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Le mépris [Contempt] (Jean-Luc Godard, 1963)
May
5
Europe Day
Michel Piccoli, director Fritz Lang, Jack Palance, and director Jean-Luc Godard behind the scenes. The clapperboard held by Godard is for the movie that Lang's working on in Le Mépris, an adaption of Homer's Odyssey. DP: Raoul Coutard.
A director from the EU for Europe Day
“Producers are something I can easily do without”
– Fritz Lang
A film in a film, the latter directed by Fritz Lang, directed by Godard.
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दुविधा [Duvidha / The Dilemma] (Mani Kaul, 1973)
May
3
National Paranormal Day
Lachhi, the bride (Raisa Padamsee). DP: Navroze Contractor.
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重慶森林 [Chung Hing sam lam / Chungking Express] (Wong Kar-Wai, 1994)
Apr
28
8:59
A flipclock. It's April 28, a Friday, and 8:59 pm. DPs: Christopher Doyle & Wai Keung Lau.
“We broke up on April's fools day, so I took it as a joke. I'm willing to humor her for a month.”
– He Zhiwu, Cop 223
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重慶森林 [Chung Hing sam lam / Chungking Express] (Wong Kar-Wai, 1994)
Apr
28
freebie: April
Eating pineapple, expiration date May 1. DPs: Christopher Doyle & Wai Keung Lau.
A film set in April.
“We split up on April Fool's Day. So I decided to let the joke run for a month. Every day I buy a can of pineapple with a sell-by date of May 1. May loves pineapple, and May 1 is my birthday. If May hasn't changed her mind by the time I've bought thirty cans, then our love will also expire.”
– He Zhiwu, Cop 223
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Notorious (Alfred Hitchcock, 1946)
Apr
24
Devlin (Cary Grant) and Alicia Huberman (Ingrid Bergman). DP: Ted Tetzlaff.
And January 9.
“Dry your eyes, baby; it's out of character.”
– Devlin
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The Angelic Conversation (Derek Jarman, 1985)
Apr
23
William Shakespeare — 1564
Two men in tender embrace. DPs: Derek Jarman & James Mackay.
A Shakespearean play or quote for the Bard's (assumed) birthday (1564).
Sweet love, renew thy force; be it not said
Thy edge should blunter be than appetite,
Which but to-day by feeding is allay’d,
To-morrow sharpen’d in his former might:
So, love, be thou; although to-day thou fill
Thy hungry eyes even till they wink with fullness,
To-morrow see again, and do not kill
The spirit of love with a perpetual dulness.
Let this sad interim like the ocean be
Which parts the shore, where two contracted new
Come daily to the banks, that, when they see
Return of love, more blest may be the view;
Or call it winter, which, being full of care,
Makes summer’s welcome thrice more wish’d, more rare.
Accompanied by Coil's brooding lust and Judi Dench's solemn recital of 14 of Shakespeare's sonnets, men cross dreamlike landscapes and dark desires.
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Daïnah la métisse [Dainah the Mixed] (Jean Grémillon, 1932)
Apr
15
Titanic
Mechanic Michaux (Charles Vanel) and Daïnah (Laurence Clavius) on the Art Deco liner. DPs: Louis Page & Georges Périnal.
A cruise ship in remembrance of the sinking of the Titanic on April 14–15, 1912.
Mestiza Daïnah, who accompanies her illusionist husband on the luxury cruise ship he works on, loves to flirt and tease the other sex, including the ship's engineer Michaux. When she disappears, suspicion falls not only on Michaux, but also on her Black husband.
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L'eclisse [The Eclipse] (Michelangelo Antonioni, 1962)
Mar
20
natural phenomena
Vitti's blond hair shifts in front of Delon's dark coupe, quietly mimicking the eclipse. DP: Gianni Di Venanzo.
“There was a silence different from all other silences, an ashen light, and then darkness – total stillness. I thought that during an eclipse even our feelings stop. Out of this came part of the idea for L'eclisse.”
During several moments in the film, the main characters' mannerisms foreshadow the looming solar eclipse.
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Un soir, un train [One Night, a Train] (André Delvaux, 1968)
Mar
18
André Delvaux
Anouk Aimée and Yves Montand in character on a leaf-strewn floor, his head resting on her chest, with director André Delvaux and others surrounding them. DP: Ghislain Cloquet.
A favourite film, director, or producer for Luc Besson's birthday (1959).
Having only seen three of Delvaux's films, I feel I can safely say his work is hypnotic, but not in the common sense. We see a world through both Delvaux's and his protagonists eyes, and experience their duality as one. This displacement is a recurring theme in Delvaux's work, the work of a man raised in one world and speaking the language of another, both worlds bearing the same name, Belgium.
This slow tear is also the theme is his best known film, De man die zijn haar kort liet knippen [The Man Who Had His Hair Cut Short] (1965), in which a schoolteacher loses himself after a pupil graduates. When we think we are firmly seated in Delvaux's universe, we fall back, like that moment just before sleep sets in. And again, in his tragically under-seen Belle from 1973. Now it's a poet who finds a woman living in a ramshackle hut in Belgium's peatland, her language an unknown. With only one main speaker, the duality forms in the poet's words, in his attempts to give her root.
And so do we, the viewers. We hang on to that root, Delvaux's, only to sink back into our own loss of words.
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花樣年華 [Fa yeung nin wah / In the Mood for Love] (Wong Kar-Wai, 2000)
Mar
17
Irish-American Heritage Month
A close-up of a pea-green phone with Mrs. Chan's (Maggie Cheung) hands resting on the receiver. Her dress is a bright green, with an abstract graphic in white. DPs: Christopher Doyle, Pun Leung Kwan & Ping Bin Lee.
“He remembers those vanished years. As though looking through a dusty window pane, the past is something he could see, but not touch. And everything he sees is blurred and indistinct.”
– caption