Category Archives: Film Comment

Huffington Post Presents Advertiser’s Commercial as News

by Editor

I go over to The Huffington Post, a site that defines the words ‘mess’ and ‘indecipherable’ better than any dictionary could, looking for some news, and I come across a story entitled Secret Oil Rigs in Los Angeles Uncovered.  ‘Ho ho!’ I thought.  ‘Here’s something interesting and probably full of nasty secret pollution and damage to our health by oil companies!’  And of course I went stumbling right into the fake news trap.  Watch the ‘documentary’ above.  Notice how the young fellow doing the talking and walking is dressed kind of down with his jeans and boots.  Notice how the camera has a tendency to swoop to his feet.  To show the boots.  A lot.  The documentary, which purports to uncover the hidden oil rigs pumping crude from underneath Los Angeles, is presented on Huffington as being by Palladium Boots.  Unless you click on the link, you don’t realize that Palladium Boots is not the name of a fantastic little production outfit making cool films, but rather a boot company selling… boots.

So now we’ve got a major news and political opinion site putting up an article that looks like news about hidden oil wells in an urban center, but is really an advertisement.  The implication is that we are going to see the documentary confront issues surrounding these wells.  Issues like how many children would die if one of these things blew up next to their schoolyard.  Or how many people each year will get cancer because of oil wells nextdoor.  Instead we get a guy tramping around LA asking insipid non-questions and only hinting at darker possibilities.  We get a smattering of LA history and a lot of amazement at how well-hidden the wells are.  Frankly, if you’re in LA for more than 48 hours and don’t know about the wells, you are hopefully just passing through on your way to Orange County.  The real problem here is that a film produced as a corporate advertisement cannot confront real issues because the producers don’t want to create any real disturbance.  So they dodge all the important questions.  You’d think, after watching this ad, that oil drilling in LA is something just dandy.  Wonderful!  They’re pumping oil from under junior’s school!  Lovely!  We’re all better off for it!

But we’re just watching a boot commercial.  That’s it.  It’s not a cool citizen news report or hip internet filmmaking.  It’s just a company hawking its crappy boots to nitwits who think they are learning something.  A simple illustration of why this is so bad is to imagine your reaction if you found out that I had been paid by this boot company to write this very blog post.  You would never trust me again.  So what does that tell us about the Huffington Post site?

A smarter idea for this fake-news documentary would be to film a barefoot reporter who walks into the oil company executive’s office and politely asks him if he’d like to sit his own children down next to an oil well for a few years to see if they drop dead of cancer.  When thrown out of the oil company’s offices, the barefoot reporter would stagger down the street begging for a pair of shoes.  He’d end up with a pair of pink stilettos that fit him perfectly.  Just like Cinderella.

That would be my fake-news commercial.

Paris Filmmaker in 1929 Shows Us What a Camera is For

by Editor | 3 Comments

This is an odd post and I’m not entirely sure I can pull it off. The film above is called Montparnasse. It was made in 1929 by Eugene Deslaw.  I watched the film and want to write about it cold, without looking up Mr. Deslaw on Google.  I’ll check up on him after I’ve posted this and see if I’m even in the ballpark.

Watch the film all the way through.  If you think it’s just a collection of boring tourist shots in Paris with nothing happening, then stop reading and leave now because this post is for the four out of one hundred who catch the drift of the camera work.  Deslaw was shooting in the Paris of Pablo Picasso and Matisse.  He appears to have had a close connection to art and the cafe life of the city.  His film is full of odd angles and closeups.  He runs up onto a balcony in order to shoot straight down at some tabletops.  He catches a woman applying makeup at about the 13-minute mark and makes a shot that is worth paying for.  He films traffic and buildings, windows, curbs, chairs, newspapers, smokers, drinkers, snake-handlers, paintings, and water.  He’s fascinated by his city and by his camera.  He’s making art.  He set out one morning with his camera and went around making art.  Everyone was happy to be alive there in Paris in 1929 and he was playing his part in it.  Films made at that time tend to have this cheerful experimental quality.  Deslaw is nearly drawing with his camera.  It’s an immediate act of finding visual meaning.  He was walking and was struck by something and filmed it in an excited state.  He was consciously being an artist.

The film he made is beautiful.  It’s very hard to make a film with its kind of beauty today.  Think about it a little.  What would you do?  Go to a Best Buy and look around for a brand new digital camera.  You know, one of those shiny silver things with the HD viewfinder and all the buttons.  One of those?  Then what?  You’d march out into the neighborhood with this gleaming tourist gizmo and look like a ninny bending over to film trash as it floated down into a storm drain?  You’d walk up to a guy behind a news stand and ask to film him?  Really?

