Entries by Rainer Knepperges
Sunday, December 1st, 2019
Eye and perimeter (VII)
Mr. Moto takes a chance (1938 Norman Foster)
When he holds up his glasses to clean in front of him, Mr. Moto (Peter Lorre) realizes that the knife attack!
Dear Murderer (1947 Arthur Crabtree)
She (Greta Gynt), who looks in the mirror, must be afraid of the look lurking in the dark. At home.
Cage of gold (1950 Basil Dearden)
The hand mirror is part of the make-up mirror.
When her gaze breaks away from this, she (Jean Simmons) sees clearly: she married the wrong man.
“The best way to describe what I was feeling right now is to conjure up that nightmare of my childhood – the horror it means to me when I am sitting at a table, looking at my best friend and suddenly seeing that this person is a stranger. ”(Agatha Christie:“ My good old days ”, 1950-1965)
The Woman in Question (1950 Anthony Asquith)
A British one Rashomon. A portrait of a woman, misogyn.
The hand mirror hides her view. The whole thing is a flashback while the detective and the murderer look into a fishbowl.
Murder Without Crime (1950 J. Lee Thompson)
“It is important for our consideration that there are people who someone feels that they will never know what is going on in them. He would never understand her. (English women for Europeans.) "
(Ludwig Wittgenstein, 1948)
In her autobiography, in the introduction, dated 1950, Agatha Christie says that she doesn’t really know herself.
She was a year younger than he was. He was a big fan of hers. Both Wittgenstein and Agatha Christie wrote their first book in the First World War.
He was THE philosopher of the 20th century. His tract explains that everything that is not a factual statement is "nonsensical", and therefore expressly also his tract.
She was THE crime writer of the 20th century. Her first world success tells of a murder search, at the end of which the narrator is convicted.
Olivia (1951 Jacqueline Audry)
An English woman in France, alone among French women.
Human nature is the same everywhere, ”says Miss Marple, in“ The Secret of the Gold Mine ”.
After he boldly commanded the language of science to "remain silent" in his early work, Wittgenstein discovered in everyday language: language is always doing. "Words are deeds."
In her masterpiece “Curtain” (written in the Second World War, but only published 30 years later), Agatha Christie came to the conclusion that language is an instrument of killing.
Don’t Bother To Knock (1952 Roy Ward Baker)
The babysitter (Marilyn Monroe) is suicidal and lonely, as it couldn’t be worse. What the man (Richard Widmark) lacks is empathy.
Based on a template by Charlotte Armstrong, Chabrol filmed two of her books.
Sudden Fear (1952 David Miller)
Screenwriter Lenore Coffee says: "I ran away from home when I was fourteen. My plot sense was already developed because it took them two days to find me. ”Asked why by the parents, she said: boredom. As punishment she came to a monastery school with "french nuns". She liked that, she became Catholic and learned Latin. At the age of 4 she had (somehow) taught herself to read.
Agatha Christie, too, learned to read without help from four. In retrospect, she saw her talent for writing announced in a host of imaginary playmates.
Man in the Attic (1953 Hugo Fregonese)
The scary subtenant (Jack Palance) says: “The police are searching for a criminal. In reality, there are no criminals, only people who do what they must do because of what they are. ”
It draws him to the "Thames water flowing in dark calm, which promises eternal peace." (Christoph Huber)
"Wittgenstein’s philosophy is his attempt to heal himself, to calm down, all philosophical problems of meaning to disappear, especially to get his own self (the loneliness of the solipsist, the only one) behind him, to be able to break off philosophizing (i.e. therapy)." (Günter Schulte)
Ciske de Rat (1955 Wolfgang Staudte)
The father is a sailor. The mother is the problem. The thirteen year old solves it with affect. Half timpani film, half apology of mother murder.
“Only where the mix between aggression and libido does not come about or where segregation occurs later does aggression (as pure aggression or destruction) become a threat to social behavior. (…) Where the fusion between aggression and libido is not restored by new successful object ties, the further development path leads to neglect and crime. ”(Anna Freud:“ Paths and wrong turns in child development ”, 1965)
The Bad Seed (1956 Mervyn LeRoy)
"There is no reason for the sudden horror, the feeling of damnation, except that the circumstances all reflect the inner doubts, the inner fear." (Sylvia Plath, 1956)
Smultronstället (1957 Ingmar Bergman)
“I had always been extremely robust and could not imagine that grief, worry and overwork posed a real threat to health. But I was in shock when one day I tried to sign a check and couldn’t remember my name.
‘But of course’, I said aloud to myself, ‘of course I know my name. But … but what is it? ‘"
(Agatha Christie: "My good old days – The autobiography of a lady")
Murder by contract (1958 Irving Lerner)
“It is part of the paradoxical nature of the work of art that on the one hand it has a transitional character and that it is a historical phenomenon a chronological series integrated, on the other hand, this transitory character and the connection with other artistic phenomena must be stripped from itself and stand as a completely isolated, exemplary and unrelated individual case in order to become the subject of an immediate, affect-stressed microcosmic, life-related experience. "(Arnold Hauser : Art and society)
The Brides of Dracula (1960 Terence Fisher)
She would have to turn around to see the man who is invisible in the mirror.
Agatha Christie had poor personal memory. "I really can’t say that I ‘never forget a face’. The truth is, I never ‘remember a face’ ”
Wittgenstein said (to his student Drury) how much he liked Agatha Christie’s books. Not only because of the ingenious plots, but also because of the figures, which are so well drawn that they appeared as real people.
Charles Allan Gilbert: All is vanity (1892)
“My sister had invented a game that enchanted and terrified me at the same time. It was called ‘the older sister’. It assumed that there was an older sister in our family, older than Madge and I. She was insane and lived in a cave near Corbin’s Head, but sometimes came to our home. She was indistinguishable from my sister in appearance, but in her voice. It was a terrifying, soft, oily voice.
‘You know who I am, don’t you, honey? I am your sister Madge. You don’t think I’m someone else, do you? It doesn’t come to your mind, does it? ’
I was terrified. Of course I knew it was only Madge who was fooling me – but was she really? That voice, those eyes that looked at me viciously from the side. It was the older sister! "
(Agatha Christie: “My good old days”)
Naked City – Which Is Joseph Creeley? (1961 Arthur Hiller)
"Everything is gray," says Joseph Creeley (Martin Balsam).
“A man who is lying in the typhoid unconscious one day wakes up, but believes he has two bodies lying in two different beds, one of which has recovered and enjoys a delicious rest, while the other is miserable. – A police soldier, who suffered a memory impairment due to several blows to the head, believed to consist of two people of different character and will, who were seated in the right and left half of the body. – (…) A converted prostitute was admitted to a monastery, fell into religious madness, which was followed by stupidity. Then comes a time when she alternately thinks she is a nun and a prostitute and behaves accordingly. "
(Ernst Mach: "Reflex, instinct, will, I.")
Night of the Eagle / Burn, Witch, Burn (1962 Sidney Hayers)
A radical fighter against superstition must learn to understand that his wife supports him lovingly and protects him from enemies in the academic field – through witchcraft.
"I am in England. Everything around me tells me, as soon as I let my mind wander and wherever, they confirm it to me. – Couldn’t I be crazy if things happened that I don’t dream of now? ”
(Wittgenstein: "About certainty", 1951)
Naked City – King Stanislaus and the Knights of the Round Table (1962 James Sheldon)
“If Baby Looks Like Mother” / “If Baby Looks Like Mother” A self-loathing study.
