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Archive for the ‘Career Retrospectives’ Category

New Article: “It’s All About Relationships” – An Interview with Peter Medak

Thursday, August 11th, 2016

I have a new article out today – a career interview with director Peter Medak in QRFV.

As I write in my introduction to the interview, “by his own admission, Peter Medak has had a very unusual career as a director. Forced to leave his homeland at the age of 18 during the Hungarian Revolution, leaving his parents behind in the process, Medak fled to London, then a welcoming haven for emigrants, and began a film career from the absolute bottom rung of the business, eventually working his way up to his first film as a director, Negatives, in 1968.

Along the way, he had a lot of good luck, and made many connections within the film business that were of great value to him later – and still are today – but after the critical and commercial success of arguably his most famous film, The Ruling Class (1972), for which Peter O’Toole was nominated for an Academy Award for Best Actor, Medak made the great mistake of doing a favor for his friend, the actor Peter Sellers, by agreeing to undertake the direction of Ghost in The Noonday Sun (1973), a film which soon ran aground due to Sellers’ capricious demands and the interference of his friend, the British comic Spike Milligan.

Completed but immediately shelved by the studio, the blame for Ghost in The Noonday Sun’s failure fell, unfairly, on Medak, who suddenly found himself going from “hot” to “not” status almost overnight, beginning a long period of working on films that he didn’t really believe in to pay the rent, until he managed to break the losing streak with the ghost story The Changeling, starring George C. Scott and Trish Van Devere, and more spectacularly with The Krays (1990) and Let Him Have It (1991), two films in which Medak finally had a free hand.

But even when he worked in television, Medak’s visual style and his skill with actors always shines through, and as we both agreed during this interview, there’s nothing wrong with working on an episode of a series like Breaking Bad – “Peekaboo,” in 2009 – and Medak continues to be active to the present day, and is now working on a documentary of sorts on the film that almost ended his career, with The Ghost of Peter Sellers, a work in progress which reunites the surviving cast members of that memorable debacle for a fascinating “what went wrong?” trip down memory lane.”

What followed was a fascinating and frank interview with a gifted filmmaker; I hope you get a chance to read the article, which is unfortunately behind a paywall. But you should be able to gain access easily enough through many of the online databases that UNL subscribes to, and I hope you’ll take a moment to read the really amazing adventures of this uncompromising artist – who suffered through a difficult time, and came out the other end with two stunningly successful films.

I’m glad I got a chance to talk to Peter – it’s great stuff.

Maureen Honey’s New Book – Aphrodite’s Daughters

Wednesday, August 10th, 2016

Cultural historian and theorist Maureen Honey has an essential new book out from Rutgers University Press.

As the website for the book notes, “the Harlem Renaissance was a watershed moment for racial uplift, poetic innovation, sexual liberation, and female empowerment. Aphrodite’s Daughters introduces us to three amazing women who were at the forefront of all these developments, poetic iconoclasts who pioneered new and candidly erotic forms of female self-expression.

Maureen Honey paints a vivid portrait of three African American women—Angelina Weld Grimké, Gwendolyn B. Bennett, and Mae V. Cowdery—who came from very different backgrounds but converged in late 1920s Harlem to leave a major mark on the literary landscape.

Honey examines the varied ways these poets articulated female sexual desire, ranging from Grimké’s invocation of a Sapphic goddess figure to Cowdery’s frank depiction of bisexual erotics to Bennett’s risky exploration of the borders between sexual pleasure and pain. Yet Honey also considers how they were united in their commitment to the female body as a primary source of meaning, strength, and transcendence.

The product of extensive archival research, Aphrodite’s Daughters draws from Grimké, Bennett, and Cowdery’s published and unpublished poetry, along with rare periodicals and biographical materials, to immerse us in the lives of these remarkable women and the world in which they lived. It thus not only shows us how their artistic contributions and cultural interventions were vital to their own era, but also demonstrates how the poetic heart of their work keeps on beating.”

