settima

@settima@zirk.us

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.

The Man Who Laughs (Paul Leni, 1928)

Jan

29

1690

The Man Who Laughs (1928)

A hand-painted carnival banner reading “URSUS ye Philosopher presents THE LAUGHING MAN. Don't fail to see GWYNPLAINE who was deserted at ye age of ten on ye night of ye 29th of January 1690 by ye Villainous Comprachicos on ye coast of Cornwall. This little boy has grown up and is now known as THE LAUGHING MAN”. DP: Gilbert Warrenton.

“What a lucky clown you are! You don't have to wipe off your laugh.”

The Phantom of the Opera (Rupert Julian, Lon Chaney, Ernst Laemmle + Edward Sedgwick, 1925)

Jan

28

Gaslights

The Phantom of the Opera (1925)

An enormous gaslit chandelier dangles over the Paris Opéra audience's heads. DPs: Milton Bridenbecker, Virgil Miller & Charles Van Enger.

Gaslights for the first recorded public street lighting powered by gas, demonstrated in Pall Mall, London, on 28 January, 1807. The introduction of gaslight had a major influence on theatre and opera, including the new Paris Opera (1875), which was lit by no less than 960 gas jets. Thanks to the brilliant light, stage actors could tone down their mannerisms and stage makeup.

“Feast your eyes. Glut your soul on my accursed ugliness.”

– The Phantom

However, in the dark dungeons under the Opéra lives a pitiful creature, doomed to dwell in darkness. His makeup, provided by The Man of a Thousand Faces, Lon Chaney, was both grotesque and eerily real .

O 5º Poder [O Quinto Poder / The Fifth Power] (Alberto Pieralisi, 1962)

Jan

27

television

O 5º Poder (1962)

A woman sprawled out on the ground. A man tries to revive her while another reaches out in concern. DP: Özen Sermet.

Turn on your television on the day* in 1926 John Logie Baird demonstrated the first working TV.

 

An unknown foreign agent manipulates Brazil's radio en television antennas to emit subliminal messages to the oblivious population. Slowly, society descends into violent chaos.

 

O 5º Poder precedes Ray Nelson's story Eight O'Clock in the Morning by one, and John Carpenter's adaptation They Live by 26 years. But what's much more fascinating is this film's place in Brazilian history: right between Professor Baskarán's – hypnotist Carlos Pedregal – televised mass hypnosis experiments from 1958, and the violent coup of 1964.

 

In how far was the population primed for this revolt? And how much, are you?

 

* In reality this was on January 26, 1926.

Shaft (Gordon Parks, 1971)

Jan

27

Shaft (1971)

John Shaft (Richard Roundtree). Can you dig it, baby? DP: Urs Furrer.

“Play straight, baby.”

– John Shaft

Οι παράνομοι [Oi paranomoi / The Outlaws] (Nikos Koundouros, 1958)

Jan

26

Survival Day

Οι παράνομοι (1958)

One of the convicts and the woman. DP: Giovanni Varriano.

Convicts: a convict settlement in Sydney Cove on January 26, 1788 marks what is considered the founding of Australia.

Die große Ekstase des Bildschnitzers Steiner [The Great Ecstasy of Woodcarver Steiner] (Werner Herzog, 1974)

Jan

25

Chamonix 1924 Winter Olympics

Die große Ekstase des Bildschnitzers Steiner (1974)

Live footage of Steiner preparing for his flight. DP: Jörg Schmidt-Reitwein.

Winter sports in celebration of the Chamonix 1924 Winter Olympics.

“Ich sollte eigentlich ganz allein auf der Welt sein, ich, Steiner, und sonst kein anderes lebendes Wesen. Keine Sonne, keine Kultur, ich nackt auf einem hohen Fels, kein Sturm, kein Schnee, keine Straßen, keine Banken, kein Geld, keine Zeit und kein Atem. Ich würde dann jedenfalls keine Angst mehr haben.”

– Walter Steiner

In a film that is as much about Herzog as it is about Steiner, we follow the soft-spoken woodcarver in preparation of his definitive ski flight in Planica, Yugoslavia.

L'inconnu de Shandigor; Les salauds vont en enfer

Jan

24

cuckoo clocks

L'inconnu de Shandigor (1967)
Les salauds vont en enfer (1955)

Top to bottom: L'inconnu de Shandigor (Jean-Louis Roy, 1967), Les salauds vont en enfer (Robert Hossein, 1955).

Watched on January 24 and 25 respectively.

Orlando (Sally Potter, 1992)

Jan

24

Billy Zane's birthday

Orlando (1992)

Orlando (Tilda Swinton) and Shelmerdine (Billy Zane) in intimate embrace. DPs: Aleksey Rodionov & Andrew Speller.

A [favourite] Billy Zane film for his birthday (1966).

“This future of yours Shelmerdine, when it's gonna begin? Today? Or, is it always tomorrow?”

– Orlando

As ordered by Queen Elizabeth I (Quentin Crisp), nobleman Orlando remains young and traverses exotic scenery, civilisations, time, and gender.