Blackie and his bestie, the thinner-mustached Marko are communists in 1941. The nearby zoo is bombed, panicking Marko’s brother, the stuttering zookeeper Ivan, and nazis overtake the town. Enter Natalija, Blackie’s girl, an actress also beloved by Marko and Nazi Franz. Marko hides Blackie and his fellow revolutionaries in a basement and when the war ends he decides not to tell them, so he keeps Natalija above ground and the undergrounders keep manufacturing weapons for him to sell. When a monkey blows a hole in the wall during Blackie’s son’s wedding they escape, come across the set of the film reenacting Blackie’s war heroism, and he starts killing German actors. Thirty years later as Yugoslavia is violently dissolving, Ivan finds his lost monkey then everybody dies tragically.

Young Ivan and flock:

Marko and Nat preparing to take drastic measures:

Inserting Blackie into documentary footage from the era was well-done. I think the internet is saying the movie is pro-genocide, but I don’t follow why. Even if so, this is counterbalanced by the movie’s major macaw presence. Won the top prize at Cannes versus Dead Man, City of Lost Children, Shanghai Triad, Hou, Oliveira, Terence Davies, and a pissed-off Theodoros Angelopoulos. Blackie appeared with a couple of James Bonds and played Santa Claus in the nutty-looking anthology Goodbye 20th Century. Marko was in Ozon’s Criminal Lovers, and Franz was in Ozon’s Frantz. Natalija came to Hollywood and ended up hundredth-billed in Maid in Manhattan, playing a maid, that’s embarrassing.

Old Blackie:

Old Ivan finds Old Marko:

A good bird movie, with emus and cockatoos and budgies. Kate Winslet falls in with guru Baba and decides to stay in India, so her parents trick her into returning home and hire cult deprogrammer Harvey Keitel. But he lacks his required assistant and fucks up the assignment – the sight of Kate nude leads to a fully degraded Harvey selling out his whole plan. Keitel in the Emil Jannings tradition, a master of playing an apparent tough guy who becomes a blubbering mess. When his would-be assistant does arrive it’s Pam Grier, who I just saw in Ghosts of Mars.

L-R: Kate, Cockatoo

L-R: Robbie (Chopper), Yvonne (Muriel’s Wedding), Tim (Farscape)

Harvey, tough as nails, uncorruptable:

Ah, well, nevertheless…

Viggo Mortensen is searching for his missing daughter again, this time as a killer in a b/w Western. Presumably this is a prank on those of us who wanted another Jauja, because after a half hour Viggo’s movie is shrunk down to an SD TV movie and ignored like Danny Glover in Bamako, and instead we follow a Native American cop on her rounds, and then… I think her niece gets transported by a CG stork into a dream-recounting ceremony where a young man stabs somebody then tries to escape.

Shot:

Reverse shot:

“Each story explores questions of indigeneity and its reaction or resistance to the imposition of Western law and order” – Jeff Reichert works through the cinema/myth/dream journey on Reverse Shot, and Alonso has no fucks to give in his Cinema Scope interview.

From Bamako to Dead Man:

A film about a Palestinian filmmaker leaving home, traveling to meet with producers, who don’t understand his film (“not Palestinian enough”), returning home. Includes a highly relatable bird scene. Don’t know if it meant much of anything but I get positive vibes from Suleiman’s scene composition and onscreen persona, need to watch more of these.

I guess after luring women onto her pirate ship, X kills them one by one with her artificial hand-knife.

Notes I sent to TB:
– Call chinese orlando, stop.
– “Ottinger” must mean “one-take” in German
– I feel like Bertrand Mandico has watched this movie more than once.
– This fits in nicely with the avant-garde traditions, in that some things (color, music, costumes, visual concept, counterculture vibes) are really good, and others (pacing, sound sync, pacing, mst3k-ass acting, pacing) are unbearable.
– But is the pacing unbearable because we are brainwashed by commercial cinema… would I rather be watching Mission: Impossible 5 because that’s the style of movie the capitalist system taught me to enjoy… I dunno, it’s worth questioning, but when I break free from hollywood pacing I like to break really decisively free (ahem Stray Dogs), while this feels more like a really slow John Waters movie. Fails to cast a spell, and if you only pay half attention it dissipates entirely.
– Feminism, tho. I guess.
– And a macaw if you make it to the end

A follow-up 14 years later.


