Tom Sizemore Part 2

In light of Tom Sizemore's passing, I wanted to share one other thing, this behind-the-scenes piece that honors our work together and all the work that went into The Last Lullaby:

https://www.youtube.com/watch?v=jRX6oHD0KfE

You can find The Last Lullaby on Tubi, Peacock, YouTube, Amazon Prime Video, The Roku Channel, Redbox and Vudu.

Tom Sizemore

In light of Tom Sizemore's passing, honored to share this snippet from an interview he gave last year.

Extremely proud of the work we did together and a huge admirer of Tom and his elemental talent.

You can find The Last Lullaby on Tubi, Peacock, YouTube, Amazon Prime Video, The Roku Channel, Redbox and Vudu.

Favorite (four), eighty-eight

Just like in my other eighty-seven posts in this series, I want to take a second to single out the highlights of my recent film viewing.  Most of the films I have been glad to see but only a very few have stayed with me.  This series is my filter for those and my hope is one or two will be good to you as well.

John Ford's The Sun Shines Bright

I have been watching more John Ford of late than I ever have and it is clear I am only beginning to scratch the surface of who he was as a filmmaker.  What seems clear to me at this point is that he was deeply interested in America, where we had been and where we might be going.  He wanted to tell our history, examine it, and expose our people for the times they fought for unjust causes.  The more I watch, the more Ford seems like the narrative version of Wiseman, a filmmaker deeply concerned with our institutions and the very foundation on which this country is supposed to rest.

Dawn Porter's John Lewis: Good Trouble

A wonderful introduction to the life and work of Lewis who for the last 60 years was one of the most important figures in civil rights.  It gave me the best sense yet of the risks taken by those who were on the front lines of sit-ins and marches in the sixties.

John Ford's The Prisoner of Shark Island

The more John Ford I watch the more I feel that, as much as any American director of his generation, he explored the issue of race relations among blacks and whites in this country.  Here, already in the 1930s, he gives us a story with black heroes and once again a scenario where our white lead needs his black friend in order to overcome the obstacles in front of him.  

Has there ever been an American director who more consistently grappled with our country's past or who more often employed songs like "Taps" and "Dixie" that immediately call to mind our wars and our history?

Not to mention it is hard to overlook the deep humanism at work in this film, a quality of Ford I've read about but have only begun to appreciate.

Drew DeNicola and Olivia Mori's Big Star: Nothing Can Hurt Me

A film for anyone like me with a cursory knowledge of Big Star and the cult that has grown around the 70s Memphis band.  The interviews shine light on the short, influential career of the band and moments like Stipe singing Kangaroo make you want to immediately go out and listen to all their work.  

Recent Tom Sizemore interview

 Great to see Tom Sizemore mention The Last Lullaby in a recent interview:

https://www.ageofthenerd.com/2023/02/interview-with-tom-sizemore-starring-in-impuratus/

Favorite (four), eighty-seven

Just like in my other eighty-six posts in this series, I want to take a second to single out the highlights of my recent film viewing.  Most of the films I have been glad to see but only a very few have stayed with me.  This series is my filter for those and my hope is one or two will be good to you as well.

Sam Peckinpah's Ride the High Country

Timing is a critical part of appreciating certain works of art.  Sometimes you discover them when you're too young, sometimes when you're too old, and sometimes the timing is just right.  I have probably watched this early Peckinpah western 2 or 3 other times, never quite clicking with it like some of my peers.  But this time it was different.  As can be expected with Peckinpah, it takes you into some dark, uncomfortable places (Elsa's wedding night!)  What's less expected are the final minutes, the depth of humanity of Peckinpah's characters and the weight Peckinpah is finally able to leave you with as he pays tribute to the slow disappearance of a certain kind of main in a certain kind of world.

Robert Wise's Executive Suite

Wise could very well be an unfair victim of the auteur theory.  Although I have seen no where near his entire body of work, I'm a huge fan of The Set-Up and really like The Day the Earth Stood Still.  I watched this because it's one of Rosenbaum's 1000 essential films and man is it good.  It's unique in its exploration of corporate America and seems like a clear predecessor to Lumet's 12 Angry Men.  

Henry King's The Gunfighter

An extraordinary western that is most impressive in how many later noir films and later westerns it prefigures in its fatalistic setup.  King's direction is concise and sharp and it is the emotional weight he infuses into the story that makes the greatest impact.    

Jonathan Demme's Stop Making Sense

One of these films I thought I had seen until I watched it again.  The real star is Byrne who you can't take your eyes off of.  And if the measure of a good concert film, and I haven't seen many concert films in general, is if it entertains you while giving you a better sense of what the band looks and feels like then Stop Making Sense is hugely successful. 

