Un condamné à mort s’est échappé ou Le vent souffle où il veut [1956)

I wanted to write last night, but the Internet fell asleep.

This is one of my favorite films ever.

But I needed to rewatch it.  As I always do.  Every movie.

Real fear.

Real danger.

A long project.

Extracting yourself from the superjail.  The prison planet.

A Man Escaped.  We have it easy in English.

But witness the fullness of the French title.

It speaks to care.  Rope.  Hooks.  Months.  Of planning.

And it all started with a spoon.

Tin nor aluminum will do.  Neither.

We must wait for iron.

Steel?

Iron.  Hardness.

It’s World War II.

Today.  World War III.

And for the CIA, World War IV.

Chemists.  Physicists.  And now mathematicians.

Computer scientists.  Statisticians.

No, that’s post-War.  Japan.

But for now we are locked in a room of our own making.

If we can only get through the door.

tap tap tap tap tap tap tap tap tap

tap tap tap tap

tap tap tap tap tap tap tap

Which isn’t to say, taps.

We must succeed at this chess game.

Playing against an adversary with few weaknesses.

Multiple layers of defense and surveillance.

Doors and locks and gates and bars.

And silence.

It is the silence which will betray us.

And so, Dr. No, we must slip our shoes off for a little putting practice.

It is a real battle.

CIA vs. FBI.  Refereed by the NSA.

NGA vs. NRO.  Chantilly lace vs. a pretty face.

A girl and a gun.

ASIS vs. DIGO.  Or dingo.

Rich.

ASCAP vs. BM.I

But let me back up to the kebab organization known as SHISH.

Apologies to Belgium.

But it is worth noting SV/SE vs. CSIS/SCRS.

Scissors.  Suckers.  A scissor.

A pair of scissors.

He would need more leverage.  The most overused word in business.

And as meaningless as “innovation”.

What they mean is “interesting”…that’s innovation.

And by false flag, “not what it seems”.

Dear NEADS in Rome (NY) uttered collectively the phrase of Baudrillard’s lifetime:

“Is this real-world or exercise?”

But we have remembered it as simulation.

Going over his escape a million times in his head.

With poor reconnaissance.

Except the dead would-be escapee.

“He’s practically free.”

“No one’s practically free.”

Jessica Lange, incredulous.

But she’s not in this movie.

She’s headed to Roswell.

Named after Yale graduate Roswell Rudd.

A little town in New Mexico.

Out of time.  Mind.

CSE vs. GCHQ.  Or CSEC.

An animal with five eyes has no competition.

Within himself.  The owls are not what they seem.

Fifth wheel.  Hokey pokey.

Valuable antipodes.

And RCMP vs. FBI.  Horses.  Or moose.

Hippopotamus.  POTUS.  Not amused.

DND seems incorrect.

What was Fontaine in for?

And Jost?

DIPOLCAR.  Position.

MSS vs. RSS.  Seems so simple.  Really simple!  And so complex.

Pledged ΚΥΠ.

But the division.

ÚZSI vs. UZI.  Sounds dangerous.

With PET we get to canned milk or breaking wind.

A lovable Lego intelligence agency.

Of one.

Just one?

KaPo vs. capo.  Vs. ligatura.

Hitchcock’s rope vs. Bresson’s rope.

For this is Robert Bresson.  The movie.  Under consideration.

SUPO vs. sumo.

But we really get fired up by DGSE.

And it’s only appropriate.

DGSE vs. BND.

The only war which has ever been fought.

Das Fenster vs. la fenêtre.

The most delicate element of escape.

A crack in the breeze.

SIN vs. voodoo of all sorts.

GRLS.  Girls?  Gorillas?  Scalded ape?

When you need headache relief quick.  Choose BAINTELKAM!

A Buddhist temple with a surrounding population 95% Muslim.

Amazing.  Elton John.

MOIS.  Ooh…  Now we are getting serious.

Putting the me in month.

And of course “the Institute” (moving alphabethically).

Lisping along.

How will you project your escape.  Like Desargues.

And Poncelet.

The movie camera.

Go directly to jail.

Whale song matryoshka.

AISE.  Must be the coolest.  Standard issue Ferraris.  And meals in Modena.

Like Matthew Broderick’s brief moment of cool in Election.

