May 15th 2013. Pick Of The Day.
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Claude Chabrol's THE COUSINS unspools for three days as part of MOMA's ongoing Auteurist History of Film series. The tale of the eponymous duo and the clash between their cultures urban and rural was an early shot fired in the French Nouvelle Vague, and won the Golden Bear at the Venice Film Fest. Great chemistry between leads Gerard Blain and Jean-Claude Brialy, but they're not my fave couple this day.
Federico Fellini's ROMA "screens" at the Mid-Manhattan Library as part of their Three Auteurs of World Cinema series. I know it's not a 35mm projection but they've programmed a substantial series here so I wanna acknowledge their work. Still not my Pick today.
There's still two days left to catch Roberto Rossellini's VOYAGE TO ITALY at Film Forum, unless it gets a second repreive. George Sanders and Ingrid Bergman portray a seemingly happy married couple who don't realize how damaged their union is until they make the title trek. It's a choice piece of filmmaking from the Neorealist master, but today lovers of a completely different stripe take their own existential journey in a quest for worth and meaning, also at the Forum, and as the film demonstrates it's never a good idea to take sides against Kit and Holly.
Before he assumed his current mantle as the most controversial arthouse filmmaker on the planet walking rumor Terrence Malick taught philosophy at MIT. Heidegger, specifically. What that implies I have no idea, I'm just trying to sound smart here. However, one so clueless as myself might still discern the influence the author of Being and Time may have had on Malick's cinematic endeavors, as the fundamental questions conerning our very existence that Heidegger puzzled over inform the bulk of the director's work. I think. Let's move on.
He left MIT to attend the American Film Institute Conservatory, graduating with an MFA. He first found work punching up the scripts for Jack Nicholson's DRIVE, HE SAID and Don Seigel's DIRTY HARRY, but after one of his screenplays resulted in a film Warner Brothers shelved he decided to step behind the camera himself. Some people think that was a grave error, others, like me, are eternally grateful. Edward Pressman agreed to finance the independent production, a New Hollywood take on the Charles Starkweather-Caril Ann Fugate midwest killing spree that dominated the tabloids in the 50's. Martin Sheen, initially thought too old for the male lead, was eventually cast as Malick decided to shape the role to better fit the actor. 24-year old Sissy Spacek was cast as his teenage girlfriend. It was the first starring role for both actors, and remains among their finest work. Cinematographer Tak Fujimoto also marked a first, graduating to the DP's chair, and this initial collaboration sparked Malick's life long love affair with the visual possibilites the motion picture camera offered. I've always maintained that Malick's camera is the eye of nature itself, the natural observing this anomaly known as mankind, and trying and failing to figure out where the hell exactly it belongs in an otherwise seemingly perfect scheme of things. Indeed, there is a moment of reflection by Sheen's protagonist where the moon itself appears to be scrutinizing him, "eyeballing" him. This theme would slowly emerge from subtext to become text over the course of his so far 6-film, 40-year career, and as I've said, there are those of us that spit at the mention of his name and those who prize it. For better or worse, the cinema of Malick begins with today's Pick.
Terrence Malick's 1973 directorial debut BADLANDS screens for a week at the Film Forum in a brand new DCP restoration. Neophytes, come see what all the fuss is about. Detractors, give it another chance. As much as I hate the cat who used the term "Malickian" to describe a flick at BAM a few weeks ago, there is a unique style to the man's films, and for this movie lover it never gets old.
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Be safe and sound and make sure the next guy is too, Stockahz! Back tomorrow with a new Pick of the Day! COME!!! ON!!! KNICKS!!!
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