Aphrodite’s Daughters has already attracted a great deal of favor able critical attention, with Cherene Sherrard-Johnson, author of Dorothy West’s Paradise: A Biography of Class and Color describing Aphrodite’s Daughters as ”an excellent book on a trio of under-read and often misunderstood poets. Maureen Honey’s portrait of this unique cadre of modernists reveals the fascinating conflicts of politics and poetics that exemplify the Harlem Renaissance’s artistic production.”

Cheryl A. Wall, author of Women of the Harlem Renaissance adds that ”Maureen Honey’s archival research and critical acumen transform our understanding of Gwendolyn Bennett, Mae Cowdery, and Angelina Grimké, poets who explored their interior and erotic lives with deft lyricism and uncommon courage.”

This is a stunning, groundbreaking piece of work – well worth your time and attention.

Classic TV Series “The Defenders” Comes to DVD At Last

Thursday, July 28th, 2016

The Defenders, one of the most important drama series of the 1960s, finally gets a DVD release.

Completely forgotten today by most, this stunning series racked up 132 episodes over a four year on CBS, and starring E.G. Marshall and Robert Reed as a father and son legal team that specialized in handling “difficult” cases. Unlike most courtroom dramas of the era, such as the wildly popular CBS legal procedural Perry Mason, starring Raymond Burr in the title role,

The Defenders was never really about the law unto itself – it was more concerned with social justice, and used the courtroom setting as way of opening up a discussion on a wide variety of issues of the day. From September 16, 1961 – May 13, 1965, each week The Defenders tackled subjects no other series of the era would touch. During its run, The Defenders won 13 Emmy Awards (including three in a row for Outstanding Drama Series) and received an additional seven nominations.

As historian Mark Alvey wrote, in part, in The Encyclopedia of Television, “The Defenders was American television’s seminal legal drama, and perhaps the most socially conscious series the medium has ever seen. The series boasted a direct lineage to the age of live television drama, but also possessed a concern for topical issues and a penchant for social comment.

With its contemporary premise and its serious tone, The Defenders established the model for a spate of social-issue programs that followed in the early sixties, marking a trend toward dramatic shows centered on non-violent, professional ‘heroes’ (doctors, lawyers, teachers, politicians).

The series had its origins in a 1957 Studio One production entitled The Defender, written by Reginald Rose, one of the most prominent writers from the age of live anthology dramas. Having collaborated with Rose on the original two-part Defender teleplay and other productions, veteran anthology producer Herbert Brodkin teamed again with the writer to oversee the series.

The Defenders’ creators went against the overwhelming tide of Hollywood-based programs, following the tradition of the live anthologies–and the more recent police drama Naked City–by mounting their show in New York. Although The Defenders was primarily a studio-bound operation, with minimal location shooting, its success proved to be a key contributor to a small renaissance in New York-based production in the early 1960s.

The series concerned the cases of a father-and-son team of defense attorneys, Lawrence Preston (E.G. Marshall), the sharp veteran litigator, and his green and idealistic son Kenneth (Robert Reed). As Rose pointed out a 1964 article, ‘the law is the subject of our programs: not crime, not mystery, not the courtroom for its own sake. We were never interested in producing a “who-done-it” that simply happened to be resolved each week in a flashy courtroom battle of wits.’

Certainly The Defenders exploited the inherent drama of the courtroom, but it did so by mining the complexity of the law, its moral and ethical implications, and its human dimensions. Rose and his writers found much compelling drama in probing the psychology of juries, the motives of clients, the biases of opposing counsel, the flaws of the system itself, and the fallibility of their own lawyer-heroes.

The series frequently took a topical perspective on the American justice system, honing in on timely or controversial legal questions: capital punishment, ‘no-knock’ search laws, custody rights of adoptive parents, the insanity defense, the ‘poisoned fruit doctrine’ (admissibility of illegally obtained evidence), as well as immigration quotas and Cold War visa restrictions. The Defenders avoided simple stances on such cases, instead illuminating ambiguities and opposing perspectives, and stressing the uncertain and fleeting nature of justice before the law.

