Nuit et brouillard [1955)

A propaganda film by the very talented Alain Resnais.

I wonder, for instance, if Olga Wormser’s script can be tied to David Wurmser’s script?

Wormser and her husband Henri Michel were “historical advisors” for Nuit et brouillard.

“…elle a été conseillère historique”…a historical counselor.

Like Philip Zelikow, perhaps?

Or like Edward Bernays.  The father of “public relations”…author of the 1928 book Propaganda. 

But I have totally skipped over dear Mr. Wurmser.  Nay, Dr. Wurmser.  Mr. Dr.  We’ll get to Ms. Dr. soon enough.

David Wurmser would seem related in spirit to Olga Wormser.

One of the principal authors of A Clean Break:  A New Strategy for Securing the Realm.

Such language…”the Realm”.

Only neoconservatives would dream up the projection of Israeli terror on neighboring countries (and Palestine) in terms fit for The Legend of Zelda.

But let’s not forget Ms. Dr.  David’s wife, Meyrav Wurmser.

Also a Ph.D., she’s a doozy.

Why take this tack?

Me.

Because I know too much of Godard.

I know that the greatest film of all time (Histoire(s) du cinema) takes as its focus “the camps”, but also takes issue with history as it has been handed down.

And so let us turn to CODOH.

According to the Southern Poverty Law Center, CODOH is a “hate group” or some such term.

More terrifying is that, if the SPLC is to be believed, nearly everything is a hate group.

So thanks for nothing, you punks!

(See, now I’m marked too.  It’s as easy as that.)

We must remember the yellow stars that the Jews were made to wear during deportation to the camps.

Resnais makes this all very clear.

But Resnais makes a disingenuous oopsy (in the spirit of faux documentarian Robert Flaherty):  real color footage of the camps (circa 1955…sappy, but at least with no pretense) is intercut with footage which, in context, seems to be from inside the camps during the war.

Resnais can be slightly forgiven…because (supposedly) no such footage exists.

And so he cobbles together replacement footage.

It would, by necessity, largely be from after the liberation of the camps.

Some is perhaps prewar.  Deportation.

Some appears “Hollywood” (i.e. the dramatized becomes real because real footage in this regard is absent).

Even though this film is a classic (a “chestnut”, so to speak), I take issue with the entire thing.

It is not a good film.

The film is neither less vague nor less misleading than my review.

I am vague only because I cannot tell you the exact Hollywood movie.

I cannot tell you exactly what Chris Marker did as an assistant director (though he be naturally drawn to still images [of which several figure prominently within]).

But I can tell you about a very strange and potentially important article on CODOH (that would be, Committee for Open Debate on the Holocaust).

It is by a “Franco-British…holocaust denier” named Robert Faurisson (as if that is his profession).

“Hi, my name is Robert.  Oh, what do I do for a living?  Well, a little of this and a little of that.  My real bread and butter is in my capacity as a professional holocaust denier, but I also make some dough on the side as an Egyptologist.”

Main point…being “Franco-” (French), his work would be banned in his home country.  Yes, denying the Holocaust (which is not at all what he does) is a crime in France.  Also in Switzerland too, I think.  Surely in Germany, yes?

[N.B.  Holocaust denial is illegal in 14 of the 28 EU member countries…plus Switzerland…and, of course, Israel.  What a disgusting misuse of police power.]

Why criminalize a thought or opinion?

Because “denying” something as horrible as the Holocaust is somehow evil.  However, in today’s legalistic nightmare world, “denial” IS (among other things) a river in Africa.

Denial could be anything.

Five million Jews died instead of six million?  Holocaust denier!

Seven million Jews died?  Ok, we’ll give you a pass…because you have the right spirit.  But remember:  6 million.  Six, ok?  Six!

And so Faurisson, a very articulate man, tipped many sacred cows in 1980 with his piece “The ‘Problem of the Gas Chambers'” (published in the Journal of Historical Review).

