settima

Bales2025FilmChallenge

Lola Montès (Max Ophüls, 1955)

Aug

14

Bavaria

Lola Montès (1955)

The crowned royal mistress on display in glorious Eastmancolor (via). DP: Christian Matras.

Celebrating Oktoberfest [in September/October] and the Bavarian royals [rip]: a royal character or family*

“The painter takes his time. He doesn't like her dress. He doesn't like her gloves. One day he asks her if she dares pose for him – all in pink. She dares! And the king, enraptured by her pose, offers her a palace!”

– circus master

Maria Dolores Porriz y Montez, Countess von Landsfeld, Lola Montès for short, now a circus attraction, once the mistress to Ludwig I, King of Bavaria. While her fellow circus performers play Lola's former lovers, the ringmaster tells her story.

 

Il fiore delle mille e una notte [Arabian Nights] (Pier Paolo Pasolini, 1974)

Aug

13

cerulean

Il fiore delle mille e una notte (1974)

The entrance of the Shah Mosque as seen in the film. The seven colours of the tile work are reflected in the extras' costumes. DP: Giuseppe Ruzzolini.

Cerulean, or blue: a building or structure*

“Eh, i sogni a volte insegnano male, Dùnya, perché la verità intera non è mai in un solo sogno, la verità intera è in molti sogni.”

One of the many exotic locations is the مسجد شاه, [Masjed-e Shah, or Shah Mosque] in Iran with its otherworldly blue and blue-adjacent tiles.

 

Il deserto rosso [Red Desert] (Michelangelo Antonioni, 1964)

Aug

12

green

Il deserto rosso (1964)

Valerio (Valerio Bartoleschi) and his mother Giuliana (Monica Vitti) in an arid industrial landscape. Giuliana wears a brilliant green coat, its shade between pea and moss, depending on the drabness of her surroundings. DP: Carlo Di Palma.

Green, in food or fashion*

“She'd discovered a small beach far from town, with crystal-clear water and pink sand. She loved that spot. The colors of nature were so beautiful, and there was no noise. She'd leave only when the sun did too.”

– Giuliana

Antonioni's first film in colour beautifully utilises Vitti's brilliance – of her auburn hair, her porcelain teint, her vivid costumes (by Paola Carloni) – against the drab landscape.

 

آداب بهاری [Adab-e Bahari / Rites of Spring] (Ali Asghar Agahbanaei, 1982)

Aug

11

spring

Adab-e Bahari (1982)

In a dewdrop hanging from a rose, the face of a smiling woman appears.

Dita e Verës, a pagan spring celebration from Albania, celebrated in March: a spring scene*

 

The restless anticipation of spring. Iran as it was before and after the 1979 toppling of the Shah. While the snow melts away, the Revolution takes place, and fresh buds appear on the rose bushes. A poem.

 

Хлебный день [Khlebnyy den / Bread Day] (Sergei Dvortsevoy, 1998)

Aug

10

green

Хлебный день (1998)

The old folks pushing the cart past the hamlet's name sign. With thick brush strokes, almost too much for the small rectangle, it reads TOWNSHIP NR. 3. DP: Alisher Khamidkhodzhaev.

Green: a building or structure*

“That's all the people we've got now. We'll get there somehow.”

Where the old folks' hands push the cart, the green's worn off. That doesn't change anything about its importance. A lifeline, bread, is delivered once a week and with delivered, it means that the carriage is left on the rails, several kilometers away from Zhikharevo, or Township Nr. 3, which in its turn is about 80 km away from Saint Petersburg. It takes the seniors about two hours to get the wagon to their hamlet. We get to witness ten minutes or so. It lasts a lifetime.

 

As of 2002, only three people lived in Zhikharevo. I wonder how the wain comes home now.

 

Du côté de la côte [Along the Coast] (Agnès Varda, 1958)

Aug

9

yellow

Du côté de la côte (1958)

Two people, one big one small, in identical canary yellow robes and straw sun hats on the beach (more here). DPs: Quinto Albicocco & Raymond Castel.

Yellow, in food or fashion*

“Tourists prefer the trendy colors, yellow and blue. Pacing fancies, hotels are painted yellow and blue. Blue wins. All women want to be fashionable. All women wear blue, except the English, those learning to swim, and the Germans, who are dedicated to green.”

– narrator

墮落天使 [Do lok tin si / Fallen Angels] (Wong Kar-Wai, 1995)

Aug

7

yellow

Do lok tin si (1995)

The killer's agent (Michelle Reis) rides an escalator in a yellow and black underground station. She wears an all-black outfit and yellow nail polish (via). DP: Christopher Doyle.

Yellow: a building or structure*

“Just when I really needed a raincoat, he returned to my side. It would be so great if it could rain forever.”

– Punkie

Ovoce stromů rajských jíme [We Eat the Fruit of the Trees of Paradise] (Věra Chytilová, 1970)

Aug

6

orange

Ovoce stromů rajských jíme (1970)

Eva (Jitka Novákova) devouring oranges under a black umbrella (via). DP: Jaroslav Kučera.

Orange, food or fashion*

“Tell me the truth!”

– choir

An allegorical, psychedelic retelling of Genesis 3 and the Fall of Man

 

Эффект Кулешова [Kuleshov Effect] (Lev Kuleshov, 1918)

Aug

5

Kuleshov Effect (1918)

A closeup of a man, followed by a medium shot of a child in a coffin, then back to the man. Can you see how his expression changes? (via). DP: to be determined.

Celebrating Dia de Los Muertos [on November 1 and 2, of course]: a cemetery, coffin, or dead person*

“When we began to compare the typically American, typically European, and typically Russian films, we noticed that they were distinctly different from one another in their construction. We noticed that in a particular sequence of a Russian film there were, say, ten to fifteen splices, ten to fifteen different set-ups. In the European film there might be twenty to thirty such set-ups (one must not forget that this description pertains to the year 1916), while in the American film there would be from eighty, sometimes upward to a hundred, separate shots. The American films took first place in eliciting reactions from the audience; European films took second; and the Russian films, third. We became particularly intrigued by this, but in the beginning we did not understand it.”

– Lev Kuleshov, The Principles of Montage, from The Practice of Film Direction (pp. 183-195) (source)

Director Lev Kuleshov explains what happens when a scene is followed by a reaction shot. Depending on the preceding image, the viewer projects an emotion onto the performer's facial expression. In his most famous montage, made up of existing footage – because property is theft, we see matinee idol Ivan Mosjoukine “react” to a bowl of soup, a little girl in a coffin, and a woman sprawled out on a divan.

 

地獄門 [Jigokumon / Gate of Hell] (Teinosuke Kinugasa, 1953)

Aug

4

orange

Jigokumon (1953)

The shrine's torii as seen in the film. Vermilion contains mercury, which not only acts as a preservative but is also believed to ward off evil. DP: Kōhei Sugiyama.

Orange: a building or structure*

“Today is the first day of a life of sacrifice.”

– Moritoo Endō

Partially filmed near the 厳島神社 (Itsukushima Shrine) with its striking vermilion torii.

 

Shot on Eastmancolor, relatively cheap and globally available, and influenced by Hollywood colour melodramas of the time, in particularly Rudolph Maté's Mississippi Gambler (1953) (source), and in its turn greatly influenced the implementation of colour in global cinema to come.

 

Jigokumon won two Academy Awards in 1955, for Best Costume Design and Best Foreign Language Film.