{"id":3726,"date":"2009-11-29T21:30:39","date_gmt":"2009-11-30T02:30:39","guid":{"rendered":"http:\/\/deeperintomovies.net\/journal\/?p=3726"},"modified":"2012-01-10T16:22:35","modified_gmt":"2012-01-10T21:22:35","slug":"month-of-121-shorts-the-50s-to-the-70s","status":"publish","type":"post","link":"https:\/\/deeperintomovies.net\/journal\/archives\/3726","title":{"rendered":"Month of 121 Shorts: The 50’s to the 70’s"},"content":{"rendered":"

Precautions Against Fanatics<\/em> (1969, Werner Herzog)<\/strong>
\n“Have you ever seen a dishonest man with a chest like this?”
\nSaid to Werner’s cameraman by a one-armed man in a suit: “What are you doing here? Go away!” It’s not clear who is supposed to be here where they’re filming, in the training area of a horse racetrack. Some guy is repeating himself and karate-chopping flat stones. This cannot actually be happening! It is all pretty wonderful, a parody of a behind-the-scenes documentary. Made in between Signs of Life<\/em> and Even Dwarfs Started Small<\/a><\/em>, both of which I need to catch some day.
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Organism<\/em> (1975, Hilary Harris)<\/strong>
\nTime-lapse footage and readings from biological textbooks portray a large city (New York, of course) as a living organism. The dated 70’s sound design is unfortunate but otherwise it’s completely wonderful. Makes me wish I had a classroom of kids to show it to. He worked on this for years, inventing a time-lapse camera in the 60’s for the purpose. Bits from Scott MacDonald “As late as 1975, Harris apparently felt that time-lapsing imagery was unusual and high-tech enough to justify his frequent use of science-fictionish electronic sounds as an accompaniment. … Hilary Harris shot some of the New York City traffic shots used in Koyaanisqatsi<\/em>, though apparently Reggio didn’t see Organism<\/em> until after his film was well under way.”
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L’Op\u00e9ra-mouffe<\/em> (1958, Agnes Varda)<\/strong>
\nSomehow I missed this during Varda Month – one of her earliest shorts hidden amongst the copious features on a Criterion DVD. Varda films either herself or another pregnant nude women, then goes on a rampage through the marketplace, mostly capturing the faces of people shopping there, with interludes featuring actors (incl. Varda regular Doroth\u00e9e Blank, as nude here as she is in Cleo<\/a><\/em>) clowning around. Sections highlight public drunkenness, anxiety and affection. I want to say this is my favorite of her shorts so far, but then I remember they’re all so good. Delightfully scored by a not-yet-famous Georges Delerue.
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“I was pregnant. I felt the contradiction of expecting a child, being full of hope, and circulating in this world of poor, drunken people without hope, who seemed so unhappy. I felt tenderness toward them, especially the elderly. I imagined them as babies, when their mothers kissed their tummies.”
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Silent Snow, Secret Snow<\/em> (1966, Gene Kearney)<\/strong>
\nA boy named Paul starts to obsess over snow, allowing the snow in his mind to filter him from reality. Creepy and well shot. Later remade as a Night Gallery episode with Orson Welles narrating. Makes me think of the Handsome Family song “Don’t Be Scared,” with its line “when Paul thinks of snow, soft winds blow ’round his head,” except it’s one of their very few comforting, happy songs and the movie is anything but.
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Une histoire d’eau<\/em> (1961, Truffaut & Godard)<\/strong>
\nA girl wakes up and the whole town is flooded from melting snow. She meets a guy (a young Jean-Claude Brialy) who offers to drive her to Paris before nightfall. Music is weird – gentle flute or horns punctuated with bursts of percussion. Ooh, a Duchess of Langeais reference\u00e2\u20ac\u00a6 in fact there are a ton of references in her quick monologue narration, which ends with spoken credits.