It might be said that Faurisson was the James Tracy of his time.  For me, James Tracy is an American hero.

Faurisson, born in England, was an important part of French society and academia until a witch hunt occasioned by the repugnant Gayssot Act (Loi Gayssot).

Faurisson has his doctorate from the Sorbonne.  He taught there and in Lyon for 21 years at the collegiate level.  But the French are all anti-Semites, right?  Dreyfus?  Zola?  Dream on!

Well, my friends…I’m afraid the “problem with the gas chambers” is also the problem with Resnais’ Nuit et brouillard.

You can judge for yourself here:

http://codoh.com/library/document/868/

Really, that’s what is at issue here.  Read and study and judge for yourself.

The Holocaust was an immensely sad event.

But we must know it in detail.

My ignorance is inexcusable.

And, likewise, any misleading, cynical use of ANYONE’S death (from the Holocaust to 9/11) is the worst sin of all:  knowingly cashing in…perhaps even for geopolitical chips.

Question what you’ve always known.

Learn everything again for the first time.

Be free to speak.

Exercise thought.

Be humble, but don’t grovel.

Do your best.

One of the few things I can be proud of in America today…Gayssot thoughtcrime is not quite here.

But Sandy Hook is censored by Amazon.com, Inc. (Nobody Died at Sandy Hook).

9/11 coverage was/is a joke in the USA (Public Enemy was right).

And with kudos to Mike Adams of Natural News for noticing, Amazon still sells Hitler’s Mein Kampf.

For the five Ph.D.s and one J.D./Ph.D. who contributed to Nobody Died at Sandy Hook, I salute you!

Allors…d’accord.

 

-PD

 

Un film comme les autres [1968)

I took the road less-traveled.

And then I cheated

But there is no cheating this.

A film adrift in the cosmos.

My grasp of French is not good.  Watching this film is not the same as ordering a sandwich at Subway in rural Quebec–and I am not very good at that (to put it mildly).

This film is saturated with revolutionary philosophy, theory, literary allusions.

Fortunately for me there were subtitles available…in Italian.

My grasp of Italian is non-existent.  Ok, maybe that’s a bit harsh.  I can get the general gist by way of Spanish similarities.

My grasp of Spanish is poor.

Wow.  What a quandary!

What am I even doing watching this film?!?

Well…because Jean-Luc Godard is my favorite director.

This film, however, might be rightly considered the official starting point of his years in the collaborative collective known as the Dziga-Vertov Group.

But any way you cut it:  this is a difficult film.

What are my own thoughts about it?

It is an exercise in minimalism.  It’s like Hitchcock’s Rope minus a plot.

But something has replaced plot.  That something is context.

As I watched this it became clear that the May ’68 events in Paris were the essential detail about which a viewer must have knowledge to understand this film (especially if said viewer is fluent in neither French nor Italian).

The other aspect which occupied my mind during the viewing (as my brain was blowing gaskets from hearing French and “reading” Italian simultaneously) was the “strategy of tension” connected to the false-flag terror attacks (Operation Gladio) in Italy in the 1970s and 80s.

Mai ’68.

General strikes.  de Gaulle.  Latin Quarter.  Situationist International.  Nanterre.  Sorbonne.

Rive Gauche.  Molotov cocktails.  Agents provocateurs?

Daniel Cohn-Bendit.  Nantes.  Nanterre. (WESTXLAYERTWO)

Renault.  Billancourt.  Paris Commune.  1871.

Sous les pavés, la plage!

“Ne travaillez jamais”  –Guy Debord (1953)

Graffito.  Graffiti.

Wikipedia leaves out the Debord quote, but the article is generally good.

Title:  May 1968 events in France

I should however mention that Godard’s exclusion from the cinema portion at the bottom of the article is eye-popping.

So be forewarned:  if you want to know the truth you will have to dig deeper.

