by ·Comments Off on Shorts watched January 2009

Flight of the Conchords: A Texan Odyssey
Short doc of the duo band at SXSW. Funny! Seen below massaging the feet of Peaches.
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Wallace and Gromit in A Matter of Loaf and Death (2008, Nick Park)
This was as fast-paced as the action scenes in the Wallace & Gromit full-length, and packed full of jokes and puns. Our heroes are bakers now, and a former bread company model, now grown fat on breads and pastries, is out for revenge on the bakery world. She gets cozy with Wallace, plotting to murder him with a giant cartoon bomb (among other things) while Gromit and the woman’s terrified pet poodle try to ruin her plans. Lovely movie, probably inspired by the name of cowriter Bob Baker and/or voice actor Peter Sallis’s appearance in the movie Who Is Killing The Great Chefs of Europe. Must check out Nick Park’s series Shaun The Sheep.
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Living in a Reversed World
Educational doc. Sadistic Austrian professor, trying to prove a point about perception, gets students to wear special mirror/prism glasses which reverse left/right or up/down and see if they can adjust. They can. He also puts goggles on a chicken, which I don’t think is a good idea.
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The Contraption (1977, James Dearden)
Closeups of construction. What’s he building in there? What the hell… is he building in there? Turns out to be a giant mousetrap for our suicidal handyman. Dearden later made Matt Dillon thriller A Kiss Before Dying. Contraption-builder Richard O’Brien had lately been in Rocky Horror, would play Mr. Hand in Dark City. Tied for best short at the Berlin fest… this is pretty neat, but I wouldn’t have thought it an award-winner.
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Cameras Take Five (2003, Stephen Woloshen)
Abstract hand-drawn animation set to Dave Brubeck’s Take Five. Liked it, not super busy, didn’t think people were doing stuff like this anymore.
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Herb Alpert and the Tijuana Brass Double Feature (1966, Hubleys)
John & Faith animate two short musical numbers to Spanish Flea and Tijuana Taxi. Not slick like the Doonesbury short, homemade-looking. Cute pieces though (predictably about a flea and a taxi). Beat out a Pink Panther short and an anti-smoking PSA for the oscar. Rough year for animation, I guess. Lost at Cannes to a documentary on Holland (not by Bert Haanstra).
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The Tortoise and the Hare (1935, Wilfred Jackson)
Hare is kinda an asshole – supposedly his character was stolen by Warners as a prototype for Bugs Bunny. This plays like the other Silly Symphonies, not as good as the Three Little Pigs though.
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A Perfect Place (2008, Derrick Scocchera)
Sharp b-w cinematography and two very dryly comic actors (Mark Boone Jr. of Memento & Thin Red Line and Bill Moseley of all the Rob Zombie films) make for a good movie. In the first second, MBJ “kills” an acquaintance who was cheating at cards, then they spend the next 25 min trying to dispose of the body. Not the usual over-the-top situations either, movie keeps it cool. I guessed early on that the cheat wasn’t really dead but that didn’t make it less enjoyable. Dig the theme song by Mike Patton.
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MANT! (1993, Joe Dante)
Tracigally not a full feature. All the scenes shot for the film-in-a-film of Dante’s awesome Matinee were assembled into this short included with the laserdisc.
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Three excellent shorts by Norman McLaren. Fiddle-de-dee (1947, painted to an upbeat fiddle tune), Boogie-Doodle (1948, drawn with pen to a piano boogie) and Serenal (1959, etched and hand-colored to a Trinidadian string quartet number)

Fiddle-de-dee:
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Boogie-Doodle:
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Serenal:
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by ·Comments Off on The Animation Show 4 (2008)

Wow, remember the ambition of vol. 2? Those days are gone. I guess half of these were good, which is fine for a shorts program, but the bad ones were worse than ever.

A good one: oscar-nominated This Way Up:
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Not worth going into: Corky Quakenbush’s claymation Yompi The Crotch-Biting Sloup and Dave Carter’s construction-paper Psychotown – each of which annoyed me the first time, then came back to annoy me two more times.

Voodoo:
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Lame in the “let’s record a dull conversation then animate it” approach were Operator (man calls information and gets God’s number), John and Karen (relationship trouble between a penguin and polar bear) and Angry Unpaid Hooker (this and Psychotown are stupid enough to make me worry about The Animation Show’s future). Professor Nieto Show (class watches brazilian insects that play soccer) and Jeu (things spin and morph into each other kaleidoscopically, like a Gondry video but more pixellated) were pretty alright.