As a serious courtroom drama, The Defenders series meshed well with network aims for prestige in the early sixties in the wake of the quiz show scandals and charges of creeping mediocrity in TV fare. The dramatic arena of the courtroom and the legal system allowed for suspense without violence, and the avoidance of formula plots characteristic of traditional crime and adventure drama.

With consistently strong ratings and a spate of awards unmatched by any other series of its day, The Defenders proved that controversy and topicality were not necessarily uncommercial. The series was in the works well before FCC Chairman Newton Minow’s 1961 ‘vast wasteland’ speech, but there is little doubt that the new Minow-inspired regulatory atmosphere augured well for the rise of such programming.

The show’s success supported the development of a number of social-issue and political dramas in the following years, notably Slattery’s People and East Side, West Side, and gave further impetus to a shift in network programming from action-adventure to character drama. But most significant of all, it grappled with larger ethical and political questions, pulling social problems and political debate to center stage, presenting a consistent, ongoing and sometimes critical examination of contemporary issues and social morality.

In one episode (written by Rose) a judge takes the elder Preston to task for invoking the social roots of his clients’ acts as part of his defense: ‘The courtroom is not the place to explore the questions of society.’ Lawrence Preston responds: ‘It is for me.’ So was the television courtroom, for Reginald Rose and the writers of The Defenders.”

Finally, the first season of this indispensable television series is being released on DVD; among the guest stars in the 32 episodes included in the eight disc set are Jack Klugman, William Shatner, Ossie Davis, Richard Thomas, Frank Gorshin, Eva Gabor, Robert Duvall, Robert Loggia, Martin Sheen, Julie Newmar, and many more.

There’s also a slew of extras, including The Studio One Presentation Of The Defender (1957) Starring Ralph Bellamy, Steve McQueen And William Shatner; the pilot episode for the series, as well as interviews with associate producer Bob Markell, writer Larry Cohen, and a 1973 interview with E.G. Marshall on the series.

Well worth watching – and still compelling viewing today, immaculately restored.

New Article: “Rockin’ the Boat’s a Drag. You Gotta Sink the Boat!”: Robert Downey Sr.’s Anarchist Cinema

Sunday, July 10th, 2016

I have a new article on the life and films of Robert Downey Sr. in the July, 2016 issue of Senses of Cinema.

As I write, in part, “long, long, long ago and very far away, in Manhattan in the 1960s, I knew Robert Downey Sr. as a friend and colleague, and we are still in touch today. At the time, we were all part of what was then euphemistically called the ‘Underground Cinema’, a loose conglomeration of filmmakers and artists who centered around The Filmmakers’ Cooperative and the Filmmakers’ Cinematheque, which moved from location to location, continually offering screenings of decidedly outré films, for something like $2 a show. We were part of a group of 100 filmmakers – tops.

All of us were cinematic anarchists, spearheaded by the aggressively confrontational filmmaker and critic Jonas Mekas, whose long running column ‘Movie Journal’ in The Village Voice encouraged everyone to make as many films as possible, in as many ways as possible, with as few materials as possible, and to not listen to anyone’s criticism – just their own artistic inner voice.

Robert Sr. was one of those people who really took up the banner of experimental film and ran with it, remaining as controversial as possible, and eager to offend as many people as possible, but with a disarming, almost ingratiatingly cheerful air.” I’m very happy to have done this piece, as I respect Bob’s work enormously; he’s the foremost American social satirist of the 1960s and 70s, and remains as active today as ever.

You can read the entire article by clicking on the link here, or on the image above.

Jean-Marie Straub and Danièle Huillet Retro at MoMA

Sunday, May 15th, 2016

Jean-Marie Straub and Danièle Huillet finally get a complete retrospective at The Museum of Modern Art.

