpreted as some form of tit for tat. But in fact, I don’t have the rights to her piece, which I don’t believe has ever been reprinted. However, even though I fully realize that most college students prefer to ignore texts that they can’t find on the Internet, this is a piece well worth looking up in a well-stocked library.)
Beginning with a quote from an article by B.K. Skinner entitled “Beyond Freedom and Dignity” -– “We attempt to gain credit for ourselves by disguising or concealing control” –- Fischer’s article sets about attempting to refute my claims that Playtime was a fulfillment of Andre Bazin’s claim that the “long-take style” accorded more freedom to the viewer by showing how Tati’s own style guides the viewer in various ways and towards certain details through his uses of color, camera movement, and sound.… Read more »
From Time Out (London), October 1, 1976. As I point out in my first collection, Placing Movies (1995), my flip comparison of moviegoing and sex in the latter part of this article led Robin Wood in the Times Educational Supplement (22 October 1976) to virtually link me with the downfall of Western civilization: “The implicit trivialization of art and life is the ultimate stage in our alienation.” This was some time before he declared Celine and Julie Go Boating a masterpiece on his own terms, bringing in a feminist perspective that my own appreciation sorely lacked.–- J.R.
The Plot Thickens
I’ve said it before and I’ll say it again: Jacques Rivette is the most important director working in the narrative cinema today. And Celine and Julie Go Boating, while it may not be his most important achievement, is by commonconsent the most enjoyable and accessible of all his movies to date It is also the first of his films to open commercially in England In over a decade. The two movies he has made since, Duelle and Noroît, will both be shown at this year’s London Film Festival — along with Sérail, the first feature by Eduardo de Gregorio, Rivette’s scriptwriter.… Read more »
From Sight and Sound (Autumn 1976). -– J.R.
THE NEW WAVE
By James Monaco
OXFORD UNIVERSITY PRESS, £9.95.
A writer whose methods immediately evoke the mood and dynamics of an energetic classroom, JamesMonaco restricts The New Wave to the five film-making alumni of Cahiers du Cinéma most often identified with that label: Truffaut, Godard, Chabrol, Rohmer and Rivette. Considering the dearth of books in English on the subject (only Peter Graham’s anthology and Raymond Durgnat’s early monograph — both long out of print, and the latter unmentioned in the present book — qualify as predecessors), it is a fertile field for any critic interested in organizing a lot of diverse material, and this task is handled by Monaco with grace and assurance; for its bibliography alone, this over-priced volume is well worth having. Beginning with an evocation of Rivette’s first encounters with Godard and Truffaut (and later Chabrol and Rohmer) at the Avenue de Messine Cinémathèque in 1949 or 1950, he proceeds to the films of each until, some 320 pages later, he has burrowed his way through over a hundred features and shorts.
Lots of grist for the mill; but what kind of product is the Monaco factory manufacturing?… Read more »
This essay, published in Film Comment in September-October 1976, represented one particular round in a series of initiatives and polemical forays I conducted on behalf of Jacques Rivette’s Duelle, which included getting it into the Edinburgh International Film Festival that year (and then writing about that festival at length in the Winter 1976/77 issue of Sight and Sound). One part of my effort was to engage the attention and interest of writers associated with the English theoretical magazine Screen, and this portion of the effort mainly failed: the principal response of the Screen writers who bothered to see it, as I recall in terms of their comments to me, was that it was basically warmed-over Cocteau and/or Franju – a reaction that I consider now, as I did then, to be rather obtuse and philistine. On the other hand, I no longer relish Duelle with quite the same fervor that I did at the time, even though there are certain moments in Jim Jarmusch’s very pleasurable latest feature, The Limits of Control, that remind me of it. (Nowadays I prefer L’amour fou, both versions of Out 1, and Celine and Julie Go Boating — for me the peaks of Rivette’s work to date.) This article may be somewhat dated in other respects as well, but I still rather like the way that I use Barthes, the Tower of Babel, and Patti Smith.– J.R.… Read more »
From Monthly Film Bulletin, September 1976, Vol. 43, No. 512. — J.R.