Blind Spot:
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Bill Plympton’s Hot Dog is fine, but I’m ready for something new from him. Cocotte Minute (chickens race in a dangerous kitchen) and Blind Spot (old woman is blamed for deadly robbery because of poor security-camera placement) were inventive little violent-death shorts, and I liked Usavich (two rabbits take a totally mad car ride) much more than I should. Forgetfulness is an illustrated Billy Collins poem. I already can’t remember Burning Safari, something to do with monkeys and robots.

Mr. Schwartz, Mr. Hazen & Mr. Horlocker:
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My faves were Mr. Schwartz, Mr. Hazen & Mr. Horlocker (cop arrives at an apartment for a noise complaint and gets confusing reactions from the residents), This Way Up (two undertakers have a hell of a time making their delivery – I liked the rube goldberg bit near the beginning better than the climactic trip through hell), Key Lime Pie (hardboiled tough guy with a weak heart is over the moon about pie) and of course PES’s Western Spaghetti.

Key Lime Pie:
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by ·Comments Off on Don Hertzfeldt shorts

Last time I saw a filmmaker personally touring his film trilogy around the country it was Crispin Glover, whose new one is called It Is Fine! Everything Is Fine. Hertzfeldt’s first two are called Everything Will Be OK and I Am So Proud Of You. Similarities end there, though.

Kicked it off with The Meaning of Life, which I hadn’t seen in a while but didn’t remember liking. Removed from the post-Rejected anticipation and taken in context of his recent introspective films, it’s not bad at all, just a bit one-note. We all die, and we are only one step in the evolutionary chain, not necessarily the best and final form of life. Wotever, Mr. Hertzfeldt. Looks super-nice on 35mm. I said mean things last time I saw it.

He played Rejected and Billy’s Balloon, both of which I have memorized and I think most of the crowd has too. Broke up the next two movies with Intermission in the 3rd Dimension, a fluffy piece of ridiculousness which I think both Don and the crowd wish he’d do more of.

Everything Will Be OK and I Am So Proud Of You are the first two parts of a planned trilogy about Bill. The first section focuses on Bill’s unnamed illness, his inability to function in everyday life. The second flashes back and forth through time exploring Bill’s childhood, present, old age, and ancestors and all the awful ways they all died. They’re good movies, and I love the look of the peephole split-screens. I mostly feel they’re depressing midlife-crisis movies, but there’s just (barely) enough warmth and love in there to keep it from falling apart.

by ·Comments Off on Avant-Garde Feminist Shorts

I passed up seeing The Scarlet Empress in 35mm for this, but it was probably worth it [later note after having finally watched The Scarlet Empress: nope].

Meshes of the Afternoon (1943, Maya Deren)
One of the great poetic movies of the 40’s. Love when she’s climbing the stairs, bouncing off the walls as the camera twists from side to side. Love the multiple Mayas sitting at a table in the same shot (technically impressive, too). Love the movement, the plot (avant-filmmakers take note: an actual plot), the look, that iconic shot of Maya at the window.

Fuses (1967, Carolee Schneemann)
Fairly rapidly-edited shots of director having sex with James Tenney, with other scratched and weathered colored filmstrips superimposed over it. The editing and content are exciting for about ten minutes, but the movie is twenty minutes long, and silent. Girl in front of me tried reading from the reflected light of Tenney’s alarmingly red-tinted penis on the classroom wall, then texted people for a while. I sat wondering why there were so many shots of her cat staring out the window. Maybe it was supposed to be boring, and that was the point. Worth watching on pristine 16mm, glad I saw it, just saying it felt long. Schneemann has few film credits, but they’re in collaboration with Andy Warhol, Yoko Ono and Stan Brakhage. The Brakhage influence can plainly be seen here, and the film process work makes for some wonderful images. This was apparently a reaction to the objectification of women in movies, with Window Water Baby Moving named as an example. The director: “I wanted to see if the experience of what I saw would have any correspondence to what I felt – the intimacy of the lovemaking… And I wanted to put into that materiality of film the energies of the body, so that the film itself dissolves and recombines and is transparent and dense – as one feels during lovemaking.” Won a special jury prize at Cannes.

