First Impressions: Thinking Aloud About Film

https://notesonfilm1.com/2024/01/28/thinking-aloud-about-film-four-moods-taiwan-1970/

We continue our discussion of the GOLDEN DECADES: CINEMATIC MASTERS OF THE GOLDEN HORSE AWARDS, with a chat on Four Moods, a portmanteau film, originally conceived as a project to raise funds for Li Han-hsiang’s ailing film company, Grand Motion Picture Company in Taiwan,

The four short films that together compose FOUR MOODS are:

First, Joy, is directed by Pai Ching-Jui, a bold beginning, shot as a silent film, with diegetic music but no dialogue

The second is King Hu’s Anger, which no doubt King Hu’s fans will rejoice at.

Sadness, the third, is directed by “godfather of Taiwanese cinema” Li Hsing, is perhaps misnamed as it’s perhaps more about self-destructive anger and vengefulness than anything else.

Happiness, the last, and our favourite, is directed by Li Han-Hsiang himself

All involve ghosts, hauntings, and desires.

A historically and culturally significant film, featuring four of the most popular and significant directors of the time. Fabulistic and allegorical, yet, the length of the podcast testifies to the limits of our understanding. The frustration of watching these films is the bounds of one’s knowledge, and we would encourage listeners who want to know more to read these excellent articles by Andrew Heskins and Hayley Scallion.

The copy kindly made available for viewing is brown and a bit murky colour-wise and does not deserve to be publicised as a restoration. The sub-titling, particularly of text within the narrative, could be improved. That said, w’re very glad to see it.

https://notesonfilm1.com/2024/01/23/storm-over-the-yangtze-river-li-han-hsiang-taiwan-1969/

We continue our discussion of the GOLDEN DECADES: CINEMATIC MASTERS OF THE GOLDEN HORSE AWARDS, with a response to Storm Over the Yantze River (Li Han-hsiang, Taiwan, 1969).

https://notesonfilm1.com/2024/01/17/thinking-aloud-about-film-good-morning-taipei-li-hsing-taiwan-1979/

We return to Hou Hsiao Hsien and to Taiwanese Cinema. Hou is the screenwriter for this transitional melodramatic musical: a hit and winner of the Golden Horse Award. Part of a series of films, some in new restorations, that are being screened under the title of GOLDEN DECADES: CINEMATIC MASTERS OF THE GOLDEN HORSE AWARDS. In the podcast we discuss it in relation to the healthy realist films of a previous generation, Hou's first films as a director, Spanish musical melodramas featuring children and British 60s musicals such as LIVE IT UP. A very enjoyable film that makes us look forward to the others in the series.

We chat to Prof. Dolores Tierney on MUBI's Sectacle Every Day: The Many Seasons of Mexican Cinema, debating the various films in the series, and topics that arise from them individually and collectively: Mexican National Cinema, Transnational Cinema, The Star System, genre and cult cinema.

Based on the 1970 novella by Muriel Spark, with Elizabeth Taylor playing a woman in the middle of a nervous breakdown, constantly deflecting the attention of brutish men who mistake her for a prostitute whilst cruising for a man to kill her; a fragmentary film, a big-budget experiment in narration, with a now middle-aged but still astonishingly beautiful Elizabeth Taylor giving one of her greatest and most under-rated performances. In this podcast we discuss Muriel Spark’s The Driver’s Seat, Vittorio Storaro’s cinematography, the appearance of Andy Warhol as a badly-dubbed British aristocrat; Elizabeth Taylor’s career in the late sixties/ early 70s and to what extent its reception has been coloured by sexism (in contrast to say Dirk Bogarde’s) and American cultural imperialism (popular european cinema doesn’t matter). We also mention Bruce La Bruce’s appreciation of the film in an essay that accompanies the BFI blu-ray release and speculate on whether the film has a ‘gay gaze’. An exploratory discussion of a film that deserves much more attention.

The kind of film where the lead character attempts an autopsy wearing a bikini: glamorous, camp, a bit low rent. In the podcast we discuss how the film is influenced by the James Bond craze, the Batman TV series, the wrestling phenomenon then at its height in Mexico, and a history of horror cinema. There’s a mad scientist who laughs an evil laugh, his assistant is called Igor, there’s a Promethean attempt at creating people à la Frankenstein except this time it’s a fish, Pisces, presumably to make the most out of the Alcapulco setting, a bit like The Creature from the Black Lagoon but in a prettier setting (and this seems to have in turn influenced Del Toro’s creature in The Shape of Water). It’s an aspirational film: there are fancy cars and apartments, great clothes, speedboats, the latest in consumer items (the record player is to die for). It’s also a curious mixture of feminist aspiration (the wealthiest woman in the world, sisterly, super-smart and able to fight) with misogynistic realities (The Batwoman’s function is predominantly to wear a bikini and be looked at whilst solving crime). We end by noting that the film is credited to Rene Cardona as director but it’s ‘a film by’ producer Guillermo Calderon Stell and we discuss how it fits in to the extended Batman universe. The last of our podcasts on the wonderful MUBI programme: Spectacle Every Day: The Many Seasons of Mexican Cinema.

https://notesonfilm1.com/2023/11/01/thinking-aloud-about-film-the-witchs-mirror-chano-urueta-mexico1962/

