Hochzeitsgäste [1990)

Finding beauty in a crowd.

You will never find it again.

The ne plus ultra of “fleeting”.

Was it just a dream?

Her hair?

We can pin nothing down.

About this brilliant film.

Except for its brilliance.

And that it’s a Polish movie directed by a German.

Who has no arms.

And who changed his name.

I have run the names of all the actresses in the credits.

And none of them are an obvious match for the star of this film.

The star is not Christina Ormani.

It’s the other girl.

The one that gets cheated on.

The jilted lover.

She gets cheated on, so she cheats back.

And in cheating, she finds love.

True love.

This masterpiece short film (feature?) was credited to Niko Brücher.

It was his first film.

You may know him (but probably not) as Niko von Glasow.

It makes sense that this is a masterpiece.

Because Von Glasow trained with Fassbinder.

The actor-auteur of Kamikaze 1989.

I could be wrong, but I think Rainer Werner Fassbinder was a better actor than he was a director.

And let me be unequivocal:  he was a GREAT actor.

On par with Bogart.

Really.

Back to Von Glasow.

He studied film at NYU.

And in Poland.

From the latter is drawn the cast of this film.

They are, it seems, Polish student actors.

Some went on to stable careers.

Others didn’t.

The star.

Who is she?

What is her name?

Which one of these inscrutable Polish names represents her?

I can’t be a fanboy if I don’t have a name.

My suspicion is that this is just about the only film she made.

But I don’t even know what to call her.

These are OBSCURE actors in this film (with a couple of exceptions).

Von Glasow has no arms because of Thalidomide.

Born this way.

But none of this adulation for this mystery actress would matter had Von Glasow not made this masterpiece where there are no spoken words for the first nine minutes of the film.

Indeed, over the course of its 38 minutes, there is no FUNCTIONAL dialogue whatsoever.

There is some whispering.

Some chattering.

But there are no subtitles.

And there need not be.

For this is essentially a silent film with sound.

Not to be confused with a silent film with musical accompaniment.

There’s music here, alright.

A strange, mournful (and rather clownish) marimba scores much of this film.

Just little melodies.

No crazy four-part harmonies or anything.

Very minimal.

Marimba (!)

What a choice!!

It makes for an ODD amalgam.

To reiterate, this film is powered strictly by VISUAL SYMBOLISM.

The actors’ movements and the camera’s light-sucking registration make up the entirety of this visual poem.

I must give credit to the cinematographer.

Although she is credited with merely “Kamera”, it is Jolanta Dylewska.

Between Von Glasow and herself, this is one of the most beautifully-shot black and white films I have ever seen.

It is on par with the two early Godard masterpieces À Bout de souffle and Vivre sa vie in this regard.

As well as being reminiscent in tone and mood to Antonioni’s breathtaking L’Avventura.

And our mystery actress (Anna Dabrowska?) is the equivalent of Monica Vitti.

We are talking about the same level of beauty.

And we are talking about having that beauty captured on film in such a singular way.

This film is currently free to watch on Tubi.

Don’t miss it.

-PD

Il Deserto rosso [1964)

My hair hurts.

She says.

Yes.

This is one of the miracles of cinema.

Every frame a painting with a camérastylo.

One critic will boil it down to “mental illness”.

And Monica Vitti does that very well.

Red hair.  Red desert.

But we should know Antonioni by now.

This is that existential nausea you used to hear of at coffee shops.

Except the coffee shops no longer exist.

And Manhattan is a ghost ship with no one on board.  Saying nothing.

No doubt Kubrick visited this for 2001.  And George Lucas for THX 1138.

But we are more interested in Godard.

Il Deserto rosso is a film for filmmakers.

Mulholland Dr. stands no chance.

But why?

Because, yes, we all feel like this.

Lost.

The floating world in Japanese mythology.

No doubt Kurosawa pinched the end bit for Dreams.

It’s ok.

That’s what makes Il Deserto rosso a watershed film.

In the shed.  Surrounded by water.

A proto-orgy.

Roman atavism at the group level.

No, no…

I’m not getting anywhere.

The critics will cry “overwrought”.

What we have here is really a sick sadness.

Feel too much.

Bowie’s Low title is above the artist in profile.

Low profile.

And that color.

Her hair.

What acting!

Is it?

Bow down to the master Michelangelo.

One of the true auteurs.

For the uninitiated it will seem unbearably pretentious.

