Monthly Archives: September 2015
I’m very glad that Anna Karina’s neglected first feature, Vivre ensemble (1973), wasn’t overlooked in “The Female Gaze” (S&S, October), but I should also point out that the film isn’t quite as inaccessible as James Blackford, who couldn’t find a way of seeing it, assumes. Having been at the film’s premiere at Cannes and then having reseen it shortly afterwards in Paris, I still remembered it almost 40 years later when I selected and presented it on January 21, 2012, at Toronto’s Lightbox, as part of a series celebrating the Cannes’ La Semaine de la Critique. Seeing it again on that occasion, I found it fascinating — very brave, very personal, and also very, very 1973, in quite illuminating ways. The occasional autobiographical echoes reflecting Karina’s earlier relation to Godard only added to the fascination, and Karina herself suggested to me in a brief phone conversation that the film was badly received by the French film industry in part because the decision of a local actress to write and direct her own feature was virtually unprecedented at the time. I should add that she has written and directed a second feature, Victoria (2008), made in French Canada, that is even more obscure and inaccessible than Living Together has been; I haven’t been able to see it myself, and information about it on the Internet is extremely scarce, but I’m still hoping this situation will change.… Read more »
My column from the Fall 2015 issue of Cinema Scope. — J.R.
Practically speaking, we should invent our own extras, not necessarily or invariably depend on those that are made on our behalf. To cite four examples of what I mean:
a) According to normal usage, Icarus Film’s DVD of Frédéric Choffat and Vincent Lowy’s 44-minute Marcel Ophüls and Jean-Luc Godard: The Meeting in St-Gervais contains no extras. But according to my own usage, this DVD itself functions as an extra to a 100-page book that I own, Dialogue sur le cinéma: Jean-Luc Godard & Marcel Ophüls, published by Le Bord de l’Eau in 2011. That book — which is prefaced by short essays by Lowy and André Gazut and concludes with Daniel Cohn-Bendit’s essay for Le Monde, “Mon ami Godard” — transcribes two encounters between Godard and Ophüls held in 2002 and 2009 (the first of these focusing more on Marcel’s father Max), whereas the DVD includes most (but not all) of the second of these dialogues, and somehow manages to leave out some of the more interesting parts, either through cuts or incomplete subtitles. Which doesn’t mean that the Icarus release isn’t worth having, only that its contents are worth contextualizing beyond the material offered by Icarus.… Read more »
I’m very glad that I recently purchased Saul Bellow’s collected nonfiction — a handsome, interesting, and useful book, even if I tend to regard Bellow as the most overrated of all the “major” contemporary American novelists (certainly talented and smart, but not terribly interesting when it comes to formal inventiveness). And among the many valuable discoveries to be made here is the fact that Bellow served as a film critic for the magazine Horizon in 1962-1963, a stint which yielded four separate columns – on Morris Engels’ Lovers and Lollipops, on Luis Buñuel’s Viridiana, and two think pieces, “The Mass-Produced Insight” (which quotes from his pal Manny Farber) and “Adrift on a Sea of Gore” (mostly about Richard Fleischer’s Barrabas).
I was especially interested in Bellow’s appreciative remarks about Buñuel. But here is where the attentions of his otherwise careful editor, Benjamin Taylor, come up woefully short. Listing some of the more notable items in Buñuel’s filmography, Bellow comes up with two very puzzling titles, The Roots (1957) [sic] and Stranger in the Room (1961) [sic]. The second of these, which he discusses in some detail, sounds like he might be thinking of La Fièvre Monte à El Pao (1959), while the first is most likely La Mort en Ce Jardin (1956).… Read more »