“I'm not Hassan. I'm his cow.”

Freebie: National Insurance Awareness Day (USA) redux.

 

A boy (Bin Amatsu), helps out his father and stepmother's insurance money scam by pretending to be injured in traffic.

An underdog for National Underdog Day (USA)

 

Underdog Ánimas Trujano is dead set on becoming his town's next mayordomio, the wealthy, respected man in charge of funding one of Oaxaca's major religious festivals. He does find a way, a terrible one, and does get the respect and riches he wishes for. But even with all the money and praise in the world, Ánimas' continuous down his well-trodden path of gambling away the riches bestowed, and cheating on his long-suffering wife.

 

It took me a moment to get comfortable with the casting of Japanese movie legend Toshirō Mifune as the titular important man (also see Noé Murayama in Rodríguez's Los hermanos Del Hierro from 1961, but from that moment on, Ánimas Trujano feels as universal as any great cinematic experience should be.

Alabama Day: filmed in Alabama.

 

In what he dubbed “Stand in the Schoolhouse Door”, George Wallace, Alabama governor, blocked Black students from walking into the University so he could uphold his inaugural promise of “segregation now, segregation tomorrow, segregation forever”. This prompted a national crisis, resulting in the President issuing Executive Order 11111, making the #NationalGuard step in.

“Come Senators, Congressmen, Please heed the call, Don't stand in the doorway, Don't block up the hall”

– Bob Dylan, The Times They Are a-Changin (1964)

In a then-groundbreaking new documentary format, Robert Drew and associates followed President John F. Kennedy and Attorney General Robert F. Kennedy during the crisis. And they filmed everything; from tense phone calls, private discussions, private moments (one of RFK's daughters on the phone with a bemused “Kerry”, Dept. Nicholas Katzenbach), and many, many shots in which nothing – which is everything – is said.

Something is lost and found on Official Lost and Found Day (USA)

“We come to life, we die… It's a perpetual renewal. How boring.”

– Mibu

Someone digs in soil on World Soil Day

Someone shaves on Safety Razor Day (USA)

 

Accompanied by the sweet tunes of Bunny Berigan and Ira Gershwin's I Can't Get Started, a young man shaves his face. The Big Shave is a short commissioned film which contains many of the hallmarks of Martin Scorsese's later, more accessible work.

“I've been consulted by Franklin D., Gretta Garbo has had me to tea, Still I'm broken hearted, Cause I can't get it started, With you”

–Ira Gershwin, I Can't Get Started (1936)

There's also the obvious influence of #KennethAnger to be found, in nostalgic show tunes, the fetishisation of chrome and clean lines, followed by lustful, by ways erotic, violence. #Scorsese theme here is not homoeroticism, not on the surface at least, but the carnage laid upon so many young men sent off to the smouldering battlefields of #Vietnam. There'd be another six years of that. And meanwhile, some young men came back. And some picked up a job, driving a cab.

Christmas lights for National Christmas Lights Day (USA)

 

It took experimental filmmaker Marie Menken three years to shoot Lights. From midnight until 1 AM, she filmed New York's window displays during the holiday season, using her camera, motion, colour, and available light sources as her paintbrush.

“There is no why for my making films. I just liked the twitters of the machine, and since it was an extension of painting for me, I tried it and loved it. In painting I never liked the staid and static, always looked for what would change the source of light and stance, using glitters, glass beads, luminous paint, so the camera was a natural for me to try—but how expensive!”

– Marie Menken, c. 1966

Filming at night helped to avoid unwanted interruptions of people and cars, but turned out to be problematic for her hand-cranked #Bolex, which kept stalling in NYC's icy winter nights.

Shopping online on Cyber Monday

 

In the soul crushing future of 1999, one heroic nuclear family bravely fulfils their gender-specific duties. While Father Mike works in his computer-aided office, Son Jamie fails at computer homeschool and Mother Karen slavishly shops, cooks, and cleans as if the 70s never happened.

 

Thankfully, the future turned out to be even bleaker.