The very groovy Richard Harland Smith over at Turner Movie Classics much admired Movie Morlocks Blog invited me to participate in a sort of “meme” with the following rules attached to it:
) Pick up the nearest book.
2) Open to page 123.
3) Locate the fifth sentence.
4) Post the next three sentences on your blog and in so doing…
5) Tag five people, and acknowledge who tagged you.
I tend to dislike these sorts of things but the meme was easy enough and didn’t require much thinking on my part so I took Richard up and his offer and in the end I was happy to be invited to participate.
At the time that I got Richard’s email the nearest book laying next to me was an autographed hardback copy of Annie Nightingale’s biography Wicked Speed that I bought at a Tower Records store when I was in London in 2000. Annie Nightingale was Britain’s first female DJ and she’s a fascinating woman who has mixed and mingled with many of Britain’s best bands. After writing my recent post about The Mod Musicals of Lance Comfort I’ve had the early days of British pop music and radio on my mind so I had recently been revisiting Nightingale’s book. From the book description:
“Britain’s first female DJ. A suburban schoolgirl whisked into the world of music, whose passion led her to the world of the Beatles, the Yarbirds, the Rolling Stones and the Who. As a young journalist she put herself on the line for young bands - and she’s still at it with Shaun Ryder, Primal Scream and Daft Punk, just to name a few.
Annie Nightingale became one of the hardcore “birds” of London’s growing Sixties pop-art scene. She got married, was a Cosmopolitan columnist, and had kids. She also had parties. But more than anything, she wanted to become a DJ on Radio 1 - hard in the days when the BBC was a male-dominated environment. Yet she won out in the end - and for years was alone in her field.”
Three sentences from page 123 of Wicked Speed:
“I’d be interviewing the Minister of Nuclear Procurement, say, and I’d address him by his first name, which would throw him completely, and ask him if he believed in God. Both Margret Thatcher’s children appeared on the show as guests; Carol was preferable of the two. French and Saunders, who were just starting out at the time, were also guests on Mailbag, in their newest guise as Duranies.”
When I bought Wicked Speed eight years ago I had no idea who Annie Nightingale was but I needed a quick read for the plane trip home and the book description sounded fascinating. I’ve been a fan of sixties era British rock and pop since I was just a kid (the first concert I ever attended was a Rolling Stones’ show when I was only 13 years old). I also briefly worked as a DJ myself in the late ’80s spinning dance music and popular club hits at a local nightspot so I was curious to learn more about “Britain’s first female DJ.”
Annie Nightingale is not a great storyteller and if you’re bothered by run-on sentences you should probably avoid it. The book also lacks an index, which is especially annoying if you’re someone like me who wants easy access to her entertaining stories about interviewing a bored Sean Connery after he had just completed the first James Bond film or driving Scott Walker’s Mini Cooper. But if you enjoy all the name dropping Nightingale does and are interested in what life was like for the first female DJ in Britain, Annie Nightingale’s Wicked Speed is an entertaining and quick read.
I hate the idea of “tagging” anyone but if the following people would like to participate please feel free to!
I’ve been enjoying August Ragone’s writing on Japanese cinema for many many years. I first discovered his work thanks to a terrific zine he first produced in the 80s’ called Markalite: The Magazine of Japanese Fantasy and since then I’ve read numerous articles he’s written for magazines such as G-Fan and Asian Cult Cinema over the years. Most recently he wrote the wonderful book Eiji Tsuburaya: Master of Monsters, which was published in association with Chronicle Books.
August Ragone has also just started his own blog called The Good, the Bad, and Godzilla and if you’re a fan of Japanese fantasy and science fiction films I highly recommend giving his new blog a look. You’ll finds news and information about his upcoming book signings and various events there as well as interesting bits and pieces about Japanese cinema.
