Category Archives: 1001 things to do before you die

Alejandro Jodorowsky @70

Alejandro Jodorowsky (born 1929), Chilean artist and countercultural icon turns 70 today.

El Topo (1970) – Alexandro Jodorowsky [Amazon.com] [FR] [DE] [UK]

Alejandro Jodorowsky (born 1929), Chilean artist and countercultural icon turns 70 today.

Like so many of us, we were first acquainted with Jodorowsky via a midnight screening of his psychedelic Western El Topo. In my case that must have been either at the Filmhuis Theater or at Cartoon’s. In fact, the film practically jumpstarted the genre of the midnight movie:

“In December 1970, Jonas Mekas was organizing one of his periodic festivals of avant-garde films at the Elgin, a rundown six hundred seat theater, not unlike the Charles, on Eighth Avenue just north of Greenwich Village. Although the program was laden with major avant-garde figures, the most widely attended screenings were those on the three nights devoted to the films of John Lennon and Yoko Ono. The Elgin management took advantage of the hippie crowds to announce an added feature-Alexandro Jodorowsky’s El Topo to be shown at midnight because, as the first ad announced, it was “a film too heavy to be shown any other way.”” —Midnight Movies (1983)

El Topo[1]

El Topo (The Mole) is a 1970 Mexican allegorical, cult western movie and underground film, directed by and starring Alejandro Jodorowsky. Characterized by its bizarre characters and occurrences, use of maimed and dwarf performers, and heavy doses of Christian symbolism and Eastern philosophy, the film is about the eponymous character – a violent, black-clad gunfighter – and his quest for enlightenment.

El Topo was World cinema classic #28

Panic Movement

Researching Jodorowsky in the internet era, brought up the Panic Movement link.

The Panic Movement (Fr:Mouvement panique) was a collective formed in Paris in 1962 by Fernando Arrabal, Alejandro Jodorowsky and Roland Topor after casual meetings at the Parisian Café de la Paix. Inspired by and named after the god Pan, and influenced by Luis Buñuel and Antonin Artaud‘s Theatre of Cruelty, the group concentrated on chaotic performance art and surreal imagery.

In February 1962 Arrabal, Jodorowsky and Topor settle on the word panique. In September 1962, the word panique is printed for the first time: Arrabal publishes five récits “paniques” in André Breton’s periodical La Brèche.

The Panic Movement performed theatrical events designed to be shocking, as a response to surrealism becoming petite bourgeoisie and to release destructive energies in search of peace and beauty. One four-hour performance known as Sacramental Melodrama was staged in May 24 1965 at the Paris Festival of Free Expression.

Jodorowsky dissolved the Panic Movement in 1973, after the release of Arrabal’s book Le panique.

Carl Theodor Dreyer @110

Carl Theodor Dreyer, Danish film director (18891968)

Vampyr (Carl Theodor Dreyer) by hipecac

Most iconic image of Dreyer’s career, from Vampyr

 by nequest

Second most iconic image of Dreyer’s career, from Vampyr

Still from The Passion of Joan of Arc

Still from The Passion of Joan of Arc

Carl Theodor Dreyer (February 3, 1889March 20, 1968) was a Danish film director. He is regarded as one of the greatest directors in cinema. Although his career spanned the 1910s through the 1960s, his meticulousness, dictatorial methods, idiosyncratic shooting style, and stubborn devotion to his art ensured that his output remained low. In spite of this, he is an icon in the world of art film.

At the same time he produced work which is of interest to film lovers with sensational inclinations, which merits his placement in the nobrow canon.

Thus, we tend to remember best of his oeuvre films such as Vampyr (a vampire film) and The Passion of Joan of Arc (for its execution by burning scene).

The Passion of Joan of Arc

The Passion of Joan of Arc is a silent film produced in France in 1928. It is based on the trial records of Joan of Arc. The film stars Renée Jeanne Falconetti and Antonin Artaud.

Though made in the late 1920s (and therefore without the assistance of computer graphics), includes a relatively graphic and realistic treatment of Jeanne‘s execution by burning. The film stars Antonin Artaud. The film was banned in Britain for its portrayal of crude English soldiers who mock and torment Joan in scenes that mirror biblical accounts of Christ’s mocking at the hands of Roman soldiers.

Scenes from Passion appear in Jean-Luc Godard‘s Vivre sa Vie (1962), in which the protagonist Nana sees the film at a cinema and identifies with Joan. In Henry & June Henry Miller is shown watching the last scenes of the film and in voice-over narrates a letter to Anaïs Nin comparing her to Joan and himself to the “mad monk” character played by Antonin Artaud.

Vampyr

Vampyr is a French-German film released in 1932. An art film, it is short on dialogue and plot, and is admired today for its innovative use of light and shadow. Dreyer achieved some of these effects through using a fine gauze filter in front of the camera lens to make characters and objects appear hazy and indistinct, as though glimpsed in a dream.