Gid Tanner and his Skillet-Lickers…coming to the Kingdom of Jordan…real soon.

SREL.  Sreally?  That’s SRAL.  Like SalvaDali.

CISEN as sí señor.

Not quite hermeneutics.

FIB vs. SIN.

PST.  Masters of recruitment.

And FOST vs. SIE.

The big daddy ISI vs. ailleurs.

The canal of SENIS.  Central American zipper.

Could have been Lake Nicaragua.

AW 🙂 Georges Sand approaching Chopin with flowers.

He was a woman.  Mr. Sandman.

SIRP vs. usurp.

SVR vs. GRU. [now we’re making some sense]

And DEVGRU vs. GRU.

GIP is priceless.  One letter from perfection.

VOA vs. VOA.

NISA vs. NASA.  And the incomparable skills of PIS.

In joint operations with SENIS.

CITCO vs. Citgo.

Must it be?  It must be.  It MUST be.

And back to our MI6 and DIA and ONI.

These are the thoughts of a man in jail.

Where having a pencil is punishable by firing squad.

And so he builds his hope on escape.

From the mundane.

He is a true soldier.

Though he be stripped of any recognition.

Wisdom is that final step.  On a journey which started with mere data.

 

-PD

Ici et ailleurs [1976)

God, the horror of struggle

in Palestine Godard filmed

the sadness of conditions

with such beauty of technique

ingenuity of filmic form

And then came the editing.  Back to France.

It was his film and her film.  Anne-Marie Miéville.

Someone with whom he could discuss film.

No more actresses.  A life partner.

And an agitator.  Critique yourself.

Of course Marx offered useful tools.  But there is more than Marx.

And the universe expanded.  You must turn to the images.

Why is the actress not acting?  And why is that beautiful?

Above and beyond (aside from) the fact that she is beautiful.

Just one.  Anne-Marie points it out.  The way things are done.

Early computer console script glowing green and blinking.  Always blinking.

Someone has captured the wrong image.  In the diffusion the stronger image has been diffused.

It was Hitler.  Israel.  Golda Meir in some sort of act of allegiance.

And Godard’s obsession with finding the double s in nature.  kiSSinger, for instance.

The anger of the filmmaker.  Who bombed the editing studio?  Certainly not Arabs.

Certainly not.  Find the true history.  Only one filmmaker was truly brave and crazy.  Godard.

Must be both to be this brave.

The wrong frame again.  “It’s silly to die for an image.”  But not silly to accept death for the survival of your community.

Of course.  Of course.  Bravery.  Simple.

A sad, pathetic Palestinian village.  And how did they come to be pinned in thusly?

Like livestock.

But the true beauty is cautious.  Scared.  Yes.  Tentatively walking the perimeter.

An image which will live a thousand years in the hearts of every serious soul who sees it.

Nameless.

Nothing shocks as much as the bloody face in Amman.  More than the Holocaust.  That the root cause could continue.

A transference of power abuse.  The short step to fascism.  Leaving out a few crucial details.  Voila.

The man in Amman.  Dead.  Text flashing backwards.  Mirrored.  On top of front-facing font.  Palimpsest.

Expired.

Perhaps there was a bad translation somewhere.  Muselmann in the camps.  Not guardspeak.

We don’t know.  I don’t.

Perhaps.

You say for money, to take an unpopular stand.  A pittance.  Film stock.  Plane tickets.

But they did finally recognize that they were borrowing a revolution.  Because making one was too costly.

At home.  France.  Texas.  Ici.  And the endless possibilities of ailleurs.  Elsewhere.  And here.  Here.

They only meant to send a statement.  Probably.  And the film sat for five years.  1970-1975.

But some images are too beautiful.  Too powerful.  Too important.  Indelible.

Godard never forgot.  Anything.  The camps.  Palestine.  Ghettos.  Prisons.  1789.

Only art speaks.

Study and respect.  Change your world.

I have ordered the images from room service.  And Google has only given me a popularity contest.

Click and vote.  Perhaps.

For film to destroy your soul so beautifully and so hard.

Ah, now I can’t even talk like everyone else.

A hard-earned style which jettisoned pretense long ago.

Almost fashionably dead.  To the doubters.

Mais, sanguine!

-PD