No. 10 cabiers du NE in english Alfred Hitchcock Jean-Luc Godard Andy Warhol Ten-Best ListsFrom The World’s Most Creative Film-Makers new feature releases NFBC's Connell and Jersey's Bert Haanstra's Georges Rouquier's Jean Chris Marker's and shorts Alexander Alexeieff's Ole Roos’ Jan Lenica's Sandy Semel's NFBC's Peter Whitehead's Derrick Knight's Tamas Czigany's Jiri Trnka's Marcel Pagnol's MARIUS, FANNY, CESAR and others to be announced MEMORANDUM BUSTER KEATON RIDES AGAIN A TIME FOR BURNING ALLEMAN FARREBIQUE APROPOS DE NICE KOUMIKO MYSTERY LE JOLI MAI THE NOSE NIGHT ON BALD MOUNTAIN MICHEL SIMON RHINOCEROS SUNDAY LARK THE RAILRODDER WHOLLY COMMUNION TRAVELING FOR A LIVING ST. MATTHEW PASSION THE HAND CONTEMPORARY FILMS, INC. 267 W. 25th St., N.Y. 10001 828 Custer Ave., Evanston, Ill. 60202 1211 Polk St, San Fran., Calif. 94109 Robert Enrico’s AN OCCURRENCE AT OWL CREEK BRIDGE ‘The 27-minute French short Grand Prize-winner at Cannes ‘and winner of the Academy Award. Based on the short story by Ambrose Bierce, it re-creates the tense atmosphere of the War of Secession. A spellbinding drama of a condemned man—with an incredible denouement. CONTEMPORARY FILMS, INC. Dept. CDC | 267 WEST 25TH STREET NEW YORK, N. Y. 10001cabiers du CINEMA in english Number 10 May 1967 JEAN-LUC GODARD 184, Nov 1966) 10, (CdC #186, Jon 1967) 16 Jecn-Lue Godard and the Childhood of Art, by Michel Delahaye (CdC_ #179, June 1966) 18 !, by Jean Narboni (Cd #186, Jan 1967) _30 Jean-Lue Godard or the Urgency of Art, by Michel Delahaye (CAC #187, Fob 1967) 2 [Nothing to Lose, Intewviow by Greichen Berg 3 The SubsNew York Sensibility, by Androw Saris “8 AALFRED_ HITCHCOCK Defense of 7 Curtain’ The Infernal Machine, by Jean Narboni (CdC #186, Jan 1967) 30 The Curtain Lifted, Fallen Again, by Jean-Louis Comolli (CAC #186, Jan 1987) 52 “Anxiety Behind the Window Pane, by Syivain Godet (CAC 2186, Jan 1967) The Castaways of the Bus, by Andre Techine (CdC #186, Jan 1967) =e The Company ‘Actors and Direclos, by Stophon Gotlib "NOBODY WAVED GOODBYE” (CdC #179, Jun 1966) ‘Serious, Too. Serious, by Paul Lovis Martin a4 ODDS AND ENDS a Council of Ten (CdC #184, Nov 1966) 4 ‘The Best Films of the Year 1966 (CAC #186:187, Jan-Feb 1967) 5 Editors Eyrie, by Andrew Saris 64 nd eaeroion Ofn,€2 atn oe Ne Yo N.Y, 1022, VBA Elia anes SO Photo Aeenaesgement. Gretchen Brg, Fan Flln Offi decir "Sent, ah Andre, Ssatentchon lotr Pare Blac, Ssethere inte . e ° . ° ° (dieys vec) 3H0W Pe eyt tindsey 5 s a ai (ry no wm BUS oH yi oi ° e rarest ° [pnevaiyog ‘p) #¢ un aned sowep 9p 94e sts xe le . PaeEC . 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EI SSS att HES EP Ol) iad SEES SRT | JRE GREE GRRE JOKOK sendy we a SERRE RRO RO ROE (wojsu9sig “Wy 196105) 4040490 | 9) Steqrsa ue sem ‘iit PPP OE (ee) aon @ ee ou} 08} menGu w]e OA Gy — (BujseHJOg e8N ONY) 106: 8s ep ajynu © SNOLLVLOD (ua Jo younog ) Xd $30 113SN09 37 nia, on lnThe best films of the year 1966 cabiers readers 1 Au heserd Balthazar 1 Auhasard Balthazar 2 Walkover 2 La Guerre est finie 3 Non reconeilies 3. La Prise de pouvoir par Louis XIV 4° Masculin feminin 4 Falstaff 5 UHomme au crane rase 5 Maseulin feminin 6 Seven Women 6 Seven Women 7 La Prise de pouvoir par Lovis XIV 7 Les Poings dans les poches 8 Torn Curtain 8 Fahrenheit 451 9 Red Line 7000 9 Torn Cut 10 Les Poings dans les poches 10 Les Amours d'une blonde 11 Falstaff 11 Red Line 7000 12 La Guerre est finic 12. Non reconcilies 13. The Naked Kiss 13 Homme au crane rase 14 Fahrenheit 451 14 Walkover 15. Le Pore Noel a les yeux bleus 15 Les Chevaux du fou 16 Marie Soleil 16 The Chase 17 Quelque chose d’autre 17 Unhomme et une femme 18 Les Amours d'une blonde 18 The Professionals 19 Le Chat dans le sac 19 Les Desarrois cle Heleve Torless 20 Brigitte ot Brigitte 20. Culede-tac The preceding results were calculated for the Cabiers list by considering only the list of the regular conteibutors to the magazine for the sake of « more meaningful compilation, Robert Bresson: Au hazard Balthazar.Henri Agel Pierre Ajame Alexandre Astruc Michel Aubriant Jean Aurel Jean de Baroncelli Raymond Bellour Robert Benayoun Bernardo Bertolucci Jean-Pierre Biesse Jean-Claude Biette Charles L. Bitsch Mag Bodard Jacques Bontemps Jean-Louis Bory Antoine Bourseiller Pierre Braunberger Patrick Brion The best fil In alphabetical order: Les Amouts d'une blonde (The Loves of « Blonde), Bunny Lake is Missing, Les Coeurs verts, Les Désurrois d'éléve Tress, Les Diamants de la nuit (Night Diamonds), Aw hasard Balthazar, L'Homme au crime rasé (The Man with the Shaven Head), La Prise de powoir par Louis XIV, Torn Curtain, Les Sansespoit (The Hopeless Ones) T Les Amours dune Monde, 2 The Courtship of Eddie's Father. 3 Vivre (Ikiru). 4 La Prive de pouvoir par Louis XIV. 5 Seven Women, 6 Au hasard Balthazar, 7 Les Poings dane lee poches {Fists in the Pockets), 8 Red Line 7000.9 L’Homme au crine rasé. 10 Bunny Lake is Missi Ta prise de pouvoir par Louis XIV, 2 Tor Curtain, 3 Bunny Lake is Missing, Red Lit Une Belle au eneur, La Ligne de démarcation. 7 Arabesque, The Chase, The Neked {Seven Women, 2 Falotal, 3 Au havard Balthazar 4 Walkover. 5 Les Poings dans les poches. 6 Les Sansespoir. 7 Les Chevaux de feu, 8 La Guerre est finie, 9 The Courtship of Eddie's Father. 10 Red Line 7000. in alphabetical Un homme et une femme (A Man and a Woman) Prise de pouvoir par Louis XIV. Tn alphabetical order: Les Amours d'une blonde, Au hssard Balthazar, Les Chevaux de fou, Tes Désarvois de Péléve Tirless, Fahrenheit 431, Falstaff, La Guerre est finie. Masculin féminin, Les Poings ddans les poches, Vivre, 7000. 5 order! Les Amour dune Blonde, Fahrenheit 451, Falstaff. L'Homme au erine rasé, Masculin féminin, Les Poings dans les poches, La. T Masculin (éminin, 2 Seven Women. 3 Red Line 7000, 4 Falenbeit 451. 5 Torn Curtain. 6 The Courtship of Eddie's Father. 7 La Guerre est fnie, La Longue Marche. 9 Les Diamants de Ja ni Non reconeiliés (Billiards at Hslf-Past Nine). Tn alphabetical order’ Les Chevaux du feu, Culde-sac, Tes Diamant de la nuit, Du courage pour cha- ‘que jour, Falstaf, La Guerre est finie, Un homme et une femme, The Loved One, Les Poings dans Tes poches, ‘The Professionals. In alphabetical order: Au hasard Balthazar, Les Créatures, Fahrenheit 451, Falstafl, L’Homme au crane rasé, Masculin féminin, Non reconciligs, Le Péro Noél » les yeux bleus, Three on a Couch, Torn Curtain. 1 Aa hasard Balthazar, L7Homme au cr dlans Te sae (The Cat in the Bag), Ms Les Poings dans Tes poches. T Seven Women, 2 Red Line 7000, Non réconciliés. 4 Falstaff. 5 Au hasard Balthazar. 6 Masculin féminin, 7 Le pére Noél a Tes yeux bleus, 8 Marie Soleil. 