The film, produced in 1930 but not released until 1932, was originally regarded as an artistic failure. It got shortened by distributors, who also added narration. This left Dreyer deeply depressed, and a decade passed before he able to direct another feature film, Day of Wrath.

Film critics have noted that the appearance of the vampire hunting professor in Roman Polanski‘s film The Fearless Vampire Killers (1967) is inspired by the Village doctor played in Vampyr. The plot is credited to J. Sheridan Le Fanu’s collection In a Glass Darkly, which includes the vampire novella Carmilla, although, as Timothy Sullivan has argued, its departures from the source are more striking than its similarities.

Vampyr shows the obvious influence of Symbolist imagery; parts of the film resemble tableau vivant re-creations of the early paintings of Edvard Munch.

Vampyr and The Passion of Joan of Arc are World Cinema Classics #83 and 84.

Havelock Ellis @150

Havelock Ellis @150

Psychology of Sex by Havelock Ellis

Pan Piper was an imprint of Pan Books

Havelock Ellis (February 2, 1859July 8, 1939) was a British sexologist, noted for his seven volume Studies in the Psychology of Sex and for his translation of Against the Grain by Joris-Karl Huysmans.

He was an astute observer, a quote I use regularly is:

What we call ‘Progress’ is the exchange of one nuisance for another nuisance. —Havelock Ellis

Havelock Ellis

The sexologist and writer Havelock Ellis “looked like a tripartite cross between Tolstoy, Rasputin, and Bernard Shaw; was one of the many semi-pagan ideological nudists that England produced at the end of the nineteenth century; and never achieved full sexual arousal until his second wife urinated on him in his late middle age.” (Our Culture, What’s Left of it by Theodore Dalrymple)

His impotence and urolagnia

According to Ellis in My Life, his friends were much amused at his being considered an expert on sex, what with the fact that he suffered from impotence until the age of 60, when he discovered that he was able to become aroused by the sight of a woman urinating. Ellis named the interest in urination “Undinism” but it is now more commonly called Urolagnia.

His marriage

In November 1891, at the age of 32, and still a virgin, Ellis married the English writer and proponent of women’s rights, Edith Lees (none of his four sisters ever married). From the beginning, their marriage was unconventional; Edith Ellis was openly lesbian, and at the end of the honeymoon, Ellis went back to his bachelor rooms in Paddington, while she lived at Fellowship House. Their ‘open marriage‘ was the central subject in Ellis’s autobiography, My Life.

On sexual inversion

His book Sexual Inversion, the first English medical text book on homosexuality, co-authored with John Addington Symonds, described the sexual relations of homosexual men and boys, something that Ellis did not consider to be a disease, immoral, or a crime. The work assumes that same-sex love transcended age-taboos as well as gender-taboos, as seven of the twenty-one examples are of intergenerational relationships. A bookseller was prosecuted in 1897 for stocking Ellis’ book. Although the term homosexual itself is attributed to Ellis, he wrote in 1897, “‘homosexual’ is a barbarously hybrid word, and I claim no responsibility for it,” the hybridity in question being the word’s mix of Greek and Latin roots. Other psychologically important concepts developed by Ellis include autoerotism and narcissism, both of which were later taken up by Sigmund Freud.

On sadomasochism

A lot has been written on masochism, from Freud to Reik, but one of the best descriptions is by Havelock Ellis:

“The essence of sadomasochism is not so much “pain” as the overwhelming of one’s senses – emotionally more than physically. Active sexual masochism has little to do with pain and everything to do with the search for emotional pleasure. When we understand that it is pain only, and not cruelty, that is the essential in this group of manifestations, we begin to come nearer to their explanation. The masochist desires to experience pain, but he generally desires that it should be inflicted in love; the sadist desires to inflict pain, but he desires that it should be felt as love….” — From an unidentified volume of Studies in the Psychology of Sex

Many of Ellis’s texts are featured at the public domain library Gutenberg.org. I do wish I could lay my hands on an indexed copy of Studies in the Psychology of Sex for a reasonable price. He is, I feel, an underappreciated writer.

RIP Charles H. Schneer 1920-2009

RIP Charles H. Schneer, 88, American film producer

[Youtube=http://www.youtube.com/watch?v=5yYeZMx1Y7U]

skeleton scene in Jason and the Argonauts

Charles H. Schneer (1920 – January 21, 2009) was a film producer most widely known for working with special effects pioneer, Ray Harryhausen, best-known for producing films such as The Seventh Voyage of Sinbad and Jason and the Argonauts.

The sequence in which seven animated skeletons (see above) rise from the earth and attack Jason and his comrades is widely considered to be among the greatest achievements of motion picture special effects.

Jason and the Argonauts is World Cinema Classic #81.

I am a romantic at heart. Of the dark variety.

I am a romantic at heart. Of the dark variety.

A photograph by David Wilkie Wynfield of Solomon in oriental costume.

Simeon Solomon

I recently purchased The Romantic Image[1] by Frank Kermode. It mentions Simeon Solomon as the garret-living bohemian/starving artist/einzelganger.