Or just confusing.

It will seem that there is no plot.

And, indeed, in space there is no “up” or “down”.

There are simply bodies with sufficient mass to exert gravity.

Is that the way to say it?

Is that how it works?

Because we are all floating, right?

32 feet per second per second.

[sic]

Acceleration of falling bodies.

God bless her…

Always a sinking feeling.

Because her husband is a vapid jerk.

And the most sensitive guy can’t get close enough…cause she’s nuts.

Makes perfect sense.

Our own worst fears played out by the players on the screen.

Sei personaggi in cerca d’autore.

Precisely.

Pirandello.

Logic bombs and bombs of illogic.

The latter in Dadaism.

Hackers who terrorize simply to make their point.

To outsmart.

Legacy networks and newer nets introduced in phases…

Allowing for GDP, profit margin, and public sector infrastructure.

Which is to say, DARPA.

And where does the film critic fit in?

Merely as a voice…reminding…don’t forget your Sun Tzu.

Everything else will be diverted to slag heaps and holding tanks.

Opaque tanks…glowing green like antifreeze.

Does this sound like a fun adventure?

Then Il Deserto rosso is for you.

And for me.

Because I identify with Monica Vitti’s character so much.

Afraid of everything.

My hair hurts.

 

-PD

Modesty Blaise [1966)

Seldom have I seen a more enjoyable film than this jewel staring Monica Vitti.  Entered in the ’66 Cannes film festival, this spoof surely garnered little attention in a world dominated by the French New Wave.  And today it is not easy to write about a film which has been essentially written off.

Modesty (Vitti) is simply wonderful in this sunny film.  Her sidekick is Willie Garvin (Terence Stamp).  Based upon a British comic strip of the same name, Vitti was excellently cast–herself being 5’7″ and Modesty Blaise supposed to be 5’6″.  Though she was about 35 years old when this film was made, she doesn’t seem unduly cast as a late-twenties super-heroine.

Indeed, the comic strip itself predated this first film adaptation by only about three years.  The strip ran 10,183 installments (1963-2001).

Vitti had two years previous appeared in the Antonioni masterpiece The Red Desert.  Indeed, she was integral to his trilogy L’Avventura (1960), La Notte (1961) and L’Eclisse (1962).  By 1979 she was finally getting around to making her second English-language film An Almost Perfect Pair.  Modesty Blaise is half of her oeuvre in inglese.  Vitti would work with Antonioni one last time in 1981 on The Mystery of Oberwald.  In 1989 Vitti herself would direct the film Secret Scandal, but it would be her last (as of the present time) film appearance.

Our director, Joseph Losey, had helmed Eva in (1962) and in high school had been friends with Nicholas Ray.  Losey suffered extensively because of his investigation by the House Un-American Activities Committee.  Being unable to work in the U.S., he eventually made a career for himself in Europe (including The Go-Between [1971] which won the Palme d’Or).

Terence Stamp would follow Modesty Blaise up with the Pasolini film Teorema (1968).  By 1978 he was General Zod in Superman.  He reprised this role in 1980.  Stamp’s career initially got rolling in 1962 when he received an Oscar nomination for his role in Peter Ustinov’s Billy Budd.  Ustinov directed seven other films before dying in the canton of Vaud (Switzerland) in 2004.

Stamp would continue his screen presence in 1994’s The Adventures of Priscilla, Queen of the Desert and in The Limey (1999).  More recently he has appeared in Valkyrie (2008) and The Adjustment Bureau (2011).

And finally, what would our film be without the deliciously evil Dirk Bogarde?  Bogarde had previously acted for Losey in The Servant (1963) and would go on to follow Modesty Blaise with a turn in another Losey film titled Accident (1967).  In 1969 and 1971 he would appear in the Visconti films The Damned and Death In Venice (respectively).  It should be remembered that Losey called upon Bogarde as early as 1954 (The Sleeping Tiger).  For fans of “auteur theory,” let it be noted that Bogarde acted in a film co-written by Andrew Sarris:  Justine (1969).  In the 80s and 90s Bogarde turned to novel writing.

And so:  there you have it.  Modesty Blaise–a strange meeting point for a British comic strip, a gorgeous Italian actress, a blacklisted American director and a couple of British chaps (one eventually earning a Sir to precede his name).  I heartily recommend this film as it is joyful viewing and entertainment all the way through.  The facts are scant.  This is your dossier.

 

-PD