3rd Reel Adventures

I’m super excited to announce our 3rd Reel Adventures at R.W. Norton Art Gallery. It will take place April 21st and our movie this time will be The Man Who Shot Liberty Valance starring Jimmy Stewart, John Wayne and Vera Miles and directed by the most famous director of westerns in the history of film, John Ford.

Our last Reel Adventures sold out. And we expect tickets to go fast again. Mark your calendars for April 21st and mark them for March 24th when general public tickets go on sale.

I can’t wait for another great night of food, fun (signature cocktail, team trivia and costume contest) and film!

Recommendations from Reel Adventures

For each Reel Adventures at R.W. Norton Art Gallery, in addition to the highlighted movie I’m providing a few other recommendations. Here are the first two sets of recommendations from Rear Window and Chinatown.

Second Reel Adventures!

It was such a great, fun night last night at R.W. Norton Art Gallery for our second Reel Adventures! Much more to come but keep an eye out for our third one happening some time in the next 3-4 months.

Here's my talk on Rear Window:

Thank you all for being here tonight. I know many of you but for those of you who I don’t know, my name is Jeffrey Goodman and even though I directed a number of films, I’m here first and foremost tonight as a cinephile. Or as someone you can say has probably spent too much time watching and thinking about film.

I really appreciate everyone being here and I so appreciate Lewis and Ruth Norton and Emily Feazel who have been committed and tirelessly working to make this idea of a film club happen since it first came up.

Okay so I have about 5-10 minutes worth of words I’d like to share about tonight’s film. Hopefully it will give you a slightly deeper appreciation for what you’ve seen. And just before I start, I’m curious how many of you had never seen Rear Window prior to the announcement of tonight’s event?

Wow that’s great. Okay so here we go.

Alfred Hitchcock’s life nearly runs perfectly parallel with the birth of the medium of film. Hitchcock was born in 1899. Film in 1895.

Hitchcock began working in the era of silent film. His first ten films were silents and then he spent the rest of his career, all the way to 1976, making talkies.

I only mention all of this because I think it is critical to understanding Hitchcock’s relationship to the medium of film. I would argue, and we find examples in his career time and time again, that Hitchcock was not only interested in using the medium of film to tell stories. He was interested in finding stories that helped define what the medium could do, and more specifically, what film could do that no other medium or artform could replicate.

So Rear Window.

Start reading interviews with Alfred Hitchcock and at some point I promise you you’ll hear him use the expression “pure cinema”. For example, in an interview with filmmaker Peter Bogdanovich, Hitchcock says, “Subjective treatment, putting the audience in the mind of the character is, to me the purest form of the cinema. I suppose Rear Window is the best example of it…close-up of a man; what he sees; his reaction to it. And that can’t be done in any other medium – can’t be done in the theatre, can’t be done in the novel.”

I want to spend the rest of my talk around this idea of pure cinema and Hitchcock’s exploration of it throughout Rear Window. Hitchcock is fixated on the same three shot sequence throughout Rear Window that in his opinion is something no other medium can do.

The first shot is a shot of Jimmy Stewart looking.
The second shot is a shot of what Jimmy Stewart sees.
The third shot is Jimmy Stewart reacting to what he sees.

Let’s take a look at an example.

FIRST CLIP

And you find this same three-shot formula throughout Rear Window - a man looks, he sees, he responds, he looks, we see what he sees and we feel what he feels.

Hitchcock believed this was pure cinema or purely cinematic or only something the medium of film could do. I want to show you one other clip where Hitchcock talks about this three-shot sequence, or The Kuleshov Effect as it is formally called. I’ll save a deeper explanation of The Kuleshov Effect for another talk.

SECOND CLIP

Another concept Hitchcock would often talk about is the idea that cinema is and should be a visual medium. Hitchcock felt that as a filmmaker, whenever possible, you should show rather than tell the audience your story. Again, like the three-shot sequence we talked about that Hitchcock felt was pure cinema, Hitchcock viewed visual storytelling and using the camera rather than dialogue to tell the story as a method that was more pure and differentiated cinema from theater or any other artform.

There are numerous examples throughout Rear Window of Hitchcock’s mastery as a visual storyteller whether it’s the opening shot of Jefferies where in one shot, no dialogue, we learn where we are, who the principal character is, all about his work, and even how it caused his accident. Or even the quick scene we saw earlier where, without any dialogue, we understand the neighboring couple is newly married.

In speaking about movies that relied more on dialogue, Hitchcock would describe them as lazy or as merely photographs of people talking that bear no relation to the art of the cinema. Hitchcock believed the coming of sound in film was in some ways a backward step and he wanted to avoid relying too much on it as a storyteller. Perhaps one of the reasons Hitchcock was such a master at visual storytelling and was able to “write” with the camera was because he got his start in silent cinema. In fact, some people say he always remained a silent filmmaker.