De Naede Faergen (They Caught the Ferry)
Director: Carl Th. Dreyer
Dist–Guild Sound & Vision. p.c–Ministeriernes Filmudvalg. sc–Carl Th. Dreyer. Derived from a work by Johannes V. Jensen. ph–Jørgen Roos. ed–Carl Th. Dreyer. sd–Jorgen Roos. l.p–(not credited). 408 ft. 11 mins. (16 mm.).
Behind the credits, accompanied by the ominous sound of three beats on a kettledrum, a ferry arrives at the Assens-Aarøsund landing. After some reverse-angle cuts between ferry and landing, a motorcyclist on board asks the captain about the next departure of the ferry on the other side of the island. ToId that it leaves in forty-five minutes but that he’ll never make it — the other ferry being seventy-five kilometres away — the man replies, “I must get it” and, with a female companion clinging to his waist, drives off the boat behind a line of other cyclists.
He quickly accelerates from 40 to 80 km. per hour, and his race down a country road is illustrated by moving shots which alternate his viewpoint (passing trees, close-ups of speedometer) with ‘objective’ angles (shots behind or ahead of his bike, close-ups of wheels).… Read more »
From Monthly Film Bulletin, September 1976 (vol. 43, no. 512). — J.R.
Secret, Le (The Secret)
Director: Robert Enrico
Strangling a guard, David Daguerre escapes from his cell in an unidentified building, and thumbs a ride to Paris. He borrows money from a former lover and takes a train to the country, where he meets Thomas Berthelot while looking for a place to hide. Thomas and his lover Julia Vandal invite David to stay over at their house and he accepts. But he refuses to specify who is pursuing him and why, intimating only that he witnessed something he wasn’t supposed to, was confined and tortured as a result, and that he (and now the couple) will be killed if ‘they’ find him again. Although Julia is reluctant to keep him on as a guest, Thomas insists on protecting him as a kind of antidote to his uneventful life. even when David steals their revolver. After deciding to leave, David is held back by the arrival of several soldiers, although they later prove to be on maneuvers. Thomas then suggests driving David to Marmizan and taking him in his boat to Spain, and over Julia’s protests they all set out in the couple’s camper.… Read more »
From Monthly Film Bulletin , September 1976, vol. 43, no. 512. — J.R.
Goodbye, Norma Jean
U. S.A./Australia, 1975
Director: Larry Buchanan
Hollywood, 1941. Ogled by her foster father and despised by her foster mother, Norma Jean Baker is thrown out by the latter and takes work in a factory. Raped by a policeman whom she earlier persuaded not to give her a speeding ticket, she is comforted by Corporal Ralph Johnson. He prompts her on how to behave when she enters the Miss Whammo-Ammo contest (which she wins), photographs her in cheesecake poses, and advises her in her efforts to become a movie star. They drive to Tijuana and make love, although she admits that her former experiences with men have prevented her from enjoying sex. He next introduces her to model agent Beverly, who finds her work posing for pulp magazine illustrations and introduces her in turn to agent Irving Ollbach, who takes her to a party in Palm Springs. There she is sneered at by casting director Ruth Latimer, raped by actor Randy Palmer (who first offers to give her a screen test), and mocked by the party’s host, the wealthy Hal James, who none the less later arranges for her to have an interview at Lion-Rampant pictures.… Read more »
From Monthly Film Bulletin , September 1976, Vol. 43, No. 512. — J.R.
Director: Michael Snow
Dist–London Film-makers Co-op /Cinegate. conceived and executed by– Michael Snow. In colour. ed–Michael Snow. sd–Darvin Studio. with– Allan Kaprow, Emmett Williams, Max Neuhaus, Terri Marsala, Donna Aughey, Joyce Wieland, Louis Commitzer, George Murphy, Dr. Gordon, Liba Bayrak, Anne Scotty, Nancy Graves, Richard Serra, John Giorno, Paul Iden, Alison Knowles, Jud Yalkut, Susan Ay-O, Mac, students in the HEP program at Farleigh Dickinson University. 1,872 ft. 52 mins.
Alternative title–Back and Forth
The camera pans back and forth across an outside wall of a classroom while a man crosses part of the field. The pan resumes inside the classroom in a fixed trajectory, revealing an asymmetrical area including part of a blackboard and a door on a far wall, two pairs of windows on the wall closer to the camera, and desks in front of the blackboard; trees, building and occasionally passing vehicles are partially visible through the doors and windows.
