..... en réponse à un ou deux "lecteurs" distraits ou surcinéphilizés, je reformule la question: pourquoi un ulmer bâclé, mal joué, est -il sublime (baroque mal fagotté, ou quoi?) et pourquoi y a t-il tant de cinéma là dedans, et RIEN là où c'est techniquement mieux joué, de nos jours, à la télé ou au cinéma?
....je reformule aussi ma réponse, qui vaut ce qu'elle vaut, qui vaut ce que je vaux: le jeu des acteurs, quoi qu'on en pense, a toujours eu très peu à voir avec l'essence du cinéma, du temps où le cinéma était cet art d'usine qu'on tant et tant aimé .... c'est à dire que les acteurs, en tant qu'ils sont dirigés, n'ont rien, ou presque rien, à voir avec ce qui faisait les grands films ... welles étant une exception grandiose et aberrante ....
le foie gras mortel d'akim tamiroff dans mr arkadin/confidential report( (orson welles) .... (vienna or yiddish poland as seen through welles' theatrical baby eyes .... )
le cinéma était, est, et restera ... un mystère .... un accident industriel dû à des magiciens inconséquents, inconscients, salariés au mois pour la plupart ....
suis-je plus clair, oui ou non?
samedi 16 juillet 2011
le cinéma doit-il à tout prix être mal joué?
the naked dawn/le bandit (arthur kennedy/allan dwan, 1953)
sous le pseudo de nina et herman schneider, se cache julian halevy zimet, scénariste marxiste et verbeux, mis sur la liste noire du sénateur mc carthy .... le film est sublime ... arthur kennedy, qui a été finement dirigé par minnelli, n'a jamais été aussi mauvais ... tournage trop rapide ... ou bêtise d'ulmer? ou quoi?
voici maintenant quelques minutes d'un feuilleton anglais (merci à kapellmeister), mille fois mieux joué que le bandit, avec un sens de l'intelligiblité plus technique que les vieux codes de jeux hollywoodiens ne le permettaient ... qu'est-ce que celà prouve?
orson welles talks about alain cavalier
SKORECKI TALKS ABOUT PATER:
www.ubu.com/film/welles_oneman.html
(the one man band, un beau documentaire sur les "inédits" de welles, ses farces et ses facéties, avec oja kodar en madame loyal)
le film d'alain cavalier n'a qu'un équivalent au cinema: filming othello, un film oublié en forme de testament minuscule bricolé à partir de ses dialogues d'ivrogne shakespearien avec micheál macliammóir(1899-1978), l'un de ses plus anciens amis, celui qui joue iago dans l'othello original ... .... .... ils parlent, ils boivent, ils mangent, ils théorisent ce qui reste de la vie (et du cinéma); pas grand chose, mais ce "quelque chose" est sacrément vivant dans les yeux du vieux welles ... orson welles inventait en direct, sans en avoir l'air, un art absolu de la mise en scène .... une manière de dire en passant, sans insister: regardez le magicien que je suis, le plus fort du vieil hollywood ... .... je met bout à bout deux plans tournés à un an de distance, et vous n'y voyez que du feu ... .... non, ce n'est pas de la magie, j'ai juste fait le raccord sur la bouteille de vin qu'on buvait il y a un an ... ...
il y a dans pater, ce filming lindon rigolo, politique, bavard, gourmand, et surtout dans la dernière séquence, une scène deux fois filmée, la seconde fois en champ contre champ, une rigueur de moine .... l'anti-roi bégue, en somme ...
cette virtuosité modeste, bricolée, est la seule leçon de cinéma qui me fasse venir les larmes aux yeux, car il s'agit d'un art d'usine, celui qui en principe n'existe plus ...
If we do meet again, why we shall smile/If not, why then this parting was well made (brutus à cassius dans jules césar .... )
If we do meet again, why we shall smile/If not, why then this parting was well made (brutus à cassius dans jules césar .... )
ORSON WELLES TALKS ABOUT FILMING OTHELLO:
I have done a great deal of that editing, while I am filming. I visualize the editing, while I am filming. When I change that idea, it is a deliberate change. It is a difference that is bigger than I'd like to admit, and I do admit it, because actors teach you so much. The scenery, the smell of a thing, when you come on a set in the morning, whether it's OTHELLO, or a modern story. If you have a master plan for what your going to do, exactly where the camera is going to be, exactly what the scene is supposed to state, if you are locked into that, you are depriving yourself of the divine accidents of moviemaking. Everywhere there are beautiful accidents. The actors say something in a different way than you ever dream it could be said. She looks differently, there's a smell in the air, there's a look that changes the whole resonance of what you expected. Then, there are the true accidents, and my definition of a film director is the man who presides over accidents, but doesn't make them.
