Feels like more of a Scorsese movie than some other docs he supposedly directed, but the main appeal here is to watch lovely HD clips of the best P&P movies you’ve seen before and learn about all the others. I wanted Marty to tell me that the little-seen post-Hoffman movies were masterpieces waiting for rediscovery, but he did not.
Tag: filmmaking
Last House on Dead End Street (1977, Roger Watkins)
Looks and sounds like shit right from the start, with spectacularly out-of-sync sound recording. Manos: The Last House on the Left Hands of Fate, about a misanthrope making snuff films, made by a (presumed) misanthrope and looking like an actual snuff film. “This isn’t my cup of tea. I’m not interested in art.”
Dirtbag Bill, about to drill-kill:
Terry, who looks like Dirtbag Bill Hader, gets out of jail for drug dealing and says he’ll show ’em all. Filmmaker Bill isn’t getting much play from his softcore lesbian dramas and blackface whipping scenes. They kidnap some people and murder them on camera, then a voiceover tells us they were all apprehended, ok. An incoherent, possibly evil movie. The cinematographer later shot Avengers: Infinity War, which makes sense.
Despite this movie’s rocky/aborted release it definitely predates the Misfits song:
Subject (2022, Hall & Tiexiera)
A doc about docs and their fallout. The women who were teens when The Staircase was made about their family feel doubly exploited when The Staircase 2 comes out… a star of Hoop Dreams was one of the few participants covered here to profit from the film’s receipts and merch… Bing Liu’s family therapy in Minding the Gap somewhat backfired… Capturing The Friedmans guy wants to escape the shadow of the movie. Sometimes we’re just catching up with a subject later (The Wolfpack). After each example, a small team of scolds points out that there is no way to ethically create or consume art.
Perfect Blue (1997, Satoshi Kon)
I’ve been biased against this movie since it first came out on video. At Georgia Tech anime kids would follow you around talking about anime, even if you don’t care about anime, as I did not, and Perfect Blue was their idea of a movie which would instantly convince the doubters. Nowadays I like anime just fine, including Satoshi Kon, whose Millennium Actress was good, and Paranoia Agent was incredible, so I finally gave this a chance. If anyone from Tech is reading… I’m sorry… I’m glad y’all have got your own Anime Fight Club, with its multiple-multiple personalities and identity twists and breakbeat soundtrack, but it’s not for me.
The words every girl wants to hear:
I can relate:
In Our Day (2023, Hong Sang-soo)
I watched this the same night as In Water just because they’re recent Hong movies with short runtimes, not looking for connections, but I noted characters saying “I’ll do my best / let’s do our best” in both movies. Two separate-but-similar three-person situations with no direct intersection, cutting back and forth between them, each chapter with a preceding descriptive intertitle like it’s a Dickens chapter.
1. Actress Kim Min-hee is staying with friend Song Sun-mi (also Kim’s friend in The Woman Who Ran), when young aspiring actress Park Mi-so comes for a visit/interview.
2. Older Gi Ju-bong (the dad in Hotel by the River) is a belatedly popular poet, Kim Seung-yun is at his place filming candid scenes for a documentary on him, aspiring poet Ha Seong-guk comes to visit/interview (these two costarred in In Water).
Different sorts of dramas ensue – in the first, the host’s cat escapes and the visitor helps recover him. In the second, the visitor is trying to kiss up and stay longer and helps the newly on-the-wagon poet get boozed up.
In Water (2023, Hong Sang-soo)
The one where the shots are out of focus. This is bearable because the movie’s only an hour long, and each scene is differently out of focus, leading one to wonder whether the sharpness of the picture correlates to something in the narrative (he does say his idea is “a little blurry”) or a character state of mind. Three would-be film people are at a beach town on the young director’s dime to shoot his first movie, which he hasn’t written yet. He bristles at how much they’re all spending on food while he postpones the actual shoot, finally steals some ideas from his surroundings and from his past, calling up his ex to ask permission to use a song he wrote her, and playing it into the camera as he walks into the sea, closing the movie and the movie-in-the-movie. So his movie ends up pretty close to our movie, but presumably in focus.
If you could see ’em, the actors are Shin Seok-ho (the lead in Introduction) with Ha Seong-guk and Kim Seung-yun (both also in In Our Day).
Do Not Expect Too Much from the End of the World (2023, Radu Jude)
I didn’t love Jude’s pandemic movie, but I’m extremely onboard with this one – everything down to the closing credits is delightful. It’s a very cynical movie about Romania and capitalism, starring Radu-regular Ilinca Manolache as Angela, an odd-jobs film-shoot worker.