Last week the Nikkatsu Action Film Series made its way to San Francisco and the nice guys over at the Outcast Cinema site who manage the event were kind enough to remind me with a friendly email. Unfortunately due to my current work schedule, ongoing apartment maintenance and various family obligations, which are leaving me with very little free time lately, I wasn’t able to see any of the films scheduled to play. I rarely make it into the city for film events anymore due to the high cost of gas, bridge fares, parking fees and ticket prices. A night out at the movies with my guy in the Bay Area can easily cost us $50, but I had really hoped to see two of the Toshio Masuda films that were scheduled to show at the Nikkatsu Action series (Gangster V.I.P. and Red Handkerchief) since they were two films I’d never seen before and I’ve become fascinated with the director’s work over the last couple of years.
Last year I picked up a copy of a wonderful Japanese book called Toshio Masuda - Films - Complete Guide which contains over 500 pages covering the director’s long career and accomplishments. It’s an amazing looking book obviously packed with many details about the director’s 80+ films and it also includes lots of lovely still shots from various productions. Naturally it’s written in Japanese and since I can barely read a word of Japanese myself and often have to rely on family and friends for minimal translations, I haven’t been able to fully appreciate the book. I highly doubt that there will ever be an English translation of the entire text made available, but the book has still managed to widen my understanding of Toshio Masuda ’s amazing directorial career and I’ve been making an attempt to try and see as many of his films as possible lately, which is why I was so disappointed that I missed the Toshio Masuda films shown during the Nikkatsu Action series. I’m currently researching some interesting aspects of Toshio Masuda carreer and I hope to see a few more of his early films soon on DVD. You can expect to see more posts from me about the director in the future.
Here’s a brief blurb about Toshio Masuda from the only English text featured on the cover of Toshio Masuda - Films - Complete Guide. It’s written in broken English so don’t be surprised if you find it a little hard to follow:
“Action, Romance, Comedy, Animation, The War. A Giant in the field of Japanese program pictures. Toshio Masuda was born in Kobe City, October 5th 1927. There was a year his 16 films have reached the TOP 10 in the yearly charts. It is the second highest record in the history of Japanese movies. He also has been in the chart from the 1950’s through until 1990’s, for about 5 decades. This is a miracle and a marvelous thing. His films themes are not only about action but comedy, romance, animation and the war. And every theme relates to the bloom of youth.”
It’s really astonishing and extremely sad that the work of such an important Japanese director like Toshio Masuda is almost completely unavailable to western audiences and has often been totally overlooked by western critics and film scholars. Thankfully due to the hard work of some people such as the fine folks at Outcast Cinema that is slowly changing and I’m extremely grateful for all their efforts.
Since I’m on the topic of Nikkatsu Action cinema, I also wanted to mention that I recently finished reading Mark Schilling’s latest book No Borders, No Limits: Nikkatsu Action Cinema, which is a quick read and well worth picking up if you’re interested in Japanese cinema. I’ve enjoyed many of Mark Schilling’s books over the years such as The Encyclopedia of Japanese Pop Culture and The Yakuza Movie Book so I was looking forward to reading his latest effort and I think it’s probably his best book yet because it limits its focus to one topic and provides readers with some interesting tidbits about the genre. No Borders, No Limits: Nikkatsu Action Cinema is somewhat light on content but it easily makes up for that with lots of fascinating interviews with important directors and stars, as well as beautiful still shots and incredible poster art reproductions. I don’t always agree with Schilling’s interpretations of Nikkatsu Action cinema that he puts forward in the book or his opinions regarding particular films and directors. And occasionally while reading the interviews he conducted with directors I desperately wished I could have jumped in with my own questions, but I’m very grateful that Schilling is making a much needed effort to research the work and careers of talented filmmakers like Toshio Masuda who is featured in his book along with Seijun Suzuki, Yasuharu Hasebe and Koreyoshi Kurahara. Since so little English language information is available about Nikkatsu’s Action cinema Mark Schilling’s book is a very welcome addition to the slowly growing body of Japanese film criticism and history that’s trying to forge ahead and follow uncharted paths that were often neglected by other well-known Japanese film critics and scholars in the past.
Here’s a few brief paragraphs from Mark Schilling’s Forward to No Borders, No Limits: Nikkatsu Action Cinema:
“The label said it all: Nikkatsu Akushon. Nikkatsu was a studio that had been around since the silent days and Akushon was “Action,” written in the katakana syllabary for foreign words. During their peak, from the late 1950s to the early 1960s, Nikkatsu Action films evoked a cinematic world neither foreign nor Japanese, but a mix of the two, where Japanese tough guys had the swagger, moves and long legs of Hollywood movie heroes. Where Tokyo streets, Yokohama docks and Hokkaido plains took on an exciting, exotic aura, as though they were stand-ins for Manhattan, Marseilles or the American West.
