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 »