Watching shorts from the Flicker Alley blu-ray, part four.

Film that Rises to the Surface of Clarified Butter (1968 Owen Land)

Repetitive little piece in which people draw a character, then it comes to brief stop-motion life, then they ponder this, then it happens again with a constant, quiet burbling horror of a soundtrack. Not as much fun as I’m making it sound.

Our Lady of the Sphere (1969 Lawrence Jordan)

I was rather dismissive of this last time but I’m starting to find its variety of techniques and combinations of images and cutouts from old-time illustrations pretty charming. It’s certainly a funnier and more imaginative way to spend nine minutes than the last movie was. “Jordan orchestrates the film in terms of a rake’s progress” say the liners, but I couldn’t make out much of a story (though I could identify recurring characters, at least).

Mouseover to hit the bear:

Mouseover to BZZZZZZT the donkey:

DL2 (1970 Lawrence Janiak)

Differently colored patterns fill the screen to varying degrees, from starfields to spaghetti-o’s to shower-curtain dots to bright silly-string and confetti parties, all created by organically Begotten-ing strips of film. Chiming, percussive soundtrack. Hypnotic and strangely relaxing to watch, though next time maybe play my own music.

Love It, Leave It (1970 Tom Palazzolo)

Speech from a car show plays over a nudist festival. Speech honoring the military plays over clowns. Then the soundtrack goes into a hypno-loop of “love it, love it, love it, leave it” under images of contemporary America (sports and recreation, demonstrations and celebrations, people and get-togethers and riot police), the sound finally mutating into a patriotic song layered over itself like that remix I made of the Brave trailer. The liners say he had a “sharp eye for Americana,” true. And the last page of Cinema Scope #66 points out where more Palazzolo films can be found, if I get into an Americana mood later.

Transport (1970 Amy Greenfield)

One of those dance shorts where the camera moves with the dancers, only the movements here are not too exciting – small group of people lifting each other across a dirty field. And the sound is completely unbearable, a series of horrible tones like the ones they play in movies after a bomb goes off to indicate tinnitus in the lead character. Also, two minutes of opening credits in a six minute movie?

Sappho & Jerry, Parts 1-3 (1977 Bruce Posner)

Early film by one of the anthology project’s many film restorationists. Three two-minute pieces where Bruce takes existing film elements, combines, mutates and split-screens the living hell out of them, adding more simultaneous frames in each ensuing chapter. Great fun.

Part 1:

Part 2:

Part 3:

Ch’an (1983 Francis Lee)

Pans, zooms and crossfades of black and white watercolors, with some short bursts of animation. Nice texture closeups of the watercolor work. I preferred Lee’s 1941 from earlier on the disc (these are his first and last films).

Seasons… (2002 Solomon & Brakhage)

Gorgeous variety of textures and patterns, colors and rhythms. “Intentionally silent” doesn’t fly with me, so I played the second half of the new David Grubbs album, which I would highly recommend. If I understand correctly, Brakhage did the textures and patterns, and Solomon did the lighting and coloring? Bravo to both.

I dig this frame because it looks like a dragon crashing into an aerial antenna:

A too-young Joel McCrea is out with his rich white yachting buddies when he decides to stay behind on a tropical island with the hot girl he met, who he soon learns is scheduled to be sacrificed to a volcano. Seems like this movie inspired both Joe vs. the Volcano and The Thin Red Line.

Ridiculous movie, but at least Dolores del Rio is good – and does some nude swimming.

I guess it’s been fifteen years since I watched Gaspar Noé’s I Stand Alone on videotape and didn’t enjoy it, and his name keeps coming up, so as part of my Festifest Quest to become more familiar with the film-festival auteurs of these days, I thought it best to watch a 2d blu-ray of Noé’s 3d porno. And I didn’t enjoy it. Maybe he’s a big screen filmmaker and you need to experience the glory in a proper theater – not that his films ever show where I live – but more likely he is making uninteresting movies that I should avoid in the future.

Salo, hardcore The Defiance of Good, Flesh for Frankenstein:

Okay, I liked the editing a lot. I’m a sucker for good editing, and this thing’s got it. Well-composed shots (though most are horribly lit) and lots of sex, two more things I like. The list ends there. Murphy is a sadsack who hates his blonde wife Omi and his family and his stupid life, so he dreams in flashback of his ex-girlfriend Electra and his stupid life with her. He comes across as a total dick, but once you get to better understand his situation… he’s still a dick, which deflates the sex scenes and the drama.

