settima

war

Touche pas à la femme blanche [Don't Touch the White Woman!] (Marco Ferreri, 1974)

Nov

23

potato chips

Touche pas à la femme blanche (1974)

Two white Frenchmen – in a University of Columbia and a CIA sweatshirt respectively – comment on the “period piece” they're in. CIA man (Paolo Villaggio) stuffs his face with potato chips. DP: Étienne Becker.

“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

Peace, little girl [Daisy / Daisy Girl] (Sidney Myers, 1964)

Nov

3

1964

Peace, little girl (1964)

Monique Corzilius aka Monique Cozy as the Daisy Girl. DP: Drummond Drury.

“One… two… three… four… five… seven… six… six… eight… nine… nine…”

– Daisy Girl

Pensione paura [Hotel Fear] (Francesco Barilli, 1978)

Oct

18

wartime soup

Pensione paura (1978)

Rosa (Leonora Fani) prepares soup for two of the hotel guests. DP: Gualtiero Manozzi.

Восточный коридор [Vostochny Koridor / Eastern Corridor] (Valentin Vinogradov, 1967)

Jan

15

Восточный коридор (1967)

People eating, drinking, singing. DP: Yuri Marukhin.

飼育 [Shiiku / The Catch] (Nagisa Ōshima, 1961)

Dec

26

offerings

飼育 (1961)

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.

Празник [Praznik / The Feast] (Đorđe Kadijević, 1967)

Dec

25

Christmas dinner

Празник (1967)

Soldiers eating bread at a set table. DP: Aleksandar Petković.

La battaglia di Algeri [The Battle of Algiers] (Gillo Pontecorvo, 1966)

Dec

18

Arabic Language Day

La battaglia di Algeri (1966)

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.

Speak an Arabic language on UN Arabic Language Day

“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.”

Punishment Park (Peter Watkins, 1971)

Dec

13

U.S. National Guard Birthday

Punishment Park (1971)

Military men arresting one of the dissidents. A man in black uniform and white helmet interacts directly with the camera c.q. the viewer. DPs: Joan Churchill & Peter Smokler.

It's the U.S. National Guard Birthday (USA) and the National Guard shows up.

 

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.

The Big Shave [The Big Shave… or, Viet '67] (Martin Scorsese, 1967)

Dec

2

Safety Razor Day

The Big Shave (1967)

A young man (Peter Bernuth) shaving in front of a mirror. The bathroom is clean, white, with chrome fixtures. DP: Ares Demertzis.

Someone shaves on Safety Razor Day (USA)

 

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.

Em bé Hà Nội [The Little Girl of Hanoi] (Hải Ninh, 1974)

Nov

30

Day of Remembrance for All Victims of Chemical Warfare

Em bé Hà Nội (1974)

The titular little girl walking past a wall covered in bullet holes. DP: The Dan Tran.

War crimes on the Day of Remembrance for All Victims of Chemical Warfare

 

Operation Linebacker II, sometimes euphemistically referred to as the #Christmas bombings, was the outcome of a 1972 agreement between US war criminal and future Nobel Prize winner Henry #Kissinger and Vietnamese general Lê Đức Thọ. During an 11 day period, a staggering 20000 tons of shells were dropped on the cities of Hà Nội [#Hanoi] and Hải Phòng [#Haiphong], killing at least 1624 civilians.

“Peace is at hand.”

– Kissinger in 1972, commenting on Operation Linebacker II

Film as you may know it approaches the #Vietnam war from one of two perspectives. There is your heroic propaganda, reducing the Vietnamese to cruel vermin to be rooted out by brave Americans. That list is endless and I'm tired. Then on the other hand there's levity, song and dance and a swish of sentiment with Hair and the unforgivable Good Morning, Vietnam; the, see it wasn't too bad we brought “them” rock 'n' roll and bubblegum-approach. And only once upon a time there was The Deer Hunter. However none of these see the Vietnamese, regardless of North or South, as people. A backdrop perhaps, as exotic as foliage.

 

Showing what happened on the ground, other than the faith of Phan Thị Kim Phúc or Nguyễn Văn Lém, something beyond the fetishisation of helpless victimhood, is essential to put a face on things. And a voice in people's mouths.

 

Today, I use my voice to proclaim my wordless joy for the end of an era. And will spare it for the harrowing future to come.