9 Walkover. 10 Brigitte et Brisitte {Red Line 7000, 2 Les Amours ane blonde, Aw hasard Balthazar, Fahrenheit 451, Falsafi, 1’Homme rine rasé, Masculin féminin, Seven Women, Three on a Couch, Walkover. Aw harard Balthazar. 2 Febrenheit 451, 3 Maceulin féminin. 4 Les Poings dans les poches. § Le Guerre cst finie, 6 Falstaff, 7 Les Amours d'une blonde. 8 Morgan. 9 La Vie du chateau. 10 What's New Pussycat? 16 vasé, Non reconeiliés, Seven Women, Walkover. 6 Le Chat ie Soleil, Mescalin féminin, Le Pére Noél a les yeux bleus, {Aw hasard Balthazar, L'Homme au erdne rasé, Non reconeiliés, Seven Women, Walkover. 6 Red Line 7000, Marie Soleil, Mascalin féminin, The Naked Kiss, Torn Curtain, Tn alphabetical order? Les Amours d'une blonde, Au hasard Balthazar, Cul-de-sac, Le Deuxiéme Sout fle, Falstaff. Un homme et une femme, Masculin féminin, Non reconciliés, Les Poings dans lex poches, Walkover. in alphabetical order: Les Amours d'une blonde, Au hasard Bi ‘sac, Lee Chevaux de feu, Les Diamants de la nuit, Fahrenheit 451, Masculin féminin, Non reconci La Prise de pouvoir par Louis XIV. in alphabetical order? Le Deuxiéme Soufle, Fahrenheit 451, La Guerre est finie, L'Homme au erine rasé, Un homme et une femme, Masculin féminin, Les Poings dans les poches, La Prise de pouvoir par Louis XIV, Who are you Polly Magoo?, Walkover. 1 The Professionals, 2 Seven Women, 8 The Chase. # The Courtship of Eddie's Father. 5 Falstaff. 6 ‘The Money Trap. 7 Bus Riley's Back in Town. 9 Dr. Zhivago.of the year 1966 Michel Caen Mickel Capdenac Albert Cervoni Claude Chabrol Henry Chapier Michel Ciment Jean Collet Jean-Louis Comolli Serge Daney Michel Delahaye Jacques Doniol-Valeroze Jean Douchet Pierre Duboeuj Bernard Eisenschitz Lotte H. Eisner Jean Eustache Jean-André Fieschi Daniel Filipacchi Rémo Forlani In alphabetical order: Au hasard Balthazar, Le Corps et le fouet, Le Deuxitme Soulll, Falstaff, La Guerre est finie, Harper, Red Line 7000, Masculin féminin, The Professionals, Repulsion 1 Au hasard Balthazar. 2 Falstail. 3 La Guerre est finie, 4 Lee Amours dune blonde, 5 La Price de pouvoir par Louis XIV, 6 Les Poings dans les poches, 7 Walkover. 8 Les Sancespoir, 9 Non réconeiliés. 10 Chevaux de fei. +The Age of Illusions, Demain Ia Chine, Le Deuxiéme Soufle, Les Désarrois de uerre est finie, Lota, Masculin féminin, Non réconciliés, Quelque chose d'autre iphabetical ord Téleve Tirless, La Walkover. 1 Un homme et une femme. 2 La Curée. 3 How to Steal a Million. 4 Doctor Zhivago. 5 Paris brule- il? (ls Paris Burning?). 6 Le Deusiéme Soufle. 7 Galia. 8 La Récompense. 9 Les Créatures. 10 Le Coup de grace. 1 Au hasard Balthazs Missing, Les Poings alstafl, La Prise de Pouvoir par Louis XIV, Seven Women. 5 Bunny Lake i= «Tes poches, Tarn Curtain, Walkover. 9 Les Coeurs verts, Masculin féminin, In alphabetical order: Au harard Balthazar, Culvle-ae, Falstafl La Guerre et finie, L’Homme as er Les Poings dans les poches, The Professional 1 Aw hasard Balthazar. 2 Le Prise de pouvoir par Lo féminin. § Le Chat dans le sac, La Longue Marche, Les Poings dans les poches. 8 Les Amours d'une hilonde, La Guerre est fini, 1 Seven Women, Au hasard Balthazar, 3 Torn Curtain, Masculin féminin. 5 Red Line 7000, Walkover. 7 The Naked Kiss, L'Homme au erine rasé, 9 Three on a Couch, Non réconciliés. Lake is Missing, The Courtship of Edie Father, Falsail, La Guerre est nie, The Naked Kiss, Les Poings dans les Poches, La Prise de pouvoir par Louis XIV, Seven Women, ‘Torn Curtain, Walkover V Red Line 7000, Masculin féminin, Walkover. 4 1 reconcilis. 7 The Naked Kiss, Seven Women. 9 Marie Soleil, Le Nouveau Journal d'une femme en blanc. 1 La Guerre est finie. 2 Au hasard Balthazar, Fabrenheit 451, Masculin féminin, La Prise de pouvoir par Louis XIV. 6 Falstaff. 7 Les Amours dune blonde, Non réconcliés, Lee Sans-eepoir, Walkover. 1 Seven Women. 2 Red Line 7000. 3 The Courtship of Eddie's Father, Torn Curtain, Three on a Couch. 6 Bunny Lake is Missing, La Longue Marche, La Prise de pouvoir par Louis XIV, 9 La Guerre est finie, Walkover. 1 Au hasard Balthazar, Masculin féminin, The Naked Kiss, Torn Curt rasé, Marie Soleil, Non réconeiliés, Le Pére Noél a les yeux bleus, La Prise de pouvoir par Loui In alphabetical order: Bunny Lake is Missing, Falstaff, It Happened Here, Harper, The Americanize- ‘of Emily, Madamigella di Maupin, Objectif 500 millions, Les Poings dans les poches, La Prise de pouvoir par Louis XIV, Seven Women Walkover. 6 L'flomme au crime XIV. In alphabetical order: Lee Amours d'une blonde, Les Désarrois de Télve Tirless, Les Diamants de Ja nuit, Masculin {éminin, Les Poings dans les poches, La Prise de pouvoir par Louis XIV, Repulsion, Les Sans-espoir. La Vie de chiteau, Walkover TLHomme au erine rasé. 2 Non réconciliés sac, La Guerre est finie, Marie Soleil, Les Pi Balthazar. 3 Walkover. 4 Masculin féminin. 5 Le Chat dans le ws dans les poches. 9 Torn Curtain, 10 Aw hasard 1 Aw hasard Balthazar, L'Homme au crane rasé, Non réconeiiée, Seven Women, Walkover. 6 Les Poings dans lee poches. 7 Masculin féminin, Quelque chose autre. 9 Les Chevaux de fer, Le Pére Nod a les yeux blew 1 The Chase. 2 La Prise de pouvoir par Louis XIV. 3 Falstaff. 4 Dracula Prince of Darkness. 5 The Professionals. 6 La Guerre est fie. 7 La Vie de chéteau. & Bunny Lake is Missing. 9 Un homme et une femme. 10 Au hasard Balthazar 1 The Loved One. 2 Mickey One. Masculin féminin. 4 Who are you Polly Magoo? 5 Morgan. 6 Les Goeurs verts 7, Les Peings dans les poehos.René Gilson Jean-Louis Ginibre Jean-Lue Godard Sylvain Godet Gérard Guégan Marcel Hanoun Jean Hohman Pierre Kast André $. Labarthe Louis Marcorelles Michel Mardore Francois Mars Paul-Louis Martin Macha Méril Christian Metz Luc Moullet Jean Narboni Claude Ollier Michel Pésris In alphabetical order: Au hasard Balthazar, Marie Soleil, Masculin féminin, The Naked par Louis XIV, Torn Curtain, Seven Women. 1e Courtship of Eddie's Father, La Guerre est tie Les Poings dans Jes poches, La Prise de pouvoir In alphabetical order: Arabesque, The Chase, Fahrenheit 451, Falstafl, The Naked Ki Flint, La Prise de pouvoir par Louis XIV, Red Line 7000, Seven Women, Walkover. Our Man See Journal in a coming issue. 1 Maseulin féminin. 2 L’Homme au erdne rasé. 3 The Naked Kiss. 4 Seven Women. 5 Torn Curtain, 6 Aw hasard Balthazar. 7 Falstaff. 8 Walkover. 9 Non reconciliés. 10 The Innocent Charmers, 1 Non réconeilis, La Prise de pouvoir par Lonis XIV. 3 Au hasard Balthazar, Fahrenheit 451. 5 Red Line 7000, 6 Falstaff. 7 Torn Curtain, & Walkover. 9 La Longue Marche. 1 Au hasard Balthazar. 2 Les Désarrois de I'éléve Tirless. 3 L’Homme au erine rasé. 4 Nom récon- ciliés, 5 Culde-sae. 6 The Spy Who Came in from the Cold. 7 Onibaba. 