settima

1960s

The Party's Over (Guy Hamilton, 1965)

Feb

13

party

The Party's Over (1965)

The party crowd staggers its way home at dawn across Albert Bridge. DP: Mike Pratt.

Partying on Fat Tuesday*

– Let's keep this party going till Sunday. – Why Sunday? – The Hindus say the world comes to an end on Sunday. – But, how will we know when it happens? – Graves will gape and the shrouded dead will run gibbering and shrieking in the streets. – Sounds like any other Sunday.

*which isn't until March 4 this year.

Adieu Philippine [Farewell, Philippine] (Jacques Rozier, 1962)

Feb

11

friendship

Adieu Philippine (1962)

Juliette and Liliane (Stefania Sabatini and Yveline Céry) walk along a promenade in a beautiful, vérité tracking shot. DP: René Mathelin.

A film about friendship for Jennifer Anniston's birthday (1969).

 

1960. Michel is due to leave for Algeria to serve in the Algerian War. Juliette and Liliane are best friends as inseparable as “Filipino almonds”(?). When they meet, the girls decide to join Michel on his final vacation, on Corsica.

Ole dole doff [Eeny Meeny Miny Moe / Who Saw Him Die?] (Jan Troell, 1968)

Feb

10

Scholastica

Ole dole doff (1968)

A reaction shot shows the pupils' faces. While the girls show some sort of remorse, the boys are deadpan. DP: Jan Troell .

A film about teaching on the day of Saint Scholastica, patron saint of Benedictine nuns, education, and convulsive children.

 

Companion piece to Vilgot Sjöman's 491 (1964). An anti-authoritarian teacher who is plagued by nightmares, slowly unravels.

Lord of the Flies (Peter Brook, 1963)

Feb

8

Boy Scouts of America

Lord of the Flies (1963)

Using Piggy's glasses, the boys light their first signal fire. DP: Tom Hollyman.

Someone prepares something for the founding of the Boy Scouts of America on February 8, 1910.

“His specs — use them as burning glasses!”

William Golding, Lord of the Flies (1954)

The boys collectively gather firewood to light a beacon, then come up with the idea to light the fire with the help of one of the kid's glasses.

La notte [The Night] (Michelangelo Antonioni, 1961)

Feb

7

Falò delle vanità – 1497

La notte (1961)

Author Giovanni Pontano (Marcello Mastroianni) pondering next to a full bookcase. DP: Gianni Di Venanzo.

Books, or art, in commemoration of Savonarola's 1497 Florentine falò delle vanità (bonfire of the vanities).

“I used to spend afternoons reading in bed. Tommaso would call and find me there. He could have kissed me. I wouldn't have resisted, out of boredom. But he was satisfied to watch me as I read. All those purposeless books.”

– Lidia

A lavish #CocktailParty in celebration of the launch of a novel is bookended by tragedy, in the loss of a befriended writer and the unraveling of another writer and his wife's marriage.

Тіні забутих предків [Shadows of Forgotten Ancestors] (Sergei Parajanov, 1965)

Feb

6

St. Dorothea of Caesarea

Тіні забутих предків (1965)

The childhood lovers to be newlyweds. During the wedding ceremony, the bride suddenly breaks out in smile. DPs: Yuri Ilyenko & Viktor Bestayev.

A wedding on the day of Dorothea of Caesarea, patron saint of horticulture, brewers, brides, florists, gardeners, midwives, newlyweds, and love.

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.

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.

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.