Even before we inherit our parents’ looks, talents and diseases, we begin with the first legacy: their fears. The pre-inheritance fear.
Les Doulos (1962 Jean-Pierre Melville)
Darwin is said to have felt sick every time he looks at a peacock.
"As a basic law of natural history, I think it could be seen that wherever something in nature ‘has a function’, ‘fulfills a purpose’, it also occurs where it does not fulfill one, yes, is" inappropriate ".
If dreams sometimes get you to sleep, you can count on them to bother you sometimes; if the dream hallucination sometimes fulfills a plausible purpose (the imaginary fulfillment of wishes), count on it to do the opposite. "
(Wittgenstein, 1948, mixed remarks)
Transport z raje (1963 Zbynek Brynych)
Brynych: “Mirrors are simply fascinating. It has to do with the fact that people are alien to each other. "
Goldfinger (1964 Guy Hamilton)
James Bond does not see himself in the woman’s eye, but rather reflects the strange attacker.
In The Mummy’s Shroud (1966 John Gilling), an archaeologist sees the murderous mummy in the crystal ball of a fortune teller – mirrored, directly behind him.
Bunny Lake is Missing (1965 Otto Preminger)
The startled look is the gaping gap on a bathroom shelf.
The "film language", as Klaus Wyborny noted, has to do without the important word "no", but some films find ways to show nothing – and to arouse fear.
Belphegor (1965 Claude Barma)
My longing carried me to blue clouds
My foot went wrong. Life’s dream faded
Now i am white. Secretly in the bare mirror
Regret my reflection and me.
(Dschang Giu-Ling: "Self-reflection";
translated by Günther Debon)
The Night of the Generals (1967 Anatole Litvak)
A murderer is wanted among German generals. The needle in the pincushion.
The Detective (1968 Gordon Douglas)
In the rearview mirror, the policeman sees his wife with another man.
To the point darling (1968 May Spils)
He (Werner Enke) gets a mirror from her (Uschi Glas), looks inside and says: "It will end badly."
He calls her attempt to dispel his fear of growing old: pseudophilosophy.
Midnight cowboy (1969 John Schlesinger)
Today’s youth says aloud:
The end of the world will come
and meet the generation after us.
The elderly say carefully:
We have the auto industry
only borrowed from our children.
This Island (1970 Leo Hurwitz & Peggy Lawson), camera: Manfred Kirchheimer / via
A museum is an island. This short film portrays the Detroit Institute of Art – and the surrounding area. Volker Pantenburg pointed out to me how well the film fits under the heading “Eye and Circle”.
Max Goldt once noticed how much we like to look out of the window in the museum. A possible reason for this can be: how intensely the pictures look at us!
T.R. Basque (1971 Herbert Ross)
She (Candice Bergen) says,
her first name – T.R. – be: Thelma Ritter.
"To be part of something that you don’t understand at all is, I think, one of the most fascinating aspects of life." (Agatha Christie, in the introduction to her autobiography, 1950, in Iraq)
In the cinema, Wittgenstein always sat in the front row.
Mon oncle Antoine (1971 Claude Jutra), camera: Michel Brault
Brault documented in 1966 & Jutra the beautiful roller boarding in Montreal: Rouli-roulant / The Devil’s Toy
Agatha Christie learned to surf on a world tour in 1922.
The so-called normal (1974 Bernd Dost)
In December 1926, after a violent argument with her unfaithful husband, the unexplained disappearance of the Agatha Christie occurred. Her car was found on a chalk break. More than a thousand police officers and 15,000 volunteers combed the landscape. To find her, Sir Arthur Conan Doyle gave one of Christie’s gloves to a spiritist medium. It was only after ten days of searching that she was found in a hotel in Yorkshire, registered under the name of her husband’s lover. Two doctors diagnosed a memory loss. On the other hand, it was suspected that the crime writer had at least temporarily wanted to expose her still-husband to a publicly suspected murder suspect.
Profondo Rosso (1975 Dario Argento)
Wittgenstein, 1946: “The madness got to not to be seen as a disease. Why not as a sudden – more or fewer sudden – change of character? Everyone is (or most are) suspicious, and perhaps more relatives than others. Is there a reason for distrust? Yes and no. Reasons can be given, but they are not mandatory. Why shouldn’t a person suddenly become much more suspicious of people? Why not a lot of Locked? (…) And a lot of inaccessible? "
Dressed to kill (1980 Brian de Palma)
Meeting in the museum … knife and mirror and eye and victim and murderer … a circle of old acquaintances.
The convex mirror serves to survey the room and to recognize dangers.
The Man With Two Brains (1983 Carl Reiner)
In passing, the brain surgeon (Steve Martin) sees in the convex mirror on the way to the operating room that his colleagues (again?) Have joked with these rabbit ears.
Dark (2017 Paul Schrader)
The CIA agent (Nicolas Cage) cannot remember his name.
"You can say Schrader was self-critical that he had made the film ‘normal’. (…) An unprecedented delirium of images, a 15-minute editing and sound orgy, a direct transmission from Nicolas Cage’s dying brain, ends the new version. ”(Dominik Graf)
New gods in Maxvorstadt (2019 Klaus Lemke)
Wittgenstein, 1951: "If I said ‘I haven’t been on the moon – but I can be wrong’, it would be stupid.
Because even the thought that I could have been transported there in my sleep by unknown means, wouldn’t give me a right, to talk about a possible error here. I play the game not correct, when i do it.
I have a right to say "I can’t be wrong here" even if I’m wrong. "
posted by Rainer Knepperges
Sunday, September 1st, 2019
Eye and perimeter (VI)
The Owl Service (1969 Peter Plummer)
In the summer of 1969, three teenagers were in danger of unwittingly reliving an ancient, terrible legend.
“When I was roaming the unknown, deserted streets of a small Italian town on a hot summer afternoon, I found myself in an area whose character I could not doubt for long. There were only make-up women on the windows of the small houses, and I hurried to leave the narrow street by the next bend. But after wandering around without a guide for a while, I suddenly found myself on the same street where I was beginning to attract attention, and my hurried distance only resulted in me getting there for the third time on a new detour. But then I was overcome by a feeling that I can only describe as uncanny. ”(Sigmund Freud: The uncanny, 1919)
Freud explains the uncanny nature of unwanted repetition with the fact that the infantile compulsion to repeat continues to lurk. Just like the uncanny life of living dolls still contains the children’s dream of living things.
“The weather had been so beautiful for so long that I assumed it would stay that way for a long time. I wondered what was left of this extraordinarily beautiful summer. It would not mean that there would be no more winter and that the next would be beautiful or even more beautiful. "
(Harun Farocki: Ten, twenty, thirty, forty. Fragment of an autobiography. Writings, Volume 1)
"The freedom to make history, which modern man boasts, is illusory for almost everyone." Mircea Eliade sees (in: cosmos and history) the human being as a prisoner in history, driven out of the paradise of cyclical repetition.
"We know that the archaic and tradition-bound societies granted the freedom to start a new," pure "existence with virgin characteristics every year."
The Lickerish Quartet (1970 Radley Butcher)
A round mirror on which many small convex mirrors adhere like a drop of water. Something chic is only available from Radley Metzger.
The mirrors are round in drugstores. On the back, concave mirrors lurk for the opportunity to enlarge a face.