BETWEEN SUBTLE SHADING AND THE ABSENCE OF LIGHT LIES THE NUANCE OF IQLUSION

1q84.

IT WAS TOTALLY INVISIBLE HOWS THAT POSSIBLE ? THEY USED THE EARTHS MAGNETIC FIELD X THE INFORMATION WAS GATHERED AND TRANSMITTED UNDERGRUUND TO AN UNKNOWN LOCATION X DOES LANGLEY KNOW ABOUT THIS ? THEY SHOULD ITS BURIED OUT THERE SOMEWHERE X WHO KNOWS THE EXACT LOCATION ? ONLY WW THIS WAS HIS LAST MESSAGE X THIRTY EIGHT DEGREES FIFTY SEVEN MINUTES SIX POINT FIVE SECONDS NORTH SEVENTY SEVEN DEGREES EIGHT MINUTES FORTY FOUR SECONDS WEST X LAYER TWO

strategia della tensione

SLOWLY DESPARATLY SLOWLY THE REMAINS OF PASSAGE DEBRIS THAT ENCUMBERED THE LOWER PART OF THE DOORWAY WAS REMOVED WITH TREMBLING HANDS I MADE A TINY BREACH IN THE UPPER LEFT HAND CORNER AND THEN WIDENING THE HOLE A LITTLE I INSERTED THE CANDLE AND PEERED IN THE HOT AIR ESCAPING FROM THE CHAMBER CAUSED THE FLAME TO FLICKER BUT PRESENTLY DETAILS OF THE ROOM WITHIN EMERGED FROM THE MIST X CAN YOU SEE ANYTHING Q ?

Anni di piombo

Fear, propaganda, disinformation, psychological warfare, agents provocateurs, false-flag terrorists (sounding familiar?)

If you live in the USA it should.  Same goes for UK.  And Canada.  And France.  And Norway.  Ad nauseam.

But the initial testing was in Italy.  One might also mention Greece and Turkey.

Piazza Fontana.  Aldo Moro.  Henry Kissinger.  Threats.

l’Ulivo.  2000 Italian Parliamentary Commission report.  Strategy of tension was supported by United States.

On this subject Wikipedia is not very good.  It is misleading.  It is covering up for something.  Of course, I am speaking about the English version.

My initial “cheating” was looking at a translated copy of the Un Film comme les autres page on Italian Wikipedia.  The optimist in me hopes that this strange film “about nothing” (most would probably say) inspired the Italians even more than the French.  Present availability of this film might bear this out.  The pessimist in me sees some Italian opportunists out to make a buck (knowing that this film is available in no other territory).  But the subtitles support the former assertion.  If you are an English monoglot, good luck!

George H.W. Bush refused to comment.  Of course he did!  Operation Gladio.

1990.  Seems so long ago that the European Parliament had the balls to condemn NATO and the US for the terrorism of Operation Gladio.  Here Wikipedia succeeds.

Title:  Operation Gladio

That’s cause the EU doesn’t really care about its people either anymore.  Yes, we know…European Coal and Steel Community, etc. etc. etc. ad nauseam.

CIA director William Colby was quite candid about this whole operation in his memoirs, it seems…  No wonder he died in a “boating accident” in 1996.

On the other hand…  “The CIA can neither confirm nor deny the existence or non-existence of records responsive to your request.”   Well that’s very fucking helpful, FOIA.  Works like a charm!

I recommend Daniele Ganser’s work as well as that of Gianfranco Sanguinetti.

If you’ve made it this far, then you understand the gist of the film under review.  That’s what I tell myself.  I’m like one of those students in the weeds…trying to understand it all as the sun hits the hair of the beautiful girl in the yellow socks.  There are no faces in the summer colors…just glimpses…glints.  Memory is black and white.  Recollections of a man with a movie camera.

