Arabesque for Kenneth Anger by Marie Menken

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“There is no why for my making films. I just liked the twitters of the machine, and since it was an extension of painting for me, I tried it and loved it. In painting I never liked the staid and static, always looked for what would change the source of light and stance, using glitters, glass beads, luminous paint, so the camera was a natural for me to try—but how expensive!” Marie Menken.

Arabesque for Kenneth Anger (1961) is a short film by artist and filmmaker Marie Menken (1909–1970) available for viewing at Ubuweb. This is a fragmented impression of the Alhambra made as a thank you gift to Anger whose shots of a fountain spout catching the sunlight can’t help but seem like a nod to Anger’s Eaux D’Artifice (1953). Menken had the dubious distinction of being the model for Martha in Edward Albee’s Who’s Afraid of Virginia Wolf?, the tempestuous relationship in the play being based on Menken’s equally tempestuous marriage to Willard Maas.

More Marie Menken:
Visual Variations on Noguchi (1945)
Glimpse of the Garden (1957)
Notes on Marie Menken: A film by Martina Kudlá?ek
The paintings of Marie Menken

Previously on { feuilleton }
Edmund Teske
Kenneth Anger on DVD again
Mouse Heaven by Kenneth Anger
The Man We Want to Hang by Kenneth Anger
Relighting the Magick Lantern
Kenneth Anger on DVD…finally

Peyote Queen by Storm de Hirsch

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Ubuweb turns up another gem of abstract cinema with this 1965 work by Storm de Hirsch. The only film of hers I’d seen prior to this was Third Eye Butterfly (1968), screened at the 2005 Summer of Love psychedelia exhibition. Both these shorts share the same spilt-screen effect but Peyote Queen cuts kaleidoscopic views of the woman in question with brightly-coloured animated glyphs and shapes created by drawing directly onto the film emulsion. This is an old technique which goes back at least as far as Len Lye’s pioneering films of the 1930s. Peyote Queen‘s drum soundtrack and white dots flickering on black are very reminiscent of Lye’s brilliantly minimal Free Radicals (1958) which was also made by scratching the film.

Previously on { feuilleton }
Mary Ellen Bute: Films 1934–1957

Berlin Horse and Marvo Movie

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Two experimental films by British filmmakers. Berlin Horse (1970) at Ubuweb is a hypnotic piece of minimalism by Malcolm Le Grice who subjects found footage of exercising horses to a series of loopings and filterings that push the degraded images to a point of textured abstraction. Of note with this film is the equally minimal and repetitive score, a piano loop created by Brian Eno. This was before he gained prominence as a member of Roxy Music but the slight piece of experimentation points the way to his post-Roxy career and his ambient investigations. Berlin Horse is available on DVD from Lux, with a selection of Le Grice’s other shorts.

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Marvo Movie (1967) at Europa Film Treasures is a typically frenetic work by Jeff Keen, four minutes of heavily cut-up sound and vision with collage, animation and multiple exposures throughout. Despite the year of its creation, the effect is less psychedelic and more like an amphetamine rush.

Malcolm Le Grice at YouTube
Jeff Keen at YouTube

Short films by Sergei Parajanov

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Hakob Hovnatanyan (1967).

I’ve been enthusing for years about the unique films of Sergei Parajanov (1924–1990), usually in vain since his work hasn’t always been easy to see and is (for now) poorly served by DVD. His two masterworks, Shadows of Our Forgotten Ancestors (1964) and The Colour of Pomegranates (1968), have both been issued on disc but in shoddy versions with prints that are scratched and desaturated, and the latter suffers from poor subtitling. Parajanov’s films make bold use of colour and a washed-out print does him no favours at all. In an ideal world the BFI or Criterion would give these films the attention they deserve.

Grumbles aside, Ubuweb comes up trumps again by posting three of Parajanov’s shorter works, none of which I’d seen before. These give some idea of his distinctive tableaux style, and his recurrent preoccupation with decorative details and close views of objects.

Parajanov.com

Previously on { feuilleton }
The Disasters of War

Patrick Bokanowski again

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“A prolonged, dense and visually visceral experience of the kind that is rare in cinema today. Difficult to define and locate, its strangeness is quite unique. That its elements are not constructed in a traditional way should not be a barrier to those who wish to cross the bridge to what Jean-Luc Godard proposed as the real story of the cinema—real in the sense of being made of images and sounds rather than texts and illustrations.”—Keith Griffiths

It was only two months ago that I enthused about Patrick Bokanowski’s extraordinary 1982 film, L’Ange, after a TV screening was posted at Ubuweb, and ended by wondering whether a DVD copy was available anywhere. Last week Jayne Pilling left a comment on that post alerting me to the film’s availability via the BAA site; I immediately ordered a copy which arrived the next day. So yes, Bokanowski’s film is now available in both PAL and NTSC formats, and the disc includes a short about the making of L’Ange as well as preparatory sketches and an interview with composer Michèle Bokanowski whose score goes a long way to giving the film its unique atmosphere. I mentioned earlier how reminiscent Bokanowski’s film was of later works by the Brothers Quay so it’s no surprise seeing an approving quote from the pair on the DVD packaging:

“Magisterial images seething in the amber of transcendent soundscapes. Drink in these films through eyes and ears.”

If that wasn’t enough, there’s another DVD of the director’s short films available. Anyone who likes David Lynch’s The Grandmother or Eraserhead, or the Quays’ Street of Crocodiles, really needs to see L’Ange.

Previously on { feuilleton }
L’Ange by Patrick Bokanowski
The Hourglass Sanatorium by Wojciech Has
Babobilicons by Daina Krumins
Impressions de la Haute Mongolie revisited
Short films by Walerian Borowczyk
The Brothers Quay on DVD