Illustration: Contes Macabres (1966)
Above is a fragment of a Siskel and Ebert review of Shoah.
Siskel and Ebert show two scenes:
One of a Jewish Holocaust survivor standing next to a Polish church where Jews were held prisoner before being murdered. The holocaust survivor is being ignored by the Polish who reminisce of the moaning and hungry Jews.
A second fragment is of the famous barber Abraham Bomba who cut the hair of women before being gassed. He had to lie to them that it was just procedure, knowing that they would soon be dead.
In this clip Abraham Bomba explains how he knew many of the women personally whose hair he had to cut because they were all from his hometown Częstochowa, even from his own street.
“I knew them. I lived with them in my town, in my street, and some of them were my close friends. And when they saw me all of them started hugging me, Abe, this and that, what are you doing here, what’s gonna happen with us? What could you tell them? What could you tell?”
Then, 13:30, the most gripping moment of the whole Shoah documentary:
“A friend of mine, he worked as a barber, he was a good barber in my hometown, when his wife and his sister… came into the gas chamber… I can’t. – Go on Abe, you must go…. You have to. – Cannot. It’s too hard. – Please… We have to do it. You know it … I won’t be able to do it … You have to do it. I know it’s very hard. I know, and I apologize … Don’t make me go on please … Please. We must go on … I told you today it’s going to be very hard … They were taking that … [hair] … in bags and transporting it to Germany … Okay, go ahead. What was his answer when his wife and sister came? … They tried to talk to him and the husband of his sister. They could not tell him this was the last time they stay alive, because behind them was the German Nazis, SS, and they knew that if they said a word, not only the wife and the woman, who were dead already, but also they would share the same thing with them. In a way, they tried to do the best for them, with a second longer, a minute longer, just to hug them and kiss them, because they knew they would never see them again.”
In the picture above you see her kissing Marie Liljedahl in Eugenie… The Story of Her Journey Into Perversion, one of Jess Franco’s Marquis de Sade film adaptations, in this case Philosophy in the Bedroom. In that book, Madame Saint-Age, the part played by Rohm, is responsible for the terrible maltreatment of Madame de Mistival.
Here is the trailer to that film.
In the documentary clip below you see how Christopher Lee was tricked into “doing” nude scenes.
Maria Rohm is the blond one.
Here is Rohm’s page from the original Jahsonic site.
Research occasioned by the death of Adam Parfrey (see prev. post) brought to my attention that one of the writers who were often published by Parfrey, Mel Gordon, also recently died.
From left to right:
Reading Roger Scruton’s “Flesh from the Butcher” for my thesis I noticed the word Tafelmusik. My encyclopedia brought up “Tafelmusik für König Ubu“. Anything with the word Ubu in its title piques my interest. “Tafelmusik für König Ubu” appeared to be a German version of Musique pour les soupers du Roi Ubu (1966), a musical composition by Bernd Alois Zimmermann.
I played it [above], it’s wonderful, it’s a sound collage. Not really. It’s a musical composition filled with quotations.
YouTube’s autoplay is on.
The next track [above] starts very sweet and gentle. At 4:55 the most wonderful waltz waltzes in.
Waltzes have these pauses that remind me of weightlessness.
I ended up listening to Alfred Schnittke’s music for most of the weekend.
All my research on Rodin and eroticism can be found at Eros and Rodin.
There is a wonderful exhibition in Brussels right now. Spanish Still Life – Velázquez, Goya, Picasso, Miró has two Cotáns, apart from Zurbarán, the crème de la crème of still life.
There were two Goya’s: Still Life with Golden Bream and one with a bird (I was unable to find the title, it’s this one). There were no Zurbaráns. I would have paid the price of the entrance for the two Cotans alone.
Cecil Taylor was an American pianist and poet. Classically trained, Taylor is generally acknowledged as having been one of the pioneers of free jazz. His music is characterized by an extremely energetic, physical approach, producing complex improvised sounds, frequently involving tone clusters and intricate polyrhythms. His piano technique has been likened to percussion, for example described as “eighty-eight tuned drums” (referring to the number of keys on a standard piano). He has also been described as “like Art Tatum with contemporary-classical leanings”.
Jacques Higelin was a French pop singer who rose to prominence in the early 1970s. Early in his career, many of Higelin’s songs were effectively blacklisted from French radio because of his controversial left wing political beliefs, and his association with socialist groups.
Stéphane Audran was a French actress, known for her performances in award-winning movies such as The Discreet Charm of the Bourgeoisie (1972) and Babette’s Feast (1987) and in critically acclaimed films like The Big Red One (1980) and Violette Nozière (1978).
A well-known photo of the actress shows her sitting at a dressing table doing her toenails. It is from the film from the film La Femme Infidèle (1968).
Above is the clip of that film with Audran tending to her nails.