Throughout, one hears the sound of the camera’s mechanisms, including a loud report at the beginning and end of each pan. Various cuts emphasise that certain parts of individual pans, or entire pans, or a number in series, were filmed at different times.… Read more »
From Monthly Film Bulletin, September 1976, , Vol. 43, No. 512. I believe that this is the first time I wrote about Moullet. — J.R.
Steack Trop Cuit, Un (Overdone Steak)
Director: Luc Moullet
Cert-U. dist–Connoisseur. p.c–Les Productions Luc Moullet/Les Productions Georges de Beauregard. p–Georges de Beauregard. 2nd Unit d–Pierre Guinle. sc–Luc Moullet. ph–André Mrugalski. 2nd Unit ph–Raymond Cauchetier. ed–Agnès Guillemot. 2nd Unit ed–Maryse Siclier. a.d–Luc Moullet. m–Frédéric G. Ploumepeux. English titles– Mai Harris. sd–Marielle Lesseps. cooking adviser–Alberta Laguioner. /.p–Françoise Vatel (Nicole), Albert Juross (Georges), Jacqueline Fynnaert (Françoise), Raymond N. Quinneseul (Samuel). 1,739 ft. 19 mins. Subtitles. Returning home from school, Georges protests angrily to his older sister Nicole that she hasn’t yet prepared dinner. With both their parents away, she is in control of his pocket money, and threatens not to give him any for Sunday after he behaves boorishly. Claiming that the steak she has cooked is inedible, he goes next door and borrows sausages from their neighbour Françoise, which he gets Nicole to prepare. Afterwards, he plays footsy with Nicole at the table and talks to her while she puts on make-up and changes clothes, preparing to go out on a date.… Read more »
From Monthly Film Bulletin, September 1976 (Vol. 43, No. 512). — J.R.
Buffalo Bill and the lndians, or
Sitting Bull’s History Lesson
Director : Robert Altman
Cert-A. dist-EMI. p.c–Dino De Laurentiis Corporation/Lion’s Gate Films/Talent Associates-Norton Simon. exec..-p-David Susskind. p– Robert Aitman. assoc. p–Robert Eggenweiler, Scott Bushnell, Jac Cashin. p. exec—Tommy Thompson. asst. d–Tommy Thompson,Rob Lockwood. sc–Alan Rudolph, Robert Altman. Suggested by the play Indians by Arthur Kopit. Ph–Paul Lohmann. Panavision. col–Deluxe General.ed-Peter Appleton, Dennis Hill. p. designer–Tony Masters. a.d–Jack Maxsted. set dec–Dennis J. Parrish, Graham Sumner. scenic artist–Rusty Cox. sp. effects–Joe Zomar, Logan Frazee, Bill Zomar, Terry Frazee, John Thomas. M–Richard Baskin. cost–Anthony Powell. make-up–Monty Westmore. titles-Dan Perri. sd. ed–William Sawyer,_Richard Oswald. sd. rec–Jim Webb, Chris McLaughlin. sd. re-rec–Richard Portman. research–Maysie Hoy. wrangler–John Scott. l.p–Paul Newman (Buffalo Bill), Joel Grey (Nate Salsbury), Burt Lancaster (Ned Buntline). Kevin McCarthy (Major John Burke), Harvey Keitel (Ed Goodman), Allan Nicholls (Printiss Ingraham), Geraldine Chaplin (Annie Oakley). John Considine (Frank Butler), Robert Doqui (Osborne Dart), Mike Kaplan (Jules Keen), Bert Remsen (Crutch), Bonnie Leaders (Margaret), Noelle Rogers (Lucille Du Charmes), Evelyn Lear (Nina Cavalini), Denver Pyle (McLaughlin),Frank Kaquitts (Sitting Bull), Will Sampson (William Halsey), Ken Krossa (Johnny Baker), Fred N. Larsen (Buck Taylor), Jerri Duce and Joy Duce (Trick Riders), Alex Green and Gary MacKenzie (Mexican Whip and Fast Draw Act), Humphrey Gratz (Old Soldier), Pat McCormick (Grover Cleveland), Shelley Duvall (Frances Folsom).… Read more »