FilmClick

The trend toward digital cinema may have left the seventies far behind, but there must still be some of you out there who remember when 16mm film was among the most accessible formats. Before the Handicam, the onboard shotgun microphone, and non-linear, OS-based editing software, documentary filmmakers had to actually light their subjects’ spaces, sound recordists had to carry reel-to-reel tape recorders, and tens of thousands of feet of film had to be exposed, developed, printed, and spliced together on electric flatbed machines.

Thanks to the versatility of small-format 8mm and 16mm film stocks, low budget and independent films were still achievable. And if it still sounds like a work-intensive process, just take a look at the results at Film Forum this week.

Always for Pleasure (1978)

Documentary filmmaker Les Blank’s legendary body of work is on display at one of Manhattan’s premier independent theaters, located at 209 West Houston Street, and what a body of work it is. The director and his collaborator Maureen Gosling, in a tireless pursuit of rare, beautiful, and otherwise interesting subjects (spanning some four decades and still going strong), have compiled several dozen films, both short and feature length, on topics ranging from the love of garlic to women with dental eccentricities to Latin music traditions in the American southwest. A soft-spoken Blank and the more assertive Gosling will be appearing for several question and answer sessions throughout the week’s programs.

Blank and Werner Herzog

His footage alone is historic. Whether tracking Werner Herzog through the rainforest of the Amazon basin (1982’s Burden of Dreams earned a prestigious Criterion Collection release), exploring drumming and rumba traditions in Cuba, or making enemies in dance halls throughout the deep South for imposing his modest lighting scenario, the results are never anything short of breathtaking. Blank’s camera lyrically shifts focus, poignantly zooms in and out, and takes advantage of all the beautiful soft edges and soft contrast that 16mm has to offer.

Sworn to the Drum: A Tribute (1995)

What has emerged, and will continue to emerge, from the countless hours of this process-intensive filmmaking are a cache of poetic and resonant stories about love, music, good food, and the passion that drives our human culture.

By Michael Prall, FilmClick staff, mprall@filmclick.com

Greenwich Village’s IFC Center helped keep the scare alive during my post-Halloween weekend. The indie theater boasts a new 35mm print of Werner Herzog’s classic genre subversion, Nosferatu the Vampyre. IFC consistently includes retrospective programs, classic and rare films that augment an already impressive lineup of new and independent work.

Nosferatu the Vampyre

Nosferatu may not necessarily be among Herzog’s best films, but it’s certainly among the most memorable. It stars a terrifying Klaus Kinski as Dracula, the Romanian vampire of legend, brought to life in Bram Stoker’s immortal tale. In a strange combination of the classic German expressionist style, in particular the original 1922 Nosferatu by F. W. Murnau, contemporary (1970’s) industry horror movies (the dialogue is recorded in English, even), and Herzog’s tendency to inject a profound weirdness into his themes, the film becomes far more complex as it moves along.

By the end, we’re treated to some typical Herzog subversion, as the city is stricken with rats, and the plague they carry with them. Citizens in their final hours dance around the anarchic town square in glee, at one with death and decay. Also of note is Kinski’s natural ease with the role of Dracula. He seems to have been born for this role. The piercing stare and ethereal stillness that characterize many of his Herzog roles in this case come off as truly horrifying.

By Michael Prall, FilmClick staff, mprall@filmclick.com

Consider 2nd Avenue’s haven for avant-garde film projects of all shapes and sizes. Anthology officially made its start in 1970 as the first museum dedicated solely to film as an art form, and hasn’t looked back since. Lithuanian filmmaker and curator Jonas Mekas, along with several others including Stan Brakhage and Peter Kubelka, laid the groundwork for what is today Manhattan’s premier venue for both new and retrospective avant-garde film and video work. Between the 72-seat Maya Deren Theater and the larger (182-seat) Courthouse Theater, Anthology is equipped to project work in formats including 35mm, 16mm, 8mm, super-8, and video.

Song and Solitude

I saw the third and final segment of a week-long Nathaniel Dorsky program entitled The Walking Picture Palace, which featured selections of his work since the 1960’s. He’s a San Francisco Bay Area 16mm artist, whose typical work is meticulously shot, juxtaposed, and projected in a silent testament to the power of this overlooked medium. By far, his work is among the most beautiful 16 I’ve had the pleasure to witness. His talkback after the program was representative of one of Anthology’s missions, constructing a theater in which films “can be seen under the best conditions.” Dorsky apologized for the noises of the ventilation, and the sirens outside, and asked if anyone would like to see the program again.

Abel Ferrara, Venice Film Festival 2005

A week later an unreleased Abel Ferrara film finally opened. Sometimes ecstatic, sometimes chaotic, this exploration into the spectrum of Christian belief won the Grand Special Jury Prize at Venice 2005, yet somehow never gained commercial release in the states. Mary stars Juliette Binoche, Forest Whitaker, Matthew Modine, and many more, and explores the varied ways in which people experience religious catharsis. Co-producer and long time Ferrara friend, collaborator, and production designer, Frank DeCurtis introduced the film and answered questions. “Abel meant to be here,” he said on opening night, “but something came up last minute and he had to fly to Moscow.” Hopefully, with so many fascinating elements, Mary will enjoy more than just a two-week run. Thanks to Anthology Film Archives, though, films like these are allowed to surface, however briefly.

Zidane: A 21st Century Portrait

Another gem that has been scantly recognized here in New York is a formalist experiment from co-directors Douglas Gordon and Philippe Parreno. Superstar cinematographer Darius Khondji and an army of camera operators follow Réal Madrid star Zinédine Zidane from start to finish during an exciting home football match. Continuous editing allows the game to happen in real time, while the skillful camera work keeps the viewer’s attention solely on the titular star. Many of the elements work to create an unique experience and effectively de-familiarize the match, although the score from hipsters Mogwaï is almost too effective, drawing too much emotional response and not quite enough concept. But Zidane is among this year’s most interesting releases, and without this ambitious art venue and its continuing mission, this film and countless others may go completely unrecognized.

By Michael Prall, FilmClick staff. mprall@filmclick.com