8 Le Chateau de Taraignée, 9 Quelaue chose dautre. 10 Morgan. In alphabetical order: Au hasard Balthazar, The Chase, Culdesuc, Le Deuxiéme Soufle, Fahrenheit 451, Falstaff, Masculin féminin, Les Poings dans les poches, La Prise de pouvoir par Louis XIV, The Professionals. 1 La Prise de pouvoir par Louis XIV. 2 Non révoneiliés, 3 Red Line 7000, 4 An hasard Balthazan, Brigitte et Brigitte, Fahrenheit 451, La Guerre est finie, Masculin féminin, A Noite Va 1 Seven Women, 2 Croquis q’Aix (TV), Matculin féminin, Non réconciliés, Le Pere Noél a les yeux bleus, Walkover. 7 Au hasard Balthazar, Fahrenheit 451, Les Poings dans les poches, Torn Curtain. 1 Torn Curtain. 2 Du courage pour chaque jour. 3 Le Ciel et la terre. 4 Seven Women. 5 It Happen ‘ed Here, Non réconciligs. 7 The Age of Illusions. 8 Le Chat dans le sac. 9 Walkover. 10 Goldstein, In alphabetical order: Au hasard Balthazer, Le Deuxiéme Soule, L'Homme au crine rasé, Je Ja connaissais bien, Non réconelliés, Les Poings dans les poches, La Prise de pouvoir par Louis XIV. Red Line 7000, Les Sans-espoir, Torn Curtis 1 Falstaff. 2 La Guerre ext finie. 3 Au hasard Balthazar. 4 It Happened Here. 5 Fahrenheit 451 6 Culdesac. 7 Le Deoxitme Soufle. & Brigitte et Brigitte, 9 Galis. 10 Un homme et une femme. 1 Aw hasard Balthazar, Walkover. 3. Bri pouvoir par Louis XIV, Quelque chose ite et Brigitte, L’Homme au erine rasé, La Prise de ‘autre. 7 Red Line 7000, The Naked Kiss, Seven Women. 1 Au hasard Balthazar, Vivre, 3 La Guerre est finie, Falstaff, Masculin féminin, 6 ‘The Chase. 7 Morgan, Les Poings dans les poches, La Prive de pouvoir par Louis XIV, Quatre heures du matin, 1 Aw hasard Balthazar, La Guerre est finie, L'Homme an crane rasé, Masculin féminin, Non recon- ciligs. 6 Les Amours dune blonde, Les Chevaux de feu, Le Deuxitme Soufle, Les Poings dans les poches, Walkover 1 Watkover, 2 Don Quintin Famer. 3 Au hasard Balthasar. 4 L’Homme an erine rasé. 5 Los Sans cexpoin. 6 Seven Women. 7 La Prise de pouvoir par Louis XIV. 8 The Age of Illusions, Brigitte et Brigitte, Les Poings dans lee poches. Women, 2 L’Homme au créne rasé, Masculin féminin, Non réconeiliés, Walkover. 6 La Guerre hose Wautre, 9 Au hasard Balthuzar, Le Nouveau Journal d'une 1 Seve est finie, 7 Torn Curtain. 8 Quelq femme en blane. 1 Au hasard Balthasar, Walkover. 3 Maccalin féminin, Non réconciliés, 5 Les Poings dans Tes poches. 6 L'Hlomme au erine rasé. 7 La Prise de powvoir par Louls XIV, 8 It Happened Here. 9 Le Pére NNoal a les yeux blens. 10 The Innocent Charmers. 1 Au hasard Balthazar, Brigitte et Brigitte, Nous deux, La Prise de pouvoir par Louis XIV. 5 Loving Couples, The Naked Kiss, Non réconeiliés, Red Line 7000, Repulsion, Walkover. |A. Astruc, R. Bellour, M. Hanon, F. Mars, R, Richetin, A. Robbe-Grillet and C. Vilardebo point out to us that their selec- all the more relative because this year they have seen only & very few films,Claude-Jean Philippe Jean-Daniel Pollet René Richetin Jacques Rivette Alain Robbe-Grillet Jacques Robert Georges Sadout Barbet Schroeder Jacques Siclier Roger Tailleur Bertrand Tavernier André Téchiné Roger Thérond Jose Varéla Paul Vecchiali Carlos Vilardebo Francois Weyergans Yamada Koichi 1 Au hasard Balthazar. 2 L'Homme au crane rasé, Non réconciliés, 4 La Prise de powvoir par Louis XIV, Red Line 7000, Torn Curtain. 7 Les Chevaux de feu, La Longue Marche, Masculin téninin, The In alphabetical order: Au hasard Balthazar, The Chase, Falstaf, Le Guerre est finie, L’Homme au rine rasé, La Longue Marche, Masculin féminin, Non réeoniié, La Prise de pouvoir par Louis XIV, in sipebilarder: Av had Balan, Brge o Brge, Le Gears vr, The Lovo Onw Lo Poing den I pochoy Three on Goich Es, NaeenSnlc Wis aes aly Mago? 1 Walkover. 2 Les Amours dune blonde, Le Chat dans le sac, Fahrenheit 451, L’Homme au crine tasé, Mascalin féninin, Non réeonciliés, Nothing Bar a Man, Yas Poings dans les poches, Quelque chose d'autre, In alphabetical order: Loving Couples, A Noite Vaela, Les Poings dane les poches, Repulsion, Les Sansespoit, Who are you Pelly Magoo? 1 Seven Women, 2 La Guerre est fnie, La ligne de démsreaton, La Longue Marche, Mascain femi- nin, La Prise de pouvoir par Louis XIV, Red Line 7000, Three on « Couch, Torn Curtain. In alphabetical order according to countries: Belgium: L’Homme au erine rasé, Czechoslovakia: Les Amours d'une blonde. Franee: Au hasard Balthazar. Germany: Non réconciliés, Great Britain: Calde- sac, Fahrenheit 451. Italy: Les Poings dans les poches. Japan: Vivre. Poland: Walkover. Spain Falet 1 Red Line 7000, Seven Women, Torn Curtain, 4 Au hasard Balthazar, La Longue Marche, Masculin feminin, Les Poings dans les poche, La Prive de pouvoir pat Lous XIV. 9 Une Balle au cour, The Naked Kiss, J alphabetical order: Les Amours d'une blonde, Fahrenbeit 491, Falsaf, Ln Ligne de démareation, Mario Soli, Les Poings dans ls pote, La Pete de pouvoir pst Louis XIV, Red Line 7000, Roger ont. 1 The Professionals, 2 La Guerre eat fine. 3 Walkover. 4 Falsafl § Harper. 6 Seven Women, 7 Cal- esac. 8 La Vie de chiteau. 9 The Bedford Incident. 10 Bus Riley’s Back in Towa. 1 The Courtship of Eddie's Father. 2 Le Nouveau Journal d'one femme en blane, Seven Women. 4 Lee Désartois de Téléve Tirless, Night Must Fall, Objectif $00 millions. 7 Madamigella di Maupin, A Harper. 9 Les Amours d'une blonde. 10 Et pour quelques dollars de plus « 1 Au hasard Balthazar. 2 Walkover. 3 L’Homme au crine rasé, Masculin féminin, Non xéconcil Marie Soleil, Le Pére Niel @ les yeux bleus. 8 Falstail, La Guerre est finie, Torn Curtain In alphabetical order: Les Amours d'une blonde, The Chase, Le Devxiéme Souffle, Falsaf, Les Poings dans les poches, La Prise de pouvoir par Louis XIV, The Professionals, Un homme et une femme, Who are You Polly Magoo? In alphabetical order: Au hasard Balthazar, Et pour quelques dolla de plus . - . Masculin féminin, Non réconciliés, Le Pére Noél a les yeux blens, Red Line 7000, Three on a Couch, Walkover. 1 Au hasard Balthazar, The Naked Kiss, Red Line 7000, 4 Seyen Women, 5 1'Homme au erine rasé. 6 The Chase. 7 La Guerre est finie, Les Camarades. The Defector. In alphabetical order: Au hasard Balthazar, It Happened Here, Le Manuserit trouve & Saragoss, Masculin féminin, Les Poings dans les pochen 1.23, 4 5, 6, 7,8 9 I 1 Falstaff. 2 Masculin féminin. 3 L’Homme au créne rasé. 4 Non réconciliée, 5 Les Amours d'une blonde. 6 Le Pire Noél a les yeux bleus. 7 Seven Women. 8 Le Nouveau Journal dune femme en blanc. 9 Torn Curtain. 