. . .
“Foreign critics long ignored Nikkatsu Action. Donald Richie and Joseph Anderson’s seminal 1959 history The Japanese Film: Art and Industry passed over the entire genre in silence, as did its 1982 revised edition. Joan Mellen’s 1976 study The Waves at Genji’s Door: Japan Through Its Cinema does not mention Nikkatsu or its films and stars even once. The rise of Seijun Suzuki to cult fame in the West in the 1980s brought the genre more attention abroad, but often in a negative way, with critics hailing Suzuki as an overlooked and discarded master, while dismissing the films of his colleagues as studio hack work (despite having seen few of them.)”
Mark Schilling’s book No Borders, No Limits: Nikkatsu Action Cinema retails for $15.95 and it’s currently available at Amazon for only $10.85. The Japanese book Toshio Masuda - Films - Complete Guide was published last year by Hotwax in association with Shinko Music Entertainment Co. LTD and it should be available at better Japanese book stores such as Kinokuniya. You can also purchase the book online at places such as YesAsia.com, but it costs a lot more there. The original retail price is about $37 and YesAsia is selling it for $50 plus shipping and handling costs so potential buyers should be aware of the considerable price hikes by some retailers.
The Nikkatsu Action film series is still going strong and many films will be shown across the country in various U.S. locations throughout April and May. For more information about the event please visit the Outcast Cinema Blog for locations and showtimes.
Cinedelic Records has released a terrific series of Book & CD packages this year called Musical and Visual Tributes, which include collections devoted to the films of Pier Paolo Pasolini and another devoted to the films of Mario Monicelli. On November 20th soundtrack enthusiasts can look forward to two new Musical and Visual Tributes from Cinedelic Records that focus one the films of Bernardo Bertolucci and Dario Argento.
Each of these new collections comes with a handsome 130 page hard-cover book covering the work of each director that contains rarely seen photos, reproductions of vintage poster art and publicity materials, as well as complete filmographies. Also included with each book is a terrific compilation CD with music from some of the director’s most celebrated films.
Bernardo Bertolucci: A Musical and Visual Tribute features the work of a lot of great composers such as Piero Piccioni, Ennio Morriocone, George Delerue, Augusto Martelli and Ryuichi Sakamoto. Musical selections from La Commare Secca (1962), Before the Revolution (1964), Partner (1968), The Conformist (1970), Last Tango in Paris (1972), 1900 (1976), Tragedy of a Ridiculous Man (1981), The Last Emperor (1987), Little Buddha (1993) and The Dreamers (2003) are all included on the accompanying CD.
Dario Argento: A Musical and Visual Tribute seems a bit more complete because Cinedelic Records was able to include an interview with Argento in the book that details his working relationship with composers he has collaborated with including Ennio Morricone, Claudio Simonetti and the band Goblin. The CD that accompanies the book features music selections from many of Argento’s films including The Bird With The Crystal Plumage (1970), The Cat O’ Nine Tails (1971), Four Flies On Grey Velvet (1971), Deep Red (1975), Suspiria (1977), Inferno (1980), Tenebrae (1982), Phenomena (1985), Opera (1987), Trauma (1993), Sleepless (2001) and The Card Player (2004), as well as a new tribute track performed by Signor Wolf.
Soundtrack enthusiasts should also keep an eye and ear out for the outstanding new DVD/CD package Maurice Jarre: A Tribute to David Lean, which I recently reviewed for Cinedelica. This new release features Jarre’s tribute concert for David Lean shot in 1992 and an interesting interview with the composer about his creative collaborations with the director.
Book author Tom Lisanti was kind enough to answer some questions for me over at Cinedelica about his new book Glamour Girls of Sixties Hollywood, which I reviewed here over the weekend.
The interview is well worth reading if you’re a fan of sixties-era film starlets and Tom talks a lot about his upcoming book projects such as the Gail Gerber memoir Strange Love: Terry Southern, Hollywood, and Me.