I quote:

“…a Simeon Solomon type, garret-dwelling, ragged, pitiable but also odious…”

I research Simeon Solomon and find W. H. Auden‘s For The Time Being: A Christmas Oratorio, which has the scene, “The Meditation of Simeon,” which begins:

“As long as there were any roads to amnesia and anaesthesia still to be explored, any rare wine or curiosity of cuisine as yet untested, any erotic variation as yet unimagined or unrealized, any method of torture as yet undevised, any style of conspicuous waste as yet unindulged, any eccentricity of mania or disease as yet unrepresented, there was still hope that man had not been poisoned but transformed….”

What Auden describes is jadedness, the primary malady of all romantics.

Egon Schiele, Jane Birkin and Brian Eno, or a cult item if there ever was one

Egon Schiele Excess & Punishment

[Youtube=http://www.youtube.com/watch?v=CmOFvKmivxU&]

From the film “Egon Schiele Exzess und Bestrafung” (1981) starring Mathieu Carrière, Jane Birkin and Christine Kaufmann with an original score by Brian Eno. A cult item if there ever was one. Dedicated to Rafaela for her appreciation of sensualism and Esotika for his appreciation of European cinema.

For those of you with prurient interests (wink, wink), scrub to 3:00 and various subsequent points in time you will have to find for yourself.

Eno’s score is mesmerizing and blissful.

From my wiki:

Egon Schiele Exzess und Bestrafung, also known as Excess and Punishment(English) and Egon Schiele, enfer et passion (French) is a 1980 film based on the life of the Austrian artist Egon Schiele. It stars Mathieu Carriere as Schiele with Jane Birkin as his artist muse Wally and Christine Kaufmann as his wife Edith and Christina Van Eyck as her sister. The film is essentially a depiction of obsession and its constituents of sex, alcohol and uncontrolled emotions. Set in Austria during the Great War Schiele is depicted as the agent of social change leading to destruction of those he loves and ultimately of himself.

The film is an international co-production with actors of German, French, Dutch and English origin. It was directed by Herbert Vesely and produced by Dieter Geissler and Robert Hess. The cinematography is by Rudolf Blahacek and the haunting music is by Brian Eno. The English language version of the film is entitled Egon Schiele Excess & Punishment.

Introducing Gaston Burssens (1896 – 1965)

DSC02544

Fabula rasa (1945) by Gaston Burssens (this edition 1964)

I am not much of a fiction reader, nor have I ever been much of a poetry reader. My favorite literature is books about books. Literary criticism or literary theory.

I make exceptions.

The best work I read last year was Michaux’s Plume[1] which happens to be a work of prose poetry, a genre which can be traced most readily to Baudelaire and Poe. A genre which is plotless but nevertheless more concrete than pure poetry.

Saturday I bought the work above. It is worth its price for the introductory notes alone.

Literary critic Paul de Wispelaere reviewed it in the chapter “De groteske wereld en de wereld van de groteske,” in his collection Het Perzische Tapijt (1966). In this essay de Wispelaere juxtaposes Fabula Rasa with the paraprose of Gust Gils, another Flemish writer who wrote in the tradition of the literary grotesque. Fabula Rasa’s Belgian-French counterpart is Plume by Henri Michaux.

While researching this post I also stumbled upon prose by Flanders’ cult poet par excellence Paul Van Ostaijen: De bende van de stronk (The stump gang, 1932, grotesques). I will want a copy of that.

Death by bisection or dismemberment (excluding decapitation)

The final frontier in cinephilia is silent cinema.

I just discovered Ménilmontant.

[Youtube=http://www.youtube.com/watch?v=BoO2hLUMgG0&]

Opening scene of Ménilmontant (no intertitles, a flurry of quick close-up shots depicting an axe murder)

Ménilmontant (1926) is a silent film by Russian film director Dimitri Kirsanoff. His best-known work, it takes its name from the Paris neighborhood of the same name. The film is a silent, but does not contain any intertitles. It begins with a flurry of quick close-up shots depicting the axe murder (see death by bisection or dismemberment (excluding decapitation)) of the parents of the protagonists, two girls. As young women, they are portrayed by Nadia Sibirskaïa, Kirsanoff’s first wife, and Yolande Beaulieu; their mutual love interest is played by Guy Belmont. The film uses many other techniques that were relatively new at the time, including double exposure.

RIP Patrick McGoohan (1928 – 2009)

RIP Patrick McGoohan, 80, American-born Irish actor (The Prisoner, Braveheart)

[Youtube=http://www.youtube.com/watch?v=c-X5Hgbc688&]

The Prisoner

Patrick Joseph McGoohan (March 19, 1928 – January 13, 2009) was an Irish American actor who rose to fame in the British film and TV industry by starring in the 1960s television series Danger Man, cult classic The Prisoner and Mel Gibson‘s epic Braveheart. McGoohan wrote and directed several episodes of The Prisoner himself. He also had a part in David Cronenberg’s paranoiac Scanners as Dr. Paul Ruth, psychopharmacist.