-PD

2 ou 3 choses que je sais d’elle [1967)

I am at a loss for words.  But through your peripheral vision you can tell that I didn’t stop writing after that statement.  No, in fact…you can tell that I conversely became quite verbose.  So therefore the figure of speech was misleading.  Perhaps that is why Godard came to distrust language.  Who is Jean-Luc Godard?

And what does it matter?  This rhetorical device propels my analysis, yet the reader is more or less free to comment at the end of the article.  More or less.  Derrida.  Deconstruct at the weakest link in the logical chain.  Find where the text contradicts itself.  It is like a pivot chord in a musical modulation.  Napoleon would charge with all of his forces.  More or less.

The reason I express myself in this way is because, for me, film criticism is akin to ekphrasis.  Therefore, poetry.  As much as we want to be historians or scholars or social scientists, we must accept that we are really just poets.  Just.

Finally a title which meshes with my theme.  It’s not my theme, yet I have chosen it.  Vertigo.  It rejects diacritical marks…just as Shirley cards rejected the negro.  Godard realized this in Africa.  Filming.  The film had been optimized for white actors.

With all of these tangents it is a wonder that anyone makes it to the end of these ekphrastic rants.  Rambling rants.  Off-topic.  Hot topic.  Napalm.  Curtis LeMay.  Stone Age.

It occurs to me that I could very well play the reactionary, yet conscience intercedes.  Pax Americana.  No.  I cannot justify it.  I will leave it to the Navy…”a global force for good.”

It was wise that they finally discarded such a ridiculous motto.  Perhaps no one was buying it.  Sell war.  Buy war.

It is easy to get caught up in all of the James Bond gadgetry and thereby forget Vietnam..  Forget Iraq.  Forget Afghanistan.  Libya.  Syria.

For me there is no difference between the Brookings Institution and the American Enterprise Institute.  Pepsi and Coke.  Perhaps one is a little worse than the other.  They fundamentally define one another.  A dialectic.  Hegel.  Kant.  Fichte.

If I know one thing, it’s…a thesis.  If you knew better, you’d…antithesis.  Bon.  C’est tout.  …ou 3:  synthesis.

Jean-Luc Godard dropped out of the University of Paris.  It is credited as his alma mater on Wikipedia.  The Sorbonne.

This was before Hanne Karin Bayer became Anna Karina:  Godard’s first wife and leading lady.  But now we have Marina Vlady.  Made in Russia.

I get a text.  Putin missing.  I had seen.  DEBKAfile.  Approximately one million spots lower than my website on Alexa.

No, they will never give up on trying to impose order on the chaos of Finnegans Wake.  It is sheer egotism.  And I am the antithesis:  no plot, no characters.

And what of the synthesis?  Yes, you must reread and rewatch to uncover the nuances.  Godard’s oeuvre is one long statement.  Miss a film and you’ve missed a chapter of his life–a phrase in his grand statement.  Certainly.  Certainly.  Maybe.

“The comic book and me, just us, we caught the bus.”  From the basement Bob Dylan nailed it:  modern life as comic book.  Obverse and reverse.  Godard and Dylan.

All I have is cat food.  You have seven minutes left.  Three left.

Anny Duperey looks perfect…perfectly empty…staring off into space…smoking the ubiquitous cigarette.  The Shirley card loves her.  She shines.  She is radiance.  Might she be the next! big! thing?

It is with a heavy heart…that I relate that no, indeed, rather, Juliet Berto…for some time.

And thus our grand unstated theme:  cancer.  Like the hideous sound of jungle helicopters–desert jets.  Division.  Long division.

Juliet Berto won’t be reading this in any traditional manner.  She passed away in 1990 at the age of 42.

In 2 ou 3 choses que je sais d’elle, she made her screen debut.

Tristesse.  Sadness.  Yes, Godard was right.  It is undeniable.  Things have not gone well for capitalism.  He says neo-capitalism, but I say neoconservatism.  It is not quite antithesis.  It is already synthesis.  Beginning, middle, end.  [Not necessarily in that order…]

-PD