Tom also offers up some great tips for winter viewing that will take the chill off and help you beat the winter weather blues.
I hope Cinebeats’ readers will stop by Cinedelica and check out the interview!
Tom Lisanti’s latest book Glamour Girls of Sixties Hollywood has just been released and it’s definitely one of his best. Tom has written numerous books featuring sixties-era film starlets such as Drive-In Dream Girls, Film Fatales and Fantasy Femmes of 60’s Cinema, and his latest effort offers readers a fascinating look at many of Hollywood’s most beautiful and overlooked talents. These “decorative actresses” often began their careers as beauty queens, fashion models, showgirls and centerfolds, who ended up as eye-candy in countless genre films. They were often given thankless roles as strippers, beach bunnies, airline hostesses or sexy secretaries in movies that tended to focus on their earthy assets instead of their acting abilities, but occasionally some of these women were able to get more substantial roles that made use off all their talents.
Inside Glamour Girls of Sixties Hollywood you’ll find detailed profiles of 75 beautiful actresses from spy films, horror movies, popular television shows, as well as buxom starlets from many of Russ Meyer’s best films. Some of the actresses profiled in the book include Edy Williams, Lee Meredith, Melodie Johnson, Lisa Seagram, Dolly Read, Tura Sutana, Susan Denberg, Sharon Tate, Beverly Adams, Victoria Carroll, Thordis Brandt, Inga Neilson, Yvonne Craig and Ann Morell. Many of the insightful profiles also include interviews, which offer readers an insider’s look at what it was like to work as a “glamour girl” in films and television during the sixties. These interviews contain lots of juicy Hollywood gossip, which makes the book an entertaining as well as informative read.
Top: Edy Williams and Susan Denberg
Bottom: Sharon Tate and Beverly Adams
One of my favorite interviews in the book is with the lovely actress Thordis Brandt who appeared in films such as The Swinger (1966), Spinout (1966), Nevada Smith (1966), In Like Flint (1967), Funny Girl (1968), The Witchmaker (1969) and Myra Breckinridge (1970). Brandt talks about her romantic flings with Bruce Lee who she met on the set of The Green Hornet, and James Arness who she met on the set of Gunsmoke.
Glamour Girls of Sixties Hollywood is a real treasure trove of information about many talented and beautiful women that have often been forgotten, and it reads like a celebration of their worthwhile accomplishments. Tom Lisanti clearly loves his subjects and shares that passion with his readers. This hardcover book contains 242 pages, plus many stunning black and white photographs and an interesting introduction written by Tom.
“I’m excited by film. It’s one of the freest, most effective means of expression. Especially in the realm of dream and fantasy!
What wonders, what joys it may hold in store for us!
Some day film may replace literature.”
- Henry Miller
One of my favorite writers is Henry Miller, who I happen to share a birthday with (Dec. 26th). I recently came across a short documentary about the man called Henry Miller - Asleep & Awake (1975, Tom Schiller), which was made when Miller was 84 years old. Some kind soul uploaded the entire 35 minute film to YouTube in four separate parts and I really can’t recommend it enough if you’re a fan of Miller’s work or just curious about him.
Besides his incredible accomplishments as an author who has managed to influence everyone from Jack Kerouac to Henry Rollins, Miller was also a member of the prestigious Cannes Film Festival Jury in 1960. He was the only Jury Member that year who voted for the erotic Japanese film Kagi (aka The Key, 1959, Kon Ichikawa) to win the coveted Jury Prize over Michelangelo Antonioni’s L’ Avventura, and in turn Antonioni and Ichikawa were forced to share the prize due to a tie vote. Henry Miller also wanted Kagi to win the prestigious Palme d’Or (Golden Palm), but the film didn’t make the final round of voting so he ended up casting his final vote for Fellini’s magnificent La Dolce Vita which helped garner that film the prestigious Palme d’Or (Golden Palm) that year.