I’ll end with one last thought.

As many of you know, I was a French major in college and first discovered my love for film while living in France. And ever since, I have probably had more of a French perspective on film than an American one. Any way, I’m a big fan of the way the French film critics look at film and as I was preparing for tonight I came across the following view by one of the French film critics I admire.

He said you could even look at Rear Window as structured in a way that speaks about the medium of film. He explained that the first part of the film, when Jefferies is simply watching his neighbors, represents a spectator. The second part of the film, as Jefferies becomes more involved thinking and talking about his neighbors, represents a projector – someone projecting his thoughts on who his neighbors are and what they are doing. And then the final part of the film represents a director as Jefferies gets involved in solving the Thorwald case and directing Lisa, Stella and Doyle’s respective efforts.

So it is for all the reasons above that I think Rear Window has great merit and represents one of the great examples of a film that gives you something that only the movies can give you. And it is also why I thought it was a great choice for our second Reel Adventures.

Thank you.

Reel Adventures

Here was our trivia and my talk from our first Reel Adventures at R.W. Norton Art Gallery. Can't wait to do it again this Friday for Hitchcock's Rear Window!

ROUND ONE
• Who do the glasses belong to that are found in the Mulwray’s pond?
• What trick of the trade does Gittes use to find out what time of night Mulwray left the reservoir?
• Gittes uses another trick of the trade when he first meets Yelburton. What does he take from his office?
• What department did Hollis Mulwray work for?
• A long take is a shot without any _________?


ROUND TWO
• What narrative device does Polanski use to demonstrate that Ms. Mulwray is nervous during the scene when Gittes starts talking about the connection between her father and her husband?
• What is the name of the club where Gittes goes to meet up for lunch with Noah Cross?
• What does Gittes borrow from the desk clerk at the Hall of Records?
• What do they beat Gittes with in the orange grove?
• What does Gittes do to Evelyn’s car to make it easier to follow her?


ROUND THREE
• What is one of the lines of voiceover from the film?
• To emphasize the point that the audience is seeing everything from Gittes’ perspective, Polanski often put the camera here while filming Jack Nicholson.
• Like a chorus in a song that the song comes back to, to give the song a certain structure, it is not uncommon in films to repeat certain stylistic gestures. In Chinatown, there is the repetition of the sound of a car horn in the final scene. In what scene, did we first hear the car horn honking?
• In what Los Angeles neighborhood does Gittes take a ride on a boat?
• What is playing on the radio during the scene at the morgue?


BONUS ROUND
• In what Parish was one of the main actor’s previous characters famously killed?
• John Hillerman who plays the character of Yelburton would go on to have a starring role in a hit 1980’s TV show. Name the show.
• Detective fiction that began appearing in the late twenties often served as source material for the movies that became film noir. Hammer is to Spillane as Marlowe is to Chandler as Spade is to this author.


TALK
I wanted to welcome everyone. My name is Jeffrey Goodman. I know many of you but for those I don’t, I’ve directed a few movies and spent a countless amount of time watching and thinking about film.

I wanted to thank Lewis and Ruth Norton and Emily Feazel who have been open to the idea of a film club from the first day it came up and who have been instrumental in making tonight happen.

I have a few things I’d like to say and then I’ll come back after the next round of trivia to answer any Chinatown or film-related questions you might have.

Just before I begin, I’m curious how many of you had never seen Chinatown before this event? Raise your hand if you could. Wow okay.

Last Tuesday, French-Swiss filmmaker Jean-Luc Godard passed away at the age of 91.
Godard is considered a massive figure in the history of cinema and his contributions would take hours to discuss. But if I were to single out the one thing he should most be remembered for, it is his efforts to get people to accept and view the medium of cinema as an artform that at times could be as artistic as ballet, painting, classical music, sculpture or any of the other high arts.

And so it seems fitting that we’re here today at an art gallery for Norton’s first-ever film club.

If, as Godard says, certain films are more than mere entertainment then there should be some sort of gain in looking more deeply at them.

So, Chinatown.

It is a film I would claim is of high artistic value. All of its components – hair, make-up, wardrobe, set design, framing, lighting, locations, sound, score, casting and camerawork – are overseen by master crafts people working together to make us believe we are in another time and place.

In fact, that is one of the most challenging aspects of film. Making something that we believe. And hiding all the thousands of pieces that go into making a finished film. One effective way of hiding the apparatus in film is what I’d like to focus on for the next few minutes and it’s the long take.

As all of you know, film is made up of a bunch of pieces, or “cuts” that are edited together to tell a story. The average number of cuts in a film is about 1,050. If films average 1,050 cuts and the average film is 120 minutes long, then there is on average a cut every 8.75 seconds.

