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Hanoi, martes 13 [Hanoi, Tuesday 13th] (Santiago Álvarez, 1968)
Dec
13
Tue
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December 7th (John Ford + Gregg Toland, 1943)
Dec
7
1941
A Japanese person paints over the Japanese characters on their store's sign. AZUMA PHONE and SUS[HI obscured] can stay. DP: Gregg Toland.
“If that's Americanism, it's very hyphenated.”
– narrator
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Touche pas à la femme blanche [Don't Touch the White Woman!] (Marco Ferreri, 1974)
Nov
23
potato chips
“Whoever dies for the country hasn't lived in vain. I, on the contrary, will live for the country because I'm not that stupid.”
– George A. Custer
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Pensione paura [Hotel Fear] (Francesco Barilli, 1978)
Oct
18
wartime soup
Rosa (Leonora Fani) prepares soup for two of the hotel guests. DP: Gualtiero Manozzi.
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Восточный коридор [Vostochny Koridor / Eastern Corridor] (Valentin Vinogradov, 1967)
Jan
15
People eating, drinking, singing. DP: Yuri Marukhin.
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飼育 [Shiiku / The Catch] (Nagisa Ōshima, 1961)
Dec
26
offerings
An altar with two rotund, smiling stone statues – possibly Jizō, a bowl of rice with chopsticks stuck into it, and a Japanese soldier's photograph. The position of the chopsticks tells us that the soldier has died. DP: Yoshitsugu Tonegawa.
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Празник [Praznik / The Feast] (Đorđe Kadijević, 1967)
Dec
25
Christmas dinner
Soldiers eating bread at a set table. DP: Aleksandar Petković.
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La battaglia di Algeri [The Battle of Algiers] (Gillo Pontecorvo, 1966)
Dec
18
Arabic Language Day
Petit Omar (Mohamed Ben Kassen) reading out a letter to Ali La Pointe (Brahim Hadjadj) in the قصبة, (Cashbah). If it were not for the leads' jeans and sneakers, this scene could be in any century. DP: Marcello Gatti.
“The first section's dead. There's no one left. We lost contact with the second. The third is reorganizing. All that's left is the fourth. It's enough to start over with.”
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Punishment Park (Peter Watkins, 1971)
Dec
13
U.S. National Guard Birthday
A European camera crew follows a diverse group of American minor dissidents – pacifists, feminists, communists – who are given the choice to spend decades in federal prison, or three days in Bear Mountain Punishment Park, chased by National Guardsmen and law enforcement officers. If they manage to capture the American flag, they're free to go.
“America is as psychotic as it is powerful and violence is the only goddamn thing that will command your attention.”
– Defendant Lee Robert Brown
While the washed-out 16mm footage and references to #Nixon may tell you otherwise, Punishment Park remains a gut-punching portrait of a timeless America.
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The Big Shave [The Big Shave… or, Viet '67] (Martin Scorsese, 1967)
Dec
2
Safety Razor Day
A young man (Peter Bernuth) shaving in front of a mirror. The bathroom is clean, white, with chrome fixtures. DP: Ares Demertzis.
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.
