Tag Archives: film

RIP Mike Hodges (1932 – 2022)

Openingssène van Get Carter, met het thema van de soundtrack.

Mike Hodges was een Brits regisseur en schrijver gekend voor het schrijven en regisseren van de op een pulproman gebaseerde film Get Carter (1971).

Get Carter wordt tot de beste Britse films ooit gerekend en is vandaag nog erg genietbaar. Allereerst is er Michael Caine, dan is er het totaal gebrek aan gemoraliseer, de soundtrack van Roy Budd en het snelle monteerwerk van John Trumper.

Britt Ekland aan de telefoon met Caine.

De film is van 1971 en de seksuele revolutie raast als een sneltrein door Europa. In deze periode lijkt het erop dat je als vrouw geen enkele rol krijgen kon als je niet bereid was je borsten te laten zien: er is Britt Ekland die ingaat op het telefoonseksverzoek van haar vriendje Carter terwijl zijn vrouw in dezelfde kamer waar hij belt zenuwachtig heen en weer aan het schommelen is in haar schommelstoel terwijl ze naar het ongewogen gezicht van haar man kijkt terwijl aan de andere kant Britt in het bed aan het kronkelen is; er is de vrijpartij met Geraldine Moffat; er is de vrouw die verplicht wordt zich te ontkleden vooraleer ze een dodelijk spuitje krijgt; er is het naakte vrouwenlijk dat uit de rivier gevist wordt.

Drugs zijn ook nooit ver weg. Zo druppelt Caine een of ander goedje in zijn neus als hij per trein op zijn bestemming aankomt.

Terwijl deze film niet tot de verkrachtingswraakfilms gerekend wordt, is hij dat wel. De verkrachting wordt hier verzinnebeeld door een pornofilm waar Caine met tranen in de ogen naar kijkt. Hij ziet hoe zijn nichtje (er wordt gesuggereerd dat het wel eens zijn dochter zou kunnen zijn) in een pornofilm ‘genomen’ wordt.

In een bepaalde scène zegt hij daar beschuldigend over tegen diegene die zijn nichtje voor de camera haalde:

‘Wat zou jij ervan gevonden hebben als het jouw nichtje was dat genaaid werd in die film?’

Get Carter (1971)

Hodges regisseerde heel wat meer. Er was Flash Gordon en ook Pulp, die er erg geestig uitziet.

Rust zacht Mike.

RIP Just Jaeckin (1940 – 2022)

Just Jaeckin was a French film director known for his soft porn films during what is known as the golden age of porn in the 1970s.

He directed Emmanuelle (1974), Story of O (1975) and Lady Chatterley’s Lover (1981).

His film adaptation of Lady Chatterley was produced by Cannon, the story of which is told in Electric Boogaloo: The Wild, Untold Story of Cannon Films (2014).

He can be seen in that documentary from 17:10 for a minute or two.

Electric Boogaloo: The Wild, Untold Story of Cannon Films (2014)

The story of Cannon is interesting, the docu well made.

RIP Bob Rafelson (1933 – 2022)

Chicken salad scene from Five Easy Pieces.

Bob Rafelson was an American film director. I remember him for Head (1968) and Five Easy Pieces (1970).

Five Easy Pieces is famous for its chicken salad scene.

Head, full film.

Head is known for being a hippie film in the style of The Trip (1967), Medium Cool (1969) and Putney Swope (1969).

RIP Lino Capolicchio (1943 – 2022)

Lino Capolicchio was an Italian actor, screenwriter, and director known for performances in such films as Escalation (1968), The Garden of the Finzi-Continis (1970) and The House with Laughing Windows (1976).

Opening scene to Escalation, a film qualifiable as the Italian version of The Trip . Lino is the young man on the bicycle.

RIP Agnès Varda (1928 – 2019)

Agnès Varda was a Belgian-born French film director.

Her films were popular among critics and directors, giving her the status of a cult director.

This is perhaps not the best of times to rid the world of a minor misconception regarding the work of Varda, but it is what I must do after researching her oeuvre following her death.

Agnès Varda made one film about the Black Panther Party, just one. That film was Black Panthers (1968), a color film which can be viewed in its entirety at Archive.org[1].