M, Birth of a Nation:

So Murphy and Electra were together, did drugs and had sex and initiated a threesome with a cute neighbor in their building. Murph fights Electra’s ex-boyfriend art-dealer Noé, played by our director Noé, then the cop arresting Murph tells him about a sex club, where he goes with Electra. He wears one of those Fassbinder shirts in the style of the Metallica logo and tells everyone he’s a filmmaker, though we never see him work. First time his girlfriend’s out of town he cheats with the cute neighbor, condom breaks, bam, two years later he’s stuck with the cute neighbor and their kid (named Gaspar, of course) and Electra’s mom is calling saying she hasn’t heard from her daughter in months, and has anyone seen her, but no they haven’t.

Murphy keeps stereoscopic photos in his I Stand Alone VHS box – self-reference much?

Taxi Driver?

Freaks, Taxi Driver:

Katy saw a single frame of this movie, on pause, and said it “doesn’t look very nice.” Not as stylized as I expected, really an actor’s showcase (and they’re fine, but the English dialogue needs work), though there’s some cool fake-sounding mixing in a couple of club scenes. I dig the music choices – “Maggot Brain” over the threesome.

B. Williams in Cinema Scope:

For a myriad of technological and social reasons, this current 3D wave is the first that’s been sustained long enough for us to get a stereoscopic porno that we have the opportunity to take somewhat seriously. If last year, with Adieu au langage, we were finally able to see 3D’s voice crack, Love might best be taken as its first date: a dumb, awkward, unseasoned, and horny experience that is best forgotten in the long term but serves as a logical and necessary step for now.

A semi-thriller, methodically structured with a non-ending, set at a cruisy gay nude beach. I didn’t love it as much as the Cinema Scope critics did.

Our shiftless hero is Frank, who spends an awful lot of time at the lake. Frank befriends Henri, a not-nude not-gay not-fit dude sitting off by himself every day, and looks for love among the others. Early on, Frank witnesses mustached Michel kill his boyfriend, spends the rest of the movie dating Michel and avoiding the local cops. Michel kills Henri and chases Frank at the end – you wonder if Frank got away, but you wonder if he wants to.

No music! Produced by Sylvie Pialat (wife of Maurice), picked up a couple of Cannes awards, film of the year according to Cahiers.

I watched it for the nudity but stayed for the choreography. After a while there are so many breasts you stop noticing them. Excellent behind-the-scenes doc of the preparation of a new season of Paris’s famous nude dancing show.

Antony does a song, making this the second nude-girls doc this year to feature his voice. Also a brief Michael Jackson clip. And lots of original songs, most of them quite bad, which makes it funnier that Ali, the bald creepy assistant director, is obsessed with them.

The three main talking heads: Ali sitting between creative director Philippe and shareholder rep Andree:

Funny: the dancers watch a tape of ballet bloopers to unwind backstage. A never-explained two-man disco tapdance routine takes place offstage. The movie opens with shadow puppets then a recording session of orgasm noises, which twice defeated my attempts to watch this quietly by myself while Katy and Maria were home.

Twin tapdancers:


I’m sure Wiseman’s Juvenile Court and Domestic Violence and State Legislature are interesting and valueable, but I’ve never tried very hard to watch them. As soon as he made a film full of naked girls, I got interested. Let this be a lesson to all filmmakers everywhere.

M. Peranson:

The dancers’ bodies themselves are cinematic vehicles, either used to produce shadows on coloured backdrops, or as objects themselves onto which light and image is projected. Cinema in essence involves the projection of desire, and what Wiseman cleverly does in Crazy Horse is present desire, illustrate its operation and deconstruct it, with the technical rehearsals of the numbers showing the peculiar sweat and effort required to create this seamless illusion.

Gymnopedies (1965, Larry Jordan)
An egg floats around on different backdrops interacting with various objects, all cut-out animation a la Gilliam or Borowczyk, set to calm piano music. Feels more like a proof of concept than anything else – if there was a narrative present, I didn’t catch it. Cute, though.

Lipstick (1999, Pascal Aubier)
Single 6-minute shot beginning under a bed, unsubtitled. Family is getting ready to leave for a trip, the mother is briefly visited by her lover who comes in through the window. Aubier was assistant director on some French New Wave classics in the 60’s, now an actor and a director of (mostly) comic shorts. Liked this a lot (and not only because of the naked dancing), will have to check out more of his stuff.

Ark (2007, Grzegorz Jonkajtys)
Iffy-looking 3D animation tells apocalyptic story with a twist ending. Our guy wasn’t really the lead scientist onboard an ark of the last surviving humans searching the oceans for new land, just a crazy old man in a convalescent home. Ha! Bah.

