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Cleopatra (Joseph L. Mankiewicz + Rouben Mamoulian, 1963)
Aug
26
National Spark The World Day

Like Rome, Cleopatra wasn't built in a day. Joseph L. Mankiewicz's epic studio breaker took six years to make and, despite it being the highest-grossing film of 1963, didn't break even until 1973. Was it a #flop? A classic flop but a flop nevertheless?
“There are never enough hours in the days of a queen, and her nights have too many.”
– Cleopatra
The star – the Queen – Elizabeth Taylor demanded an unprecedented one million dollar fee, 10,3 million in 2023 US dollars. Liz's movie dressing table hold trinkets especially designed by luxury brand Bulgari, blink and you'll miss them. The Pharaoh's lavish costumes, all 65 of them (created by Irene Sharaff who would dress Taylor again as #Cleopatra's counterpart Martha in Who's Afraid of Virginia Woolf? (1966)), cost almost 195K dollar (ca. 2 million today), and of course those 20 000 extras, shipped from God-knows-where to Hollywood on the Tiber to shoot one scene, had to look like their 2000 year old counterparts, and be fed, and housed.
Is it all bad? Cleopatra is one of those movies that so many – and that includes obsessive cinephiles – will get around to watch. Eventually. All four hours of it. I'm still holding out, but ooh, the spectacle!
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Culloden [The Battle of Culloden] (Peter Watkins, 1964)
Jul
27
Bagpipe Appreciation Day
John Hunt Leigh in Culloden, pìobaireachd “ceòl mór” (litt. piping “great music”). DP: Dick Bush.
Great Highland #bagpipes, or a' phìob mhòr as they're called in Scottish Gaelic, are traditionally played on the battlefield. Peter Watkins' Culloden moves the senseless bloodshed from 1960s Vietnam to the Scottish Highlands of 1746.
“And wherever he went, he took with him his music, his poetry, his language and his children… thus within a century of Culloden, the English and the Scottish lowlanders had made secure forever their religion, their commerce, their culture, their ruling dynasty.”
– narrator
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Броненосец Потёмкин [Bronenosets Potyomkin / Battleship Potemkin] (Sergei Eisenstein, 1925)
Jun
8
Bounty Day
A closeup of a sailor. DPs: Eduard Tisse & Vladimir Popov.
“Shoulder to shoulder. The land is ours. Tomorrow is ours.”
– sailor
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Grands soirs & petits matins [May Days] (William Klein, 1978)
Jun
6
National Higher Education Day
Students discussing at the Sorbonne. DPs: William Klein & Bernard Lutic.
A ripple went through France in the early months of 1968. It started when the Communist and socialist party joined forces in an attempt to remove President De Gaulle from office. A month later, students at Nanterre (a Parisian university) teamed up with poets, musicians and small leftist groups to discuss class discrimination and political bureaucracy on campus. The meeting was peacefully disassembled but tensions remained. In May, Sorbonne students stood up for Nanterre, by then shut down. Then, police invaded the university and 20 000 stood up against the police.
“Convert all Parisian universities into reception centres for the revolutionary youth of the whole world.”
– student proposal
Somewhere in that crowd were those whose interest went beyond the main spectacle: the toppling of the new ancien regime. A #JeanRouchian anthropologist of sorts, artist, photographer and filmmaker William Klein pushes the eye through the masses. But it's also his eye; each frame is a Klein. However, we see not a documentary. Sound is asynchronous. Suddenly, it's night and flames lick the black sky. When bricks fly, frames follow. And then… the end.
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Culloden (Peter Watkins, 1964)
May
23
Wigged man at a table, drinking wine with three men lower in rank standing behind them with their arms crossed. DP: Dick Bush.
“Sir John MacDonald, Jacobite captain of cavalry. Aged, frequently intoxicated, described as 'a man of the most limited capacities'.”
– narrator
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Het Leesplankje [The Reading Lesson] (Johan van der Keuken, 1973)
Mar
2
National Read Across America Day
Reading board tiles laid out on a newspaper. Half a headline – 7.000 ARRESTANTEN (“7000 DETAINEES”) – can be read. A photograph of a shellshocked, very young soldier in front of a fleeing crowd illustrates the article. DP: Johan van der Keuken.
Amsterdam schoolchildren recite the words from a reading board while the traditional teaching method's pictures are interspersed with news photos of then-current events and children's drawings.
“Aaaaap”
“Nooot”
“Miiieees”
This short, and life, is haunting and violent; schools should be safe for all. Even if only to escape in a book.
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Dirty Little Billy (Stan Dragoti, 1972)
Feb
25
National Billy Day
Michael J. Pollard as Billy the Kid. He looks rather unwashed. DP: Ralph Woolsey.
– All right, Billy. All right. You still haven't answered my question. What do you want to do?
– Nothin'.
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I fidanzati [The Fiancés / The Engagement] (Ermanno Olmi, 1963)
Feb
21
Brazilian Carnival
Revellers at the Sicilian carnival parade with confetti all around them. Centred Giovanni (Carlo Cabrini), eyes shut. DP: Lamberto Caimi.
A carnival-like parade.
“Do you still go dancing at night? I've stopped going. There are no dance halls here. But that's not the only reason. I was used to dancing with you. I'm not comfortable with other girls.”
– Giovanni in a letter to Liliana
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De werkelijkheid van Karel Appel [The Reality of Karel Appel] (Jan Vrijman, 1962)
Feb
3
American Painters Day
Appel at work. He said about painting “Ik begin vanuit mijn materie, dat is verf.” (“I start from my matter, which is paint.”). DP: Eduard van der Enden.
CoBrA (1948—51) was a Copenhagen / Brussels / Amsterdam art collective whose manifest revolved around the liberation from the rigidity of art and life in drab, post-war Europe. Their spontaneous primal iconography and graffiti allowed them to not only regain the pleasure of painting, but also forge a new connection to colour and material. Especially the Dutch artists involved – Corneille, Appel, Lucebert, Constant – looked at the way children respond to the act of creation resulting in easy to comprehend semi-abstract paintings, sculptures and poems. The moronic “my child can paint that” that people still associate with modernist art can be traced back to (deliberately) misinterpreting these artists' objectives.
“Ik schilder als een barbaar van deze barbaarse tijd.”
– Karel Appel
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にっぽん戦後史 マダムおんぼろの生活 [Nippon Sengoshi – Madamu onboro no Seikatsu / History of Postwar Japan (Shōhei Imamura, 1970)
Jan
17
Customer Service Day