What the long take does is attempt to illustrate a moment visually in a longer timeframe than normal without resorting to a cut. Filmmakers use long takes for many reasons but often it is to preserve the illusion that what it is in front of us is actually taking place rather than fabricated by a countless number of crafts people.

There have been several very famous long takes in the history of cinema. There is the three minute long take as Ray Liotta and Lorraine Bracco enter the Copacabana nightclub in Martin Scorsese’s Goodfellas, the nearly 4 minute opening sequence in Orson Welles’ Touch of Evil and Alfred Hitchcock’s 1948 film Rope where Hitchcock attempts to make us believe that we are watching an entire film without a single cut.

I won’t digress too far on this. But films used to only be made on film. And the magazines that went on the film cameras at most could hold a 1000 feet of film or about 11 minutes. Therefore, until digital cameras came about, it was technically impossible to film an entire movie in one long take.

There are very complicated, highly choreographed long takes where the camera is moving around a large amount of space without a cut and then there are other more modest long takes like this one in Chinatown. This long take in Chinatown lasts a minute or nearly 7x longer than your average shot.

And cut.

So my parting words are this:

I don’t want to ruin anyone’s enjoyment of watching films by lifting the curtain on how movies achieve their magic. I believe the opposite in fact - that if you learn more about how movies are made, know more about what you are watching, you will ultimately feel deeper enjoyment for the entire experience.

That is my hope from these Reel Adventures we have begun.

We really appreciate everyone coming out, hope you’re having fun so far and that we can do more of these in the future.

All I Saw and Read in 2022

1/1  Bleak Moments

½ First Graders, The Time to Live and the Time to Die, Rich and Famous

1/3 Broadchurch

¼ Broadcast News

1/5 Terms of Endearment, These Truths: A History of the United States

1/6 The Truffle Hunters

1/7 A Little Life, Dheepan

1/8 Sinai Field Mission, Histoire(s) du cinema, Nouvelle vague

1/9 Pale Rider

1/12 Three women

1/13 Walkover

1/14 A High Wind in Jamaica

1/15 Zulu

1/16 Le Roman d’un tricheur, Where The Crawdads Sing, Homework

1/17 Pool Sharks, Story of Women, Abbas Kiarostami – Verites et songes, David Lynch, Don’t Look at Me

1/18 The Scorsese Machine

1/19 Jacques Rivette, le veilleur

1/20 Eric Rohmer, preuves a l’appui, Peaux de vaches

1/21 The Namesake

1/23 Jean Renoir le patron

1/24 Une chambre en ville

1/26 Mon oncle d’Amerique

1/27 Oliveira l’architecte

1/29 Gremlins

1/30 Beware of a Holy Whore

2/1 Introduction

2/3 The Sympathizer, Merry Christmas, Mr. Lawrence

2/4 The Woman Who Ran, Cry, Mother Spain

2/5 Sheila Levine Is Dead and Living in New York

2/6 The Tinder Swindler

2/7 Les anges du peche

2/9 Ricky Powell: The Individualist

2/13 Trois ponts sur la riviere

2/15 Success Is the Best Revenge

2/16 New Power: How Power Works in Our Hyperconnected World

2/17 Dim the Fluorescents, QT8: The First Eight

2/20 Homebound

2/21 All Madden

2/22 Jeffrey Epstein: Filthy Rich

2/25 For Esme – with Love and Squalor

2/26 Belfast, Maine

2/27 Doomed Love

3/7 Public Housing

3/9 Charley Varrick, The Last Letter

3/11 Ballet

3/12 Reverse Angle

3/13 Domestic Violence, Southern Comfort

3/18 King Richard, Ford v Ferrari, Roadrunner: A Film About Anthony Bourdain

3/29 24 Hours: The World of John and Yoko, No Time to Die, Local Hero, Mange ta soupe

3/30 Who Is Harry Nilsson (And Why Is Everybody Talkin’ About Him)?