As the program notes for the retrospective announce, “MoMA presents the first complete North American retrospective of the films of Jean-Marie Straub and Danièle Huillet, who together formed one of the most intense, challenging, and controversial collaborations in the history of cinema. Straub (French, b. 1933) and Huillet (French, 1936–2006) were inseparable partners from 1954 until Huillet’s death, working intimately on every aspect of film production, from script writing to direction to editing.

Straub-Huillet created highly personal film interpretations of profoundly ambitious art: stories by Böll, Kafka, Duras, and Pavese; poems by Dante, Mallarmé, and Hölderlin; a long-forgotten Corneille play, an essay by Montaigne, a film by D. W. Griffith, a painting by Cézanne, an unfinished opera by Schöenberg; and the biography of Johann Sebastian Bach as told through the (fictionalized) letters of his wife Anna Magdalena.

They sought to make what Straub called ‘an abstract-pictorial dream’ while remaining rigorously sensitive to the letter and spirit of the text, and to the relationship between sound and image. At the same time, all of Straub-Huillet’s films are political, whether obliquely, in reflecting on the lessons of history and advancing a Marxist analysis of capitalism and class struggle; or overtly, in considering ancient and contemporary forms of imperialism, militarism, and resistance, from Ancient Rome to colonial Egypt to wartime Germany. They aspire to nothing short of a revolution in political consciousness, especially among workers and peasants, the colonized and the exploited.

At 83, Straub continues to make films that never waver from his commitment to the subversion of all forms of cinematic convention, whether through the use of direct sound, disjunctive editing, amateur actors, and a foregrounding of the natural landscape; fragmentary and elliptical narratives spoken in various languages; Brechtian estrangement; on-location shooting of ancient texts in contemporary, anachronistic settings (for example, on the ground where the Circus Maximus once stood); and a privileging of musical and poetic rhythms and structures over the decorative, the spectacular, the psychological, and the satirical. Dialogue is shorn of emotion, and images are deliberately unflashy. ‘The work we have to do,’ Straub insists, ‘is to make films which radically eliminate art, so that there is no equivocation.’

Introductions by noted Straub-Huillet collaborators take place during the retrospective’s opening weekend. Unless they are listed as 35mm, films are presented in new digital preservations overseen by Straub, Olivier Boischot, and Barbara Ulrich. The series is organized by Joshua Siegel, Curator, Department of Film.” This once in a lifetime chance to see the work of these master filmmakers, most of which is unavailable on DVD, is simply not to be missed in one is in the New York area.

My own favorites of their work include The Chronicle of Anna Magdalena Bach (1968), starring harpsichordist Gustav Leonhardt as Bach (whom I once had the pleasure of meeting and talking with about the making of the film, after he presented an organ concert in Amsterdam); the 16mm color feature History Lessons (1972), and the 35mm short The Bridegroom, The Comedienne and The Pimp (1968), featuring a young Rainer Werner Fassbinder as the pimp, but these are just a few of their many brilliant films. A chance to see these gorgeous, transcendent films should not be passed up if at all possible.

Click here, or on the image above, to see the entire schedule for the series.

Special Issue of Cinephile – Visions of the 60s

Sunday, May 15th, 2016

This came out in 2015, but somehow it slipped past my radar.

I have an essay in this issue of the excellent journal Cinephile on experimental cinema in the 1960s, Cinephile 11.1, “Visions of the Sixties.” As the journal’s website notes, “marking the tenth anniversary of the University of British Columbia’s Film Journal, this issue features articles by Wheeler Winston Dixon, David E. James, Victoria Kennedy, Andrew Marzoni, and Emma Pett, with an introduction by Timothy Scott Brown. For more information, please click here.”

It was a pleasure working with the editors of the journal, Molly Lewis and Angela Walsh, on the essay. I love the cover, which really captures the spirit of the era. As Timothy Scott Brown notes in an introductory essay for the issue, “if one theme or question emerges from the essays in this issue, it is about the status of popular culture as a field for the creation, elaboration, and consumption of the 1960s cultural revolution.