I'm going to stop just here, not only because our time is almost up, but because at this point in the discussion, the Boston film buffs veered away from the subject of OTHELLO. If I've evaded any of their questions, or any of yours, it's not by design. Maybe I should have read into the record some of the things the critics have said against OTHELLO. You might have found that informative. I would have found it depressing. I'm very much afraid that under the banner of fair play, and the interest of what's called a balanced judgment, I couldn't have resisted reading you some of the good stuff as well. Anyway it's an argument that still goes on and on. I spared you both sides of it, and I don't know if I was mistaken. Maybe an anthology of critical reviews might have been rewarding, but after all this is supposed to be my voice on the subject, so that's what you've had. I've tried to be as candid as I can. You won't have expected me to be objective. I started by calling this a conversation, but I'm afraid what you've had is mostly a scrambled, disjointed series of notes. I've been coming at our subject from every conceivable direction of the compass, and I might have put a better shape to this if I had relentlessly pursued a single theme, but that would have neglected all the other themes. I just don't know. In trying to say too much, I may have said too little.
I'm going to stop just here, not only because our time is almost up, but because at this point in the discussion, the Boston film buffs veered away from the subject of OTHELLO. If I've evaded any of their questions, or any of yours, it's not by design. Maybe I should have read into the record some of the things the critics have said against OTHELLO. You might have found that informative. I would have found it depressing. I'm very much afraid that under the banner of fair play, and the interest of what's called a balanced judgment, I couldn't have resisted reading you some of the good stuff as well. Anyway it's an argument that still goes on and on. I spared you both sides of it, and I don't know if I was mistaken. Maybe an anthology of critical reviews might have been rewarding, but after all this is supposed to be my voice on the subject, so that's what you've had. I've tried to be as candid as I can. You won't have expected me to be objective. I started by calling this a conversation, but I'm afraid what you've had is mostly a scrambled, disjointed series of notes. I've been coming at our subject from every conceivable direction of the compass, and I might have put a better shape to this if I had relentlessly pursued a single theme, but that would have neglected all the other themes. I just don't know. In trying to say too much, I may have said too little.
othello, pure genius of light and theatre, and love ....
Of course, my film did not do justice to the play. It is my film and it is Shakespeare's play. No film, indeed no stage production could ever do true justice to that play. No actor ever did full justice to the part. I ask myself now, if I've done justice here in my own movie. I don't mean in the value I may sometimes rather coyly have placed upon it. I just mean this discussion. Now, let's try to sum it up. First, how the picture was made. That story you remember. An Italian producer dreaming of Verdi's OTELLO, and neglecting to mention that he was about to go into bankruptcy, stranded our whole company in a small town off the coast of Africa. With a little money of my own, all I had and absolutely no costumes whatsoever, we improvised our way for awhile, then stopped for awhile and I had to go to work as an actor in other films, in order to earn enough to continue with my own. That went on and on, and repeated itself several times, and it meant that OTHELLO was made so to speak, on the installment plan. This and other circumstances did impose a method and style of shooting, which was contrary to what had been carefully planned. For a description of the finished result, I brought you those critical appreciations, that correspond fairly closely to my own ideas. Some thoughts on the interpretation have come from a couple of the leading actors, with some additions of my own. All judgments having been avoided, I leave you with this confession. This hasn't been as easy as I might have wished. Their are too many regrets, there are too many things I wish I could have done over again. If it wasn't a memory, if it was a project for the future, talking about OTHELLO would have been nothing but delight. After all, promises are more fun than explanations. In all my heart, I wish that I wasn't looking back on OTHELLO, but looking forward to it. That OTHELLO would be one hell of a picture. Goodnight.
Of course, my film did not do justice to the play. It is my film and it is Shakespeare's play. No film, indeed no stage production could ever do true justice to that play. No actor ever did full justice to the part. I ask myself now, if I've done justice here in my own movie. I don't mean in the value I may sometimes rather coyly have placed upon it. I just mean this discussion. Now, let's try to sum it up. First, how the picture was made. That story you remember. An Italian producer dreaming of Verdi's OTELLO, and neglecting to mention that he was about to go into bankruptcy, stranded our whole company in a small town off the coast of Africa. With a little money of my own, all I had and absolutely no costumes whatsoever, we improvised our way for awhile, then stopped for awhile and I had to go to work as an actor in other films, in order to earn enough to continue with my own. That went on and on, and repeated itself several times, and it meant that OTHELLO was made so to speak, on the installment plan. This and other circumstances did impose a method and style of shooting, which was contrary to what had been carefully planned. For a description of the finished result, I brought you those critical appreciations, that correspond fairly closely to my own ideas. Some thoughts on the interpretation have come from a couple of the leading actors, with some additions of my own. All judgments having been avoided, I leave you with this confession. This hasn't been as easy as I might have wished. Their are too many regrets, there are too many things I wish I could have done over again. If it wasn't a memory, if it was a project for the future, talking about OTHELLO would have been nothing but delight. After all, promises are more fun than explanations. In all my heart, I wish that I wasn't looking back on OTHELLO, but looking forward to it. That OTHELLO would be one hell of a picture. Goodnight.