Joe (1970 John G. Avildsen)
Now the face that I see in my mirror
More and more is a stranger to me
More and more I can see there’s a danger
In becoming what I never thought I’d be
(Dick Feller: Some Days Are Diamonds Some Days Are Stone, 1975)
This song is also very beautiful in Eugene Chadbourne’s 2015 version.
Viskningar och rop (1972 Ingmar Bergman)
Don’t look at me, she says (Ingrid Thulin) to the maid – through the mirror.
Tales That Witness Madness (1973 Freddie Francis)
She (Joan Collins) notices the feelings her husband is developing for the bizarre piece of a tree brought home from the forest.
The Mutations (1974 Jack Cardiff)
“I heard a fine trickle in the water that encircled my copper helmet, a sound that grew stronger and bigger and made me uneasy because I didn’t know where it came from and whether it announced any dangers. But then the cause was suddenly clear to me and I had to laugh: it was raining on the surface of the sea, and what I heard was the patter of the rainstorms that hit the water. Another sensation immediately displaced the rare listening experience: I felt drenched in the water in the water, I had to make myself aware of the rubber suit by touching myself. ”(Jules Verne: 20,000 miles under the seas)
McQ (1974 John Sturges)
"I now understood the effort involved in producing trousers with a crease," writes Harun Farocki. “The dress code required a completely different order of life that would take up all my life force. If I lived a decent life, I couldn’t even dream that I could do something extraordinary. ”
Sesame Street (Episode 685, 1974)
Kermit: "Today I’m speaking to you from the magic mirror room of the wicked witch."
A matter of time (1976 Vincente Minnelli)
"It’s not enough to look at oneself. The mirror must be beautiful too. "
Suspiria (1977 Dario Argento)
Harun Farocki in memory of the hot summer of 1976: "I saw pensioners who probably couldn’t sleep because of the heat and who washed their cars at four in the morning." *
Superbia – the pride (1986 Ulrike Ottinger)
“We are caught up in history today. The Stone Age people weren’t. "
This is what Christian Schwanenberger says as Werner Herzog in The Duke Duke (2012 gravel weather & Knoop)
Two-thirds of annual review (January – August 2019)
Discoveries and (*) reunions in Sälen – in Bologna, Frankfurt, Heidelberg, Nuremberg, Munich, Oberhausen – or (**) at home:
Au-dela des grilles – Le mura di Malapaga (1948 René Clement)
Tomorrow is another day (1951 Felix E. Feist)
Filumena Marturano (1951 Eduardo De Filippo)
Wait Till the Sun Shines, Nellie (1952 Henry King) *
Marito e moglie (1952 Eduardo de Filippo)
Oss Oss Wee Oss! (1953 Alan Lomax) *
The Elephant Will Never Forget (1953 John Krish) **
The Night of the Hunter (1955 Charles Laughton)
I Fidanzati della morte (1957 Romolo Marcellini)
The Bravados (1958 Henry King) *
High spirits in Salzkammergut (1963 Hans Billian)
They got married in Gretna Green (1964 Fritz Illing) *
Rouli-roulant – The Devils Toy (1966 Claude Jutra) **
The Owl Service (1969 Peter Plummer) **
Seam thicket (1974 Johannes Flütsch) **
The finishing line (1977 John Krish) **
Il Cilindro (1978 Eduardo De Filippo)
Lighthouse of Chaos (1983 Wolf-Eckart Buehler)
sausage poetry (2008 Stefan Friedel) *
The Duke Duke (2012 gravel weather & Knoop) **
East (1990/91 Christian Petzold)
In Toy Story 4 (2019 Josh Cooley) can be seen how the freckles are refreshed in a doll’s face with a brush and paint. The doll itself does this with the help of a hand mirror. She poses a danger, but the goodness of this beautiful film allows compassion for her unconditional love.
Hook (1991 Steven Spielberg)
He had refused to portray an adult Peter Pan. But could you know in 1991 that Michael Jackson would have been right for the other role – that of Captain Hook?
Hitchcock would have followed Marnie so happy to film Barrie’s “Mary Rose”. The screenplay was written by Jay Presson Allen.
Deconstructing Harry (1997 Woody Allen)
"Life isn’t about finding yourself or about finding anything. Life is about creating yourself, and creating things, ”says Bob Dylan in The Rolling Thunder Revue – A Bob Dylan Story by Martin Scorsese (2019)
Artificial Intelligence (2001 Steven Spielberg)
In Disney’s Pinocchio (1940) shows a cricket rising from the sea floor in an air bubble, sighting its lost top hat and pulling it towards it with the umbrella. Because this injures the air bubble and runs full of water, there is a struggle for survival, which ends happily in a matter of seconds, but the great story of loneliness and death flashes microscopically smaller.
American sniper (2014 Clint Eastwood)
Ernst Mach: “As a young person, I once saw a very unpleasant, disgusting face in profile on the street. I was not a little startled when I realized that it was my own, which I had noticed past a mirror defeat by two mirrors inclined towards each other. – I got into a bus very tired after a strenuous nightly train journey, just when a man came in from the other side. ‘What is going on for a descended schoolmaster’, I thought. I was myself because there was a large mirror opposite me. The class habit was so much more familiar to me than my special habit. ”(“ The analysis of the sensations ”)
Sigmund Freud: “I can tell a similar adventure. (…) But wasn’t the displeasure a remnant of the archaic reaction that the doppelganger finds scary? ”
Coincoin et les z’inhumains (2018 Bruno Dumont)
"I was just scared to death by a shadow on the wall – and only then did I see that it was my own. "(Wilkie Collins:" The Red Scarf ", 1866)
Annabelle Comes Home (2019 Gary Dauberman)
The teenager sees in the domed screen: his reflection, slightly delayed – in the impending future.
Annabell Comes Home (Gary Dauberman)
Apollo 11 (Todd Douglas Miller)
Creed II (Steven Caple Jr.)
First Reformed (Paul Schrader)
New gods in Maxvorstadt (Klaus Lemke)
The Rolling Thunder Revue (Martin Scorsese)
Shazam! (David F. Sandberg)
The day X (Bruno Sukrow)
Toy Story 4 (Josh Cooley)
Where the ram was (Kiesewetter & Knoop)
posted by Rainer Knepperges
Thursday, August 15th, 2019
Eye and perimeter (V)
Reign of Terror (1949 Anthony Mann)
A woman (Arlene Dahl) enters the dark room (camera: John Alton), where a murder has just taken place, and raises her veil when the mirror has been adjusted vertically again.
The film is so full of twists and turns that it reflects the work of the dream as well as the gears of state terror.
Runs tomorrow, Friday, August 16, at 6:00 p.m. in the Frankfurt Film Museum
posted by Rainer Knepperges
Monday, May 13th, 2019
(1922 – 2019)
Midnight lace (1960 David Miller)
Steve Beresford & Andrew Brenner: "I Was There" – 1985
posted by Rainer Knepperges
Thursday, April 11th, 2019
Eye and perimeter (IV)
Tell it to the Marines (1928 George Hill)
He (Lon Chaney) who stays lonely.
Ludwig II (1954 Helmut Kaeutner)
The feeling of security in the disaster (Jules Verne), the proliferation of imaginary life (Ernst Mach) and the shrinking of the self … drops, tears, bullets, assassinations and doubles … all seen through round frames. I had planned a little too much. so what!
