Stealing Time

I’m in the edit today — Fiona and I have recorded a video essay for KWAIDAN. So not much time for blogathoning. But I tell you what — Timo Langer and I are cutting at Mark Cousins’ place. How about I wander about and see if I can find any late films to write about, in between cuts?

The reference material from Mark’s THE EYES OF ORSON WELLES lie all around, so there’s CHIMES AT MIDNIGHT, F FOR FAKE and THE OTHER SIDE OF THE WIND.

There’s a Derek Jarman box set, but it doesn’t contain BLUE, which I really ought to write about — one of the ultimate late films, you could argue, made when its director had been struck blind by AIDS.

Ah, there’s WAR REQUIEM, late-ish Jarman and positively final Olivier. You can’t get later than late Olivier.

(Is it bad manners to blog about somebody’s flat when they’re out?)

Two Theo Angelopoulos box sets. Haven’t seen THE DUST OF TIME, but it’s a great title for a last film, even though its creator probably wasn’t planning to curtail his career by stepping in front of an off-duty cop’s on-coming motorcycle.

Wow, here’s THE BRAVE, the only film directed by Johnny Depp, to date. (And a follow-up seems less and less likely.)

This place is a treasure trove of cinema, including late cinema…

Mark’s back, now I feel guilty and furtive.

He’s OK with it — in fact, he mentions an article he wrote on Late Style, which you can read here, at The Prospect. Quick discussion follows on why, so often, filmmakers’ work becomes tired or boring in old age, whereas that doesn’t happen so often with visual artists. The weight of all that equipment seems to be a burden. “Look at Bertolucci, how his films shrank, until they were one-room films.” Maybe lightweight digital cameras will transform this. But the filmmaker’s

I suggest that there’s a feeling that film is done best by people who are still discovering everything. It’s when we think we know what we’re doing that we get dull. It’s like those seventies Disney films where they had filing cabinets full of old animation cels as reference. You want a dancing bear, you just trace one somebody did earlier. Sometimes our brains get like filing cabinets.

There’s a relevant line in THE OTHER SIDE OF THE WIND: “It’s alright to steal from others, what we must never do is steal from ourselves.”

Late, Late, Late

I thought about scheduling this a week later, especially since I haven’t watched any suitable films yet, but what the heck?

December 1st is a Sunday, which is perfect — the start of the week. We can begin gently, with an intertitle… I have a film in mind…

Linkages

The Late Show expands over to The Notebook with a new edition of The Forgotten, in order to consider Bernard “Mad” Vorhaus’s SO YOUNG, SO BAD, the quote quickie king’s penultimate film, his last US one before the blacklist slammed the door in his face. Girls in prison! Tracking shots into empty rooms! Careful with that fire hose! Here.

Stars Victor and Muriel Laszlo, Altaira Morbius and Googie Gomez.

Plus, we have new entries! Friend and collaborator Scout Tafoya weighs in on THE OTHER SIDE OF THE WIND at Apocalypse Now, with an individual approach I just loved, swerving midstream to also encompass Bud Boetticher’s last western.

And another friend, Jaime N. Christley, takes a radically different approach to the same/a similar subject at his Filmsaurus, here. Both are must-reads, I promise you. Tears in my eyes.

And we have another MUMMY limerick, because you can never have too many MUMMY limericks (apparently).

Tomorrow: more links (I hope) and a new edition of The Shadowcast!