Reassemblage (1982, Trinh T. Minh-ha)
Black with ambient sound. Then shots of a rural scene in Senegal with silence. More shots with narration. More shots with ambient sound. More narration. Eventually, more black. The sound is rarely commenting directly on the visuals, and even the ambient sound rarely seems to line up. Shots of bare-breasted African women, daily chores, kids (two albinos!), youth playing in the river, and so on, with comments about ethnography. The commentary might make sense written down, but as we heard it, all scattered and edited (the sound editing was pretty poor), it seemed to circle around some points without managing to make any. Got nothing against the film, was fine to hang out in Senegal for a while. L. Thielan: “By disjunctive editing and a probing narration this ‘documentary’ strikingly counterpoints the authoritative stance typical of the National Geographic approach.”

Reassemblage:
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First Comes Love (1991, Su Friedrich)
Pop music by the Beatles, James Brown, Willie Nelson and more, but someone please get this woman a cross-fader – it’s all so abruptly edited. The songs sometimes work really well with the images, though. Image is of four wedding ceremonies, astoundingly woven together into an ethnographic study of heterosexual marriage ceremony, interrupted by a text crawl of all the countries in which homosexual marriage is prohibited (every country but Denmark). Bell & Zryd: “This simple strategy, which contrasts the lush life of heterosexual ritual with the stark legal and constitutional realities of gay and lesbian relationships, reframes the anthropological text with political rigor.” Rigor isn’t something I look for in a movie, but avant-critics love to proclaim it. What rigor! Anyway, would like very much to see more of her work.

Girlpower (1992, Sadie Benning)
I hear the intro feedback of a Sonic Youth song and all is right in the world. Even though this movie (the shortest of the bunch, I expect) is a half-res crap-quality videotape, the music and narration are clear. About the narration – sounds like either a petulant girl or a woman in performance-art mode… an impressionistic video diary of disaffected youth, comfortable with herself but not with society. Aha, Benning was 30 at the time. Lotta shots of the television. Punk film, but with nicer sound editing than the Friedrich, weird. Short, enjoyed it. Ooh, she’s James Benning’s daughter.

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Allures (1961, Jordan Belson)
I don’t know Belson very well, but this reminds me of my favorite parts of Norman McLaren and Len Lye, abstract animation set to music. Not frenetic, slow swirls and twirls, overlapped colored light patterns set to sparse music with dark electronic manipulation (composed by Belson and Oscar-nom musician/humorist Henry Jacobs). Must see again.
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Allures (c) Jordan Belson

Finger-Fan (1982, Linda Christanell)
Austrian title is FINGERFÄCHER so I thought I’d get something racy for my lunch hour, but no, we’ve got some hands fanning out some fabric on a table… a finger-fan. Synopsis says “objects tell a random story – objects are bearers of obsessions-issuing energy as fetishes,” which might be badly translated or it might not… with the avant-garde it is hard to tell. Camera shoots some objects and photographs, a mirror re-directs part of the frame, there are some basic stop-motion and optical effects, and I remain unimpressed but lightly amused.
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La Cravate (1957, Alejandro Jodorowsky)
Glad it was short, I couldn’t have taken much more of that accordian score. Goofy mimes swap heads at the head-swap shop while a guy with a silly tie tries to land a girl. Strong, bright colors. I guess the concept of swapping heads can be kind of dark, but otherwise this is like a kid’s fairytale compared to El Topo. Fun movie.
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The House With Closed Shutters (1910, DW Griffith)
A Dixie-loyal young girl runs a message to the confederate front lines after her supposed-to-be-messenger brother comes home drunk and afraid. When she’s killed (because she was playing like a kid in no man’s land), their mother covers it up by acting like her son was killed and forbidding her “daughter” to ever leave the house or open the shutters. Decades later his old friends walk by the house, he swings the shutters open and dies from the shock.

Dead guy on chair (left) while his mother orders the friends to leave
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Suspense. (1913, Lois Weber & Philips Smalley)
After the servant quits and leaves the key under the mat, a vagabond takes the opportunity to enter the house, eat a sandwich and stab the woman and her baby to death with a knife. Or he would – but she calls her husband who races home from work in a stolen car followed closely by the cops (who, as cops do in silent movies, shoot their guns constantly not worrying about the casual damage they might cause – not to mention that it hardly seems fair to shoot a guy dead for stealing a car). Worth watching for the titular suspense, and the reaction of the guy whose car the husband stole when he finally catches up and sees the wife & baby safe: a big “well whattaya know” shrug to camera and a pat on the husband’s back. Co-director Weber played the wife.