Doppelganger / Journey to the Far Side of the Sun (1969 Robert Parrish)
At the beginning of Creed II (2018 Steven Caple Jr.) is about a marriage proposal that the title hero makes while his loved one is standing in front of a round bathroom mirror and his Request does not hear at all. The advice was not to speak with the head, but from the heart. As can be seen in the further course of this beautiful boxer film, it is not the head that is vulnerable, but the ribs, the rib cage, the pride, the heart. The head can take it all.
What has been going on for at least two thousand years? To resurrection.
The Creeping Flesh (1973 Freddie Francis)
In search of a remedy for evil, a researcher (Peter Cushing) observes how living flesh grows on prehistoric bones. From the blood of primeval man he obtains a serum with which he vaccinates his daughter so that she does not become like her mother.
Life that repeats itself incessantly to grasp its origin in the fall. That would be (based on Pierre Klossowski) the concise formula of the "Transcendental Style in Film".
Ordet (1955 Carl Theodor Dreyer)
After Paul Schraders First Reformed So close to my heart, I wanted Dreyers Ordet meet again.
All the effects and miracles I remembered came back, and like the people in the film, I made myself a coffee late at night.
Sheridan Le Fanu’s scary story "Green Tea" (1869) speaks of a wafer-thin fabric, "which only enables us to separate the outside from the inside."
”The seat, or rather the instrument of external perception, is the eye, while the seat of internal perception, on the other hand, is the nerve tissue and back center directly behind and above the eyebrows. You remember how effectively I have dispersed your appearances through the simple application of ice-cold Eau de Cologne. ”
Doppelganger / Journey to the Far Side of the Sun (1969 Robert Parrish)
Every mirror image is reversed, but also this special colognes label in Robert Parrish’s film. Because on the planet at the other end of the solar system everything (just like on Earth, only …) is reversed.
However, the trailer for the film is also wrong, because where it was thought in the photocopier that the non-inverted mirror image was a mistake that had to be corrected.
The Owl Service (1969 Peter Plummer)
“The numerous Young girl with mirror, who are eager to look at an as yet undetermined identity ”- Sarah Kofman saw in the pictures of Balthus a“ pause ”, a“ postponement that cannot last, and the standstill of time betrays the imminent impending crisis and an awakening. ”
"She wants to be flowers but you make her owls. You must not complain then if she goes hunting. ”(Alan Garner:“ The Owl Service ”)
The Mask (1994 Charles Russell)
"What is the dirt that the pearl is build around? The pearl is the personality that you built around yourself as a protection against that thought: if they ever find out that I’m worthless, if they’ll ever find out that I’m not enough, I’ll be destroyed. ”Jim Carrey in Jim & Andy (2017 Chris Smith)
The Late Show (1977 Robert Benton)
In 1929 Marjorie Hope Nicolson wrote in her essay "The Professor and the Detective", the detective novel denounced as "escapist" was in no way an escape from life, but at best an escape from the monotony of literary self-reflection. The detective novel responds to the formlessness of modernity by saving causality.
You come from Joachim Stiller (1976 Harry Kümel)
“Friendship is often nothing else. You love yourself transfigured in another. This is how all people love Jesus Christ.
But how much more peaceful it is to find oneself transfigured in another than to search in vain for the increased existence of oneself in oneself. "
(Peter Altenberg: Paulina, Ashantee, 1897)
One Hundred Men and a Girl (1937 Henry Koster)
This is a mirror like no other. Nevertheless, it remains quite unused. Why should he be useful in this happy Dionysian film. For what purpose should mirrors serve in Henry Koster’s cosmos.
Johnny Doesn’t Live Here Anymore (1944 Joe May)
"And this film is sexy. If you don’t see it you’re blind. ”(Raquel Stecher)
The Effect of Gamma Rays on Man-in-the-Moon Marigolds (1972 Paul Newman)
The effect of the mother (Joanne Woodward) on her children. Mutations occur in the middle of the measured radiation – – – beautiful mutations, says the daughter and means her marigold experiment.
There may be atoms in us that come from the other end of the solar system.
The Gorgon (1964 Terence Fisher)
The mirror through which the head of Medusa can be seen is round.
We learn from Freud that “in the myth the mother’s genital is meant. Athena, who wears the Medusa head on her armor, thus becomes the unapproachable woman, the sight of which stifles any thought of sexual advances. ”
The Police Eye, 1908
The carob with the head of the Baptist is round.
Whistle And I’ll Come To You (1968 Jonathan Miller)
The emptiness. Ocean. And the strange room.
There is a second bed in it. This is too much.
The traveler finds an ancient flute on the beach.
Intimate familiarity with horror and humor.
Dr Jekyll & Sister Hyde (1971 Roy Ward Baker)
A man kills for science, he kills women, and at times tries himself to turn himself into a beauty. She (Martine Beswick) is happy with herself.
Roberte (1979 Pierre Zucca)
Pierre Zucca was a still photographer with Chabrol, Rivette and Truffaut, also on the set of Hitchcock’s Topaz and Franjus Judex.
"In response to the question, ‘Why are you filming?’ I come to this absurdity: I film to see what I could not see if I did not film."
Psyche 59 (1964 Alexander Singer)
Love has blinded the woman (Partricia Neal) – psychosomatic. The insight into the traumatic reasons for her blindness makes her see again. But the man (Curd Jürgens) does not want to be able to see her.
McQ (1974 John Sturges)
It’s night. The doorbell rang. The woman looks at herself in the round mirror and feels her hairstyle before opening the door to the murderer.
No man’s woman (1955 Franklin Adreon)
The selfish woman, popular anti-heroine of the 50s.
She (Marie Windsor) also looks in the mirror before opening the door to her murderer.
Man in the shade (1961 Arthur Maria Rabenalt)
A nice variant: the businesswoman pulls money out of the safe behind the panorama before opening the door to her murderer.
An original detail in this thriller full of original details: she (Ellen Schwiers) balances the image on her head to have both hands free.
Amazon Women on the Moon (1987 Carl Gottlieb)
He (Ed Begley Jr.) is the son of the invisible. He doesn’t use the mirror that hangs on the wall in his laboratory. Otherwise he would not imagine himself in possession of his father’s invention and would not go to the pub naked, believing that he was invisible, to disrupt the guests playing darts again and again.
"Who navigates between those three images: the image you make of him, the one he makes himself of himself, and the one he thinks he reads in the mirror …
Who knows too well that "I" is not one Another is. "
(Michel Leiris: "The ribbon on the neck of the Olympia")
posted by Rainer Knepperges
Monday, December 31, 2018
Eye and perimeter (III)
Belphégor (1965 Claude Barma)
Drops of water – round mirror – self-examination
In Chapters I and II, Jules Verne’s disaster pleasure was linked to Ernst Mach’s insight: "The ego is irreparable". And as a kind of cliffhanger there was a gigantic drop of water.
Arabesque (1966 Stanley Donen)
Last attempt at decryption. The rain on the windshield blurs the hieroglyphs. Only the third bird’s eye does not dissolve. The tiny black dot is a microfilm. Hidden inside: the date of the assassination attempt on the prime minister or on his double.
A section from "The Last of England". F. Madox Brown, 1855, ***
Signature and year date are painted on the edge of the railing, below these drops of water.
