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The Naked City (Jules Dassin, 1948)
Feb
10
Popsicles
A New York precinct. Across the street an ice cream vendor. Several kids are standing around the man's cart while one of them – a chunky monkey – leans against the nearest fire hydrant. A scruffy man in fedora walks past holding a Popsicle. DP: William H. Daniels; still photographers: Bert Anderson & Arthur “Weegee” Fellig.
“Another day, another ball of fire rising in the summer sky. The city is quiet now, but it will soon be pounding with activity. This time yesterday, Jean Dexter was just another pretty girl, but now she's the marmalade on 10,000 pieces of toast.”
– narrator
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Weegee’s Coney Island [Coney Island] (Arthur “Weegee” Fellig, 1954)
Feb
10
Good Humor
Two chubby ladies on Coney Island's beach eating chocolate-coated ice cream bars on a stick, I guess Good Humor bars. The women both wear black shapeless bathing suits. One of them has a pink towel over her shoulders and her hair in rollers. The framing shows only part of the couple, but tells you all you need to know. DP: Weegee.
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The Kentucky Fried Movie (John Landis, 1977)
Feb
9
popcorn
A white guy munches popcorn in a seemingly empty movie theatre while an usher, standing right behind him, lights a cigarette. DP: Stephen M. Katz.
“The popcorn you are eating has been pissed in. Film at eleven.”
– newscaster
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Day of the Outlaw (André De Toth, 1959)
Feb
2
coffee
Blaise Starrett (Ryan) and Mrs Crane (Louise) at a table. There are coffee cups and the talk is tense. DP: Russell Harlan.
“Excuse me, Mrs. Crane. This coffee made me think how good whiskey would taste.”
– Dan, Starret's foreman
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Space Coast (Ross McElwee + Michel Negroponte, 1979)
Jan
30
A woman and man eating at a wooden table. It's dark, there's one candle, and the guy wearing Ray-Bans® holding his #beer has got something to say.
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Crime Wave [The City Is Dark] (André De Toth, 1953)
Jan
29
dinner for two
Ellen Lacey (Phyllis Kirk) serving a bunch of punks (Bronson (2nd from the left, and Ted de Corsia (right) the food she prepared for herself and her husband Steve (Gene Nelson). DP: Bert Glennon.
“You know, it isn't what a man wants to do, Lacey, but what he has to do. Now take me – I love to smoke cigarettes, but the doctors say I can't have them. So what do I do? I chew toothpicks, tons of them.”
– Det. Lt. Sims
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Mikey and Nicky (Elaine May, 1976)
Jan
27
milk and cigarettes
The titular Mikey and Nicky sharing snacks, smokes, and sips at a tiny fast food table. There are piles of boxes with canned beer behind them. Mikey (Falk) cheesily grins at Nicky (Cassavetes). DPs: Bernie Abramson, Lucien Ballard, Jack Cooperman, Jerry File & Victor J. Kemper.
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The Thomas Crown Affair (Norman Jewison, 1968)
Jan
26
champagne
A production photo showing Thomas Crown (McQueen) and Vicki Anderson (Dunaway) sharing foods and drinks. Them seem enthralled with each other. DP: Haskell Wexler.
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High Sierra (Raoul Walsh, 1940)
Jan
19
Roy Earle (Bogart) pensively smoking an after-meal cigarette while Marie Garson (Lupino) looks on. DP: Tony Gaudio.
“Roy, this is the land of milk and honey for the health racket. Every woman in California thinks she's either too fat or too thin or too something.”
– 'Doc' Banton
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Mahagonny [Number 18] (Harry Smith, 1980)
Dec
22
राष्ट्रिय गणित दिवस
A kaleidoscopic New York street scene. Mahagonny was “made to be displayed with four separate 16 mm projectors onto a single screen or onto two billiard tables suspended over a boxing ring” (Kevin Arrow, see link below).
Mahagonny is filmmaker, artist, musicologist, and alchemist Harry Smith's mathematical analysis of Marcel Duchamp's masterpiece La mariée mise à nu par ses célibataires, même [The Bride Stripped Bare by Her Bachelors, Even], aka Le Grand Verre [The Large Glass], which was completed in 1923. It is set to Brecht and Weill's opera Aufstieg und Fall der Stadt Mahagonny [Rise and Fall of the City of Mahagonny] from 1930, which was an opera Smith was obsessed with while living in New York's Chelsea Hotel.
“My cinematic excreta is of four varieties:–batiked abstractions made directly on film between 1939 and 1946; optically printed non-objective studies composed around 1950; semi-realistic animated collages made as part of my alchemical labors of 1957 to 1962; and chronologically superimposed photographs of actualities formed since the latter year. All these works have been organized in specific patterns derived from the interlocking beats of the respiration, the heart and the EEG Alpha component and they should be observed together in order, or not at all, for they are valuable works, works that will live forever—they made me gray.”
– Harry Smith, via
