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Dada at MoMA

(left) “Mechanical Head (Spirit of Our Age)” by Raoul Hausmann.

‘Dada’ at MoMA: The Moment When Artists Took Over the Asylum

By MICHAEL KIMMELMAN
Published: June 16, 2006

NOW is as good a time as any for a big museum to take another crack at Dada, which arose in the poisoned climate of World War I, when governments were lying, and soldiers were dying, and society looked like it was going bananas. Not unreasonably the Dadaists figured that art’s only sane option, in its impotence, was to go nuts too.

“Total pandemonium” was how the sculptor Hans Arp reported the situation in 1916 at the great Cabaret Voltaire in Zurich, where Dada was born. “Tzara is wiggling his behind like the belly of an Oriental dancer. Janco is playing an invisible violin and bowing and scraping. Madame Hennings, with a Madonna face, is doing the splits. Huelsenbeck is banging away nonstop on the great drum, with Ball accompanying him on the piano, pale as a chalky ghost.”

I’m sure you had to be there.

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Kiss Me Deadly

Va-va-voom! Kiss Me Deadly (1955) and Orson Welles’s great Touch of Evil (1958) both came at the end of the film noir cycle in the late 1950s. Both films look into the dark heart of American life during that decade, with Aldrich tackling nuclear paranoia and Welles dealing with racism towards Latin-Americans and political and legal corruption. Both films have long been favourites of mine and both remain startlingly relevant now, as Alex Cox discusses below. Cox might have mentioned another film that borrows the motif of the baleful nuclear box, his own Repo Man (1984).

* * *

Nuclear-powered nastiness
It’s one of the darkest noirs ever made. But, says Alex Cox, the classic Kiss Me Deadly is a parable at heart

It begins with titles that famously run backwards. Deadly … Kiss Me … Aldrich … Robert … Directed by … Then, two scenes in, a women we have assumed to be the heroine is tortured to death. This is no art film, though; no knowing homage. Instead, it’s the roughest, least compromising film noir of them all – Kiss Me Deadly.

The hero (if we can call him that) is Mike Hammer, a tough, no-nonsense detective created by pulp fiction author Micky Spillane. Spillane’s Hammer was of a different breed from the detectives who had gone before. Dashiell Hammett’s Continental Op and Raymond Chandler’s Marlowe were tough and cynical, but also intelligent, decent and insightful. Spillane’s Hammer was an indecent thug. A product of Senator McCarthy and the blood-lust of the Korean war, he liked nothing better than pounding commie sympathisers’ heads against a wall until their eyeballs popped.

Robert Aldrich’s Hammer – played by the oddly named Ralph Meeker – is worse than Spillane’s. Aldrich’s protaganist is cynical and dumb; a thug without insight, a detective who fails to detect. In a way, he is a prototype for the automaton-hero played by Lee Marvin in 1967’s Point Blank, and done to a turn by Arnold Schwarzenegger in The Terminator. (More.)

Shalimar by Rahul Dev Burman

Shalimar (1978) by the incredibly prolific RD Burman.
Fabulous soundtrack for a crazy Bollywood movie.

01 Title Music 2:51
02 One Two Cha Cha Cha 5:36
03 Hum Bewafa Hargiz Na Thay 4:11
04 Countess Caper (Music) 3:51
05 Naag Devta 4:19
06 Aaina Wohi Rehta Hai 6:28
07 Baby Let’s Dance Together 2:34
08 Romantic Theme (Music) 2:33
09 Mera Pyar Shalimar 4:46
10 Hum Bewafa Hargiz Na Thay (Happy) 2:03

Blade Runner DVD

Blade Runner concept painting by the great Syd Mead.

Several reliable news sources are reporting that Blade Runner is to finally receive a decent DVD release.

In September of 2006, Warner Home Video will release a restored and remastered version of the Blade Runner 1992 Director’s Cut for a special four month limited release, in anticipation of a series of exciting and unprecedented releases of the film in theaters and on DVD.

Following a four month run of the remastered Blade Runner DVD, this disc will be placed on moratorium, by WHV. In 2007, Warner will follow with a limited theatrical run of Blade Runner: The Final Cut, which is being touted as Ridley Scott’s definitive version. Subsequently, there will be a multi-disc Special Edition DVD release which will contain three alternate versions of the film: the original U.S. theatrical cut, the expanded international theatrical cut and the 1992 director’s cut. “Ample, groundbreaking bonus features will also be included,” according to the WHV press release.

Blade Runner has been on DVD already in a very shoddy edition that’s now happily deleted, a rush release from the early days of DVD. Most news reports don’t seem to mention that the re-issue of the film was held up by various legal wrangles; the Blade Runner fan site, BRmovie.com, details the whole sorry tale. Here’s hoping Ridley’s masterpiece will be given the same treatment as the excellent (if unfortunately named) Alien Quadrilogy which had great transfers of the films and an insane amount of extras.

The Disasters of War

7 ¶ And when he had opened the fourth seal, I heard the voice of the fourth beast say, Come and see.
8 And I looked, and behold a pale horse: and his name that sat on him was Death, and Hell followed with him. And power was given unto them over the fourth part of the earth, to kill with sword, and with hunger, and with death, and with the beasts of the earth.
Revelations 6

There are horror films, there are films about the horror of war, and then there is Elem Klimov’s Come and See (Idi i Smotri). Klimov made the film in 1985 from a screenplay by Ales Adamovich based on that writer’s experiences as a young Russian partisan fighting the Nazis during the Second World War. This biographical quality may be what gives the film its incredible immediacy and authority (Klimov also suffered as a child during the war) even though its power is obviously a product of Klimov’s skills as a director.

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