Archive for Bernardo Bertolucci

The Man with the Mondrian Wheels

Posted in FILM, Painting with tags , , , , , , , , , on July 1, 2016 by dcairns

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9 a.m. HER MAN (Tay Garnett). Proto-Wellesian tracking shots, and Phillips Holmes looking Greek-godly in a shredded sailor suit. “That was practically a bdsm costume,” said Meredith Brody.

11. a.m. BROADWAY (Pal Fejos, whose very credit drew applause). “You’re seeing all sorts of fresh-minted clichés,” observed Mark Fuller.

16.00 MAS ALLA DEL OLVIDO (BEYOND OBLIVION, 1955) Argentinian Gothic melodrama which draws from REBECCA and GASLIGHT while harking forward to VERTIGO and even THE HORRIBLE DR. HICHCOCK. See it if you ever get the chance.

21.45. THE HIGH SIGN (music by Donald Sosin), COPS (music by Timothy Brock) and THE KID (music by Charlie Chaplin adapted by Timothy Brock). Orchestral accompaniment. The Piazza Maggiore. Sublime.

A rare “golden” print of REFLECTIONS IN A GOLDEN EYE was displayed. Andrew Moor observed of the movie, “It’s a sort of mash-up of BILKO and EQUUS.”

Saw a man in a very cool wheelchair — it had Mondrian wheels. “We should compliment him on his chair!” Moving a little closer: “We should compliment him on his career!” Bernard Bertolucci, in the flesh. But the towering bodyguard maintaining his privacy as he chatted to Scott Foundas barred all compliments.

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Dreaming the Shot List

Posted in FILM with tags , , , on November 21, 2015 by dcairns

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“For a long time, I tackled each shot as if it were the last, as if someone would be taking my camera away just after I finished shooting with it. Therefore, I had the feeling I was stealing each shot, and in this state of mind it’s impossible to think in terms of “grammar” or even “logic.” Even today, I prepare nothing in advance. In fact, I try to dream in my sleep the shots I will be shooting the next day on my set. With a little luck, I’m able to do it. If not, when I arrive on set in the morning I ask to be alone for a while, and I roam around the set with my viewfinder. I look through it and try to imagine the characters moving and saying their lines. It’s almost as if the scene were already there, invisible or impalpable, with me trying to seek it out and give it life.”

Bernardo Bertolucci interviewed in Moviemakers’ Masterclass by Laurent Tirard. Reminds me of Buster Keaton’s, “By God, when we was making movies, we ate, slept and dreamt ’em.” My problem as filmmaker, in common with many others, is that I’m an insomniac whenever I travel or whenever I make a movie (the two processes are related). My theory is that directors are usually grouchy for this reason, and films are usually bad for this reason. They’re made by people who haven’t slept and can’t think clearly.

Tirard’s book is enjoyable and informative and he has rounded up an amazing array of talent — Woody Allen, Almodovar, Boorman, the Coens, Cronenberg, Godard, Kusturica, Lynch, Pollack, Scorsese, Wenders, Wong Kar-Wai… I wish he asked a wider range of questions, more tailored to his subjects. I think Bert, above, is the only guy with a really good answer to the boilerplate question “Does film have a grammar?” Most of those asked say it does, but you can break it, but you have to know it to break it, blah blah. Listening to Cronenberg, who, for all his wild imagery, has never really done anything with the interplay of shots that broke with the tradition of Griffith, coming out with this pablum is mildly irritating. He could give a better answer to a better question.

Still, it’s a great array of interviewees. Some of them give slightly more practical advice than Bertolucci, too.

Falling Don

Posted in FILM, Mythology with tags , , , , , , , , , , , , , on January 8, 2014 by dcairns

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“That’s a lot of money for a dame without a head” — statue outside the Church of St Nicholas in Venice, where DON’T LOOK NOW was filmed. Forty years on and they STILL haven’t got a head on that thing.