Sweet split-screen:
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Return of Reason (1923, Man Ray)
Whirling carnival lights at night, nails and tiny beads exposed directly on the film, a tic-tac-toe structure twirling on a string, all in stark black and white. Ends with negative image of a topless woman with psychedelic light patterns on her body.
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The Starfish (1928, Man Ray)
A reputedly beautiful woman is shown behind distorting glass. A man holds a starfish in a jar. Terrifying close-up of starfish. Mirrors, split-screens and superimpositions. This is nice – how come poets don’t make movies anymore? Adaptation of a poem by Robert Desnos.

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Emak-Bakia / Leave Me Alone (1926, Man Ray)
Twirling, swirling light patterns, spinning prisms, a girl with painted eyelids (paging Mr. Cocteau), broken dice, a tad of stop motion. The notes say Ray uses ‘all the tricks that might annoy certain spectators,’ and eighty years later he has annoyed me. Or maybe I’ve just watched too many of his movies in a row. I’d seen no films by Man Ray, then poof, I’ve seen half of them. Good stuff.

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Oooh look, her painted lids are half-closed so you can see all four eyes:
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The Life and Death of 9413: A Hollywood Extra (1928, Robert Florey & Slavko Vorkapich)
Far and away the greatest of these shorts. Intense shadowy miniatures interspersed with close-up photography of actors tells the story of a young hopeful actor defeated by the ruthless Hollywood star system. After he dies, he rises to heaven, where there is always open casting. A predecessor to Mulholland Dr.? Incredible-looking homemade film, very expressionist-influenced. Florey went on to direct 60+ features before moving to television, Vorkapich edited montage sequences for Hollywood films in the 30’s, and assistant cinematographer Gregg Toland shot Citizen Kane.

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Rhythmus 21 (1921, Hans Richter)
“generally regarded as the first abstract animated film”, wow! Squares of light and dark get bigger/smaller, more complex patterns start to appear, pretty slow movement, never gets outrageously intricate, but if it’s the first film of its kind, it’s a great start.
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by ·Comments Off on Forest of Bliss (1986, Robert Gardner)

Gardner: “Forest of Bliss is intended as an unsparing but ultimately redeeming account of the inevitable griefs and frequent happinesses that punctuate daily life in Benares, one of the world’s most holy cities. The film unfolds from one sunrise to the next without commentary, subtitles or dialogue. It is an attempt to give anyone who sees it a wholly authentic though greatly magnified view of the matters of life and death that are portrayed.”

Gorgeous doc from American anthropologist/filmmaker Gardner assembles this “day in the life” through many days of shooting (either that or he’s the most efficient filmmaker in history), with beautiful artistic shots and editing. There’s a clear plot/progression, as he shows fragments, actions, people, with no indication of who they are or what they mean, then it all gets woven together. The “ladders” being built are stretchers for the dead. The shipful of timber is for funeral pyres. The stone courtyard being washed down is where bodies are prepared. The man bathing in the river is a priest who performs funeral ceremonies. Some shocking images (bodies get dumped right into the river!) but for the most part it’s an awe-inspiring ecstatic film.

Andy opened with Den of Tigers (2002, Jonathan Schwartz), a decent Gardner-influenced short doc from West Bengal featuring people speaking to us in English (so it wasn’t too Gardner-influenced).