In the "abundance of chaotic, painful details" Harry Tomicek recognizes "the pathos of details". And something like a British tradition, "which begins at the latest in the manner of the Pre-Raphaelites to painstakingly paint every blackberry leaf and every squiggle in sheep’s wool fur," and "an entire generation of English cameramen such as Douglas Slocombe, Jack Cardiff, Guy Green, Freddie Francis, Gerry Fisher guides in the most natural way, crisp and beautiful photography. "
"From the smallest curl of wigs to every button of distressed clothing", a frightened man (in Sheridan Le Fanus "Geisterhand", 1861) memorises all the details of the threat, as contemporary "as clothing and face on the portrait of his own father, that of him hung up every day for breakfast, supper and dinner. ”
The Dim Little Island (1949 Humphrey Jennings)
"With an empty, catastrophic look, the couple sits on the crowded deck of an emigrant ship, hands clasped (…) without looking anywhere else." ***
Ford Madox Brown’s painting "The Last of England" forms the starting point for Humphrey Jenning’s poetic propaganda, which is based on shipbuilding, music and reeds.
Hartmut Bitomsky, 1975: “Perhaps there is something that stands in the way of surrealistic automatic writing, automatic seeing. Jennings refused to create pictures; he sought out the world where it met his unfulfilled desire and in turn deviated from him. Because there is always more to see than you can see. ”
She Wore a Yellow Ribbon (1949 John Ford)
The yellow ribbon – "Captain Brittles is a widower, he lost the wife in the war with the Idians, with her the two daughters, her graves lie next to the fort. On the one hand an emptiness that left her death and on the other hand a life, in which there is no place for them. "(Hartmut Bitomsky: Yellow Stripes Strict Blue; Film Criticism, June 1978)" The film is beautiful because the continuum of its photography contains the fragments of history. "
“In general, it is correct that what touches sensually, also connects mentally. However, since thoughts easily enter into diverse and accidental connections through association, you are exposed to frequent errors if, conversely, you also consider everything that is linked in terms of mind to be sensually linked. ”
(Ernst Mach: The proliferation of imaginary life; knowledge and error, 1905)
Aquaman (2018 James Wan)
A drop of water. Body fluid, sweat from Aquarius’ forehead is necessary to activate the dried mechanics, which (in a cave under the Sahara) produce a conserved message. A paternal message that the hero forgot in an instant. Aquaman has so much insight into the inattentiveness of his viewers that he parodies it in his protagonist.
Les croix de bois (1931 Raymond Bernard)
In 1973 Raymond Bernard told how many experiments were necessary to record explosions with the first sound film microphones. To reproduce the sound of war.
Les croix de bois is moving because a bird suddenly chirps in a miserable cemetery.
At the premiere in the Moulin Rouge: the tear of President Doumer. (And a month later the fatal assassination attempt.)
Les amours de minuit (1931 Marc Allegret & Augusto Genina)
The view of the audience is often the view of a single person in the audience.
Un revenant (1946 Christian-Jaque)
Eric Rohmer was right: Jules Verne’s “A captain of 15 years” is remarkable!
A ship is heading for Valparaiso and of course does not arrive there. The crew, stranded and lost, have to take refuge in the abandoned interior of a termite building, whose hollow dome comfortably accommodates travelers in the greatest danger that very night, amidst a flood, like a diving bell.
However, what awaits them after the survived adventure are the realities of slavery.
When Tomorrow Comes (1939 John M. Stahl)
When a glance at the portrait of the wife (Barbara O’Neil) falls, the subtle crack of lightning is the announcement of impending disaster. A little later, the lovers (Boyer and Dunne) will seek refuge in a church before the dangerous storm and find each other. The nightly flood is a gift for lovers, on the organ gallery in the dry. I watched the film in Bologna twice to enjoy all of its surprises twice.
Pandora and the Flying Dutchman (1951 Albert Lewin)
Camera: Jack Cardiff. "At 14," said Cardiff, "I was a veteran."
Lewin’s film came to the cinema again in the 80s like a gift. Frieda Grafe described that where you should see a 17th century painting, you can see a framed photo of Ava Gardner by Man Ray. "The cinema is a ritual of repetition that can ruin the concept of time better than others through its magical ability to transform everything into the present."
The Sound Barrier (1952 David Lean)
Nigel Patrick directs (in Lewin’s film as one of Pandora Worshipers) his overheated racing car while trying to set a record on the sea beach in the cool surf.
Lean’s test pilot film propagates the heroic nonsense of pushing the joystick forward to save him in a dive. It is about drives, both nozzles and “dark impulses for violent action, for penetration, smashing, tearing open somewhere.” (Freud: About infantile sexual theories, 1908)
In the focus of The Sound Barrier Ralph Richardson stands as the personification of the father and of progress. His son and son-in-law fall victim to him. The daughter accuses, but only until the father manages to stir her with his weird loneliness.
Forever England (1935 Walter Forde)
This pocket watch – once owned by Lord Nelson and passed down through generations – becomes a spontaneous gift. To prove a love that ignores class barriers.
A generation later: The illegitimate son, like the father and forefathers, becomes a soldier. He is a gifted shooter. The mother gives him the watch before leaving. The goal: Valparaiso … A circular aperture … The world war begins.
The basis of war and family stories, including that of Aquaman (2018): That parents live separately, in separate worlds. The beer drinking lighthouse keeper and the royal resident of the Hohlerde. She is a nemo, he is a nobody. Even before the film started, Warner’s coat of arms was lying on the seabed and MC’s seal was floating on the surface.
In the finale of Forever England (1935), in a hypothermic massacre, staged by Anthony Asquith, killing is almost as carefree as in Hawks’ Sergeant York and almost as dark as in Bogdanovichs targets. Depending on how you look at it.
A bizarre heroic fantasy (after C.S. Forester): The young soldier gains respect from the enemy and, after the heroic death, the recognition of his father. The enemy was familiar to him, even close, but the father was unknown.
Forever England (1935 Walter Forde)
With the death of the son (John Mills) the gift becomes an heirloom again. The lid on the back contains the picture of the mother (Betty Balfour). And now in the hands of the father: proof of the undetected value of those beyond the classroom. As if dying had a purpose.
Judy Geater points out that actress Betty Balfour was only 5 years older than John Mills – "so when Mills cuddles and kisses Balfour it doesn’t really feel like a mother / son relationship."
(Patrick Wilson and Nicole Kidman, in Aquaman: 6 years age difference.)
You know John Ford Pilmgrimage (1933), then you know what’s in stories of war heroes and their mothers. Ford’s shockingly bitter interpretation cheers up unexpectedly when the mother becomes a sniper.
So big! (1932 William Wellman)
This pocket watch is of little importance in Wellman’s film, which strangely and dramatically compresses Edna Ferber’s novel. There is actually nothing that people can bequeath to each other. But sometimes it is possible to pass on something precious: self-confidence.
Pirates of the Caribbean (2003 Gore Verbinski)
The son received this medal from Aztec gold from the father. It still wanders through many hands. Because there is a curse attached to it, but also the knowledge that the blood of a pirate flows in the veins of the young English armorer; first reason why the beautiful brave loves him.
"There is nothing a fetish cannot do and do if it is just the right fetish. We are inclined to feel very proud of this view, but there are also people among us who carry amulets, lucky pigs, medallions and other things, and not just jokingly. Our scientific understanding of the interdependency of natural processes is different from that which still lives in the people of which we are a part. ”
(Ernst Mach: The Growth of Imaginary Life)
The Way of a Goucho (1952 Jacques Tourneur)
An amulet of Santa Teresa, a gift from the lady (Gene Tierney) to the deserter (Rory Calhoun).