Wheeler Winston Dixon’s essay, ‘The End of the Real: 1960s Experimental Cinema, and The Loss of Cinema Culture,’ calls to mind the now (in some cases, literally) lost world of 1960s independent filmmaking, a world in which the notion of making art outside of normal channels of production and distribution was understood by its protagonists as its own form of radical praxis.

It is difficult to call to mind now, in an era of almost unlimited access to the cultural means of production—no further away than one’s laptop—the radical imperative at work in the artistic initiatives Dixon examines. Against the backdrop of our current and seemingly endless horizon of digital possibility, the technical inaccessibility of this earlier wave of underground art reads as particularly ironic.”

If you get a chance to pick up a copy, do so – it’s an excellent issue all around.

An Essential 5 DVD Set: Pioneers of African-American Cinema

Saturday, April 30th, 2016

A restoration of these films has been a long time coming – get this set when it comes out in July.

This incredible collection – coming out shortly on DVD and Blu-ray, is a must for any serious library of American cinema, featuring some of the most historically vital works of America’s legendary first African-American filmmakers, and is the only comprehensive collection of its kind. There have been DVD releases of many of the individual films included here, but in cheap editions, without digital restoration, and now, finally, we can see them as they were meant to be seen.

Funded in part by a highly successful Kickstarter campaign, the packaged set includes no fewer than a dozen feature-length films and nearly twice as many shorts and rare fragments. Subject matter includes race issues that went unaddressed by Hollywood for decades. The directors include Oscar Micheaux, Spencer Williams, and many others whose films deserve a much wider audience.

Films in the collection include: Birthright (1938), The Blood of Jesus (1941), Body and Soul (1925), The Bronze Buckaroo (1939), By Right of Birth (fragment, 1921), Commandment Keeper Church, Beaufort, South Carolina (excerpt, 1940), The Darktown Revue (1931), Dirty Gertie from Harlem USA (1946), Eleven P.M. (1930), The Exile (1931), The Flying Ace (1926), God’s Stepchildren (1938), Heaven-Bound Traveler (1933), Hellbound Train (1930), Hot Biskits (1931), Mercy the Mummy Mumbled (1918), Regeneration (fragment, 1923), The Scar of Shame (1929), S.S. Jones Home Movies (1924-26), The Symbol of the Unconquered: A Story of the KKK (1920), Ten Minutes to Live (1932), Ten Nights in a Bar Room (1926), Two Knights of Vaudeville (1918), Veiled Aristocrats (1932), Verdict Not Guilty (1934), We Work Again (1937) and Within Our Gates (1920).

The set features musical scores (for the silent films) by Paul D. Miller (aka DJ Spooky), Max Roach, Samuel D. Waymon, the Mont Alto Motion Picture Orchestra, Donald Sosin, Makia Matsumura, Alloy Orchestra, Rob Gal, Andrew Simpson.

Bonus Features: Optional English Subtitles, 80-page booklet with essays and detailed film notes; Interviews with series curators Charles Musser and Jacqueline Stewart; Documentary on the restoration of the films; Documentary on the restoration efforts of the Library of Congress; Archival interview with actors Ethel and Lucia Moses (1978); Tyler Texas Black Film Collection promo film (with Ossie Davis, 1985) and more!

Although these films have been available for many decades – I’ve run them in my classes for a long time – the film prints were often battered and scratched, 16mm dupes that lacked the depth and quality of the original negatives. Here, these films have been lovingly restored in a collection that is an essential part of the history of the American cinema. This is the part of film history you’ve probably missed – and shouldn’t.

This is an amazing act of historical reclamation – a must have for everyone.

Lois Weber’s “Shoes” (1916) Saved by Eye Museum, Amsterdam

Friday, April 29th, 2016

The EYE Museum in Amsterdam has restored Shoes (1916), a nearly lost film by director Lois Weber.