4/2 Welfare

4/3 Lou n’a pas dit non

4/27 The Book of Changes

4/30 Our Towns

5/5 Waiting for Lightning

5/8 Just Mercy

5/10 Killing Eve

5/14 Unfinished Business, Delinquent

5/20 La vie des morts

5/21 Talk to Her

5/30 This Is Us

5/31 We Own This City

6/3 Enron: The Smartest Guys in the Room, RBG

6/7 Stories We Tell

6/10 City Hall

6/11 High School II, Away from Her

6/12 Hustle, The Staircase

6/16 Where Peachtree Meets Sweet Auburn, On Our Way To Beautiful

6/19 Thoughts On Building Strong Towns Volume 1

6/28 Ball Four

7/3 On the Town

7/4 Ruby in Paradise

7/5 Room 666, Today

7/8 A Time for Dying

7/9 The Unfaithful Wife

7/11 The Apple

7/14 Boom for Real: The Late Teenage Years of Jean-Michel Basquiat

7/15 Flaming Creatures, The Crown Jewels of Iran, Bernie

7/16 The Hours and Times

7/17 From the Journals of Jean Seberg

8/7 The Dead Girl, Elmer Gantry

8/8 The Sign of Leo

8/18 The Border

9/1 Both Sides of the Blade

9/2 Nope

9/14 McEnroe

9/18 Here to Be Heard: The Story of the Slits, Words and Pictures

9/25 Locke, Quai des Orfevres

9/30 Searching for Mr. Rugoff

10/18 Z Channel: A Magnificent Obsession

10/20 The Bear, The Playlist

10/21 Blue Chips, Warrior

10/23 Cool Runnings, Five Graves to Cairo

10/24 Hammett

10/25 The Unspeakable Act

11/6 Paradise Alley

11/7 The Lords of Flatbush

11/9 Armageddon Time

11/12 The Outfit

11/13 Still Life

11/15 Last Days

11/19 Tree of Smoke

11/20 Delamu

11/25 The Line of Beauty, The Lady Without Camelias

11/27 Next of Kin

12/4 The Favourite Game

12/12 Saint Jack

12/18 Irma Vep (series)

12/19 Deep End

12/24 Nobody’s Hero

12/26 Platform, Avatar: The Way of Water

12/30 Les Annees New Wave

My Top Films Seen in 2022

Here are the films, new and old, that I saw and most admired in 2022.

Claire Denis' Both Sides of the Blade

Although I have not rewatched most of Denis' films, I have seen the following at least once - Chocolat, S'en fout la mort, J'ai pas sommeil, US Go Home, Nenette et Boni, Beau travail, Trouble Every Day, Vendredi soir, L'intrus, 35 rhums, Let the Sunshine In, High Life and Both Sides of the Blade.  It seems that her work can be divided into at least two categories, films that make for fairly comfortable viewing (for instance, I place Nenette, Vendredi, 35 and Let the Sunshine into this category) and work that is up there with some of the cinema's most harrowing.  In this latter category, to begin with I would list J'ai pas sommeil, Trouble and Both Sides of the Blade.  It isn't gratuitous, there is a fearlessness at times with the way that Denis films the body and her ability, like Lynch, to burrow into raw and deeply disturbing situations involving her characters.  I am thinking about the long murder sequence involving Dalle, almost any moment with Camille or nearly every second Colin is on screen.   

Jerzy Skolimowski's Walkover

Skolimowski continues to be a filmmaker that intrigues me.  This is the fourth of his features I have seen, after seeing Le Depart, Moonlighting and Essential Killing.  All four films are incredibly different in their style and subject matter although in each Skolimowski proves he possesses an unusually strong cinematic eye as well as exceptional feel for the effectiveness of a camera capturing movement on film.  Walkover exudes that very New Wave quality of youth meandering through a city trying to find purpose and place.  The final ten minutes, in particular, churn up heaps of cinematic energy and leave the viewer with an outlook on life that powerfully captures a new generation's desire to reject the ways of the past.   

Olivier Assayas' Irma Vep

There is no film I have seen made in 2022 that has as much to say about what cinema has been and what it can be as it turns 127.  Of course there are remnants of Feuillade but in this opus it would be hard also not to think of Lynch's work in TV, Jarmusch's approach to music in Dead Man and Rivette's career of exploring meta.  Vincent Macaigne embodies the greatest and most complex depiction of a filmmaker the medium has ever given us while Assayas inhabits the specter of JLG to give us a work that manages all at once to flood us with emotions and ideas.  

Cy Endfield's Zulu

I've only seen three of his films but I feel completely confident in saying that Cy Endfield is a name that should be far more common and known in cinephile circles than it is.  Each of his films has a strong directorial presence and a position to the material that encourages contemplation without being distancing.  Although not my area of expertise, I can't think of a war film set up in remotely the same way as Zulu.  We remain in one location for the first two hours with very little in terms of plot as we get to know characters preparing for what is probably their final battle.  

Frederick Wiseman's Public Housing

Wiseman captures many sides of poverty and race in Chicago and begins to draw the characters and world that David Simon would only a few years later craft into his masterful series The Wire.  There are so many memorable scenes in this work that only further attest to the fact that Wiseman has a process and a temperament that enable him to reflect truths about certain sides of the American experience that no other filmmaker has been able to match.

Jean-Claude Biette's Trois ponts sur la riviere

I know more about French film than I know about almost anything else. And though I was aware of some of Biette's work, particularly Loin de Manhattan and Le champignon des Carpathes, this is the first of his movies I have seen.