A story from Philip Kaufman’s commentary on INVASION OF THE BODY SNATCHERS — he was filming the climax, with Donald Sutherland gamely staggering around a catwalk high in the air in a big greenhouse, and a mutual acquaintance approached. “Is that Donald Sutherland up there?” Kaufman affirmed that it was, and his friend, with a note of panic, cried “Don’t you know he’s The Clumsiest Man Alive?”

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This makes Sutherland’s cameo as “The Accident-Prone Waiter” in KENTUCKY FRIED MOVIE much funnier, but adds a frisson of terror to DON’T LOOK NOW and several other Sutherland films. As Sutherland described it to Mark Cousins in a TV interview, the scene in DLN where he dangles from a rope at ceiling level in a cavernous Venetian church was originally going to be performed by a stunt man. But, he says, rather apathetically, the stunt man “wasn’t happy about something” and in the end Sutherland volunteered and did the dangling himself. He had a kirby wire running down his sleeve to a harness, securing him so he couldn’t actually fall.

Years later Sutherland is talking to another stuntman, who congratulates him on the awe-inspiringly dangerous sequence. Sutherland demurs: “I was quite safe, I was fastened to a kirby wire…” “But you were going like this,” says the stunt man, making a twirling motion with his index finger to indicate the way Sutherland spun helplessly on his rope. “Yes, I was.” “Well, when you go like that on a kirby wire, the kirby wire breaks.”*

Sutherland actually had premonitions of doom on the movie, feeling that it was such a tragic and death-haunted tale, somebody might actually have to die while making it. Fortunately for him, that was silly.

But one of the strange pleasures of re-watching the film with students — and it unlocks fresh pleasures each time — is the number of times poor Donald falls on his ass, or nearly so, during the show. Nic Roeg has him staggering along beside canals, blundering over barges, and straddling ledges fifty feet up… It’s all a touch ungainly. Julie Christie, meanwhile, negotiates rowing boats and the like with the grace and dexterity that only the Rank Charm School can instill.

What else — ?

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Odd framings, like this shot which picks up a sinister sign-post as a plank glides across the lower edge of frame like a shark’s fin.

Constant communication trouble: Sutherland speaks fluent Italian to his work crew, but whenever faced with an emotional question or a conversation with a woman, his language deserts him. “English… English…” he pleads abjectly.

Julie Christie sees a police sketch of one of the two sisters (vacationing from Scotland, though their accents are VERY English) — “It doesn’t really look like her.” “It doesn’t matter,” says Inspector Longi (how I’d love a whole series of films about his unsuccessful cases! Maybe he could team up with Harvey Keitel’s Inspector Netusil from BAD TIMING to fight crime ineffectually across Europe). He means, “It doesn’t matter since no crime has been committed and we’re no longer seeking her,” but what Christie understands, from her nonplussed expression, is obviously “It doesn’t matter if our sketches don’t resemble the people we’re looking for because that’s not their purpose.” Whole worlds of mystery open up at that thought.

The first view of Julie —

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This prefigures the film’s climax, which hinges on that uncanny lurch you feel when you approach somebody you know and they turn around and it’s not them. I first got this with a woman who wasn’t my mum in the supermarket when I was small. (“His little world swung half around; the points of the compass were reversed.” ~ Chickamauga, by Ambrose Bierce.)

I was in Venice recently, making a side-trip from Pordenone on a free day after the Silent Film festival had ended, and I visited Donald’s church. It’s still there, looks the same, but doesn’t have any mosaics that I could see. They don’t let you take pictures inside as they fear the camera will steal away the Holy Spirit, I guess, but I snapped away outside. And no, I didn’t see any little figures in red macs. Fiona suggests the Venice town council should hire little people to dart about and peak from round corners wearing the appropriate plastic attire. She’s right — I think you’d only need about seven at a time to cover the city. You wouldn’t want them to become commonplace or anything.

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Donald sees a glove on a window ledge. I saw a segment of orange.

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*Sutherland has another great story about shooting Bertolucci’s 1900 which left him with concussion and a half-severed ear. I can tell it in the comments section if there’s interest.