Yes.  That’s what you’d do.  You’d get a little camera and do just that.  And here’s your assignment: you must do this with the total conviction that you are about to make the greatest film ever made about your subject matter.  Set out for a particular street corner and make a magnificent short film or a long one about that corner and everything on it.  Spend an entire day doing only that.  Skip lunch.  Just stay there and make your film without ever entertaining even the slightest doubt that you are working on something of incredible importance and value.  It’s going to be very hard to do.  Some people will walk by and giggle.  Some will become belligerent and tell you to stop.  Film those people.  Run away if they chase you.  Then come back and continue your work.  Remember that you are an artist on a mission to make something and absolutely nothing will stop you.  Then come back home and figure out how to edit it and then put it online.  Tell me about it even and I’ll watch it.

In 1929 it would have been recognized by the maker of this film that a camera is a camera and it will make your film if you want it to.  Ever wonder why you don’t ever see Steven Spielberg out and about with his little camera making a movie for himself?  It’s strange isn’t it?  Could you imagine Pablo Picasso or David Hockney never carrying a sketchbook to make some quick pictures while having coffee or dinner?  I couldn’t imagine such a thing?  So when was the last time you ever heard of a Spielberg or Scorsese out with a camera making little films for their web site?

You could almost think of all the decades of massive budget film production and the studio structures built to support the film industry and film schools as an organized effort to confuse the issue and make people forget what a film actually is.  We think of screenwriters and producers and agents and superstars and all the talk shows.  But it’s very hard for the artist to walk out with the camera and go make a film the way a painter would work alone on a canvas.  The Montparnasse film should help to illuminate the proper use of the camera for anyone who’s interested.

The film comes from UBUWeb

Jean-Luc Godard Film

by Editor

Film director Jean-Luc Godard is making a film that appears to be called Le Socialisme.  I’m not entirely certain, but it sure looks to me from this trailer for the film like Mr. Godard is shooting with a small video camera.  I can even hear the wind hitting the microphone during shots on board the ship.  He’s always had a keen interest in shooting with small cameras, going so far at one point as to have a tiny 35 mm camera designed for one of his films in the seventies.  I like this kind of filmmaking.  This is how a filmmaker approaches a method that resembles the method of the painter or the writer.  Filmmaking, for all its technical achievements and its massive budgets and enormous popularity, lags far behind painting, photography, writing and music.  A filmmaker, in order to really be an artist, must be capable of functioning with the autonomy of the writer or the painter or the composer.  Until then, the filmmaker is simply interested in socializing, not making art.

Mr. Godard’s films are often difficult, infuriating, perplexing, gorgeous, ugly, profound, ridiculous, and experimental – but they are always, without a single exception, the expressions of an artist who owes nothing to anyone.

TheAuteurs.com Offers International Cinema Online

by Editor

laventuraThe Auteurs (www.theauteurs.com) is a site for art film lovers.  Their mission is to offer a huge selection of international art films by the world’s best directors for simple online viewing.  Last night I watched an Italian film from 1960 called L’Avventura, directed by Michelangelo Antonioni.  The image quality was excellent and the sound was also very clear.  It was one of the best experiences with watching a film online that I’ve ever had.  The image in this post is a reduced screenshot taken while I watched.  The film itself is one of the great examples of Italian cinema and is one you will never forget.  Apparently, The Auteurs has partnered with The Criterion Collection to bring many of the best films online.  Each month The Criterion Collection selects three or four films to run on the site for free viewing in a sort of revolving festival of great cinema.  This is an important connection for The Auteurs because Criterion is probably the very best thing that ever happened to DVDs.  Their efforts at finding the very best sources for their films set them far apart from any other DVD producer.  If you are serious about international cinema on DVD, you always look for what Criterion has to offer.

The site, which is still in beta, has about 120 films available at this point.  Most of these cost $5 for a 7-day viewing period.  There are also articles, film reviews, and member forums for discussing films and writing your own reviews.  The monthly curated festivals look like a really good idea and seem to be offering a few free films each month.

But the key to success with a film site like this is volume.  They must secure the rights to show many more films very quickly.  Nothing makes people lose interest in a film site faster than a limited selection.  For now, there are many films listed on the site which are not actually available which is somewhat disappointing.  The site is trying to give visitors an idea of the kind of films they will offer, but it is a distraction that is unnecessary.  Hopefully, the site will use its relationship with Criterion to drastically increase its library which shows great promise.  The idea for a site that culls the best of international cinema is an excellent and overdue one.  Now it remains to be seen if TheAuteurs.com can keep the attention of film lovers.

Jean-Luc Godard Talks About Critics, Bardot and TV

by Editor | 1 Comment

Jean-Luc Godard is one of the only film directors in the history of cinema to make films as if the camera were a pen.  For some reason, when a writer writes about their own experiences they are called a genius.  When a film director does it they are often called self-indulgent.  Godard has made some of the greatest examples of personal cinema.  His ability to consistently fool producers and studios into believing him and supporting his artistic dreams and whims is a rare talent.  This is a man who is known to have presented film studios and even government censors with entirely fake screenplays that had absolutely nothing to do with the film he was about to make.  This is the true genius of the French New Wave in the 1950s and 60s.  He went farther and deeper into the language of film than any of the other directors famous for New Wave works.