10 Au hasard Balthazar. dom. ‘The editors of Cahiers decided to eliminate from their lists most of the old films released this year which otherwise would hhave been cited oftener: October, Vivre (Ikiru), the Mexiean Bunels, and so onThree Thousand Hours of Cinema j Luc Godard | by Jeaw- Jean-Lue Godard directing Deux ou trols choses3AM ‘With Claudine to Nancerte in a bliz zard. We spent an hour searching for the new university building, lost in ad vance among old Iow-rent apartment buildings and now shantyrowns, We crossed. long lines of children and of workers floundering like us ia the mud fo go co work that is not their own. Work ia freedom, Himeler had written fon the gates of concentration camps. 2PM Fallen Angel seen again. Mystery and fascination of this American cinema. How can T hate MacNamara and adore Sergent la Terrenr, hate John Wayne upholding Goldwater and love him tenderly when abruptly he takes Nat fie Wood into bis arms in the next. fothelast reel of The Searchers. 5 PM Soon traveling cours for judging motorists, After having given the jus: tification for represion and for road= Side courts, M. Gerthofer, advocate ge eral, representing the Keeper of the Seals, announced 10 the participants of John Ford: The Searchers, John Wayne. ‘the Seventh Congress of Criminology, Imecting at Lille, the imminent appear- fnce of mobile courts under the form ‘of motor vehicles transporting prosecu tors and judges, As if by chance, he forgot to transport defense attornies as ‘well, That name Gerthofer sounds fam Tae, 1 remember having. sead it ios book by. Vidal-Naquee in connection with the judicial power ia Algeria dar jog the troubles, One of his assistants twas mentioned there too, 2 Monsieur Holleaux, Ts he the same as the man at che cinema center? 11 PM ‘With Alisa to sve The Homecoming fof Harold Pinter, Admirable dialogues, equal 10. thowe of The Servant, but fsuied and directed the wrong way. It twoukd take Stroheim or Vigo. The boulevard stifles true theatre as the scenario docs cinems. 4PM Conversation with Tenondji, who wovld accept 4 program of several films ver several years (mine and others lander my responsibility)—which T had tied in vain to obtain from Columbia, then from Gaumone. 5 PM In Positif, « remarkable article by Taillear on Herper, A shame that one reads prose of that quality less and less fften in Cablers. A year ago I had tied jn vain to persuade Tavernier to pub: lish is magnificent study oa Ford here rather than there, but he prefereed hu Imiliation to offense and. the terrain fugue to mademovelle age tendre.! Sad to find again even in the purest cine- Dhiles the great flaw of all movie peo- ple, that morbid refusal to make com ‘mon front against the enemy. Now, not Sevonarola or Trotsky whom we Tack, but Jean Moulia, and where would wwe find him if we cannot even make peace in the shadow of the Cinématht que 11:45 AM. “Tati had aptly said dhae he filmed in 1970 and not in 1966, So one will see his film in three years, Yee happy that the docs not film in 1985.6 PM Francs Jeanson reports co me through Gilberte that Sacre has once more r= fused an interview with Cabiers. Why ne image and sound be always so scorned by the powerful of this world? 10 PM ‘With his television progeam on Indo China, Roger Stéphane has just made the second French Stalinist fm. The fist was Paris briletil? (Ue Paris bur 5PM Had chocolate with Albertine, Place du Trocadiro, She wants t0 change the olor of her hair. T told hee chae it would be aecesiary thea to destroy the Renoir painting that she resembles, Noon Ta bande 2 Bonnat abandoned detin iuively. Long discussion with Robert Hakim for whom Twas formerly 10 make Fes, and who does not under Stand my reasons, Yee they are simple Noe being a comurier, i is imposible for me to make a costume fim. Eighty percent of western films today are ex cuted by tailors on Hollywood pat 9 PM Finstein and Cocteau were right. Al- brine’ reflection ia that piece of glass in a snack restaurant, Place Ssint Lazare, had no relation to the young face ha Thad in front of me! She smiled at me, and that smile was diferent in che mir rot, sinee the proportions of her checks and of her jaw sce dillerent, Albertine fppeared annoyed at-my discovery. fell her that it & sweet and comforting that poets are always in the avantgarde of science, and” scientsss ia that of poetry 5PM Should I see in the obvious ill will hae Comolli and Fisch have been manifesting for five of six months to ward publishiag some chapters drawn From the complete works of Fisensteia (ewenty-two volumes) that are at Nella Corot’ place, should I see i that al- ready an echo of the Sino-Soviet serug- fle, and the seizure of power by the Red Guards in the bears of those who swore still Camille Desmoulins and Seine-Just for me? (Thus I expl myself their mistrast, 00, toward @ Falrenheitian cinema). TAM Leaving the Blue Note, Albertine and 1 were kissing in my car while listening to Vivaldi, Suddenly someone knocked ft the window, and the car doors opened. Ie was the police, They made 3PM Telephoned to Jeune Afrique and made an appointment for the eventual purchase of the rights to Sérephing, » omic strip chat tele che exploite and perils of a Pauline of the neuteal cous- fies who is pursued by spies of the SAR. (Soviet American Republic reminds me of my Figaro-Pravda TPM At Louis’ talked with Philippe Labro about the Epstein report. He is one of hose in France who hest know what is underneath the Oswald affair” He spoke to me with emotion about some Americans, among them an old lady 2Bernardo Bertolucci: Before the Revolution. fof the same sort as the onc who lets herself be burned in. Fabrenbeit, who hhave never accepted the Warren report, and who have formed a kind of net work half way between a group like VeriséLiberté ducing the Algerian war, and stamp collectors 3 PM To sleep. Now I am going w drag aloag the fatigue of my ewin films dar ing the next two at least, 10 AM T asked Claudine, during her free hhours, to give me a report on universicy life at Nanterre, Eventually fe will serve ime as background for Li Chinois, She accepted and asked me why I did not film Lisignifle creure instead, To. make hee get angry, I omintained to. her— and hhesides itis teue, that the only good pages in Colette were written hy Willy 6 PM T made a misake sbout the sound engineers for the mixing of my. last films. T haye engaged Maamont for Made in USA and Bonfanti for Deux ‘ou arols chose, instead of doing the op: posite. I explain, One can consider “4 iced sound in two ways. Either s8 4 few sound, whea it i a question of catching, of recording, a8 at the taking of the shots. Or as a known sound, then # sound 10 reproduce, exploiting to the maximum the quality of the re production. For reproducing a sound, nd making it pase