Porky in the North Woods (1936)

Porky’s wildlife refuge is an animal paradise, but an illegal french trapper invades, mutilates the forest creatures then whups porky’s ass, so the forest army fights back. The commentary guy knows all the song snippets Carl Stalling is playing and tears up listening to them.


Porky’s Poultry Plant (1936)

Such fast cutting as chicken farmer Porky hops into a prop plane to defend the chicks from hawks. Tash’s first WB cartoon. Comm says original Porky voice actor Joe Dougherty brought his actual speech impediment to the role before Mel Blanc took over… structural ripoff of Disney’s Silly Symphonies but more modern and violent… Tashlin is described as a “rumpled unsociable fellow.”


Now That Summer is Gone (1938)

Less-fun musical picture, a squirrel who loves gambling loses the family acorn supply to a grifter – his dad in disguise, teaching him a lesson. Writer Fred Neiman’s only credit before leaving the cartoon game (I dutifully wrote that down from the commentary, but who is Fred Neiman?).

Kosher acorns:


Puss n’ Booty (1943)

Back to black & white… the cat has eaten a pet bird and hidden the evidence so the family orders a new canary. After a prolonged cat & bird game, the bird eats the cat – good twist – remade with Tweety & Sylvester in 1948. The Jerry Beck commentary mainly wants to tell us exactly which animators worked on which shots.


I Got Plenty of Mutton (1944)

WWII meat shortages… Hungry wolf in cabin tries making bone broth, steams a single pea, then goes after the sheep since the sheep dog is off at war. Dressing as a sexy sheep to fool the protective ram backfires, the ram keeps chasing him even after revealed as a wolf, and 15 years before Some Like It Hot.


Brother Brat (1944)

Today’s tough women in the warplane-riveting workforce need someone to watch their horrific kids while at work, so Porky is enlisted. Baby Butch torments a cat, wrecks the house, and almost murders Porky with a cleaver – I’m not sure what the wartime lesson is here.


The Lady Said No (1946)

This is… not a Looney Tune, it’s a Daffy Ditty… a stop-motion musical about a sexual harasser in Mexico. He takes the girl who only says no to a restaurant, then she says no to him going back to his old life, and no to birth control, and he’s distraught to find himself a father of a hundred babies. Replacement animation with moving camera, impressive work for a silly little movie.

narration: Swan > Henry > Rat > Poison
visuals: Henry > Rat > Swan > Poison
story: Henry > Rat > Poison > Swan

The Swan:

Poison:

Richard Brody:

Anderson has long mastered the lesson that Godard delivered from Breathless onward: that viewers can remain deeply engaged in the events of a drama even while being pulled outside of that drama by fillips of form or fourth-wall-breaking winks and nods. Here he stands that notion on its head; he never breaks the framework of classically realistic drama because he never establishes it in the first place. It is not a question of characters breaking the action to address the camera but the reverse, and, for this reason, the direct address comes off as natural and central, and the acted-out drama as strange and supplementary. Ever since Rushmore, Anderson’s work has been an ongoing reproach to the unquestioned dramatic realism of even most of the great filmmakers of the time, and these four new shorts both heighten the audacious inventiveness of his wondrous artifices and sharpen their powers of critical discernment to a stinging point.

The Wonderful Story of Henry Sugar:

The Rat Catcher:

Corman the year after The Intruder and Tales of Terror, same year as X, lightens things up with a very silly Poe comedy. Based on the opening poem and magician Vincent Price casually drawing with light in his living room, you don’t get a sense of the movie’s tone, but as soon as the raven transforms into Peter Lorre you know what you’re in for.

Adventurers Price, Lorre, and their kids Jack Nicholson and Olive Sturgess:

Rival magician Boris Karloff has got the traitor Lenore (Hazel Court), and speaking of traitors, Lorre has been sent to retrieve Price by claiming to be in trouble. There’s a henchman named Grimes; Price zaps his brains with magic finger-bolts. Lorre gets turned into goo during the ensuing magician’s duel, I think the kids survive, and Price goes back to his happy place: giving soliloquies to birds.

Price and the gang are all good but the real MVP is the trained raven: