Celine and Julie Go Boating (1974)

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Aka Phantom Ladies Over Paris. Usually, it started like this. When stage magician Céline (Juliet Berto) goes traipsing across a Parisian park, she unwittingly drops first a scarf, then other objects which librarian Julie (Dominique Labourier) cannot help but pick up. So begins a fanciful and obsessive relationship between the two, which soon sees Céline sharing Julie’s apartment and each of them playfully switching identities in their daily lives. As they increasingly indulge their fantasies, they find themselves trying to rescue a young girl Madlyn (Nathalie Asnar) from a supposedly haunted house that Julie worked in and Céline lived next to as a child.  Now it appears to be filled with ghosts (Barbet Schroeder, Marie-France Pisier, Bulle Ogier) …So, my future is in the present.  One of the greatest films ever made, Jacques Rivette’s fragmented narrative of two feisty young women started with two stories by Henry James (The Other House;  The Romance of Certain Old Clothes), giving him a bit of a head start, then he liberally sprinkled some Alice in Wonderland into the mix, created a drama of identity, a rescue fantasy, a story about storytelling, a movie about the cinema, sometimes speeding up and sometimes slowing down, a fiction about fictional creation (because ‘to go boating’ means to take a trip), and came up with a fantasy that adult life could always be as good as your childhood dreams. This is a woman’s film in the very best sense that we can imagine and is of course the source of Desperately Seeking Susan. Devised by Rivette and the stars with input from Ogier and Pisier,and Eduardo de Gregorio, this is a remarkable film of disarming charm, once seen never forgotten, especially with its 194 minute running time. A female buddy film like no other. It doesn’t hurt to fall off the moon!

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Performance (1970)

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I’ll tell you this: the only performance that makes it, that really makes it, that makes it all the way, is the one that achieves madness. Right? Am I right? You with me?After killing a rival in self-defence, South London gangster Chas (James Fox) must flee both from the law and from his boss, Harry Flowers (Johnny Shannon). He eventually moves into a Notting Hill guest house owned by Turner (Mick Jagger), a former rock star who lives with his two female companions Pherber (Anita Pallenberg) and Lucy (Michèle Breton). Chas presents himself as juggler Johnny Dean. Chas and Turner initially clash, but Turner becomes fascinated with Chas’ life as a criminal. Through drugs and a series of psychological battles with Turner, Chas starts a relationship with Lucy and emerges a different man… Nothing is true, everything is permitted. “You do not have to be a drug addict, pederast, sadomasochist or nitwit to enjoy Performance,” wrote the New York Times reviewer, “but being one or more of those things would help.” The notorious film that made a Warner Bros. exec vomit, this directing collaboration between screenwriter Donald Cammell and cinematographer Nicolas Roeg remains a landmark of Sixties cinema and is Mick Jagger’s acting debut. It started out as a crime drama with an American crim on the lam and when it was shot in 1968 became a very different animal, an experimental and eye-opening analysis of sexual identity, exploring ideas of performance and madness culled from Antonin Artaud. Set in a frankly decadent Swinging London with graphic scenes of sex and drug use, its trippiness, use of real-life gangsters like John Bindon and riffing on the relationships between Pallenberg and Cammell (her ex), Pallenberg and Jagger (their intimate scenes were allegedly the real thing) and Pallenberg and Richards (offscreen) resulted in a screenplay drawing on Pallenberg’s own experiences which were used in Cammell’s screenplay which she co-wrote. There was a change in the plans for the soundtrack which was no longer going to be by The Rolling Stones following the tricky sex on the set:  Jack Nitzsche stepped in. Apparently Pallenberg wasn’t even aware there was a gangster plot until she saw the final cut. Breton had been part of a three way relationship with Cammell and never made another film. John Lennon’s white Rolls Royce makes a cameo appearance. It’s an astonishing and influential piece of work that was slaughtered by the critics – who are now lining up to call it a masterpiece. C’est la guerre. I need a bohemian atmosphere! I’m an artist, Mr. Turner. Like yourself  MM#2350

 

What is Cinema? (2013)

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If you get into that world it can be like a dream. Amid thrilling montages of films past and present, drama and documentary, art house and blockbuster, the titular question is addressed and regularly answered:  archive interviews and contemporary pieces to camera with auteurs are interspersed with ideas about audiences and materiality, while intertitles are dotted with aphorisms and quotes from directors and, appropriately, theorist André Bazin, whose collections of essays give rise to the name. There are clips of everything from Zorns Lemma to Vertigo, Ritual in Transfigured Time to Lord of the Rings, The Cremaster Cycle to The Long Goodbye. Choreographer and feminist filmmaker Yvonne Rainer describes butting my head against the wall, against familiar patterns and says of exhibiting her work, I go to some of my screenings and the reason to stay is to see when people will leave.  Critic and director Jack Waters talks about cinema’s functions in relation to passivity and control, everything the camera records being documentation. Robert Altman insists nobody should be able to articulate precisely what his films are about; while Akira Kurosawa declares, A truly good movie is interesting and easy to understand. David Lynch. Alfred Hitchcock. Chantal Akerman. Costa-Gavras.  Ken Jacobs. Michael Moore. Jonas Mekas. Bill Viola. Robert Bresson. They are all here, and more besides.  A wonderful, compelling documentary that takes in the totality of the filmic medium from the actualités of the nineteenth century to the vines of today. Written and directed by Chuck Workman.

Le Mepris (1963)

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Le plus grand film de Godard, une satire, un traite sur le mariage, le cinema et le mythe, avec le meilleur score de Georges Delerue. Un travail de genie total. Avec Fritz Lang pour plus de piquant. As I looked at you with him I felt I was seeing you for the first time


					

The Night Porter (1974)

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The infamous S&M movie about a Nazi who posed as a doctor in a concentration camp to take salacious photographs and the young inmate with whom he developed a kinky relationship:  they meet by chance in a hotel 12 years after the war has ended. He is about to go into a mock trial with his fellow abusers and they find out that the girl, now the wife of a conductor, could be a witness. He and the girl resume their relationship … And therein lieth the knotty problem. We know about the Nazis in our midst, they continue to holiday around Europe in a self-congratulatory orgy  in destinations such as Alicante and Portofino annually, according to Jonathan Freedland. And we found out in the 70s how they organised, thanks to Frederick Forsyth. And there are a fair few of them and their descendants in Argentina, Brazil and Chile. We are loath to admit it, but we also know that they were reabsorbed into German life post-WW2 and the only people who lost their State pensions were anti-Nazis in a regime funded by American money (so much for nation re-building). We also know that Hitler’s backup plan – the Fourth Reich, as it were – was a European economic union governed by Germany. That’s the revolting European reality:  tell that to PIGS. We rest your case. So why does this explicit linking of pornography, violence and Nazism exert such a negative critical energy? Precisely because it is personalised. It is given a name, or rather, two: Max (Dirk Bogarde) and Lucia (Charlotte Rampling). And like it or not, howsoever it was forged, they love each other. Yes, it’s sick. But in that sickness is revealed a truth about human survival. It is also indicative of a truth about every relationship – it’s about power. Director and writer Liliana Cavani took a lot of heat for this but she remains a notable filmmaker and this is a testament to bravery, if nothing else. And Bogarde is fantastic in a deeply troubling role. Rampling was so young and beautiful – she does everything she can. And they must have trusted each other greatly to shoot those scenes together.