from magnetic 10 ‘optic while mixing several bands, that to say making # single sound out of Several, Maumont is the strongest, and his sail and hie car have no equal in Europe, expecially with the mater! put in working state by Nenny. But if fa the contrary it i a question simply of catching the sounds of another world that fall on you, that i 40 sty of making Several sounds from only one step, chat i to say of never considering. sound 15 definitive, hue indeed variable, chat is co say expecially of mixing relations and aot objects, and of knowing, for example, that there are certain noises fod certain musics that begin to exit only when they ace saturated—in that case, the youth of Antoine Bonfanti out: Strips the wisdom of Maumont, and the hheare of one the knowledge of the cother, That explains why, through my faule (for it is necessary to. harmonize the techaiques to the subject, the micto- phone as well as the lens) che sound of ‘Made in USA will be betrayed by the reproduction, and that of Deus ou trois hoses by the recording. 3PM To see an old Don Siegel at che Studio Parnasse, To go there, I passed that corner of the fue d'Assas where I lodged on my atrival ia Paris, ia & dilapidated penilow maintained. by dame Melon who was for me Maman Vanquer. Upstairs lived Jean Schlam: berger, swith whom later my parents reated me a room. How many frst ed I stole from him that 1 was going to resell with difficulty at the corner fof the Point Neuf copay my. way 10 Hiteheock or Hawks! Sometimes, in che evenings, old pire Gide came to vis. tind they hoch scuffed on bread and but ter in the kitchen, Memories. They are Inceresing only to oneself, never 10 other people, What I love when I read Claude Mautiac’s Lionbls, snot whet he tells and which T'do not know, bat i is he himself, his way of speaking of women end gitls I remember an eveMie. Dovzhenko: The Flaming Years hing when we were all admiring. some Shots in 16am of an unfinished film of Aceruc, and in his columa, the week after, Claude Mauriac made fun of what for me was the Peru of the period, the petiod of cinematographic specificity, the period when Francois loved the films’ of Jacques, Daniel Norman, and Rivewte belonged to what Bazia and Doniol called the Schérer gang. Mem- ries, I remember Jean Schlambergee ieee weeks ago; too, in Brittany, at the cme of one of Alisa's friends, when [sew on hee aight table the beautiful ok that he dedicated +o Madeline and ré Gide, some pages of which made ‘want ro. tum those of La porte (Strait is the Gate) with Alissa for me, she i the Chantal of manos, Memories. Evety scenario and very mive en scene have always been xcted By or on memories, One change that—stare from affection ew sound 2PM Kissing Gilberte quickly on the corn the mouth ia’ ncon light ae the we dAuteuil, 1 had the feeling of posing through a slight and Iukewarm vent, She spoke to me about chat in- ‘vention — tere, in her opinion — of Sartre and Merlesw-Poaty’s, that of marrying the philosophic verb and the fomantic adjective, In_my opinion as wwell, We spoke with «motion and ten: erness, she of Iviteh, Tof the confined fone of Venice, she of Le Phenoménal- ie de La perception, [ of the study fon Cezanne and cinema in Sens ef onsens. Michel Foucault, Tacan, aad the Marsist Alsatian would noc do. well to come to sit at our table, Their ac count would be quickly settled, T old Gilberce, who laughed, at Pesaro, the presence of Barthes, who was play ing ‘Bartholomew the “Wise, Moullets Sublime flight, Courtelinesque and Brechtinn, flung at the face of the struc turalise language, monsieur, is theft Mouller is right. We are he children of inematogeaphic language. Our parent are Grifith, Hawks, Dreyer and Bazin, find Langlois, but not you — and be Sides, structores, without images, and tvithout sounds — how can one speak of them? 10 PM ‘The only film that 1 really wane £0 make, Iwill never make because ic is Impossible. It is a film oa love, of of love, or with love, To. speak in the ‘mouth, t0 touch the breast, for women to imagine and to see the body, the sex Of the man, co caress a shoulder, things fs dificult’ co show and to intend as horror, and war, and sickness are. I do not understand wh, and I soffer from it, What to do chen, since T eaanot make films simple and logical like Roberco's hhumble and cynical like Brosson's, austere and comic like Jerry Lewis fucid and calm Like Hawks, sigorous and ender like Francois, heed and plaintive like the two Jacques, coura ‘ous and sincere like Resnais, pss and American like Fuller's, romantic sod Italian like Bertoluec's, Polish and Gespairing like Skolimowski's, commu- fist and crazy like Mme, Dovzhenko's Yes, what to do? JeansLue GODARD (Fo be continued)Versus Godard by Bernardo Bertolucci Is everything permitted to one who loves? For example to spy through the slats of the blinds, o to scek in che beloved's garments the sigoe of his in timacy, or to rummage in his pockets to touch all the objects that, prools of his beteayals, become. proof oF “his Strong in the love that I have for the cinema of Godard, I fish here in troubled vwaters, and I discover, precious as oaly the “real” canbe, the “vulgarity” of Godard. T am speaking of Goderd’s two most secent films, which T saw recently ia Pars, their sound mixing scarcely finish- ced, in the following order: Deus ow trois choses que je sais Welle (Two or three things that L know about ber) five minutes of reeréation (those “are Go- dard’s words, of as, laughing, he said t0 ime "fine del prima tempor—end of the firs pare); then, Made i USA, T think Godaed expects a single judge: ment on these two films; he finished ming Made i» USA. one summer Friday: and began Dew ow trois choses «the following Monday. He edived the two films at the same time, probably jin two connecting cutting rooms Tike ‘two hotel r00ms for an. illicit couple, “Another prosaic observation — the order in which Godard. showed these two Slms Tete one suppose thar he prefers Made in USA projected last. (Duels in ‘fundo.) Godard must be a great devouree of newsprint; one can find the origin of two lms in last months’ newspapers, ‘The idea for Deus ow trois eborer comes from a news item read in Le Nouvel Observutenr: x mactied woman. (about thirty years old), mother of two chil rea, living in some housing develop. ‘ment, prostitutes herself each time the desize ‘seizes her to transform herself from mother of family to consumer ff all those products that neo-capital- lism offers to Frechwomen — Paco Rabane dresses, op sun glasses, Polaroid fameras, and to" 0n, all things “whose acquisition her husband, an auto me: hanie and cadio ham, cannot