Angela’s present-day is filmed in grainy b/w, her filtered selfie videos doing misogynist insult commentary are in low-detail digital color, then there’s another Angela who also drives a car for a living, via the 1982 film Angela Goes On, in beautifully restored 35mm color. That movie is the Poor Cow to the main feature’s The Limey, and its Angela appears in present day (the same actress/character) as the mom of a disabled worker hired to tell his story for a company safety video.
Radu Jude in Cinema Scope:
When I was young and reading all these stories about Herzog shooting Aguirre, the Wrath of God or Coppola shooting Apocalypse Now, it sounded so heroic. In the early days, when we were supposed to work 20 hours and then drive to another location, it felt magical and sort of heroic. I don’t see it quite that way anymore. You can fool yourself into thinking this way as a filmmaker, but for the people working around you, it’s not like that at all. They don’t care if your movie is going to win an Oscar, or if it’s going to be a piece of crap. They just want to finish the shooting and go home.
Translation issues:
From the mid-film wordless montage of roadside death markers:
Mark Asch in Little White Lies:
Angela’s set of wheels signify anything but independence: she’s cut off, honked at, catcalled, and constantly slamming brakes, swearing, and flipping off other drivers. HQ keeps her on a leash (her ringtone, signaling the arrival of yet another task, is Beethoven’s 9th, the official anthem of the EU), appealing to her team spirit — and, implicitly, her economic precarity as a project-based worker — as they send her over to the airport to pick up a foreign guest, or to pick up lenses from a backlot where Uwe Boll is shooting a cheap nonunion monster movie.
Cemetery advertising:
Jude again:
I think the film is also a film about Bucharest. Why does Bucharest look so bad today compared to how it looked back then? Some of that is propaganda, as many images and films from that time were produced to show the most beautiful side of Bucharest, which is why I slow down those less beautiful moments from Angela Moves On — so you can see the other side. But even still, Bucharest is in much worse shape now, 30 years after the revolution. How did we let that happen? It’s more crowded now, more polluted—cars are on the sidewalk, buildings are falling down, etc. I read that it’s the second most congested city in the world. I think the film can show this by putting one image next to another, and in doing so maybe propose this question to the viewer.
Once Upon a Time in China III (1992, Tsui Hark)
Set in Beijing leading up to a grand lion king dance event. For a friendly sporting competition, a lot of guys sure get set on fire or catch spears through the chest. Focus is less on individual kung-fu, more on lion-head spectacle, though enemy-turned-ally Clubfoot (Xiong Xinxin, villain of The Blade) is the breakout star of the former. The comedy and romance get pretty bad – in fact anything that isn’t a lion-head dance is wasted time, and Foon is the worst offender. The photography is sharper than ever though, especially when Rosamund is around, and there’s some good shadowplay. Rosamund’s Russian motion-picture supplier turns out to be an assassin, caught in the act by his own tech.
New stunt coordinator Yuen Bun did Dragon Inn and the Royal Tramp movies the same year, later went on to work with Johnnie To on greats like Throw Down and Sparrow. Interesting to hear Tsui in the blu extras complain about lack of originality in modern film – everyone studies the same references and produces the same movies.
Pictures of Ghosts (2023, Kleber Mendonca Filho)
Vital viewing for fans of Neighbouring Sounds, showing the history of Kleber’s family in their apartment where that movie was filmed. Funny, I mentioned Chris Marker in my writeup of his Green Vinyl, and the first thing I notice in his apartment is Marker’s book “Staring Back” – and I referenced Do The Right Thing in the same post, and here’s Kleber wearing a Do The Right Thing shirt. As Tsui Hark says, we all have the same references so we all make the same films. “Fiction films are the best documentaries” he says in part two, about the disappeared cinemas of Recife, Brazil, while reviewing the only known footage of certain destroyed landmarks in the backgrounds of features. The third part is the shortest, literally turning the locals into ghosts.
The director in Cinema Scope, on shooting digital:
At the end of the day it’s not the celluloid that makes a film, it’s the attitude that goes into each and every move … It’s quite perverse. I remember in the ’80s when CDs were introduced, the industry sold the idea that vinyl was nothing and you should get rid of it. It was part of the strategy to get CDs into people’s homes. In my family we kept the vinyl and also bought CDs. I like the idea of adding new ideas and experiences. I don’t understand why the industry always has to sell subtraction. With 35mm and digital, the best thing would be for me to have more options. But capitalism always finds a way to fuck everything up.
