Archive for L’Assassinat du Pere Noel

Class

Posted in FILM with tags , , , , , , , , , , on October 8, 2013 by dcairns

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I’m jumping on a plane to Venice today, en route to Pordenone. So as a stop-gap measure, here’s the list of screenings I’ve set for students at Edinburgh College of Art where I work. They’ve already had THE GENERAL, M and CRISS CROSS.

The screenings start off in chronological order but then meander. The choices are not so much to fill in vital areas of film history — impossible to do with so few! — but to hint at the development of the medium while pointing to clues useful to our students’ work. Things like POV and subjective emotional effects, use of time, movement, props and their relationship to character and story, seducing the audience to go on a journey…

My blurbs are on the basic side, written in half an hour…

TUESDAY 15TH OCTOBER
RASHOMON
(Akira Kurosawa)
The film that introduced Japanese cinema to the west. A dizzying exploration of truth and lies. Several people have witnessed a murder, but at trial their accounts differ so radically that nobody can make sense of what really happened. Kurosawa turns this premise into a hypnotic, sometimes shocking, always beautiful study of our problematic relationship to truth.

THURSDAY 24TH OCTOBER
WILD STRAWBERRIES
(Ingmar Bergman)
An old man nearing death goes on a journey into his past. Bergman’s poetic film uses cinema to explore time and memory as a key to character. The aging actor/director Victor Sjostrom, in his last role, is extraordinary.

THURSDAY 31ST OCTOBER
SECONDS
(John Frankenheimer)
A man is approached by a mysterious company who offer him a new life. A new face, a new identity, a chance to start again. Second helpings. Both melancholy and stylistically dazzling, the film unites the influences of Hollywood, television, and European arthouse to paint a haunting portrait of longing and failure that will incidentally terrify you.

THURSDAY 7TH NOVEMBER
DON’T LOOK NOW…
(Nicolas Roeg)
Visually beautiful, romantic, frightening. Donald Sutherland and Julie Christie are grieving parents in wintry Venice, haunted by visions of their dead child and embroiled in a deeper, darker mystery. Roeg practically reinvented film cutting with his allusive, mosaic-like approach, fragmenting time and space.

cabaret2

THURSDAY 14TH NOVEMBER
CABARET
(Bob Fosse)
Not always considered in the context of New Hollywood cinema (Scorsese, Coppola etc), but he definitely belongs there, the choreographer-turned-director Fosse proved himself with this divinely decadent exploration of Berlin night-life in the years just before the rise of Hitler. A musical which is also sinister, sexy, scary, political and unsettling.

THURSDAY 21ST NOVEMBER
A MOMENT OF INNOCENCE
(Mohsen Makhmalbaf)
Documentary and fiction crash together in such a way that you can’t tell them apart. Director Makhmalbaf decides to make a film about the policeman he stabbed during the Iranian revolution. He hires the policeman to play himself. What will a fictional recreation of a real event reveal?

THURSDAY 28TH NOVEMBER
SHORT FILMS PROGRAMME
Classic and obscure short fiction films selected to broaden or even explode your thinking about story, performance, photography, design, editing…

THURSDAY 5TH DECEMBER
THE SUITOR
Pierre Etaix stands somewhere between Jaques Tati and Woody Allen, delivering visuals gags around romantic situations. Playing almost like a series of short films, The Suitor follows Pierre’s misadventures as he doggedly tries to find romance, without understanding really what it is. For his use of framing, props and the language of film, Etaix is a master to learn from.

THURSDAY 12TH DECEMBER
THE CONFORMIST
(Bernardo Bertolucci)
Simply one of the most exhilarating pieces of filmmaking ever, this political thriller is also a dark psychological drama and a joyous romp through cinematic technique. Clerici wants to please Italy’s fascist rulers because he needs to feel he belongs – he’s worried about an event in his youth which may mark him as different. The state sends him to Paris to assassinate his old teacher, to prove his loyalty. Since he’s getting married, he brings his new wife along – it’ll make a nice honeymoon…

THURSDAY 19TH DECEMBER
L’ASSASSINAT DU PERE NOEL (THE MURDER OF SANTA CLAUS)
(Christian-Jaque)
A delightful mystery which serves up the true spirit of Christmas: murder, suspicion, insanity and malaise. But all wrapped up at the end in a way that’s charming and funny and surprisingly heart-warming. Amazing to think this confection was first served up during the Nazi occupation.