guarantee hee. AS for Made in USA, i is the Ben Barka affair, revised and’ corrected by Dashiell “Hamme and —Apoliinaire, with Anna Karina in the role of Hum: heey Bogast and Godard in the role of Howard Hawks. Comes the dreaded ‘moment, the instant of the choice that Godard—nor without masochism—in pou on us 10 make when he decided { shoot ewo films at the same time and to show them one after the other. ‘Thus his victory will be his defeat and his defeat his victory. While "Deus on troir choses..." is av its origin a news item, Made in USA is drawn from a political assasination. Let us call to. our aid Roland Barthes, who enlightens uso the difference between these two teriie, the political assassination is always. by elinition x partial information that refers necessarily to a situation existing outside’ it, before it, and around it, polis, The current event, on the con trary, isa cota, oF moze exactly, an im: ‘manent informacion, Ie refers formally to nothing other than iwelf, But here 4s Godaed reversing. this ale scandal. ously; Made i» USA Keeps a structure tragically clored, while the current ‘event of Deux ou trois choses, which ‘ought to have derived its beauy and its meaning—an immanent entity resol ing isolf iaco ic, immediate downées— from itself, opens like one of those strange and inefable flowers of dreams for of hallucinations, which never stop blooming, disclosing in their petals new feistences, new vegetal contexts, un foreseeable as the resonance that’ they were broodiag over, the things ie sigai fies and their dream duration i un: foreseeable ‘Now, Made in USA, « political film, traitor to politics, paralyzed in ies sgreat freedom by an ideological con- formity, is colors fading from the very fact of the magnificence of their enamels — never in cinema bave reds, blues, arcens, heen so red, so blue, $0 green, and everything seems true to Adantic City — which, like Alphaville, should Ihave resembled Paris and on the ‘con trary resembles Atlantic City really too much, just as the "toughs” who should hhave made one think of Franco-Moroc: cin gorillas are, more oF less in spite of Godard, too “tough” and in the end are ‘only "toughs” — and yet, Made in USA, = the one that I ike the less of these ‘wo films because ie is too Godardian to be able to be seally good Godard, here it does have unexpected events, very violent starts that shake its entice armature; theo, is seructure recomposes iself, strenghens iuelf again, hecomes ‘enclosed, anti-Godardian, I was allud: ng t0 che deaths of the minor char: ers whom Godard has Anna Karina Kill, and which are the sublime moments of the film; fe is as if the old ean with the odd Eastern accone, or the writer who is Belmondo's double of the perallel policeman, existed first of all thanks to the bullets that they en counter, thanks to their blood, and thanks to Karina, ‘who, after having, fired, addresses long looks of comfort to them. Godard makes them tive in ‘making them die, one by one, and, t0 fend with, we are encircled by these poetic deaths of minor characters But it was with Dens ow trois choses que je sais elle — "elle" this 1s the moment to say ig not Marion Viady, bbut Paris — that I really fee the pleas. ture of Godard’s “vulgarity.” 1 call “vulgarity” his capacity, his apticude, 10 live from day t0 day, close o things, Of living in the world as do journalists, who know how to aerive on events at the right time, and pay for this punctual icy by necessarily undergoing. the effects even of the most trivia, lke the dure tion of a match flame. This “valga is to be a lite too attentive to every thing, and for that we are deeply grate- ful to Godard. Te is for us that he risks that, because ic is co us and for us that he speaks directly, to help us, men exist ing around him, and chat is whyJean-Luc Godard directing Made in USA, Laszlo Szabo. that he addresses himself always to Someone who is very near him aad not fo eternity. ‘Thus a monolithic current vent like that of Dens ow trois eboses, Which could be extinguished ia itself, Becomes "means," of a die course that The pros tution of the women. of the housing developments i only the pale reflection fof the prottiration 0 which we have all, more or less dilfereatly, adapeed our. Selves, but with less fanocence chan Macina Viady with her animal, peasane This new Godard full of anger and pity at the same time makes single [Eestare and embraces innumerable souls ‘who are behind innumerable’ windows OF suburban buildings and whom no one would mourn if floods or the bom tere to eros them out oF the world Forever, ‘The light becomes pink and blue on the resonant partitions of the fow-rent apartments, It is a light chat wwe know already, aad that resonates Familiacly in us; it ie the sun of work days, Wednesday or Thursday, in colo fies’ that. do not know that’ they are Colonies (in Made in USA, T had for fotten to. say 50, everything seems 0 happen between’ ton o'dock ia the morning end six otlock in che after noon, one Sunday in July, the bistros flmow deserted, boredom for whoever femains in the city). Duriog this time Someone speaks alone ia the next room, find the walls are so hia, chat every thing that he says renches us distinctly like the words of the priese behind the seating of the confessional; it i Godard who speaks a monologue ia a low voice, like a speaker operated on for cancer of the throst, and who says the rosary of his feflections oa cinema fand cinematographic style,” questions himself und answers himself, protest, suggests, speaks ironies, explains 0 us thar the shows, whether they are fixed panoramic of dolled, are autonomous, ‘with an autonomous resonance and an Autonomous beauty, and that one must fnot preoccupy oneself too much with foresseing x montage, for in every Way the order i born automatically starting from the moment when we put one shot after the other, and that ultimately one Shoe is worth as much as another (Ros Sellind Knows that), that if they are hacged with poctry, the elatonship will be born in spite of everything - land when is extraordinary moral di. course is seized with a slight shaking— fand that often happens—ic is as if the presentiment of a tragedy were assiling Us the characters of Dewx on trois ‘poses. will end theit day with death, for by ‘urning off the lamps by their beds, cither ending not making much dlfezenceJeawLuc Pa pa and Mae Oo: wipe aMascalin Féminin, French le of Jean-Luc Godard, Scenario: Jean-Luc Godard, freely adaped from two shore stories of Guy de Maupassant, Photogra- phy, Willy Kurane, Editor: Agads Guille- mot. Sond: René Levert, Cast: Jean- Pieree Téaud (Paul), Chantal Goya (Madeleine), Marlene Jobert_ (Eliza. beth), Michel Debord Rober), Gatherine-Isabelle —‘Duport (Cath: frine-laabelle), Eva Brite Strand: berg (She), "Birger Malmstein (He), Elst Leroy (Mlle 19 of | Maden 4elle Age Tendre), Francoise Hardy (2c- companying the American office in the Gi), Brigite Bardot and Antoiae Boursciller (a couple talking in a café), Chantal Dargee (extract of | Méiro Eantime). Director of Production: Phil inne Dussart, Producer: Anoucha Films wnrgos Films. (Paris) Svensk Filmin- uscth — Sandrews (Stockholm), 1966. Distributors Columbia, Length: 1b. 50 The cinema of Godard happens 10 be the mort hazardous, the most radical, the most beautiful cinema today. Life, ‘work — itis the same proceeding, otal ‘Guest; it ie the same movement, to live and to show how to five, the same ad- enture, And this movement calls forth, provokes, includes, all che fest, which ‘dds up to the other dimeasion of life A lhis ste, which makes. it poetry, fusic, art — well, everything, And ‘Ceerything is always st 2 mecting point swith Godard, jestalls itself and finds itself ay if in ies own home, Everything can always enter, tse, be born, One Imust say that his genius is at che same time to be and to et be, 0 do and 0 Tet do. One must say, t00, chat he has begun by making and leaving. clean space "Thus Mascalin Péminin; ei very si pile, everything starts egain from 20; frothing but the film of ‘nothing but life. And itis, ie becomes, at the time journalism, tclevision, actualized fiction or reconsticuced actualities, essay, im, «+ + Dug let us eater the work {eos obliquity, The reactions to the film ff the group of the filmed, who say, Tike the Blacks to Moi un noir—Not 1! Rouch saw them wrongly, Godard saw them wrongly, they are cverything ex ope that, Why? Aa individual, a group, thas always this reaction of retreat and fof defense when confronted. with its exact portrait, Thac is because one docs fnot see and one does not know all that fone is and especially all thae one’s be- havior implies or reveals, and because, iiorcover one cannot help but compare this image of the self that one has seen (char one has taken, end against which fone can no longer do anything) with ‘whac one wanted oF would want i be. Al thae is decply troubling. This as well she truth chat Godard excricates from Teanue Godard: Moscolin Feminin, Jean-Pierre Loaud, Cotherine-tsabelle Dupont.beings is truth drawn taut between document and fiction, These things are themselves, always and nothing hut themselves, but Godaed has them pass through the entire range of their be hhavior—actual: possible; probable; in the end hypothetical — fis them ac tualise some of their own potentialities, has them signify st the same time what they are and what they tend to” be Thereby one sees sketched the face of what the world tends to be through them, “Thus what Godard has made, is some what conscienceiction, or itis the Mash Forward of a plot already being. acted for the trailer Of ail sellin the po fe of sound mixing, excepe that ‘here “our next arteaction” i the next (and the bette) of our worlds, Te is not that Godard claims to fore tell, He wants only to sce exactly and to tell exactly. Thae 33 already n grest deal, Ie is even everythings for che rest follows from it. The form to come of 20 Jean-Luc Godard: Pierrot le fou, Jean-Paul Belmondo, Anna Kerina, 8 world, of a heing — destiny, if you will — is already written down in his very depth, One nevds only to sce deep. ly everything is there. Te is even be- ‘cause he sees deeply that Godard, mis: ‘rusts contain surfaces, If he inserts the ‘opinion survey into his film (and all is films are partly iaquisies), and makes use of it, none the less he invites us hat distance that often he urges. us to take in relation to what he shows) to mistrust his results (thanks to" which some people claim that ZBey can fore: tell), However thee may be, what he ‘makes (and there he catches up with ind. goes beyoad everyone) is a survey Of the so Here T think of 2 man of whom often people said to flattce him or to re proach him) that he spoke as » prophet “Bernanes. To which Bernanos replied justly, that he contented ‘himself with Sceing things indeed, and that it Wa perhaps because of that that he found himself seeing: a liede farther than the things—where they led, Whether one calls that “propheey" of “lucidity” has rnothing to do with the matter; sill the fact is that Godard has it, He has lucid ity, intuition, which operates in. gentle ness, or by breaking open, those flashes thae illuminate by moments the depths, the hidden aspects of beings of of things. Viore ne vie was indced made of those Illuminations, o cite only one, and the one whose heroine had a look of Mouchecte et us go back to Le Petit Soldat, which opened with + quotation from Les Enfants bamilic, and this other com vergence strikes one — youth and pole tics. Bernanon speaks of this a great deal (in Les Enfants humilis, among fothers); he says of it even many things thae people are only beginning 10 re alive — but it is thus with everything Of which he spoke (including nazis, touched upon in Ler Enfants bumiizs). Now, Le Petit Soldat is, t00, the film that allows us to examine, on a limitedbut exact point, what the lucidity of Goudard is, As in all his films, whae he caught there was the spirit, the time, the adventure — che spirit of the ad: venture of the dime, dhe spicie of times ‘of adventure — but all thet was knotted together on the occasion of events ap- parently. marginal — limited, localized Sctions of litte groups, barely-organized, bearing a name out of adventure novels, Le Mai rouge” (the Red Hand). That ‘was going to be swollen later, under the ame of OAS. Le Petit Soldat — that was torture, 00, weoagdoing whose equable appor fionment in the film was to cxuse an foutery, aobody, from the right «0 the left, wanting to acknowledge its exten sion to the members of his own group. Whence the extremity and the unison in reproach, Here, another thoughe for Bernasos (ove bas s0 few For him, ia our days), who had a loag expericace with foo Now, Godard said of torcure: “Ie is monotonous and sad. ‘Therefore T will speak of it litle.” Thus he defined a principal aspect of his proceeding. and Of his vision — on the one hand, not to speak of that ubout which one'can- not speak, on the other, 10 speak of that which is in fact, the most terrible, the banality of the atrocious, and the atrocity of this banality Horror cannot be shown; one shows of it, and one can only show of it ther foo much oF #09 lite. Enough fo make spectacle, to fascinate, (0 Fe pel a Hele, or 0 iauee a Lede, but that Fe not enough, or it