Besides Miller’s obvious enthusiasm for Kagi, he also liked La Dolce Vita a lot and had this to say about the film to his friend, the photographer Brassai: “Fellini’s film also lasts three hours, but it doesn’t seem long. It moves faster than the others, is teeming with characters and events. You hardly ever get bored with it. What is marvelous in this film is the satirical depiction of the tabloid press. The obsessive presence of the pack of paparazzi in every circumstance.” (Henry Miller on La Dolce Vita)
In this wonderful documentary which takes place almost entirely in Henry Miller’s bathroom, Miller discusses Kon Ichikawa’s film Kagi in great detail which was based on a book by Junichirô Tanizaki, along with many other interesting topics.
Part I.
Part II.
Part III.
Part IV.
Recommended Links:
- Cosmodemonic Telegraph Company: A Henry Miller Blog is a great blog devoted to Miller that also features some intersting pieces about Miller’s experiences as a member of the Cannes Film Festival Jury.
- Henry Miller: Personal Collection is a wonderful tribute site put together by Miller’s daughter Valentine.
- The Henry Miller Library is devoted to keeping Miller’s work alive and from personal experience, I can tell you that this beautiful place is well worth a visit if you’re ever in Northern California.
Over at Cinedelica we’re starting a new feature today called “10 Questions” and my first interviewee is film critic and author Tim Lucas.
I’ve been reading Tim’s film criticism since first coming across it in magazines like Fangoria and Gorezone in the ’80s when I was a teenager. There are few critics that have inspired and influenced my own writing more then Tim, so I was really happy to get the opportunity to ask him a few questions about his new book Mario Bava - All the Colors of the Dark. Tim’s enthusiastic support of Bava’s films over the years has definitely colored my own view of them, as well as my love for Italian genre films in general.
Some of the information in our brief exchange might be familiar to regular readers of his Bava Book Blog and anyone who owns the book, but if you’re curious about Mario Bava - All the Colors of the Dark and the films of Mario Bava in general, you might find my brief Q & A with Tim Lucas an interesting read.
Critics and film scholars have spent countless hours analyzing Luis Buñuel’s film Belle de Jour (1967) and the mysterious Asian box that appears in one of the movies most memorable and erotic scenes. As someone who has read a lot of Marquis de Sade’s work, I’ve personally never seen the box as being very mysterious or profound, so I thought I would share my own thoughts about the buzzing box for the Luis Buñuel Blog-a-thon currently being hosted by Flickhead.
Many reviews of Belle de Jour seem written by rather chaste critics who often insist on weighing Buñuel’s film down with its clear social implications and debatable morality, instead of fully embracing it for the erotic masterpiece that it is. Like most of the surrealists, Luis Buñuel was clearly inspired and fascinated with the work of authors like Marquis de Sade, Octave Mirbeau and Leopold von Sacher-Masoch, and traces of Buñuel’s obsession with their work can be found throughout Belle de Jour. From its emotionally distant characters, to its masochistic ideas and brothel setting, the film could be read as a checklist of erotic themes found in early French literature.
When I saw Belle de Jour for the first time and watched the scene with the infamous buzzing box, I was immediately reminded of the sounds of insects and a brief passage in Marquis de Sade’s erotic classic Philosophy in the Boudoir, where he referenced a tale told by the 15th century Italian explorer Amerigo Vespucci. This titillating tale involves native women in Florida who supposedly made their men place “small poisonous insects in their male members until they swelled up tremendously and caused an insatiable libido.” It also explains that these insects could cause a man “dreadful pain” and “ulcers, ” but the negative implications aren’t as interesting as the erotic ones. With this odd tale lingering somewhere in the back of my mind, my first assumption about the buzzing box was that it contained insects that the box’s owner planned to use on himself as a sort of aphrodisiac to pleasure Catherine Deneuve’s character Séverine with.
This somewhat unusual assumption on my part is also fueled by Luis Buñuel’s own personal fascination with insects which appeared in many of his films, but at first glance could seem notably absent from Belle de Jour. Buñuel’s fascination with insects was first shown in An Andalusian Dog (Un chien andalou, 1929), but you can also find insects in his other films such as the scorpions in The Golden Age (L’ Âge d’or, 1930) and the cockroaches in The Discreet Charm of the Bourgeoisie (Le Charme discret de la bourgeoisie, 1972). According to Buñuel scholar Julie Jones who also provides the commentary for the Belle de Jour DVD and seems to agree with me about the insect quality of the sounds emanating from the mysterious box, Luis Buñuel associated insects with “the life of the instincts” and even wanted to make a film about insects.