by ·Comments Off on Shorts watched October 2008

Three Little Pigs (1933, Burt Gillett)
Musical short feat. “Who’s afraid of the big bad wolf” song. Great sound work by Carl Stalling. Uncle Walt did the voice of the brickhouse pig, one of only a couple credited non-Mickey voice roles. OMG, inside the brick house there’s a framed picture of sausage links on the wall with the caption “father”.
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Mirror of Holland (1951, Bert Haanstra)
Greeeeat movie. He shoots reflections of Holland on the river, then flips the camera so they’re rightside-up. Looks for cool subjects and cool effects off the water. All woodwind and harp music, no narration, gorgeous. Didn’t know there was a golden palm for shorts at Cannes, but this won it.
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Quiet As Kept (2007, Charles Burnett)
“That little-ass FEMA check sure don’t go very far”
Actors are real actorly, especially the kid (he’s in Ned’s Declassified). Video is real videoey. Script is real good, a sketch about a family of black New Orleans ex-residents post-Katrina, but the movie is ehhh. Oops, All Movie Guide calls it a documentary – bozos. Can’t find anyone talking about this online, probably because when Killer of Sheep came out on DVD, everyone got in line to praise it and didn’t want to look out-of-touch by talking about the not-great shorts it was packaged with.
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Mr. Frenhofer and the Minotaur (1949, Sidney Peterson)
Distorted film of actors, string music, and voiceover, none of which has anything to do with the other. “To pose, or not to? I love him, I love him not? Or rather, since I love him less already, why not? An old man mad about paint, Frenhofer…” Yep, definitely from the same source as La Belle Noiseuse. “Once upon a time there was an old man who had been painting one painting for ten years. His name was Frenho… for what? … He started looking for a model to compare. All he wanted was the most beautiful woman in the world to prove to himself that his painting was more beautiful than any possible woman.” It’s all in here: Marianne’s man (also a painter) offering up her modeling services, Porbus the art dealer.

The script/narration is pretty swell but I wouldn’t be following if not for having seen the Rivette, and the visual is just nothing to me… a clock, a fencing match, cats, blurry nonsense, movie would be just as good with a black screen. Sorry, Sidney Peterson. Hmmm, at the end a fencer stabs the painter.
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Eurydice – She, So Beloved (2007, Bros. Quay)
Very underlit ballet. Kinda dull. I preferred The Phantom Museum (and Dracula: Pages from a Virgin’s Diary).
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Victory Over The Sun (2007, Michael Robinson)
Weirdly shaped monuments and the whispering wind. Would probably help if I could understand what the chanting people are saying. There’s some abstract 3D Animation thrown in. Towards the end goes into sound from some cartoon… Transformers? Some very familiar symphonic music. Pretty nice… I didn’t love it by any means, but I like it better than the disappointing Light Is Waiting.

Waaait, I looked this up online and found all sorts of stuff about it, something about being shot on the former sites of Worlds Fairs, but now I can’t find where I wrote that down.
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The Wizard of Speed and Time (1979, Mike Jittlov)
Oh My God. This is three minutes of pure joy. Now that I have found this movie, I will watch it always. It’s my new The Heart of the World, using jaw-dropping stop-motion to express pure cinema love. The look is dated, but the music is swell, and Mike is a grinning god.
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by ·Comments Off on Four by Nathaniel Dorsky (1987-2002)

Andy: “Since the early 1960s, Nathaniel Dorsky has been one of the great practitioners of meditative cinema. Projected at the non-standard rate of eighteen frames per second (which he refers to as ‘sacred speed’), Dorsky’s films are an explicit invitation to increase our awareness of moment-to-moment existence and experience a sense of reverence for the visual world.”

Nice program with perfect-quality 16mm prints of four silent twenty-minute shorts. Gotta remember to attend all of Andy’s screenings from now on.

Alaya (1987)
The first one was just shots of sand. Just sand (one special appearance by an insect). No camera movement, but the sand is always moving, blowing in the wind. Goes from wide, wide shots of a huge desert (Death Valley) to extreme super-closeups, the sand crystals looking like boulders on the screen (but boulders that flit about in the breeze). An intensely beautiful movie, my favorite of the bunch.

Triste (1996)
Variations (1998)
The next two were similar to each other, and reminded me of Warren Sonbert (though I couldn’t remember Sonbert’s name until Andy announced that they reminded him of Warren Sonbert). Shots of varying length (8-45 seconds), extremely well-composed, of almost anything Dorsky came across: people, nature, the city. Second one was more exciting, with more quick bursts of shorter shots, and seemed to have a visual theme of seeing, looking, through glass and mirrors. Halfway through the first film the ceiling fan stopped making its rhythmic knocking sound which had made me think of the editing sounds in Zorns Lemma, so I had to imagine my own soundtrack (’twas TV On The Radio for a while). Fun and difficult to try to figure out relations between the shots while watching.

