Archive for FILM

The Sunday Intertitle: Not Notfilm

Posted in FILM, Theatre with tags , , , , , , , , , , , , , , , , on May 10, 2020 by dcairns

It feels mean to have a go at NOTFILM, Ross Lipman’s documentary about the making of Samuel Beckett’s FILM. Lipman has all the right materials and a potentially great subject and has spoken to some of the key people, but he is not the right person to be making the film.

When he says “Barney Rosset conducted his last interview,” he means, “I conducted Barney Rosset’s last interview.” Maybe this is modesty. But it’s also misuse of the word “conduct.” And a person who uses words sloppily cannot make a satisfactory film about the precise Beckett.

“One can file these works, almost in sequence, before and after FILM.” I have no idea what this means, or why Lipman says it so portentously. Actually, I can file Beckett’s work absolutely in sequence, before and after FILM.

“Beckett’s was the only that would be completed.” This is just a horrible sentence, the missing word “one” giving the feeling of climbing a flight of stairs and imagining there’s one more step, and having that lurching feeling when it isn’t there.

I liked it when he cut between Keaton’s THE CAMERAMAN and Vertov’s MAN WITH A MOVIE CAMERA in such a way that it felt continuous, but I didn’t like it when he did absurd 1980s video effects, where the image puckers up and shrinks into a ball, etc. I felt that a person who uses images so sloppily couldn’t possibly make a film about the precise Keaton.

There are a lot of great stills and documents… Both the subject, and the fact that the key personalities are dead and have left limited documentation, seem to invite an experimental approach, but apart from the intrusive Kenny Everett Video Show effects, the piece unfolds like the most standard-issue documentary. The default film.

However, within that constraining frame, there is plenty of good stuff — the fact that Boris Kaufman, cinematographer of FILM, was Dziga Vertov’s youngest brother produces not only historical connections but trapdoors into philosophical pondering which Lipman plungers down, investigating the points of contact between Vertov’s all-seeing camera eye and Beckett’s.

This is a two-hour film about a twenty-minute film, but oddly that’s not a problem. If the material were handled more deftly, I can imagine it flying by, and it still manages to trundle fairly effectively.

But asides from the philosophical trapdoors, Lipman also drops down some sinkholes of cliché, devoting line after line to Keaton’s “expressionless stone face.” All wrong. Keaton’s face is not expressionless and it does not leave itself open to interpretation, as Lipman asserts. And FILM has some of the more overt facial acting of any Keaton film, so this is both a failure to observe and willingness to be led by received wisdom.

The most useful interviewee is James Karen, the man who was there — he seems to have been responsible for getting Keaton into the film, something he had cause to regret.

Another really useful person to have spoken to — and one who would have fitted right in with the doc’s pattern of catching people right before they checking out — Barney Rosset and James Karen and Haskell Wexler are no longer with us, alas — would have been Karen Black. I can’t blame Lipman for not tracking her down — her involvement in this tale is only a random fact adrift in my brain like an earwig in a cup of coffee. In some old issue of films & filming magazine, a profile, which also mentions her performing Bowie’s Time while dressed as a Nazi stormtrooper in her cabaret act — Black recalls witnessing the NYC location shoot of FILM, and being horrified by Alan Schneider’s yelling instructions to Keaton during a take. “How can you do your job with someone yelling at you?” she asks, reasonably enough.

But I think Schneider was (a) being a silent film director of the old school, something Keaton probably didn’t mind, and (2) cueing Buster for the moment where, as indicated in the script, his character, O, senses without seeing, the approach of E, the film’s other major character, played by the camera itself. What doesn’t work, though, is the end result: in the film, it looks as if Buster is waiting for the word “Action,” and then takes off on command. Buster, of course, could play anything he could understand, like Ginger Rogers. He didn’t understand, or particularly like, Beckett’s script, though his eventual guess as to its meaning is not a bad one: a man can hide from everyone except himself. Beckett wouldn’t have put it like that, but it comes close enough to the authorial intent to be playable.

Karen complains that the filmmakers didn’t let Buster in on their thinking, and in Schneider’s published reminiscences (quoted too sparingly here), he makes it clear he found Keaton uncommunicative, closed off (Keaton was fairly deaf by this time, which Schneider seemingly didn’t know). Beckett was partially blind, Keaton deaf, and Schneider was a complete novice to cinema. I think Beckett’s notes about “the angle of immunity” wouldn’t have meant anything to him — Keaton isn’t likely to be open to learning a new concept of film terminology, one personal to Beckett, at this late stage in his life. But a direction like “you don’t SEE the camera, but you sense it’s there suddenly, and you want to escape it,” would have worked and even with his back to the camera, Keaton could have TOTALLY have acted that.

I should say that the doc has some tremendous material: recordings of Beckett in conference, outtakes, and clips from a pin-sharp transfer of a film I’ve only ever seen in fuzzy form.