If my casual assumptions are true and Buñuel is referencing the Amerigo Vespucci/Marquis De Sade tale in Belle de Jour, it could also easily explain Séverine’s sudden joy in participating in a sexual act with that particular client at the brothel. Séverine is clearly a submissive woman who the Madame Anais has insisted needs a “strong hand.” Her desires seem unquenchable and a long session of intense lovemaking with a sort of “super man” would undoubtedly excite and please her. The untranslated conversation between Séverine and the man seems to indicate to me that he will be the one using whatever is in the box during their sexual encounter, which is why he clearly tells her “Don’t be afraid.” It’s also important to notice how the man guards the box and holds it closely to his body in the film. It’s his secret and his possession, which could indicate that whatever it contains directly affects him even more than those around him.
Buñuel never fully explained the contents of the box within the film himself and seemed to enjoy the confusion it caused among critics and audiences, but I think the influence of de Sade’s writing on Belle de Jour and Buñuel in general might betray him here. As I mentioned above, the work of Marquis de Sade greatly inspired the Surrealist movement and Belle de Jour is ripe with references to Marquis de Sade’s novels, including Philosophy in the Boudoir where the tale of strange insects and their effects on the male anatomy are alluded to. It is a book that Buñuel read and must have known well, and I’m sure his own personal interest in insects would have made the Amerigo Vespucci/Marquis de Sade tale incredibly fascinating and appealing to him. Especially because it so deeply and directly links insects to “the life of the instincts” which Buñuel clearly obsessed over.
Renowned Surrealist Margritte’s artistic interpretations
of Marquis de Sade’s Philosophy in the Boudoir
Since I’ve never read Joseph Kessel’s original novel Belle de Jour which Buñuel based his film on, I can’t elaborate on my assumptions as much as I would like to, but the inspirations for Kessel’s book seem very clear. It’s obvious that Kessel based his fictitious female character of Séverine on the male character of Severin found in Sacher-Masoch’s book Venus in Furs and he probably found inspiration in the erotic writings of Anais Nin, who I assume inspired the name of the brothel in Belle de Jour and its Madame. With all of these erotic literary references littered throughout Belle de Jour, I think it’s natural to assume that Buñuel’s mysterious buzzing box could possibly be linked to the insects briefly referenced in Marquis de Sade’s Philosophy of the Boudoir.
So the next time you find yourself wondering what’s in the box, I can only suggest considering insects and their erotic implications, as well as their symbolic importance in Buñuel’s own work.
If you’ve been a regular Cinebeats reader for awhile you’re probably aware that I love comic books. When Curt over at the wonderful Groovy Age of Horror site mentioned that he was interested in a few new contributors I figured I’d throw my hat into the ring since I have a large collection of groovy stuff that I’d like to share with others. I’m especially fond of vintage Horror manga illustrated and written by female Japanese artists so I’ll probably be sharing a lot of Japanese stuff with the Groovy Age of Horror readers. I’m going to try and post there at least 2 or 3 times a month so keep an eye out for my contributions.
The Groovy Age of Horror blog has long been one of my favorite blogs and it helped inspire me to create Cinebeats. If you enjoy vintage paperbacks, comics and fumetti I highly recommend stopping by the site and checking out all the fabulous eye-candy you can find there.
He’s also written for publications like Filmfax, Outré, Films of the Golden Age, Femme Fatales and most recently Cinema Retro.
Tom Lisanti has recently started his own blog to go along with his terrific website Sixties Cinema and if you’re a fan of films from that era and the beautiful women who starred in them, I highly recommend giving Tom’s website & blog a look. He shares lots of interesting tidbits and news with his readers that should appeal to other sixties cinema fans like myself.
The Cannes Film Festival turns 60 this week and that’s reason enough to celebrate all things fabulous and French, so I plan on doing just that throughout the next week until the festival wraps up.