As the EYE Museum’s YouTube site notes, “the film Shoes (1916, USA, Universal Bluebird Photoplays), directed by Lois Weber, starred Mary MacLaren, Harry Griffith, Jessie Arnold, and William Mong. The film is a social drama about the dime store clerk Eva Meyer (MacLaren), who desperately needs a new pair of shoes. However, because her father is unemployed, Eva’s weekly earnings go into the household budget, bringing a new pair of shoes completely out of her reach.”

As historian Shelley Stamp writes of Lois Weber on the Women Film Pioneers Project website, “Lois Weber was the leading female director-screenwriter in early Hollywood. She began her career alongside her husband, Phillips Smalley, after the two had worked together in the theatre. They began working in motion pictures around 1907, often billed under the collective title ‘The Smalleys.’

In their early years at studios like Gaumont and Reliance, they acted alongside one another on-screen and codirected scripts written by Weber. Indeed, their status as a married, middle-class couple was often used to enhance their reputation for highbrow, quality pictures.

In 1912, they were placed in charge of the Rex brand at the Universal Film Manufacturing Company, where they produced one or two one-reel films each week with a stock company of actors, quickly turning the brand into one of the studio’s most sophisticated.

The couple increasingly turned their attention to multireel films, completing a four-reel production of The Merchant of Venice in 1914, the first American feature directed by a woman. Later that year they moved from Universal to Hobart Bosworth Productions where they were given more freedom to make feature-length films, among them Hypocrites (1915).

By the time the couple arrived back at Universal in 1916, Weber had emerged as the dominant member of the husband and wife partnership and, indeed, as one of the top directors on the lot. She was the sole author of scripts the couple adapted for the screen, and marketing materials and reviews singled out her work on the productions. Reporters visiting the couple on set found Smalley repeatedly turning to his wife for important decisions.

During these years Weber made a series of high profile and often deeply controversial films on social issues of the day, including capital punishment in The People vs. John Doe (1916), drug abuse in Hop, the Devil’s Brew (1916), poverty and wage equity in Shoes (1916), and contraception in Where Are My Children? (1916) and The Hand That Rocks the Cradle (1917) [. . .]

Weber achieved the height of her renown during these years: her name was routinely mentioned alongside that of D. W. Griffith and Cecil B. DeMille as one of the top talents in Hollywood. In 1916, she was the first and only woman elected to the Motion Picture Directors Association, a solitary honor she would retain for decades.

While at Universal it is also likely that she helped to foster the careers of other actresses employed at the studio, many of whom she had directed, including Cleo Madison, Lule Warrenton, and Dorothy Davenport Reid, who would become directors or producers in their own right.”

Read Stamp’s complete essay on Lois Weber by clicking here – an essential figure in cinema history.

Unfinished Films at The Met Breuer

Thursday, April 28th, 2016

The Met Breuer, of The Metropolitan Museum of Art, is hosting a fascinating new film series.

The Met Breuer, located at 945 Madison Avenue at 75th Street in Manhattan, on the former site of the Whitney Museum of American Art (which has moved downtown to 99 Gansevoort Street) is serving up a remarkable series focusing on incomplete, or unfinished films by a wide variety of artists, with talks led by some of the leading figures in the field on the significance of the works in question.

As the site for the series notes, “what can be learned from unfinished films, from works that arrive to us as fragments? Considered collectively—from the infamous excesses of Erich von Stroheim’s Queen Kelly to the grand ambitions of Hollis Frampton’s Magellan—perhaps they constitute a secret canon, one made up of the most raw and, in turn, revealing sides of an artist’s practice.

Such works might be held in any number of intermediary states: left intentionally unfinished, abandoned out of frustration, cut short by death, curtailed by political circumstance.To watch these films is to unveil the particularities of their origins, to see the vicissitudes of their process and production laid bare. Presented in connection with the exhibition Unfinished: Thoughts Left Visible, this series features films selected by Thomas Beard, a founder and co-director of Light Industry.”

This is an altogether unique series, which gives one a chance to view the creative process from the inside, before a work is completed – and should not be missed in you’re going to be in the city. Admission is free with a regular museum admission; seats are first come, first served, so get there early.

