Let’s take a look at another city symphony while we wait for the next MMC! proposal, specifically Francis Thompson’s wonderfully distorted tribute to life in New York City! Thompson’s short film celebrates the rhythms, geometries, and absurdities of city life through a variety of fanciful lenses, prisms, reflectors, and editing techniques (all of which Thompson was quite secretive about). Originally a painter and an art teacher, Thompson began his filmmaking career with The Evolution of the Skyscraper in 1939 and later won an Academy Award for To Be Alive! (1964). In a frequently quoted comment on the film, Aldous Huxley remarked on Thompson’s ability to escape colour photography’s tyrannical claim to verisimilitude and use the medium to further the voice of non-representational art. Huxley observed:
And then there is what may be called the Distorted Documentary a new form of visionary art, admirably exemplified by Mr. Francis Thompson’s film, NY, NY. In this very strange and beautiful picture we see the city of New York as it appears when photographed through multiplying prisms, or reflected in the backs of spoons, polished hub caps, spherical and parabolic mirrors. We still recognize houses, people, shop fronts, taxicabs, but recognize them as elements in one of those living geometries which are so characteristic of the visionary experience. The invention of this new cinematographic art seems to presage (thank heaven!) the supersession and early demise of non-representational painting. It used to be said by the non-representationalists that colored photography had reduced the old-fashioned portrait and the old-fashioned landscape to the rank of otiose absurdities. This, of course, is completely untrue. Colored photography merely records and preserves, in an easily reproducible form, the raw materials with which portraitists and landscape painters work. Used as Mr. Thompson has used it, colored cinematography does much more than merely record and preserve the raw materials of non-representational art; it actually turns out the finished product. Looking at NY, NY, I was amazed to see that virtually every pictorial device invented by the old masters of non-representational art and reproduced ad nauseam by the academicians and mannerists of the school, for the last forty years or more, makes its appearance, alive, glowing, intensely significant, in the sequences of Mr. Thompson’s film.
In anticipation of our next found footage Criterion proposal, MMC! is taking a brief and relevant tour through a favourite genre – the city symphony. We start with the unconventional example of Claude Lelouch’s C’etait un rendez-vous (1976), a thrillingly accelerated tour through Paris, from the Paris Périphérique tunnel, around the Arc de Triomphe, through red lights, up one-way streets, and across centre lines to the Sacré-Cœur Basilica and Lelouch’s then-girlfriend Gunilla Friden. Lelouch shot the film himself one Sunday morning in August, driving a Mercedes-Benz 450SEL 6.9 with a camera mounted to its front bumper and reaching a top speed of 200 km/h, although the film’s soundtrack is dubbed to the sound of the director’s Ferrari 275GTB. The short gets much of its charge from the fact that Lelouch is obviously not driving on a closed course. In fact, Lelouch had only one assistant along the route, Élie Chouraqui, who was posted at the Rue de Rivoli with a walkie-talkie to caution Lelouch on the blind junction located on the other side of an archway. The radios failed but Lelouch thankfully had a green light.
Those looking to connect C’etait un rendez-vous with our upcoming proposal might consider the short’s unconventional approach to the city symphony, the prominence of driving, and the potentially self-destructive actions undertaken for a beautiful blonde at an old basilica.
Designed for the film lover in mind, SHOUT SELECT shines a light on films that deserve a spot on your shelf. From acknowledged classics to cult favorites to unheralded gems, SHOUT SELECT celebrates the best in filmmaking, giving these movies the love and attention they deserve.
LONG TAILS AND EARS FOR HATS!
Re-discover the Pussycats, Josie (Rachael Leigh Cook), Melody (Tara Reid), and Val (Rosario Dawson), three small-town musicians with big dreams but little future! The chance of a lifetime arrives out of the blue when Wyatt (Alan Cumming) of MegaRecords signs them to an awesome recording contract without even hearing them play. Suddenly, Josie and the Pussycats are living life in the fast lane with sold-out concerts, chartered jets, a number one single, and global stardom. Their good fortune comes at price however and the Pussycats soon discover that they’re being used by their record label’s maniacal CEO Fiona (Parker Posey) to control the youth of America. Featuring a hit soundtrack of pop-punk songs and purr-fectly hilarious performances, Josie and the Pussycats is a modern cult classic about friendship, rock music, and capitalist conspiracies.