Oh, and THE LOVABLE CHEAT! This is a 1949 film in which Keaton appears, alongside Charles Ruggles, Peggy Ann Garner and Alan Mowbray. It’s based on a play by Balzac which Beckett denied having read (lying bastard), in which a bunch of characters await an unseen figure named Godot. In the Balzac play and the film, however, Godot finally arrives, and everybody’s really happy. Personally I think Lipman missed a trick here — opening with the jubilations about Godot’s arrival, which are funny only because of their absurd resonance, without any explanation of how this sequence came to exist, would have been really striking. Lipman, by taking us through events in a more rational order, has spoiled the surprise. It’s still really funny, though.

Oh, and I think he should have compared the scene in SHERLOCK JR where Buster struggles to get himself incorporated the film within the film (he uses plenty of clips from that one but not this bit) with Beckett’s Act Without Words I, which seems to be telling the same story. (If Beckett denied the influence, again, he’s a big fat liar.)

The Sunday Intertitle: A Most Wanted Man

Posted in FILM with tags , , , , , , , , , on September 7, 2014 by dcairns

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At Edinburgh’s late, lamented Lumiere (a terrible room with great programming), one of the treats was a screening of Keaton’s THE GENERAL, with THE GOAT (1921) in support. Apparently some kids had been dragged to see it by parents, and one of the pleasures was hearing a small boy say, after the short, “That was GOOD!” with a touch of amazement in his voice. They know their own minds from an early age, so this was a definite victory.

I thought of THE GOAT again when looking for something to watch while we decided what to watch on our anniversary. Fiona hadn’t seen it, so far as she knew. The thing is, it has a great set-up and some great gags but isn’t the most scrupulously well thought-out Keaton short by a long chalk. But there’s a certain charm in the slapdash, or I hope there is, given that I’m at work on a script written in two weeks.

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Buster is introduced in the bread-line, which gets some sympathy for him –Keaton always wanted to generate sympathy, “but you mustn’t ask for it.” This opening sequence really has nothing to do with anything, though. The movie could begin with the following bit, where Buster gets himself photographed in place of a murderer. There’s then a scuffle in which Buster knocks a heel unconscious and meets a girl (Virginia Fox, in one of her most undercharacterised roles). And then a mini-version of the chase in COPS with some very good gags, particularly the cunning way Buster locks his pursuers in a removals van, and the surprising way they turn up again later.

Buster now escapes to the next town, which serves no great narrative purpose except to stop the cops chasing him, and have a passage of time. The wanted poster for the escaped murderer has now gone up, bearing Buster’s image, motivating another chase by cops, including town sheriff Big Joe Roberts, a Keaton favourite.

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My frame grabs seem to be emulating Beckett’s FILM.

Keaton plays with the idea that Buster believes he must have killed that heel he knocked out — he plays with it for about one minute, then drops it, never to resolve the issue. And Dead Shot Dan is never recaptured, a fairly major loose thread. Instead of neat resolutions we have even more brilliant gags.

Fiona particularly liked Buster throwing himself out of a hospital, to land in front of an ambulance, whose stretcher-bearers calmly transport him back in — and the horse.

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This one needs a special set-up via intertitle to even make sense — a sculptor is presenting the clay model of his masterpiece, which is to be presumably a bronze statue of a racehorse. The sheet is lifted to reveal Buster posed on the fake horse, hiding from cops. The horse slowly droops in the middle, legs buckling, eventually snapping off at hoof level as Buster and the sagging torso fall from their plinth, to the dismay of the sculptor. It’s somehow extremely funny in its grotesquerie, but it’s not the most elegant gag — the horse has to be suspended on wires and gently lowered to simulate its collapse. Keaton preferred not to fake anything, and if you could have made the shot work for real, it would certainly have been better. But it’s funny.

Buster meets Virginia again, gets invited home to meet the folks, and pop turns out to be the sheriff. HUGELY prolonged suspense as Buster plays with the family dog, so that he doesn’t see Sheriff Joe and Sheriff Joe doesn’t see him. Then the family say grace, so everyone is looking down at their soup so they STILL don’t see each other. And then they do.

Walter Kerr admired Keaton’s escape here. Sheriff Joe locks the door and bends the key, so Buster jumps onto the dinner table, onto Joe’s shoulder, and exits via a flying leap through the transom. Beautiful, logical, surprising, and only possible because all the important objects are arranged in a straight line across the screen in classic Wes Anderson formation.

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Lots of business with the elevator, climaxing with Sheriff Joe crashing through the ceiling in what appears to be an animated special effect — it looks like something Charley Bowers would do, and you know how stop-motion has a very distinct quality of movement? . That’s what I’m seeing here. And one recalls the dynamation dino in THE THREE AGES. But the elevator tips a lot of debris off its roof as it topples — could this be animated debris, as in EARTH VS. THE FLYING SAUCERS? It looks too dusty. And no method existed in 1921 for combining an animated elevator with live action debris into a single shot. I’d love to hear the solution to this one.


Anyhow, Buster exits with the girl, who is sublimely unconcerned that her beau just shot dad through the roof. And Buster is STILL wanted for murder.

These are essential possessions: help me out and buy one via my links —

The Complete Buster Keaton Short Films [Masters of Cinema] [DVD] [1917]

Buster Keaton – Short Films Collection: 1920 – 1923 (3-Disc Ultimate Edition)

Google Gaga

Posted in FILM with tags , , , , , on January 27, 2008 by dcairns

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the big gundown

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