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The Forgotten Faces<\/em> (1960, Peter Watkins)<\/strong>
\nRevolution in Budapest. Nice reconstruction, convincingly documentary-like – where’d Watkins get all those guns? No sync sound, a TV-sounding narrator. One part, the reading of a communist speech turns briefly into a dramatic propaganda montage – don’t see that happen much in Watkins’ films.
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The Perfect Human<\/em> (1967, Jorgen Leth)<\/strong>
\n“Today I experienced something I hope to understand in a few days.”
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I like the British narrator. “What does he want? Why does he move like that? How does he move like that? Look at him. Look at him now. And now. Look at him all the time.” There’s no diegetic sound, but if this was dubbed in a studio, why does there have to be so much tape hiss? A fake documentary and a stark white delight, with slow zooms in and out, gentle string music, and a general sense of serious absurdity. Only saw, what, a third of this in The Five Obstructions<\/em>.
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Les Ma\u00eetre fous<\/em> (1955, Jean Rouch)<\/strong>
\nDocument of a group in Ghana called the Hauka doing something involving wooden toy guns, red ribbons, chicken sacrifice, dog-blood-drinkin’ and having lurchy foaming-at-the-mouth fits. I’m not ever quite sure, because the French narration has been auto-subtitled by google – whatever they’re doing, the subs call it “having.” After they’ve had, the film crew catches up with them at their day jobs, not freaked-out cultists anymore, just working hard, smiling at the camera. This is one African film that Katy didn’t want to watch, because Rouch is an exoticizing anthropologist. So what’s going on that this film makes the best-ever lists? A Rouch tribute page says he popularized direct cinema\/cinema verite, that he was known for rethinking ethnography, and a documentary surrealism (sounds like Jean Painleve). Ian Mundell says the film “drew plaudits from the Nouvelle Vague, in particular from Jean-Luc Godard. They liked the fact that Rouch’s fiction emerged from an encounter between the actor (professional or non-professional) and the camera, and his willingness to break the rules of cinema.” Paul Stoller says Rouch crisscrossed “the boundaries between documentary and fiction, observer and participant,” but I take it that’s more about his later films, which I’m thinking I would like better. So it’s seeming like this film gets awarded because it’s one of the most-seen of his films and because of its influence, not because it’s Rouch’s best work.
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Nicky’s Film<\/em> (1971, Abel Ferrara)<\/strong>
\nA mysteriously silent possibly gangster-related 6-minute film. I can’t imagine even a Ferrara scholar gets much out of this.<\/p>\n

The Hold Up<\/em> (1972, Abel Ferrara)<\/strong>
\nSuper-8 production made when Abel was 21, seven years before Driller Killer<\/em>. A few minutes in, I realized it’d be much better with the director commentary turned on. “And away we go. Wait, it’s the other way. Which way is she looking?” Um, some guys get fired from factory jobs, hold up a gas station, get caught. The song “Working on a Building” is heard.
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Precautions Against Fanatics (1969, Werner Herzog) “Have you ever seen a dishonest man with a chest like this?” Said to Werner’s cameraman by a one-armed man in a suit: “What are you doing here? Go away!” It’s not clear who is supposed to be here where they’re filming, in the training area of a horse […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[342,410,400,996,42,910,102,34,53,485,994,51,995,361,151,21,590,201],"class_list":["post-3726","post","type-post","status-publish","format-standard","hentry","category-movie","tag-1950s","tag-1960s","tag-1970s","tag-abel-ferrara","tag-africa","tag-agnes-varda","tag-britain","tag-france","tag-francois-truffaut","tag-ghana","tag-jean-rouch","tag-jean-luc-godard","tag-jorgen-leth","tag-new-york","tag-peter-watkins","tag-shorts","tag-stop-motion","tag-werner-herzog"],"_links":{"self":[{"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/posts\/3726","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/comments?post=3726"}],"version-history":[{"count":3,"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/posts\/3726\/revisions"}],"predecessor-version":[{"id":7246,"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/posts\/3726\/revisions\/7246"}],"wp:attachment":[{"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/media?parent=3726"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/categories?post=3726"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/tags?post=3726"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}