Up until the last minute the list included COME AND SEE, an amazing film which I think students would get a lot out of… but I began to fear that the schedule was getting to be too much of a wrist-slitter. I don’t find any of these films depressing, but some light and shade is useful.

Film Stocking Fillers

Posted in FILM, Mythology, Television with tags , , , , , , , , , , , , , , , , , , on December 23, 2011 by dcairns

A wild west Christmas tree from LES PETROLEUSES.

I hate lists, generally — too much film writing is based on the list structure, and at this time of year, “best of” lists proliferate horribly. But if I’m honest, the reason I never participate in them is I can never remember whether I saw something in the last year or the year previous. Or the year before that.

However, the idea of a list of neglected Christmas movies did seem potentially worthwhile — if you have access to nay of the below, or they turn up on TV, they might plug an otherwise unproductive gap in your schedule as you lie replete with turkey and pudding, or might even unite homicidal family members in yuletide bliss for ninety minutes. Anyhow, they’re all films I like, and many of them can be explored further on this site or elsewhere — links will be provided.

REMEMBER THE NIGHT — the first Christmas edition of The Forgotten focussed on this lovely genre-twisting 1939 charmer from screenwriter Preston Sturges and director Mitchell Leisen. What begins as a contrived screwball comedy, with assistant DA Fred MacMurray saddled with jewel thief Barbara Stanwyck over the holidays, dips a toe into rustic tragedy, settles into bucolic sentiment, then takes a side-swerve into near-tragedy. While Sturges typically pulled tonal shifts out of a seemingly bottomless hat and shuffled them like playing cards, here the film sticks to each emotion long enough to settle, which makes the mood swings all the more surprising, but also effective. And it captures some of the authentic family experience — good and bad.

L’ASSASSINAT DU PERE NOEL — not as iconoclastic as it sounds. Christian-Jacque directs this snow-bound murder mystery, with Harry Baur as a definitive Santa. The opening titles, where he lumbers, Frankenstein-like, out of darkness, sets a disquieting tone otherwise eschewed in favour of the peculiar cosiness a good whodunnit so often generates. An air of magic fringes on Cocteau territory, the feelgood fuzziness of the ending is accompanied by the funniest wrap-up to a mystery I ever saw.

LYDIA — Julien Duvivier’s not-exactly-remake of his own CARNET DU BAL doesn’t come on strong as a Xmas flick, but there’s enough studio-bound sleigh-ride romance to make it qualify. You may NEED to shed those tears, this time of year — otherwise you’ll be lugging them around in your ducts like ballast for another twelve months. No movie with Merle Oberon and three suitors sitting around with great wads of latex all over their heads should have any claim on our emotions, but this one does.

THE UMBRELLAS OF CHERBOURG — I like it when the Christmas spirit ambushes you, leaping from behind an Esso station and slugging you across the skull with a sack of presents when you’re least expecting it. And said spirit includes a fair share of melancholy, right? Of course, not every film with snow at the end is a Xmas film — I wouldn’t make that claim for FAHRENHEIT 451, although come to think of it, that red fire engine is kind of festive.

THE PHANTOM CARRIAGE — the concentration is on New Year’s, an even more tragic and melancholy time than Xmas, but this still counts. The Sjostrom version is a true classic, but the Duvivier remake deserves more love too — it has Louis Jouvet, and amazing constructed snowscapes, and the same morbid, redemptive storyline: it’s a little like Scrooge, only he has to die.

Stuff I saw on TV as a kid which I haven’t revisited recently enough — Chuck Jones’ A Cricket in Times Square and its sequels, the Harry Alan Towers production of CALL OF THE WILD (with an epic, emotive Mario Nascimbene score), and the Richard Williams animation of A Christmas Carol.

Your own suggestions, please!

Santa’s Angry

Posted in FILM with tags , on December 24, 2009 by dcairns

L’ASSASSINAT DE PERE NOEL is so full of gorgeous images that it demands another post just to show them off, especially as they’re so seasonal. It’s snowing in Edinburgh too, as I type this (we never get a White Christmas normally).

This film is chocka with shadowy figures skulking through the snowdrifts, bent on criminous misdeeds. Which is what Christmas is all about, at the end of the day, isn’t it?

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