I haven’t come across many books written about the early days of Cannes but I can recommend Cannes - Fifty Years of Sun, Sex & Celluloid: Behind the Scenes at the World’s Most Famous Film Festival compiled by the editors of Variety. This thin cheap large-format paperback book only has 96 pages and it’s put together like some scrapbook that you might come across in a film critics old file cabinet. It contains lots of great black and white photos of directors and actors, plus news clippings and articles about the festival written by various journalists and critics between 1946 and 1996. This is not an in-depth look at the history of Cannes, but if you’re looking for some quick and interesting reading about the film festival with lots if pretty pics, the book is definitely worth picking up.
Here’s a few examples of the writing you can find in Cannes - Fifty Years of Sun, Sex & Celluloid: Behind the Scenes at the World’s Most Famous Film Festival:
Employees of the French film industry take to the streets in protest (1968)
Barricade ‘68: The Day They Seized the Celluloid
by Penelope Houston (Sight & Sound)
“May 18, 1968 - The day the brakes were slammed on the 21st Cannes Film Festival. In Paris, the students had carried their grievances from their suburban campuses onto the city streets. The barricades went up and riot police moved in. A rather frail alliance between students and workers brought waves of strikes. For a few days, it seemed that France really might be balancing on the edge of revolution. And in Cannes, predictably, they launched their revolution with a press conference.
François Truffaut and Jean-Luc Godard presided over the conference on the morning of May 18. These were filmmakers who had been most active three months earlier in the battle of the Cinematheque Francaise, when Arts Minister Andre Malraux sacked Henri Langlois, the powerfully charismatic founder and head of the Cinematheque. Langlois was reinstated, though with reduced powers, after a protest that involved the French film community, filmmakers from around the world, the major American companies and an interesting sprinkling of left-wingers. Journalists expected Truffaut and Godard to use the publicity spotlight of Cannes and the impetus of the Cinematheque triumph to press their grievances against the Gaullist film establishment. They were in for a shock.
Truffaut and Godard called an immediate halt to the festival, to show solidarity with students and workers and as a response to the national crisis. The occasion was well-timed. Jurors Louis Malle, Roman Polanski and Monica Vitti were on hand to announce their own resignations. French filmmakers promised to withdraw their films; others, including Milos Forman and Carlos Saura, joined them. Still others jumped up to say they would have withdrawn their films if they had been in competition, which unfortunately they were not. I bumped into Richard Lester, hurrying to record his protest. This being the year of flower power and gurus, the British director was wearing what at first looked like a white frock, but what in fact was an Indian-style tunic. Somehow, this rig seemed to fit the surrealism of the day.”
Sydney Pollack and Robert Redford at Cannes promoting Jeremiah Johnson (1972)
May 12, 1972 - Sunshine, Darkness, Nixon, Schizophrenia.
by Charles Champlin (L. A. Times)
“There is something bizarre and conceivably lunatic about coming to the sun-bleached shores of the Mediterranean with a total commitment to darkness
Along the Criosette, the local ladies are airing the local poodles and the international wanderers, vagabonds in jeans, already have spread displays of brass and silver jewelry, leather work and watercolors on the sidewalks. At the outdoor cafe alongside the Palais, the day’s debut has already begun over cups of coffee the color and texture of the Mississippi in flood tide.
The cinema is packed but even the early arrivals sit down front. Godard and the New Wave critics made it an article of faith that film should be a total, enveloping and developing experience, seen from as close up as vertebrae and eyeballs will allow.
Into the sunshine again briefly for lunch at one of the sidewalk cafes. A salade Nicoise and some eau minerale, in a desperate move to prevent the festival from becoming a total caloric disaster.
Back into the darkness again. The stage of the Palais theater has been set with artificial grass and flowers arranged to spell out XXV, this being the 25th festival, though it is the 26th year (1968 was a no-show). The plastic plants have an eerie glow in the dim light, hinting that nothing real any longer exists anywhere. There is a kind of urgent rustling of newspapers; half the waiting audience is reading accounts of the Nixon speech. The feelings of unreality are deepened.