The Visitation (2002)
Then came a discussion, during which Andy talked about film stocks (these were all made on a Bolex, just like Sonbert) and mentioned that of course the second movie was called Triste, which means “sad”, which is why it felt like a lull, edit-wise, between exciting films. There’s all this hidden meaning in these films which the simple likes of ourselves can never understand. I don’t like being made to feel stupid by avant-garde filmmakers so I was determined to assign meaning to every last shot in the bonus fourth movie The Visitation, and I succeeded easily. Visitation = alien invasion. Lots of shots of light from above, and representations of alien bodies (mostly tentacles, via cords and long plant leaves). Aliens have many eyes – we see the eyes, and their view of our world. Ends with a gorgeous shot representing their planetary invasion, two low waves approaching each other over sand, the alien wave easily covering the human wave, but the human wave slowly fighting back at the end, regaining victory. A lot like War of the Worlds.

“A gradual unfolding, an arrival so to speak. I felt the necessity to describe an occurrence, not one specifically of time and place, but one of revelation in one’s own psyche.” -N.D.

by ·Comments Off on Wavelength (1967, Michael Snow)

Thanks to Andy, I finally had the chance to see one of the most talked-about avant-garde films of all time. While it’s important to talk about experimental film, it’s more important to actually see the damned things – and while anyone can order a copy of Visionary Film for $26.95, it’s nearly impossible to see Wavelength on any given day.

Unfortunately, it’s one of those times (see also The Leopard) when I check out one of the Great Important Works of Cinematic Art and come out less than impressed. I didn’t find the audiovisual experience very enlightening compared to the descriptions I’ve read of the film. Didn’t dislike it (though I came close to disliking the soundtrack) but not an overwhelming experience like Zorns Lemma, either. A few updates to those written descriptions: (1) It’s not a single, continuous zoom a la Last Days – the zoom moves sporadically and the camera slightly changes position from time to time. (2) There’s sound – a sinewave tone that starts low and ends high, with other quieter tones joining it at times and sync sound during the four action scenes. Those action scenes: Woman gets bookshelf delivered, two women listen to “Strawberry Fields Forever”, man dies, girl makes phone call expressing concern that there’s a dead man in her apartment. (3) There’s a twist ending – after zooming the full length of the apartment, the photograph on the wall is of waves in the sea. I get it, ha ha. After reading Sitney and Snow, I see why the movie is interesting, even exciting in theory, but the viewing experience just wasn’t there… wouldn’t want to see it again anytime soon.

P. Adams Sitney: “This is the story of the diminishing area of pure potentiality. The insight that space, and cinema by implication, is potential is an axiom of the structural film.”

Snow: “I wanted to make a summation of my nervous system, religious inklings, and aesthetic ideas. I was thinking of planning for a time monument in which the beauty and sadness of equivalence would be celebrated, thinking of trying to make a definitive statement of pure Film space and time, a balancing of ‘illusion’ and ‘fact,’ all about seeing. The space starts at the camera’s (spectator’s) eye, is in the air, then is on the screen, then is within the screen (the mind).”

Hollis Frampton: dead man:
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Actors included Joyce Wieland and Hollis Frampton (as the man who dies). Assisted by Ken Jacobs, and sound by Ted Wolff, who unsurprisingly didn’t do any other film sound after this. Snow screws with the camera a bunch: focus, filters, film stocks (supposedly – I hardly noticed), light settings, time of day and lighting inside, etc. My favorite part is one or two frames where the picture on the wall towards which we are slowly zooming is highlit by a sunburst of drawn lines (screenshot below). I’m glad I got to see it anyway, and glad Andy played this and not Warhol’s Empire or something.

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When I got home, watched WVLNT (2003) and Prelude (2000). The former was a shortened version of Wavelength “for those who don’t have the time” – he cut the movie into three equal parts and superimposed them. Except for the now-intolerable soundtrack, I liked this version much better! There’s much more to look at.

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Prelude was a cute intro bit from the same Toronto Film Festival that brought us The Heart of the World. It’s hard for me to tell exactly how cute since my copy is such low-quality (think it came from streaming realvideo on the TIFF site), but it seems to be a single camera take, clean picture on a clean set, with unsynched sound edited in all over the place – actors and film crew talking about films in general and the one they are presently inside. This and WVLNT travel a similar road as Snow’s SShtoorrty, with its color-coordinated set, single camera move and superimpositions.

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