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Homunculus, 4. Teil – Die Rache des Homunculus (Otto Rippert, 1917)

Feb

3

finance

Homunculus, 4. Teil - Die Rache des Homunculus (1917)

Richard Ortmann, the homunculus (Olaf Fønss). DP: Carl Hoffmann.

A film about finance because “the Commonwealth of Massachusetts issues the first paper money on February 3, 1690”. The oldest surviving paper bill in what is now the United States bears the date February 3, 1690. The first documented paper money was issued during the Tang and Song dynasties in China, starting in the vulgar year 618. Who would have thought those new colonies were not the center of world history… sigh…

 

In the fourth instalment of the Homunculus saga, the artificial man callously heads the nation's financial powerhouse while secretly goading the workers in revolt against the ruling class. Soulless and unable to love, he aims for the annihilation of mankind.

 

Some claim that Die Rache des Homunculus, “The Wrath of the Homunculus”, foreshadows Hitler. I say, beware of businessmen enthralling the working classes.

America America (Elia Kazan, 1963)

Feb

2

New Amsterdam

America America (1963)

Stavros (Stathis Giallelis) and other passengers on the ship. Their faces are reflected in a glass pane, showing dozens waiting at what appears to be Ellis Island. DP: Haskell Wexler.

A film about New York to commemorate the incorporation of New Amsterdam. The official Bales' rule states the year 1624, but that is the year of settlement, and even that is one year off. To cut a long story short, New Amsterdam was incorporated as a city on February 2, 1653.

“My name is Elia Kazan. I am a Greek by blood, a Turk by birth and an American because my uncle made a journey.”

– Elia Kazan, voice-over

America America tells the story of director Kazan's grandfather through the life of the Greek Stavros Topouzoglou (Stathis Giallelis), who was adamant to start anew, in New York.

燃えつきた地図 [Moetsukita chizu / The Man Without a Map / The Ruined Map] (Hiroshi Teshigahara, 1968)

Feb

2

えつきた地図 (1968)

Shintarō Katsu and Etsuko Ichihara as the detective and the missing man's wife, their faces and gestures warped by a paned window. DP: Akira Uehara.

Little Malcolm and His Struggle Against the Eunuchs (Stuart Cooper, 1974)

Scrawdyke

2

Little Malcolm and His Struggle Against the Eunuchs (1974)

Malcolm Scrawdyke (John Hurt), disgruntled art student. DP: John Alcott.

“So, this month becomes the month of Scrawdyke.”

– Malcolm Scrawdyke

L'udienza [The Audience] (Marco Ferreri, 1972)

Feb

2

L'udienza (1972)

Aiche (Claudia Cardinale) washing Principe Donati's (Vittorio Gassman) feet. DP: Mario Vulpiani.

Symbiopsychotaxiplasm: Take One (William Greaves, 1968)

Feb

1

Filmmaking

Symbiopsychotaxiplasm: Take One (1968)

Don Fellows – testing as “Freddy” – and Patricia Ree Gilbert – testing as “Alice” –, the director (William Greaves), and a camera assistant holding up a light meter. Everyone is eyeing everyone and it's not clear who is playing what part. DPs: Stevan Larner & Terence Macartney-Filgate.

A film about filmmaking, or Hollywood, to celebrate the opening of Edison's Black Maria in 1893.

“You and I are going to be filming the actors. The two of us, see, are going to be filming the actors – continuously – and you will be filming me and the actors. I'm going to be filming the actors and Terry is going to be in charge of filming the whole thing. You see?”

– William Greaves – Director

During a screentest for a documentary in a documentary in a film, director William Greaves attempts to cast the leads for his upcoming piece Over the Cliff, while a documentary crew records their progress.

Die bitteren Tränen der Petra von Kant [The Bitter Tears of Petra von Kant] (Rainer Werner Fassbinder, 1972)

Jan

31

freebie: high fashion

Die bitteren Tränen der Petra von Kant (1972)

Fashion designer Petra von Kant (Margit Carstensen) – pouting in her emerald-green dress – is kneeled on a large, sheepskin carpet in front of a huge Baroque painting (Nicolas Poussin's Midas und Bacchus, ca. 1624). In front of her a small bottle of gin and a phone. DP: Michael Ballhaus.

A freebie for someone's birthday, with bonus points for high fashion. Petra von Kant is a fashion designer who, during a particularly icy birthday party, tells the world that her new lover is a woman. Then, one day, said lover returns home to her husband.

– You have a good figure. You could use it to your advantage. Get in touch with me some time. – I'd love to.

With its exuberant costumes and set design, a Greek chorus of mannequins, and Sirk-ish larger- than-life melodrama, Fassbinder's Die bitteren Tränen der Petra von Kant delves deep into the absurdities of love and fancy.

Beaubourg, centre d'art et de culture Georges Pompidou [Beaubourg] (Roberto Rossellini, 1977)

Jan

31

1977

Beaubourg, centre d'art et de culture Georges Pompidou (1977)

Rossellini on site. DPs: Néstor Almendros, Jean Chiabaut & Emmanuel Machuel.

Případ pro začínajícího kata [Case for a Rookie Hangman] (Pavel Juráček, 1970)

Jan

30

doors

Případ pro začínajícího kata (1970)

In a completely dark room, a large silhouette of a man can be seen rushing through a brightly lit doorway. Other, impossible doors at odd heights show several people observing the man. Still via DVDBeaver. DP: Jan Kališ.

A gateway or door for Janus, god of beginnings, gates, transitions, time, duality, doorways, passages, frames, and ending

 

A man named Gulliver (Lubomír Kostelka) accidentally runs over a rabbit, who is dressed to the nines and carries a pocket watch. Slowly, the man finds himself in a sort of Wonderland.

Ormen: Berättelsen om Iréne [Ormen / The Serpent] (Hans Abramson, 1966)

Jan

29

Lunar New Year – 巳

Ormen: Berättelsen om Iréne (1966)

The German poster. An illustration of a nude woman with a serpent's head. DP: Mac Ahlberg.

Snakes (巳) in celebration of Lunar New Year.

 

Ormen is an adaptation of the first two chapters of the novel Berättelsen om Iréne (Stig Dagerman, 1945).

 

In an army barrack, a sergeant is bitten by a snake. A soldier hides the animal in his bag in order to blackmail his superior. Iréne – who works in the same barrack's mess and is the soldier's lover – pushes her mother off a train during a quarrel about the daughter's lack of morals.

 

Dagerman's novel is a metaphor of Sweden's uncomfortable position in a post-WW2 world (it had declared itself neutral, which by default made it complicit in helping the Nazis). Due to its violence and nudity, outside its homecountry the film adaptation mostly played porn theatres.