- NEW HD Film Transfer
- NEW “Back To Riverdale” With Directors Deborah Kaplan and Harry Elfont and Stars Rachael Lee Cook, Rosario Dawson, and Tara Reid
- NEW “Here and Meow” With Singer Kay Hanley
- NEW “In Through The Backdoor” With Actors Seth Green, Donald Faison, and Breckin Meyer
- Audio Commentary With Directors Deborah Kaplan and Harry Elfont and Producer Marc Platt
- Backstage Pass
- Deleted Scenes
- Josie and the Pussycats “3 Small Words” Music Video
- Dujour “Backdoor Lover” and “Dujour Around The World” Music Videos
- Theatrical Trailer
- Production Notes
The Criterion Collection, a continuing series of important classic and contemporary films presents Knife + Heart.
In the neon glow of 1979 Paris, Anne (Vanessa Paradis) makes her living producing low-budget gay pornography and struggles with the heartbreaking rejection of her longtime lover and current film editor Loïs (Kate Moran). She aims to inspire Loïs back into loving her with increasingly ambitious productions, even using the murders of her actors by a leather clad killer as inspiration, but as the killings continue and her troupe becomes increasingly cautious, Anne assumes the role of amateur sleuth investigating the secret of the mysterious figure that stalks her company. Deftly blending Parisian porn silliness and Italian slasher conventions with a pulsing score by electronic music group M83 and a perfect period production design, Knife + Heart is an affectionately queer tribute to cinema’s body genres and to love in its many forms.
- 4K digital master, approved by director Yann Gonzalez and director of photography Simon Beaufils, with 5.1 surround DTS-HD Master Audio soundtrack on the Blu-ray
- Two audio commentaries, one featuring Gonzalez and actors Vanessa Paradis, Kate Moran, and Nicolas Maury, and the other featuring Gonzalez, Beaufils, co-writer Cristiano Mangione, and production designer Sidney Dubois
- New interview on the film’s soundtrack with Yann Gonzalez and his brother Anthony Gonzalez
- New interview with historical advisor Hervé Joseph Lebrun on the 1970s Parisian porn scene
- Mondo Homo: A Study of Gay French Porn in the ’70s, Lebrun’s 2009 feature-length documentary
- New English subtitle translation
- PLUS: An essay by Anthony Nocera
The Saskatoon Fantastic Film Festival’s final day kicked off by wrapping up its body horror retrospective with Philip Brophy’s Body Melt (1993). MMC! imagined an Arrow Video edition of the film earlier this summer, back when word of its restoration began circulating. The film now has a packed Blu-ray release compliments of Vinegar Syndrome, bringing this lesser known wonder to the world. The SFFF paired Body Melt with Chris McInroy’s practical effects-based We Summoned a Demon (2018), a fun and goofy short about a couple of guys who just want to be cool and end up summoning a demon. Overall, a fun way to start the Festival’s end.
The Saskatoon Fantastic Film Festival has upgraded the apparatus with its 2018 edition. That means fewer midnight screenings in favour of an extra day of programming, a 3-hour cartoon and cereal party, a snazzy new booklet, new voting ballots, some clever bumpers running before the screenings, sponsorships and promotions from Vinegar Syndrome and Shudder, and even an after party with cast and crew of Supergrid. And with turnout for Day 1 looking robust, Festival Director John Allison and his team must be feeling positive about the prospects for this year. There’s always a desire to find a theme to a given day’s program but finding a common thread between Anna and the Apocalypse (John McPhail, 2018), Rock Steady Row (Trevor Stevens, 2018), Videodrome (David Cronenberg, 1983), and their supporting short films is something of a challenge. At best, it might be said that most of these films attend to breakdowns in community and some very unlikely ways to reassemble them.