Pete Shelley was an English singer, songwriter and guitarist, best known as the leader of punk rock band Buzzcocks, and for writing “Ever Fallen in Love (With Someone You Shouldn’t’ve)” (1978) and solo singles as “Homosapien” (1981) and “Witness the Change” (1981).
Last Tango in Paris (1972) was the first of his films I saw. I’m sure if I would see it again, it would bore me to death. In contrast, Performance (1970) by Roeg (see prev. post) has aged better. Both films are a testament to the sexual revolution.
The last of Bertolucci’s film that I saw was The Dreamers (2003). I remember liking it and I guess that likely hasn’t changed.
Luck has it that YouTube has an entire copy of The Spider’s Stratagem (1970). Like Performance of Roeg, it is inspired by Jorge Luis Borges.
I’ve never seen it, I’ll watch it now.
Let me end (because I can) with this beautiful juxtaposition only marginally linked to Bertolucci:
Update 27/11: The Spider’s Stratagem is actually a pretty good film: very Italian, surreal, Borgesian and Chirico-esque.
English director Nicolas Roeg dies at 90.
I believe Performance was the first of his films that I saw. In some Antwerp art house probably.
In the beginning of his career he was a cinematographer. He filmed Roger Corman’s The Masque of the Red Death by Edgar Allan Poe.
Several aspects of Performance were novel and it foreshadowed MTV type music videos (particularly the “Memo from Turner” sequence in which Jagger sings) and many popular films of the 1990s and 2000s.
Italian director Cesare Canevari died six years ago but it went unnoticed by me.
I learned of his death yesterday when I landed on Canevari’s Last Orgy of the Third Reich (1977) via Nazi Love Camp 27 (1977). God knows what brought me there.
Matalo! sets itself apart by its psychedelic sequences, the silence, the lack of dialogue, the sound effects and the soundtrack by Mario Migliardi.
The full soundtrack is here:
I finished another ‘roman dur’ by Simenon, L’Enterrement de Monsieur Bouvet, one might say a rather unremarkable novel were it not for the fact that it makes one realize that it used to be possible to lead a double life, to disappear many times in one’s life and start all over again elsewhere without leaving a trace. And were it not of course that this is a Simenon ‘roman dur’ and this is the only ‘genre’ I currently enjoy, and have for a year or three.
Wile researching this novel, I came across L’univers de Simenon : guide des romans et nouvelles (1931-1972) de Georges Simenon(1983) by Maurice Piron and Michel Lemoine. It’s hard to believe that Michel Lemoine is the same person as the cult actor and director of French cinema of which I will post a photo.
I intend to read every roman dur by Simenon.
The Move is both a flawed novel and at the same time one of his more interesting ones due to its near total plotlessness and focus on psychological detail.
Its sub-theme is a criticism of the anonymity of modern high rise, the lack of social control, a side effect of living in the banlieue, in the same vein as Jacques Tati’s films Mon oncle (1958) and Playtime (1967).
Its protagonist is an unwilling eavesdropper.
Francis Lai was a French composer, noted for his film scores, best-known for his song “A Man and a Woman (chance pour toi et moi ba da ba da da da da da da)” wich is part of my top 1000.