Biette has a great feel for capturing spaces in a precisely realistic way, like a college student's apartment in Paris or a bookstore in Porto, Portugal.  Similarly, his dialogue and the way he lets his actors move around and express themselves, reinforces a directorial desire to adhere closely to the way these types of moments unfold in real life.  In fact, it seems that Biette's quest to remain accurate and truthful gives the film one of its most unique qualities, its willingness to show certain glances or moments without the need to explain them.  I am thinking, for instance, of the way Claire stares from her hotel window at the Brazilian guest, the brief scene suggesting it is normal for attraction to occur without ever being acted upon.  

I can only guess at the reasons for it but like Rivette's Out 1, Le Pont du Nord or even La bande des quatre, Biette includes, with the character of Frank, a subplot of noirish overtones.  Like in the abovementioned Rivette works, the subplot feels more artificial and more difficult to believe than one typically experiences in regular genre films while the foregrounded story, that of Arthur and Claire, feels far more real than most movies.

Robert Bresson's Les anges du peche

In a rare case, Bresson emerges in his first feature already a masterful filmmaker.  His style is not yet fully formed, that would not happen until his third feature, but his understanding and command of the medium's power are fully present.  

Although I imagine there is a way to view the film, being that it was made in 1943, as a film of resistance, I experienced it at face value as a film of faith.  As such, it demonstrates faith as well as anything I have seen on film.  Bresson finds the cinematic tools to make us understand certain beliefs, such as sacrificing worldly materials to attain a true spiritual state, that in less skilled hands would leave us unmoved and unenlightened.  I experienced the film not only as a film about religious faith but as an indication of Bresson's faith in the medium of cinema to plumb the depths of human experience and to emerge with emotions of a deep spiritual and intellectual power.

Jean-Luc Godard's Histoire(s) du cinema

Is it possible to praise a film in which you grasp less than 10% of what the filmmaker is saying?  I would argue that it is.  Particularly with someone like Godard who can send shockwaves through your brain with some of his insights and with the lyricism he sometimes finds as he works sound and image together.  

Jia Zhangke's Still Life

I am aware that Zhangke is highly revered in circles I admire but this is probably the first film of his I’ve seen in its entirety.  In its rigor - long takes and prominent film sound - it reminded me of 80s and 90s Hou Hsiao-hsien.  Its painterly lighting and framing of the highest order also recall the mastery of Hou.  Slow, thoughtful and with a touch of fantasy that yearns for something other than the every day grind of 21st century China, a great example of a great 21st century art film.

Claire Denis' and Serge Daney's Jacque Rivette, le veilleur

This dream of a documentary consists mostly of Denis filming the great film critic Daney talking with the great filmmaker Rivette.  It is by far the most thorough portrait of Rivette I have experienced to date and ranks as one of the most enlightening documentaries I have ever seen on a filmmaker.  

Jean-Pierre Limosin's Abbas Kiarostami - Verites et songes

For many years I have minimized the benefits of YouTube, preferring to criticize the quality of the works available there that could not be found anywhere else rather than revel in finally being able to see certain things.  The French series of documentaries, Cineastes de notre temps and  Cinema, de notre temps, refute anything I may have thought or felt all these years.  The documentaries are difficult to see in the states yet are some of the most powerful documents of some of the medium's greatest directors.  I believe there are more than 50 documentaries in all ranging from Renoir to Moretti, Lang to Cassavetes and many, many others.

What makes the series special is evident when watching the one on Kiarostami.  It is not a history of Kiarostami's life or cinema but rather an attempt to spend some time with the filmmaker.  We hear him talk and see him interact with different people he has worked with and different people he runs into on the streets.  By the end, we are no longer grappling to understand how a man could create such extraordinary work because we have just spent time in his shoes, sitting in his chair, seeing and feeling the world as he experiences it.   

Jerzy Skolimowski's Deep End

I can't recall sexual awakening ever being treated by the cinema with as much hormonal neurosis.  Skolimowski once again proves he is able to unlock's cinema's ability to be poetic but also dangerous.  He is able to find extraordinary set pieces, like the pool in the final scenes, and elongate time so that his films occupy a logic that defies most narrative progressions and rhythms.  There is also a confidence in Skolimowski that enables him to go too far and to push past our level of comfort to deliver something that has that Lynchian charge that is both disturbing and powerful.    

Favorite (four), eighty-six

Just like in my other eighty-five posts in this series, I want to take a second to single out the highlights of my recent film viewing.  Most of the films I have been glad to see but only a very few have stayed with me.  This series is my filter for those and my hope is one or two will be good to you as well.

Jia Zhangke's Still Life

I am aware that Zhangke is highly revered in circles I admire but this is probably the first film of his I’ve seen in its entirety.  In its rigor - long takes and prominent film sound - it reminded me of 80s and 90s Hou Hsiao-hsien.  Its painterly lighting and framing of the highest order also recall the mastery of Hou.  Slow, thoughtful and with a touch of fantasy that yearns for something other than the every day grind of 21st century China, a great example of a great 21st century art film.