www.ubu.com/film/welles_oneman.html
(the one man band, un beau documentaire sur les "inédits" de welles, ses farces et ses facéties, avec oja kodar en madame loyal)
summer 1997
Tough Mama
Meat shakin’ on your bones
I’m gonna go down to the river and get some stones
Sister’s on the highway with that steel-drivin’ crew
Papa’s in the big house, his workin’ days are through
Tough Mama
Can I blow a little smoke on you?
tough mama / from planet waves (1973)/Hershey, USA, 13 august 1997
Dark Beauty
Won’t you move it on over and make some room?
It’s my duty to bring you down to the field where the flowers bloom
Ashes in the furnace, dust on the rise
You came through it all the way, flyin’ through the skies
Dark Beauty
With that long night’s journey in your eyes
Sweet Goddess
Born of a blinding light and a changing wind
Now, don’t be modest, you know who you are and where you’ve been
Jack the Cowboy went up north
He’s buried in your past
The Lone Wolf went out drinking
That was over pretty fast
Sweet Goddess
Your perfect stranger’s comin’ in at last
Silver Angel
With the badge of the lonesome road sewed in your sleeve
I’d be grateful if this golden ring you would receive
Today on the countryside it was a-hotter than a crotch
I stood alone upon the ridge and all I did was watch
Sweet Goddess
It must be time to carve another notch
I’m crestfallen
The world of illusion is at my door
I ain’t a-haulin’ any of my lambs to the marketplace anymore
The prison walls are crumblin’, there is no end in sight
I’ve gained some recognition but I lost my appetite
Dark Beauty
Meet me at the border late tonight
BONUS SUMMER 1997, when dylan was still young and rocking
you ain't goin' nowhere/silvio
(Hershey, USA, 13 august 1997
ROCKING BONUS 2000
leopard skin pill box hat (september 24, 2000)
stockholm, 2007
when the deal goes down .... stockholm 2007 ...., listen to the other fabulously lyrical and almost liquid stockholm 2007 songs on june 27, 23h59
mercredi 13 juillet 2011
the saga of anatahan
la voix off du film, celle qui raconte les évènements d'un ton las, usé par la vie, c'est celle du vieux joseph von sternberg... .... .... telle que je l'ai entendue en 1964, une dizaine d'année à peine après le tournage de ce film/testament sublime, vain, oublié ... ...
the saga of anatahan (joseph von sternberg, 1953)
.... dans une île perdue du pacifique, un groupe de japonais croit que la guerre continue, des années après la défaite du japon .... à l'époque, après une fantaisie inutile, jet pilot, sternberg ne tournait plus ... il avait abandonné le cinéma ... vieux, vaniteux, prétentieux, il m'avait montré une porte sculptée de ses vieilles mains tremblotantes en me disant: "voilà ma nouvelle oeuvre, la dernière ....." ... anatahan est sculpté comme une vieille porte ... ... joseph von sternberg avait construit une jungle de studio .... dans une jungle réelle, sur une île perdue ... .... sa volonté de contrôle était absolue: il avait tout signé: la photo, les décors, le montage, le maquillage, les costumes, le scénario ... c'est un film de pur cinéma, de pure magie .... on peut dire que c'est son plus beau film .... on peut aussi dire que c'est son seul film ...
the saga of anatahan (joseph von sternberg, 1953)
.... dans une île perdue du pacifique, un groupe de japonais croit que la guerre continue, des années après la défaite du japon .... à l'époque, après une fantaisie inutile, jet pilot, sternberg ne tournait plus ... il avait abandonné le cinéma ... vieux, vaniteux, prétentieux, il m'avait montré une porte sculptée de ses vieilles mains tremblotantes en me disant: "voilà ma nouvelle oeuvre, la dernière ....." ... anatahan est sculpté comme une vieille porte ... ... joseph von sternberg avait construit une jungle de studio .... dans une jungle réelle, sur une île perdue ... .... sa volonté de contrôle était absolue: il avait tout signé: la photo, les décors, le montage, le maquillage, les costumes, le scénario ... c'est un film de pur cinéma, de pure magie .... on peut dire que c'est son plus beau film .... on peut aussi dire que c'est son seul film ...
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" invraisemblable ou pas, crois-moi, c'est la vérité -et il n'y en a pas deux ..."