Happy-End (1996, Peter Tscherkassky)
Found footage of a couple sitting down for dinner, toasting the camera, drinking… and drinking and drinking! Dancing, drinking, sitting, more drinking. Different days, different clothes, edited together, eventually with scenes superimposed atop each other, a haunted distortion of a French pop song as the soundtrack.

Two Solutions To One Problem (1975, Abbas Kiarostami)
Very short with narrator, two kids get in a fight over a torn book. We tally the damages then rewind, and instead of starting a fight, they help repair the book and remain friends. Nice.

Blah Blah Blah (2006, Dietmar Brehm)
Liquor bottles. Close-ups of objects with strong textures, overexposed porno, an action film in extreme-fast-forward, long pause on an ashtray, back to the liquor bottles, etc. Audio is a quietly rainy/windy day with a metronome hit every three seconds. Looks like old 8mm or 16mm color with some monochrome sections. Pretty alright, probably better in a theater surrounded by like-minded shorts instead of following up a cute Kiarostami piece.

A Girl, She is 100% (1983, Naoto Yamakawa)
Wow, that wasn’t very good at all. They must’ve thought it’d be the simplest Haruki Murakami story to film. Straightforward, with some good still photography and some bad acting by our IMDB-unknown hero, closing with some rockin’ 80’s music.

Foutaisies (1989, Jean-Pierre Jeunet)
Young Dominique Pinon with 80’s hair tells us about the things he likes and does not like. Very Amelie-feeling, with Delicatessen opening titles (and Deli‘s lead actress).



The Hitman (2001, Ruben Fleischer)
Mary Lynn Rajskub decides to be a hitman, but her first mark (Paul F. Tompkins) decides not to go through with it and asks her out instead. Just your typical indie comedy short. From the director of Girls Guitar Club, whose film career didn’t take off, I guess.

What Is That (2001, Run Wrake)
Buncha funny animated business involving insects and meat and ringing sounds. Cute, but only three minutes long and pretty inconsequential… not up to Rabbit level. Guess it’s an early work.

Film Noir (2005, Osbert Parker)
Awesome, very short. Like Fast Film but slower. Some After-Effects-lookin’ animation combined with models and lots of cutouts – not trying to tell a story, just cool visuals/mood. Ahhh, the internet reveals that it was all created in-camera – impressive!



Banquize (2005, Claude Barras)
Boyer’s French Dictionary: “banquize – heap of floating ice frozen together in close masses.” Might be called Banquise, actually. Simple animation, fat kid wears his snow clothes in summer, dreams of living on banquize and playing with penguins. One day trying to hitchhike there he drops dead from heat/dehydration. Hmm.

Herakles (1962, Werner Herzog)
Herzog’s very first film, six years before his first feature. This was really good, and not like anything else I’ve seen by WH. Pretty simple structure so I’ll let wikipedia take it below.

The film relates to six of the twelve labours of Heracles. The film starts with shots of young male bodybuilders working out in a gym, posing on a stage and flexing their muscles. Each of the labours are then announced by on-screen text in the form of a question, followed by related scenes of modern challenges intercut with the bodybuilders. The audio track of the film is saxophone jazz and sounds from a gym.

The question “Will he clean the Augean stables?” is followed by scenes of a garbage dump, “Will he kill the Lernaean Hydra?” is followed by a huge line of stopped traffic on a motorway and people walking around outside their cars, “Will he tame the Mares of Diomedes?” is followed by scenes of car racing and several race crashes including a crash into the spectators and shots of the subsequent disaster and piles of bodies, “Will he defeat the Amazonians?” is followed by scores of young women marching in uniform, “Will he conquer the giants?” is followed by shots of rubble of a destroyed apartment building and men in uniform searching the wreckage, “Will he resist the Stymphalian birds?” is followed by jets flying in formation, shooting missiles and dropping bombs on training targets. The last shot of the film is of a bodybuilder’s buttocks as he goes off the stage through the stage curtains.


Matta (1985, Chris Marker)
“What I am showing here is no exhibition. It is an appeal: Come and play with me! It’s a very lively game, but nothing happens.” Simple interview with Chilean artist Matta (not surprisingly an Allende supporter), an original member of the surrealist group, talking coherently about his art and all art, human beings, dimension and meaning. Would be nice to get/make a transcript. Would be even nicer to have been able to see the Matta paintings that Marker frames him against, but my video was too low-quality to make out much visual detail.