Billy Wilder's Five Graves to Cairo

One of Wilder's first American films, made before Double Indemnity and Sunset Boulevard.  Showing up on Rosenbaum's extended 1000+ essential films, it is not surprising that Rosenbaum was a fan.  He tends to champion films that take a more honest look at history and consistently places more importance on that aspect of a film than whether it is entertaining, moving or stylish.  I have never seen a mid-war propaganda film that was any more unflinching.  It seems so much of its time that you can still smell and taste the war on it.  

Peter Bogdanovich's Saint Jack

Reminds me of other films that play more as two halves than one whole - films like The Passenger, Tropical Malady and Mulholland Drive.  While the first half does a good enough job setting our world and the cast of characters surrounding Jack, it is the second part where Bogdanovich really impresses.  He uses silence and several inspired set pieces - the scheme to take down the senator, William's death, the kidnapping of Jack - to masterfully stretch time and remind us he could in moments rise to the level of the great filmmakers of his generation.   

Xan Cassavetes' Z Channel: A Magnificent Obsession

It just so happens it is the second film I have seen in a row about a special period for the art film in the United States.  The previous film was Searching for Mr. Rugoff.  Both are worth a look but Jerry Harvey struck me as the more important figure and this work by Cassavetes felt far better shaped than Deutchman's tribute to Donald Rugoff.

Favorite (four), eighty-five

Just like in my other eighty-four posts in this series, I want to take a second to single out the highlights of my recent film viewing.  Most of the films I have been glad to see but only a very few have stayed with me.  This series is my filter for those and my hope is one or two will be good to you as well.

Steven Knight's Locke

Knight wrote Eastern Promises and Dirty Pretty Things, both of which I like quite a bit.  This time he writes and directs and takes a huge gamble by focusing the entire movie on Tom Hardy in his car driving.  Hardy's talent as an actor, particularly his voice and gestures, keep our attention and enable a film that could easily feel thin in its theatricality, to take on additional dimensions.  

Tony Richardson's The Border

A film that fits in with its mood and style with the end of the cycle of the American New Wave.  Reminiscent of films like Cutter's Way and Out of the Blue that use naturalistic means to examine a decaying American Dream.

Claire Denis' Both Sides of the Blade

Although I have not rewatched most of Denis' films, I have seen the following at least once - Chocolat, S'en fout la mort, J'ai pas sommeil, US Go Home, Nenette et Boni, Beau travail, Trouble Every Day, Vendredi soir, L'intrus, 35 rhums, Let the Sunshine In, High Life and Both Sides of the Blade.  It seems that her work can be divided into at least two categories, films that make for fairly comfortable viewing (for instance, I place Nenette, Vendredi, 35 and Let the Sunshine into this category) and work that is as up there with some of the cinema's most harrowing.  In this latter category, to begin with I would list J'ai pas sommeil, Trouble and Both Sides of the Blade.  It isn't gratuitous, there is a fearlessness at times with the way that Denis films the body and her ability, like Lynch, to burrow into raw and deeply disturbing situations involving her characters.  I am thinking about the long murder sequence involving Dalle or almost any moment with Camille or nearly second Colin is on screen.    

William E. Badgley's Here to Be Heard: The Story of the Slits

A must see for anyone into post-punk that wants to learn more about this seminal group.  Interesting to see that even people who leave a mark on music history sometimes have to move on to a life that has little to do with his or her art.   

Reel Adventures - RW Norton Art Gallery - Chinatown

On Friday night, I was part of launching the first-ever film club at RW Norton Art Gallery in Shreveport. The first film we showed at what will be a periodic film club was Chinatown. Here is the talk I gave that night:

I wanted to welcome everyone. My name is Jeffrey Goodman. I know many of you but for those of you who I don’t know - I’ve made a few movies, spent a considerable amount of time watching and thinking about film, and my hope for tonight is to share at least one thing about the cinema that stays with you.

I wanted to thank Lewis and Ruth Norton and Emily Feazel who have been open to the idea of a film club from the first day it came up and who have been instrumental in making tonight happen.

I have a short 5-7 minute talk I'd like to share, then we'll do another round of trivia and then I’ll come back to try to answer any Chinatown or film-related questions you might have.

And just before I begin, I’m curious how many of you had never seen Chinatown before this event? Raise your hand if you could. (It was probably half the room!)

Last Tuesday, French-Swiss filmmaker Jean-Luc Godard passed away at the age of 91. Godard is considered a massive figure in the history of cinema and his contributions would take hours to discuss. But if I were to single out the one thing he should most be remembered for, it is his efforts to get people to accept and view the medium of cinema as an artform that at times could be just as artistic as ballet, painting, classical music, sculpture or any of the other high arts.