"A Technicolor dream about the price of freedom, penetrated by extreme darkness." (Christoph Huber)
Pandora and the Flying Dutchman (1951 Albert Lewin)
In Jules Verne’s “The Children of Captain Grant”, Lord Glenarvan wants to persuade the Indio Thalcave to continue the search for Captain Grant with him after having shared adventures in Patagonia. But Thalcave does not want to leave his home, the Pampas. He also refuses to pay for his services. Glenarvan is touched and wants to leave at least a souvenir for the brave Indian. But he can’t give him anything because weapons, horses, everything has been lost in the disasters along the way. Then an idea comes to him, he takes a precious medallion with a painted portrait from his wallet and gives it to the Indian.
"My wife," says Lord Glenarvan.
Thalcave’s gentle gaze remains in the picture for a long time, until he speaks the simple words: "Good lady! Beautiful lady!"
Account Rendered (1957 Peter Graham Scott)
This brooch is evidence in a murder case.
"Life that keeps repeating itself to become self-conscious in its fall, as if holding your breath in a sudden grasp of its origin."
Juno and Iris take the 100 eyes of the decapitated Argus and sprinkle them on peacock plumage. The amazing picture Rubens painted around 1610 hangs in Cologne.
The admission prices of German museums are so high that it can be clearly understood as if it were a sign at the entrance: low earners undesirable.
Passport to Destiny (1944 Ray McCarey)
A British cleaning lady (Elsa Lanchester) decides to kill Hitler. She takes a talisman to Berlin.
Mission: Impossible (1996 Brian de Palma)
doppelganger (1969 Robert Parrish)
“Everything that primitive man does not understand appears to him in a peculiar light. We can only regain this enlightenment if we lively return to early adolescence, to childhood. (…)
The observer who knows the modern [Christian] religions notices in all these primitive [pre-Christian] systems that they, and in particular the notions of life after death, nothing with reward and punishment, nothing with retribution and nothing at all Ethics have to do. (…)
However, where one part of the people is condemned to permanent slavery, the other part is striving to take all the good of this life for themselves, there is an ethic for the part that is a consolation that should not be underestimated the latter part quite comfortable. "
(Ernst Mach: The Growth of Imaginary Life)
The Outer Limits – Demon With A Glass Hand (1964 Byron Haskin)
This medal without any imprint has been forcibly taken from an alien in the struggle for life and death. The survival of humanity is at stake. Plot and location return terminator and in Blade Runner.
The Outer Limits – Hundred Days Of The Dragon (1963 Byron Haskin)
A newly developed serum makes the human face malleable like plasticine. A simple mold with side handles is enough to replace the president with a double. The strength of this small television film: to take the loss of face consistently seriously and finally even literally.
To be continued shortly
posted by Rainer Knepperges
Friday, October 12, 2018
The Metropolis cinema shows American police films of the 70s.
The New Centurions (1972 Richard Fleischer) with Stacy Keach and George C. Scott, the most beautiful film in the series and the main inspiration for Wolf-Eckart Buehler’s legendary FILM CRITIC police film booklet, will be running (DF, 35mm) on Sunday at 21:15. Introduction: Volker Hummel
posted by Rainer Knepperges
Eye and perimeter (II)
The Thief of Baghdad (1940 Powell, Whelan and others)
The living picture. It shows a woman in thought.
“On the following day, August 8th, the sun’s rays only broke through the warm haze masses in the sky. The ordinary midday breeze did not have the strength to disperse it. Towards evening the sky shone in the most vivid play of colors. Flowing colors of all kinds, from chrome yellow to ultramarine, gave the horizon the dazzling look of a painter’s palette. Under the flake of fine clouds, the setting sun colored the sky and the land with all rays of the spectrum, except for the one that the fantastic and somewhat superstitious Miss Campbell asked to see. ”
(Jules Verne: "The Green Ray", 1882)
“The light initiates organic life. The green chlorophyll and the (complementary) red hemoglobin play an outstanding role in the chemical process of the body of the plant and the chemical counterprocess of the body of the animal. ”
(Ernst Mach: "The spatial sensations of the eye")
Shape of water (2017 Guillermo del Toro)
Achieved in the lively red-green struggle Shape of water the greatest success of his poetic efforts, when two raindrops whipped by the wind on the outside of a subway window, moving, growing, form a larger unit with each other.
“The drops, brought into contact with each other, flow together. (…) We can understand the forces of attraction and repulsion of nature as intentions of nature. ”
(Ernst Mach: “The shapes of the liquid”, 1872)
inspirace (1949 Karel Zeman)
A film that penetrates the inside of a drop of water. In the dangerous search for inspiration.
Many films begin with research movements.
Before the film actually begins, trips often go past celestial bodies or along letters from the name of the rental company.
"The unbelievably small and the unbelievably vast eventually meet like the closing of a gigantic circle." Says Jack Arnolds Mr. C (Grant Williams).
A: "I am a nothing / I am a nobody", old Gunter Gabriel sang, "a tiny detail / with a few songs."
B: "I can’t do anything / I am nothing / Our lives are meaningless / Swim in the sunshine," sings young Brian D’Addario. "I am nothing / I’m no one / It’s wonderful," (The Lemon Twigs, 2017)
What differentiates A and B is not only the age of the singers.
Mr. C goes the way from A to B, he doesn’t do a makeover, but he shrinks. He becomes so small that he finally strips away the stressful feeling of being tiny.
"And I felt my body dwindling, melting…. becoming…. nothing …. my fears melted away and in their place came – acceptance. " The Incredible Shrinking Man (1957 Jack Arnold).
“On a bright summer’s day outdoors, the world and my self suddenly appeared to me as a coherent mass of sensations, only more strongly coherent in the self. Although the actual reflection only came later, this moment has become decisive for my whole view. ”(Ernst Mach, 1886)
Cornelius Hugh de Witt: The Golden Geography
A feeling of worthlessness and megalomania meet in idolatry. Raymond Roussel loved Jules Verne’s books. So much so that he felt it was a sacrilege to say the name of his favorite author other than "on his knees". "He is by far the greatest literary genius of all time and he will stay when all the writers of our time have long been forgotten." (Roussel, 1921)
At Roland Barthes I read the explanation that Jules Verne is so popular with children because his heroes are so comfortable on their travels – like children in their self-made huts and caves.
It may be true that his hero’s travels are (temporary) encapsulations from the world, but that’s half the truth at best. Because Jules Verne is the author – perhaps the only one, at least the most famous – whose stories take place on a spinning planet on the edge of the icy universe, on a thin earth crust over liquid iron ore.
In Jim & Andy: The Great Beyond (2017 Chris Smith) Jim Carrey, bearded, wise, smiling, eloquent finds the words for a world description à la Verne. He does not forget to mention the speed of the gyroscope we inhabit, and the magma-floating tectonic plates under our feet.
The unsafe floor, which not everyone feels that way, has its counterpart in self-imposed performance pressure. The early and late layers of the soul are called depression and obsession.
The man who falls into the “football craze” in the poem by Ringelnatz ultimately wants to kick the globe. “He struggled with various problems / First of all, how should you start up?”
“The riddle is that my body is seeing and visible at the same time. (…) My body is one of them, visible and mobile, one of them, it is attached to the fabric of the world, and its cohesion is that of a thing. But since he sees and moves, he keeps things around him, they form an attachment or an extension of himself, are his crust and form part of his definition of how the world is made of the substance of the body. "
(Maurice Merleau-Ponty: "The Eye and the Mind", Rowohlt, 1967)
Stars, rays, aureoles, orbits are suitable to either make us small on the first few meters of the film or to make them “cosmic”.