The movie is Robert Altman’s Images, the Irish entry in festival mostly because it was filmed there. Susannah York plays a children’s author in advanced stages of paranoid schizophrenia, hearing voices, seeing dead lovers and being bedeviled by glimpses of her own accusing self. It is a dazzling piece of moviemaking and mood-spinning.”
Alain Delon, Sophia Loren & Romy Schneider brave the crowds at Cannes (1962)
There’s some great old clips from Cannes floating around Youtube that I highly recommend giving a look:
At the time that I got Richard’s email the nearest book laying next to me was an autographed hardback copy of Annie Nightingale’s biography Wicked Speed
. The Japanese book Toshio Masuda - Films - Complete Guide was published last year by Hotwax in association with Shinko Music Entertainment Co. LTD and it should be available at better Japanese book stores such as Kinokuniya. You can also purchase the book online at places such as 
and another devoted to the films of 
. On November 20th soundtrack enthusiasts can look forward to two new Musical and Visual Tributes from Cinedelic Records that focus one the films of Bernardo Bertolucci and Dario Argento.
features the work of a lot of great composers such as Piero Piccioni, Ennio Morriocone, George Delerue, Augusto Martelli and Ryuichi Sakamoto. Musical selections from La Commare Secca (1962), Before the Revolution (1964), Partner (1968), The Conformist (1970), Last Tango in Paris (1972), 1900 (1976), Tragedy of a Ridiculous Man (1981), The Last Emperor (1987), Little Buddha (1993) and The Dreamers (2003) are all included on the accompanying CD.
seems a bit more complete because Cinedelic Records was able to include an interview with Argento in the book that details his working relationship with composers he has collaborated with including Ennio Morricone, Claudio Simonetti and the band Goblin. The CD that accompanies the book features music selections from many of Argento’s films including The Bird With The Crystal Plumage (1970), The Cat O’ Nine Tails (1971), Four Flies On Grey Velvet (1971), Deep Red (1975), Suspiria (1977), Inferno (1980), Tenebrae (1982), Phenomena (1985), Opera (1987), Trauma (1993), Sleepless (2001) and The Card Player (2004), as well as a new tribute track performed by Signor Wolf.
Book author Tom Lisanti was kind enough to answer some questions for me over at 
Tom Lisanti’s latest book 
has just been released and it’s definitely one of his best. Tom has written numerous books featuring sixties-era film starlets such as 
, 
and 
, and his latest effort offers readers a fascinating look at many of Hollywood’s most beautiful and overlooked talents. These “decorative actresses” often began their careers as beauty queens, fashion models, showgirls and centerfolds, who ended up as eye-candy in countless genre films. They were often given thankless roles as strippers, beach bunnies, airline hostesses or sexy secretaries in movies that tended to focus on their earthy assets instead of their acting abilities, but occasionally some of these women were able to get more substantial roles that made use off all their talents.
One of my favorite interviews in the book is with the lovely actress Thordis Brandt who appeared in films such as The Swinger (1966), Spinout (1966), Nevada Smith (1966), In Like Flint (1967), Funny Girl (1968), The Witchmaker (1969) and Myra Breckinridge (1970). Brandt talks about her romantic flings with Bruce Lee who she met on the set of The Green Hornet, and James Arness who she met on the set of Gunsmoke.
(1975, Tom Schiller), which was made when Miller was 84 years old. Some kind soul uploaded the entire 35 minute film to YouTube in four separate parts and I really can’t recommend it enough if you’re a fan of Miller’s work or just curious about him.
So the next time you find yourself wondering what’s in the box, I can only suggest considering insects and their erotic implications, as well as their symbolic importance in Buñuel’s own work.
by Marquis de Sade
by Iwan Bloch
by Leopold von Sacher-Masoch
by Octave Mirbeau
by Anais Nin
by Anais Nin
by Anonymous
(1967)
(1929)
(1930)
(Le Charme discret de la bourgeoisie, 1972)
Speaking of great blogs. . .
.
compiled by the editors of 
, the Irish entry in festival mostly because it was filmed there. Susannah York plays a children’s author in advanced stages of paranoid schizophrenia, hearing voices, seeing dead lovers and being bedeviled by glimpses of her own accusing self. It is a dazzling piece of moviemaking and mood-spinning.”