And so it seems fitting that we’re here tonight at Norton's for its first-ever film club.

If, as Godard says, certain films are more than mere entertainment then there should be some sort of gain in looking more deeply at them.

So, Chinatown.

It is a film I would claim is of high artistic value. All of its components – hair, make-up, wardrobe, set design, framing, lighting, locations, sound, score, casting and camerawork – are overseen by master crafts people working together to make us believe we are in another time and place.

In fact, that is one of the most challenging aspects of film. Making something that we believe. And hiding all the thousands of pieces that go into making a finished film. One effective way of hiding the apparatus in film is what I’d like to focus on for the next few minutes and it’s the long take.

As all of you know, film is made up of a bunch of pieces, or “cuts” that are edited together to tell a story. The average number of cuts in a film is about 1,050. If films average 1,050 cuts and the average film is 120 minutes long, then there is on average a cut every 8.75 seconds.

What the long take does is attempt to illustrate a moment visually in a longer timeframe than normal without resorting to a cut. Filmmakers use long takes for many reasons but often it is to preserve the illusion that what it is in front of us is actually taking place rather than fabricated by a countless number of crafts people.

There have been several very famous long takes in the history of cinema. There is the three minute long take as Ray Liotta and Lorraine Bracco enter the Copacabana nightclub in Martin Scorsese’s Goodfellas, the nearly 4 minute opening sequence in Orson Welles’ Touch of Evil and Alfred Hitchcock’s 1948 film Rope in which Hitchcock attempts to make us believe that we are watching an entire film without a single cut.

I won’t digress too far on this. But films used to only be made on film. And the magazines that went on the film cameras at most could hold a 1000 feet of film or about 11 minutes. Therefore, until digital cameras came about, it was technically impossible to film an entire movie in one long take.

There are very complicated, highly choreographed long takes where the camera is moving around a large amount of space without a cut and then there are other more modest long takes like this one I am about to show you from Chinatown. This long take in Chinatown lasts a minute or nearly 7x longer than your average shot.

(Showed one minute long take from Chinatown.)

And cut.

So my parting words are this:

I don’t want to ruin anyone’s enjoyment of watching films by lifting the curtain somewhat on how movies achieve their magic. I believe the opposite in fact - that if you learn more about how movies are made, know more about what you are watching, you will ultimately feel deeper enjoyment for the entire experience.

That is my hope from these Reel Adventures we have just begun.

I really appreciate everyone coming out, hope you’re having fun so far and I look forward to the opportunity to do more of these in the future.

Favorite (four), eighty-four

Just like in my other eighty-three posts in this series, I want to take a second to single out the highlights of my recent film viewing.  Most of the films I have been glad to see but only a very few have stayed with me.  This series is my filter for those and my hope is one or two will be good to you as well.

Sara Driver's Boom for Real: The Late Teenage Years 0f Jean-Michel Basquiat

It's the type of documentary that would be hard to imagine an outsider being able to make.  Driver is able to tap her network as well as lived experience to gather extraordinary footage of Basquiat and the NYC art world in the late seventies to early eighties.  For any fan of Basquiat or anyone just curious to learn a little more about the man and the unique era that inspired his work.  

Frederick Wiseman's High School II

Yet another powerful and important film from Wiseman.  While watching it, and I have never had this exact thought before, I couldn't help but think about the void that will be left when Wiseman is no longer making films.  No one in American film consistently examines our country, our people, our successes, our failures as deeply as Wiseman.  And no one takes the American dream to task, dissecting its shortcomings, in as profound and as important of a manner.  He is a giant in our country's cinema and among American artists in the 20th and 21st centuries.

Victor Nunez's Ruby in Paradise

What jumps out at first view is to think about the historical context in which it was made.  It was the height of American indy cinema and "auteurs" working overtime to emphasize their personal style.  Spike, the Coen brothers, Jarmusch, Hartley, Tarantino all came to the medium with heavily mannered approaches.  In fact, it is hard for me to think of an indy filmmaker, at that time, who was working in a more naturalistic way.  

Perhaps it's the fact that Nunez was 48 when he made Ruby.  Whatever the reasons, Nunez distinguishes himself from the rest of the abovementioned filmmakers by his careful attention to place and character and his subdued use of music, sound, and any other aspect of cinematic style.    

Jeremiah Zagar's Hustle

I will be the first to admit.  When it comes to sports films, I am willing to ignore and let slide stylistic elements I normally can't get past.  If you are like me and can be moved by Hollywood sports films like Hoosiers, Creed, Eddie the Eagle or The Way Back, this Sandler vehicle will most likely hook you in.  It is the type of underdog story and story of redemption that Hollywood can really deliver.