The Mach experience ("On a bright summer day …") is nothing that is acquired in any way, no merit, no reward, but a gift.
The desperate search for inspiration is something else entirely. Retreat. Sinking. Gefangenseinwollen.
Interior view of the "Inspiratrion". It offered vibrations and electrical stimulation. via 50watts
“As I said, my ink had been getting less and less for a long time. I diluted it with water until it was so pale that it hardly left a glimmer on paper. ”(Daniel Defoe: Life and the Strange, Surprising Adventures of Robinson Crusoe, 1719)
“Basically, I haven’t been able to write the past few years because the feeling of embarrassment about my own life had robbed me of the language. What I experienced seemed to me to be so inadequate and banal that the construct of inadequacy also extended to my thoughts and feelings and from there to my ideas and fantasies, which is why I ended up with nothing, just one more Emptiness, in which I was sometimes given a job, a request for which I could then write a text because someone else had basically put me on the machine. "(Frank Witzel:" The invention of the Red Army fraction by a manic-depressive Teenagers in the summer of 1969 ")
Everything is thunder (1936 Milton Rosmer)
“Alphabet bisquits for lunch, that’s all I have”
“The Babylonian, the Aztec, the Chinese. But let’s not talk about it anymore. ”This is how a text by Ringelnatz (“ Eheren and Holzeren ”, 1924) begins, which also includes the word“ penguin butter ”.
What is the world made of, what are we made of??
A complete circle of processed cheese corners in aluminum paper – this is the silver moon that Ingrid Bergmann (in Indiscreet) hungry from the fridge at night.
Think Fast, Mr. Moto (1937 Norman Foster)
"Change the eye of man and you change his worldview. (…) The human soul is locked in their house, in the head; she looks at nature through her two windows, through her eyes. "
(Ernst Mach: "Why do people have two eyes", 1867)
"I’m lying z. B. on a resting bed and close the right eye, my left eye offers the picture of the following figure 1. "
"In a frame formed by the eyebrow arch, the nose and the mustache, part of my body and its surroundings appear as far as they are visible."
(Ernst Mach: "The Analysis of Sensations", 1886) ***
How to do the self-esteem "I".
Sketched by Mach himself (unlike the professional drawing above) with a coffee cup and cigarette. ***
Forty Guns (1957 Sam Fuller)
The sweetheart – – – viewed through the barrel of a rifle.
Everything would look different if our eyes were sideways on the head, Mach and Merleau-Ponty say.
Bedwyr Williams makes in his short film Hotel 70 ° (2014) proposed that the face be turned into a piece of cake by boldly running into the corner.
The Snorkel (1958 Guy Green)
“We can assume that everyone, even the most characterless, would have a character if it weren’t too difficult in this world. So the liquid would also have its own shape if the pressure of conditions allowed it, if it were not crushed by its own weight. (…)
But if a drop falls freely, all parts move at the same speed, no one is hindered by the other, so no one presses the other. A free-falling drop does not suffer from its weight, it behaves like weightlessly, it takes on the shape of a ball. ”
(Ernst Mach: The Figures of the Liquid, 1896) ***
Sous le ciel de Paris (1951 Julien Duvivier)
The lifeline … The magnifying glass is not enough for an exact prophecy. You have to look into a glowing sphere.
Sous le ciel de Paris (1951 Julien Duvivier)
In “Land of Furs” (1873), Jules Verne bathes the North Pole in volcanic light: “The northern horizon was constantly illuminated by fire from the earth, and certainly a terrible plutonic work was now taking place in these regions of the world.”
“You see things because there is a lack of words; the light of their being is the flamed crater in which the language passes. ”
(Foucault: “Raymond Roussel”, 1963)
For the common man, sea and earth (physically) remain a disk, the sky a vault. Now when this man sees the glowing sun dipping into the water on a western coast of the sea, he thinks he must hear it hiss. He probably really hears them hissing by referring to some random noise. (…) I myself heard the sun hissing as a child of 4 or 5 years when it appeared to be diving into a large pond, and was laughed at by the adults. The memory is very valuable to me.
(Ernst Mach: "The proliferation of imaginary life")
A Universal Picture
I’m traveling around this earth / it never makes me happy / darling, no-oh-no / it doesn’t work. (Esther & Abi Ofarim: "If I can be with you")
Sung to the melody of "Cotton Fields", arranged by Peter Thomas, "one of the most beautiful German-language love songs" (Stefan Ertl)
To RKO Radio Picture
Back to top. The curtain opens. And before the film actually starts there are:
The circular radio waves emanating from the RKO’s transmission tower – – – The big zero, high up in the searchlight lights of the 20th Century Fox – – – The star circle around the mountain called Paramount – – – The radiation ring around the Columbia torch (in the course of For decades it became the logo) – – – The coat of arms of the Warner Bros. by Saul Bass for the 70s was briefly made round – – – The celluloid band with the words "ars gratia artis", which surrounds the MGM lion in a circle (and recently) : a reverse drive through the iris in the lion’s eye).
The living lady in the logo of Gainsborough Pictures – – – The Gong of Rank – – – The target of the Archers – – – The radiant wreath around the great G of Gaumont – – – The star in the orbit of the Cineriz – – – The circle to which the Svensk Filmindustri eventually gave the flexibility of concentric rings.
The triple C by Artur Brauner – – – The large central O from MelOdie-Film – – – The iris diaphragm of Real-Film – – – The stylized globe from Prisma.
The BFI prism game – – – The Roman coin from Janus Films – – – The spinning C of the Criterion Collection.
The stars, from whose swirling circular formation the O of Orion Pictures lights up, before every film by Woody Allen in the golden 80s.
La pearl (1929 Henri d ’Ursel)
She is stirring! It lowers the head on the shoulder to dream.
From Erich Kästner’s screenplay on Münchhausen (1943 Josef von Báky): “The painting shows a naked woman resting on an ottoman, turning her back on the viewer. This back view belongs to the genus that makes us curious about the front. Cagliostro comes to Munchausen, who is eyeing the lady, and looks at him with a smile from the side. Suddenly the painted lady comes alive in the picture frame! "
However, the frame is rectangular, not round, so …
instead … a woman (Ilse Werner) looking at a man.
Munchausen (1943 Josef von Báky)
From Constantinople to Venice, then to the moon.
The double Lottchen (1950 Josef von Báky)
The double Lottchen – this is the double fear, turned away and turned into wish fulfillment. Relief from the fear that we could disappear, replaced by the other: The double happiness of being loved as something voluntarily confused, also loved as the other that is somehow half inside of us.
The strange story of Brandner Kaspar (1949 Josef von Báky)
A home film. Obviously keen on conflict, poaching, jealousy, murder. A dialect film: in love with the speech act. An SBU canon film. And a horror film: Death sits at the table and wants to enjoy himself. Paul Hörbiger embodies Freund Hein on thin, flexible legs. The afterlife is Bavarian baroque. Down from the sky, where there is an eternal plague of putti, the reality down here looks tiny and harmless, not fatal at all.