Bruce Baillie Finally Gets A Retrospective

Sunday, April 3rd, 2016

Bruce Baillie is one of the greatest, and yet least known, of all American filmmakers.

As Manohla Dargis writes in The New York Times, “one of the most perfect films that I’ve ever seen runs a total of three minutes. Shot in 1966, Bruce Baillie’s All My Life opens on a pan of an old picket fence framed by the blue sky above and a stretch of summer-brown grass below. On the soundtrack, you can hear the crackle and hiss of an old record that’s soon filled with the sounds of Ella Fitzgerald singing ‘All My Life’ in a 1936 session with the pianist Teddy Wilson.

In many respects, the image is perfectly ordinary, the kind that you chance on if you’re driving along, say, a California road, as Mr. Baillie was when he popped out of a car, seized by inspiration. Yet, as the camera continues to float left and Fitzgerald begins singing (‘All my life/I’ve been waiting for you’), something magical — call it cinema — happens in the middle of the first verse. As the words ‘my wonderful one/I’ve begun’ warm the soundtrack, a splash of red flowers on the fence suddenly appears, as if the film itself were offering you a garland.

Of course it’s Mr. Baillie, now 84, who, with artistry and sensitivity — to color, nature and a camera movement that unwinds like a scroll — found the precise moment to join that song with those flowers, a union that illuminates the sublime in the everyday. The film’s genesis, Mr. Baillie told the writer Scott MacDonald in 1989, was that Fitzgerald recording and ‘the quality of the light for three summer days’ on a stretch of Northern California coast. After days of admiring the light’s beauty, Mr. Baillie said he decided, ‘No, I cannot turn my back on this!’ By the final day, he had begun immortalizing that light with a camera, a roll of outdated Ansco film stock and a tripod.

You can watch All My Life and other Baillie films online, but don’t. If you really want to see that masterwork the way it was meant to be experienced, you should watch it in the partial retrospective of his work that begins Saturday, April 9 at the Film Society of Lincoln Center. Organized by Garbiñe Ortega, this traveling five-program series, All My Life: The Films of Bruce Baillie, includes 14 of his films dating from 1961 through 1977, as well as 13 short titles by contemporaries like Stan Brakhage, Robert Nelson and Chick Strand. In New York, the Baillie screenings, which begin April 9, are part of a larger Film Society documentary series, Art of the Real.”

Baillie has been patiently working on these films for years, and almost studiously avoided the limelight; in addition to the films that Ms. Dargis mentions, I would add several of my own favorites – Quixote (1965), Quick Billy (1968-1969), Have You Thought of Talking to The Director? (1962), Mass for the Dakota Sioux (1964), and A Hurrah for Soldiers (1963), one of the most effective and elegiac short films ever made, which Baillie describes as being “dedicated to Albert Verbrugghe, whose wife was killed in Katana by U. N. soldiers.”

Baillie’s films are simply “essential cinema” in every sense of that oft-used phrase, and the chance to see his work in a gallery setting should not be passed up, if you can possibly attend these screenings. As Baillie said of his film work, “there were ages of faith, when men made natural connections between themselves and the place in which they lived, the plants they cultivated, the fuel they used for warmth, their beasts, and their ancestors. My work will be discovering in American life those natural and ancient contacts through the art of cinema!”

Bruce Baillie – an authentic, and undervalued, poet of the cinema.

About the Author

Headshot of Wheeler Winston Dixon Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. All comments by Dixon on this blog are his own opinions.

In The National News

Wheeler Winston Dixon has been quoted by Fast Company, The New Yorker, The New York Times, the BBC, CNN, The Christian Science Monitor, US News and World Report, The Boston Globe, Entertainment Weekly, The Los Angeles Times, NPR, The PBS Newshour, USA Today and other national media outlets on digital cinema, film and related topics - see the UNL newsroom at http://news.unl.edu/news-releases/1/ for more details.

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