The outrage of the mainstream press in Cannes about Godard’s Film Socialisme was quite predictable. In his Scanners, Jim Emerson has even gone to the trouble of compiling excerpts from 15 New York Times reviews of Godard’s films, spread out over half a century and all offering variations on the same complaint: “[approaching] the films themselves as though they are puzzles designed to frustrate (and to eventually be ‘solved’), then [blaming] Godard for not doing a better job of solving them himself because they’re too hard.” And it was apparent even to me, witnessing everything from Chicago, that this anger was only intensified by the minimalist pidgin-English subtitles and Godard’s last-minute cancellation of his press conference. I was reminded of the near-riot once occasioned by a screening of his Un Film comme les autres (perhaps the emptiest and the most talkative of all of Godard’s films to date), in New York’s Lincoln Center in 1968, thanks in part to an attempt at adding an English voiceover on the spot that made the French and English equally incomprehensible. Which suggests that Godard’s aesthetic and ideological provocations often help to clear the way for still other sources of anger that may or may not be related to them.… Read more »
Monthly Archives: May 2010
The first two stills below come from a couple of French films dating from 1907 and 1909, respectively, which were shown in the tenth and final program in “From the Deep,” a wonderful program at Oberhausen International Short Film Festival that’s briefly described here. The first, Le Cochon danseur (“The Dancing Pig”) is, according to Luis Buñuel, the first film he ever saw, when he was about eight years old; the second, a wild and hilarious farce largely staged on the streets of Paris, is Un Monsieur qui a mangé du taureau (“A Man Who Ate Bull Meat”). Such is the scarcity of all these films that practically none of the stills shown here, with the possible exception of the first, can do them any sort of justice. [5/23: This article has appeared in the Turkish film monthly Altyazi, and my thanks to Gözde Onaran, my fellow juror at Oberhausen, who translated it into Turkish, for furnishing me with the still below from Médor au téléphone.] — J.R.
The time is circa noon on May 2, outside the Lichtberg Cinema at the Oberhausen Short Film Festival. Olaf Möller, one of the programmers, and an old friend — a critic who tends to favor the critically overlooked in relation to the critically overexposed, preferring Verhoven to Hitchcock, Kuleshov to Sternberg, and Saless to Kiarostami — is explaining to me why he also tends to prefer Raoul Walsh to Howard Hawks For him, the terrain of Hawks is more limited, having more to do with the cinema itself than with the world.… Read more »