Another film from that same year is called Huey! and is directed by a certain Sally Pugh. It can be seen in full on YouTube [below] and has nothing to do with Varda, although the general subject matter as well as some scenes overlap.

Nietzsche in film

I’ve taken an interest in biopics.

Researching Nietzsche I stumbled upon the film Beyond Good and Evil (1977) by Liliana Cavani, which follows the intense relationship between Friedrich Nietzsche, Lou Salome and Paul Rée.

The film features the scene in which Lou Salomé reins Nietzsche and Rée in front of her cart[1] (above) as well as the horse scene in Turin [2](Nietzsche saw a horse being flogged, embraced it and collapsed and lived ten more years in a vegetative state).

Another interesting film appears to be Days of Nietzsche in Turin[3], a 2001 Brazilian film.

Referring to the horse incident, the film The Turin Horse[4] asks “what happened to the horse?”.

In director Béla Tarr’s introductory words:

“In Turin on 3rd January, 1889, Friedrich Nietzsche steps out of the doorway of number six, Via Carlo Alberto. Not far from him, the driver of a hansom cab is having trouble with a stubborn horse. Despite all his urging, the horse refuses to move, whereupon the driver loses his patience and takes his whip to it. Nietzsche comes up to the throng and puts an end to the brutal scene, throwing his arms around the horse’s neck, sobbing. His landlord takes him home, he lies motionless and silent for two days on a divan until he mutters the obligatory last words, ‘Mutter, ich bin dumm!’ [‘Mother, I am stupid!’ in German] and lives for another ten years, silent and demented, cared for by his mother and sisters. We do not know what happened to the horse.”

See Friedrich_Nietzsche#Depictions

‘Into the Wild’ is World Cinema Classic #224

Into the Wild is a 2007 American biographical drama survival film written and directed by Sean Penn, based on the travels of Christopher McCandless across North America and his life spent in the Alaskan wilderness in the early 1990s.

Depending on who you ask, Christopher McCandless was a Thoreau-like ‘back to nature!‘ hero or a simple-minded romantic.

See World Cinema Classics.

“The Double’ is World Cinema Classic #218

The Double is a 2013 dark comedy written and directed by relative newcomer Richard Ayoade, starring Jesse Eisenberg (The Social Network) and Mia Wasikowska. The film is based on the novella The Double by Fyodor Dostoyevsky. It is about a man driven to mental breakdown when he is usurped by a doppelgänger.

“Ayoade has cited Orson Welles’ Kafka adaptation “The Trial” as a key influence, with its similarly labyrinthine sense of entrapment, along with “Alphaville,” “Eraserhead” and the dry Nordic comedies of Roy Andersson and Aki Kaurismaki; the latter’s imprint is particularly apparent in “The Double’s” regular eruptions of deadpan humor and its rich, almost Sirkian color palette. And so long as there are cinematic references to be footnoted, it’s hard not to flash back to “Rear Window” when Simon uses a telescope to spy on Hannah in her apartment — at first with longing, then with frustration as he bears helpless witness to her trysts with James.” –Justin Chang [1]

The Double is World Cinema Classic #218.

I like hybrids, mixed media …

… I like paintings you can listen to, music for the deaf and drawings for the blind. I like playing with medium specificity.

https://www.youtube.com/watch?v=CuMI4lMk_-s

I recently discovered High Note (1960, above), a Warner Bros. Looney Tunes animated short directed by Chuck Jones.

In this charming film, various musical notes set up the sheet music to get ready for a performance of The Blue Danube Waltz. However, a sole note is missing. It turns out the note (a red-faced “High Note”) is drunk upon staggering out of the sheet music to “Little Brown Jug“, and the irritated conductor chases after him to put him back in his place so the waltz can continue as planned. Eventually, the rogue note is put back into place, but when the performance starts again, it has disappeared again, along with the rest of the sheet music. The composer then discovers that all the notes have gone into the “Little Brown Jug” to get drunk.

This film entered my head as visual music, although it is less so than the music visualization of Fantasia (1940), of which Oskar Fischinger‘s interpretation of J. S. Bach‘s Toccata and Fugue in D Minor is online here.

See also: https://blog.jahsonic.com/listen-to-this-drawing/