The Witch’s Mirror/ El Espejo de la bruja (Chano Urueta, Mexico, 1962) is an immensely entertaining film that is being screened on MUBI as part of their ‘Spectacle Every Day: The Many Seasons of Mexican Cinema’ series. There are claims that it is a ‘uniquely Mexican Gothic’ but we don’t quite agree. Indeed, in the podcast we relate it to Rebecca, Frankenstein, Eyes Without a Face, The Skin I Live In, The Beast With Five Fingers and other well-known films it was clearly influenced by or itself influenced. It is a derivative if visually inventive film, with a director who has an eye for composition, who keeps the camera moving, tells the story at a clip, and who knows how to make the most out of roughly a cast of four performers doing their outmost in about three sets. It’s a considerable achievement in its own terms and great fun to see though those looking for depth will be disappointed.

https://notesonfilm1.com/2023/10/31/in-conversation-with-pamela-hutchinson-on-the-red-shoes/

There is a major retrospective of the films of Powell & Pressburger currently underway in London at the BFI Southbank – the most extensive celebration of their work ever undertaken -- selections of which will tour the country. As part of the celebrations, the BFI has published a short monograph by Pamela Hutchinson on THE RED SHOES -- one of their greatest films -- under its ‘BFI Film Classics’ imprint. I found it fun to read and very informative, with an impressive range of sources, intelligently organised. The book is beautifully written in a way that seems personal but is so impressively argued it becomes very difficult to argue against; and with a delightful mode of narrating: ‘but perhaps you disagree with my take.’ It’s both impressive and entertaining and it made me want to talk to Pam some more about the film and the book.

In the accompanying podcast, we discuss the following: Who are Michael Powell and Emeric Pressburger and what is their significance to a history of cinema in general, and British cinema in particular? What is the enduring appeal of THE RED SHOES. Why does the film feel so distinctly British but also so different from the British Cinema then being produced. What is the context for the film’s theme of ‘dying for art’. How did the filmmakers and cinematographer Jack Cardiff achieve a style of colour so different than that normally produced by Technicolour productions under the direction of Natalie Kalmus? What is a composed film? What is the relationship of a ‘composed film’ to the concept of Gesuntkunstwerk? What was the status of ballet then and how does the film deploy the form? Was the film an influence on MGM Freed Unit Productions such as AN AMERICAN IN PARIS? What did Anton Walbrook and Moira Shearer bring to the film and what happened to the after? And much more.

I have spoken to Pam previously on her other brilliant BFI classic on PANDORA’S BOX; listeners might want to have a look at the Silent London website on all aspects of Silent Cinema that she directs and writes in. Pam will be talking on THE RED SHOES at the Midlands Arts Centre on the 16th of December to accompany a screening of the film. The MAC cinema has arguably the best projection system in the Midlands, a perfect place to see such a great and sumptuous film. Do I need to say that the book is a perfect stocking filler for Christmas?

https://notesonfilm1.com/2023/10/26/jose-arroyo-in-conversation-with-jan-jilek/

I participated in the Film Festival/ Summer Film School at Uherské Hradiště and was bowled over by the experience. Thousands of people streaming the streets of an extraordinarily pretty town in the Czech Republic – many of them very young – arriving from all parts of the country and abroad to see films, listen to lectures, participate in discussions. The town itself contributing all of its institutional resources to make it possible. Uherské Hradiště had turned over schools, gyms, and every available tent to the Festival/ Summer School so that young people can just roll out their sleeping bags and have a place to sleep. There are no searchlights, limousines or red carpets. But there is excellent programming, a pedagogic ethos, a party atmosphere, famous guests (Lav Diaz this year), and superb organisation that makes for a rich, varied and democratic experience. Everyone seemed eager to see and learn.

These are some of the reasons why I wanted to talk to Jan Jílek, Programme Director of Film Festival/ Summer Film School, Uherské Hradiště. In the podcast we talk about the roots of the festival in the Film Club Movement and its continuing connection with the Association of Czech Film Clubs (AČFK); how the festival tries to build on its heritage while helping construct new audiences; the changing role but continued importance of introductions and programme notes; how distinguished guests are important but how the main focus is really on the audience; we discuss the infrastructure of programming (first blocks, then sections, then films); its connection to education (Lectures, Master-classes, Introductions, notes); there is also an industry stand; and we question what is the Festival/School’s connection to a history/development of Czech cinema. Finally, the festival will be celebrating it’s 50th anniversary so we discuss some of the highlights of previous years and what to look for next July/August when this extraordinary event celebrates its 50th anniversary.

https://notesonfilm1.com/2023/10/08/el-esqueleto-de-la-senora-morales-the-skeleton-of-mrs-morales-rogelio-a-gonzalez-mexico-1960/

A taxidermist is married to a wife who constantly nags, feigns illness and tells neighbours he’s is abusing her whenever he doesn’t do what she wants. What do you think will happen? EL ESQUELETO DE LA SEÑORA MORALES/ THE SKELETON OF MRS MORALES (Rogelio A. Gonzalez. Mexico, 1960) was voted 19th in a list of the top 100 films in the history of Mexican cinema and currently on MUBI as part of the ‘Spectacle Every Day: The Many Seasons of Mexican Cinema’. Based on a short story by Arthur Machen, ‘The Islington Mystery, the film stars Arturo de Córdova, Amparo Rivelles and Elda Peralta and is written by Luis Alcoriza, who that year also wrote Buñuel’s THE EXTERMINATING ANGEL’. In the podcast we discuss all of this plus the film’s visuals, pacing, tone, whether it’s macabre rather than Surrealist…and more. Our favourite in the series thus far. Rogelio A. González is a director we’d never heard of. This film makes us want to see more of his work.