Ernst Mach: "Think of the opposite case! We would be so small that we could walk in a forest of moss and our eyes would be close to each other. The mosses would appear tree-like to us. Then enormous, shapeless animals that had never been seen before crawl around. (…) On the trunks of the moss forest we find powerful, transparent, shiny spheres a few feet in diameter, which curiously slowly swayed in the wind. We approach curiously and find that these balls, in which some animals frolic, that they are liquid, that they are water. Another careless touch and – oh, hurt! – an invisible force pulls my arm powerfully inside the ball and holds me inexorably! ”(1867)
posted by Rainer Knepperges
Wednesday, July 18, 2018
Eye and perimeter (I)
Ukradená vzducholoď (The stolen airship 1966 Karel Zeman)
"At the moment I have fallen back a bit into my childhood," said Eric Rohmer, 2009 ***. “I reread my Jules Verne collection. … the remarkable A fifteen-year captain.“Behind his pseudonym and a mustache stuck to public appearances, he was hiding from his mother, who was never to find out that the son was a filmmaker.
Half Year in Review (January – June 2018)
(How long is a minute, how short is a year) … brief appearance in the middle.
A Day at Henley (1911), 9 minutes of the most perfect psychedelic, a part of the country held in the Kinemacolor process, fixed in a shimmering, pulsating decay, an insanely lively breakdown of a beauty never seen before. The world as a sky-high coral reef, the day as a liquid fireworks – like only in the fall seconds of falling asleep. For 9 minutes: true indescribability. Maybe Jules Verne could have described it.
Jules Verne: “The major slept badly; he finally got up around 11:00 p.m. When he opened his eyes properly, the whole forest floor shimmered in front of him as if light were reflected in the water. At first he thought a grass fire was licking the ground, but then he noticed that before him a huge culture of phosphorescent mushrooms was spreading. The luminous substances illuminated the grove almost a kilometer away, and the major was just about to wake up the geographer to scientifically assess the phenomenon when he saw shadows scurrying along the trees further away. "(" The Children of Captain Grant ", 1867)
Discoveries and (*) reunion in Bologna, Cologne, Munich, Nuremberg or (**) at home:
Seed (1931 John M. Stahl)
Caravan (1934 Erik Charell)
When Tomorrow Comes (1939 John M. Stahl)
Santa (1943 Norman Foster, Alfredo G. de la Vega)
Xiao cheng zhi chun (Spring in a Small Town 1948 Fei Mu)
The double Lottchen (1950 Josef von Baky) **
Le Ragazze di Piazza di Spagna (1952 Luciano Emmer)
Ave Maria (1953 Alfred Braun)
Je suis un sentimental (1955 John Berry) **
Sitting sleepless in the kitchen at night and drinking milk is a ritual of self-assurance, therefore a well-known (American?), Almost classic picture. That Ingrid Bergman in Stanley Donen’s Indiscreet consumed a little with a glass of milk – melted cheese corners, without bread, directly from the aluminum paper – that’s something special … in this particularly beautiful film. Indiscreet To see again after decades in the cinema was an unexpected happiness.
Indiscreet (1958 Stanley Donen) *
Whenever night falls (1961 Hans Dieter Bove)
Night tide (1961 Curtis Harrington) **
La Ragazza in Vetrina (1961 Luciano Emmer) *
Naked City: Lament for a Dead Indian (1962 Robert Gist) **
The Birds (1963 Alfred Hitchcock) *
Ukradená vzducholoď (The stolen airship 1966 Karel Zeman) **
Hit it, little one (1974 May Spils)
The second spring (1975 Ulli Lommel)
Film migration from Nazi Germany (1975 G.P. Straschek)
Night tide (1961 Curtis Harrington)
From the depths of the sea, the mermaid stares at her male victim, panicking on the surface of the water.
Ernst Mach: “It often occurred to me that when I woke up in the dark room, the last dream pictures in vivid colors with an abundance of light were still present. – A peculiar phenomenon that I have encountered more frequently in the past few years is the following. I wake up and lie there with my eyes closed. In front of me I see the duvet with all its wrinkles, and on it my hands with all details calm and unchangeable. If I open my eyes, it is either very dark or light, but the blanket and hands are very different from what they appeared to me. It is a particularly rigid and enduring phantasm that I have not observed under other conditions. I think I can notice in this picture that all parts that are also far apart appear clear at the same time, in a way that is impossible for known reasons in the case of what is seen objectively. ”(“ The Analysis of Sensations ”, 1886)
Night tide (1961 Curtis Harrington)
Awakened from a dream in the depths of the night (exactly at 4), the sailor looks at the watch.
In “The Children of Captain Grant” Jules Verne describes irritating light phenomena in the midst of dangerous situations. 17 chapters in front of the shining mushrooms in Australia (only 12 chapters are in the nicely abbreviated version from 1966, which fell into my hands when I urgently needed this kind of reading) when the travelers in Patagonia were on the way to a flood disaster in Have fled the crown of a large tree, the constellations of the southern hemisphere are reflected in the surface of the water, as if the sky were also arching beneath them. Until suddenly a thick, dark haze rises menacingly from the eastern horizon and quickly covers half of the sky. This cloud seems to move by itself, because there is no hint of wind, no leaf moves on the tree, no wrinkle ruffles the water surface, almost as if all air had been sucked out by a gigantic pump. Even the shadows have dissolved and every sound has died. "The silence vied for depth and strength with the darkness." But the nerves of all living beings feel the high tension electricity with which the atmosphere is charged. When someone suggests you should climb down from the treetop into the lower nest and crawl "in philosophy and in our ponchos", they all notice a surprising twilight. It is produced by myriads of glowing dots that buzz back and forth across the surface of the water. Phosphorescent insects. Johanniswürmchen. "Living diamonds, from which the women of Buenos Aires make magnificent jewelry." Captain Grant’s son catches one of these shining little animals. A kind of big bumblebee 2 cm long. The animal shines so brightly on the breastplate that the researcher can read Paganel on his watch that it is 10 o’clock in the evening.
L’anticristo (1974 Alberto de Martino)
Ernst Mach describes the dream as something supple, which in its course can react to the doubt of the genuineness of the dream.
When writing about films, this suppleness should be felt, which one has at least when watching a film on good days.
All of me (1984 Carl Reiner)
"The ego is irretrievable. Partly this insight, partly fear of it, lead to the most peculiar pessimistic and optimistic, religious, ascetic and philosophical wrongdoings. The simple truth that results from psychological analysis cannot be closed in the long run. One will then no longer attach great importance to the ego, which can vary widely during individual life, even in sleep and when immersed in an intuition, in a thought, especially in the happiest moments. One will then gladly forego individual immortality, and not attach more importance to the minor than to the main thing. This will lead to a freer and more transfigured view of life, which excludes disregard for the foreign self and overestimation of one’s own. The ethical ideal, which is based on the same, will be equally distant from that of the ascetic, which is biologically unsustainable for him, and at the same time will cease to exist as well as that of Nietzsche’s cheeky ‘superhuman’, which the fellow human beings will not can tolerate, and hopefully will not tolerate. "(Ernst Mach:" The Analysis of Sensations ", 1886)
Daddy’s Home 2 (2017 Sean Anders)
Jim & Andy: The Great Beyond (2017 Chris Smith)
The Post (2017 Steven Spielberg)
Ready Player One (2018 Steven Spielberg)
Bad Girl Avenue (2018 Klaus Lemke)
The 15:17 to Paris (2018 Clint Eastwood)
Lucky (2017 John Carroll Lynch)
The two lives of Reno Roc (2018 Bruno Sukrow)
Grolsch (2018 Bruno Sukrow)
The Rider (2018 Chloé Zhao)
More from Jules Verne and Ernst Mach shortly, and about framed faces in films.
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