is already too much, if ie i nceessary to illuminate the con: science, All the more because the hor for appears there, almost always, as the more of less exceptional product of more or less exceptional beings or cir cumstances, Ic is here that Godard gam. bes, inseribing horsor ia the banal and the banal in the hoeror, That, one can show, and even, all the moral and mate rial possibilities are joined here, which permit everything to be shown ‘And Godard show. On the one hand, even what horror involves of the exceptional (toreure) is inseibed ia the Igesturen, reflexes, habits of every” day habit itself inserted inthe midst. of ‘cher habits: the torture, linen and the Taundress); on the other hand, i Les Carabiniors (crarting from beings with their consciences already obscured, un like the first, who were darkening their ‘own consciences by justifications), how fone con live horror in « habitual fashion Godard never suggests horror. He shows, indeed, fragments of it but frag ments that represent the whole of what i ik, He deframes cortain perspecives, dput that is in order t@ open on others uinsuspecced, dizzy, and, in all cases, 10 project us toward the essential — the point of escape, ere equally the point Let us follow the dhecad, Ia Pierrot Je fow we have the happy” words and sgestres (and musially happy—a cura ff the screw) of a couple at dawn, i the room with weapons, beside a corpse a(he corpse _and the passer-by of A Bout de souffie). And Vivre sa vie: the iesiiecgra tis chats het hey to Nece No. longer a room, ‘The concierge snatches it from her; a little kiss, from his wife. It is ended, (Have we here a degree more, oF a dogeve Tess, in the frocious, ‘which, becoming less char Nidiour —char fcterized — snd’ more Scterizes q greater number of beings?) ‘And aguin — Nana describing, the de founciation scene to the commissioner — T find that wretched (and. the enunciation of A Bout de souffle), Sul farther—ie is Pierrot t0 the litle gar ageboy—mere establishment of fact "You would like a cat like that? Well you will never have one.” The atrocious has netin lost characterization. Now it reaches its greatest extension. Mere s0 dial fact, Te is everywhere, AS in Les Garabinierz, Mote social fact, Cast la awerre «We have done nothing but Change level, But the levels commuai n Jean-Lue Godard: Une femme est une femme, Jean-Claude Brialy, Anna Karine cate at more than one point. There are exchange mechanisms, and here is one: Hear Ups erated ee h the letter in place of money “No. No g0.” Still farther (again echo of Les Carabiners) — ceftain ge ‘words intonations, looks “are enough (chose that transfixed Piccoli in Le Mepris), Une femme est sie ferm Gousical comedy) — the couple who tear each other 0 picess, The "I do fnot love you" uttered intentionally (when she is thinking, "T love you' ‘That is one of the geneses, one of the infancies of evil — that ditions, oF that stifening, chat pushes one to pro Jong still » litle, and still m little, the pleasure, the pain, of husting, of hurt lng oneself (and' Le MéprirBardor's defiance as she coldly aligns obscene words), Stifeniag, defiance, hardening, Complaisance (supreme views—those of the spirit), the mechanism is. diverse but chat is'always the temptation of the 491s time (if one can sin seventy times Seven times)—the one too many, the one tat makes you crow the poitt of a0 return, And its name is, doubles, sin wgninst the spicit, since, in. faet, the Spirit dies from it — the thing that one found fascinating, over which one her for which one defied, someday possesses fone: and che word that defines One then is, perhaps, “alienated. of tho who are more victims than futhors of the obscuring of their con Science—mere result of mete social fact. Here we are again at Ler Carabiniers, where thore who undergo the mechan jm of war, and stare it again, have al ready heen reduced by that of distress, ‘Another crossing — in it our soldiers massacre concierges; the slienated are Killing one. ancther among, themselves. Discress. Here is the mitra of Bande a part (and of Masculin Ecminin) andits song (and juke-bor, café—those of Une femme est une femme and of Vivre sz tie), and, through despair, derelic- tion, hiteeraess, tenderness, in great epitomizations that condense beauties cleewhere divided, something blossoms coward joy (another thoughe for Ber anos, cae for Dreyer, one for Bers: an). Buc always something blossoms, Even in Let Carabiniere—ctle transient fash. ‘es In Ulysse's gaze on a mother-madon- faa bloswoms a shot in which one watch: : for conscience; in the saying of the poem in front of the rifles, one sees the faces of the riflemen become clear. fr, And there are, of course, in Alpha. ville, the fist shivers of Anna's com science, on lost” poems. "The two above mentioned — Alpha: eille, Les Cerabiniers — are both fables, tbat ‘made starting. from clements_in scribed in the spirit and the flesh of our time. Two worlds cangential to ouss (a Title as that of Le Petit Soldat was tan- eat to ic, before being inscribed in ¥0. Mlifferene worlds, to the extent that the real, the probable, the possible, the hypothetical, ate diferendly apportioned there, but commaniciting worlds; ours serves as exchange mechanism, With Alpbacille, here is, once more, habitual horror. Here, under a limiting form (olxsined by giving a turn of the screw to some present reality) —murder iguidation of the ierecovernbles) given habitually as a spectacle, murder sv <0: cial fact’ and rite. (A litle what one finds in ehat other science fiction, awskis Le Journée die mourire — of Daniel’, T no Tonger know, no mat ter), Alphaville is, 100, the only. abso Tucely lose world ia Godaed. At the out come of Lemmy’s pitiless struggle Against the robots a single just person ‘vill he saved, OF his other worlds, none that does nor, in. some aspect, merit being loved, even that of Les Cars iniors. Nowe ia which one feels one self coully lost. People recoznize one another there, People ate among thos Tike themselves. Among lost children, ‘To go thus, with the same step, from hardiness to tenderness, 0 live them and to show them, inside, outside, to take, to refuse, — and to escape the traps fof complaisance (they are several, and Tove too, one can lose oneself in i), 10 Hive these pulliogs, requires much stcength, I mean by that — if one must insist — that one would nor know ‘whether to range Godard on the side fof the optimists or on that of the pes Simists, ‘Those whom one designaecs thus are the weak, who age not able to resist the pullings. Thev have ended by inclining toward the side on which the pall is the stronger. They have #e- mained thos Stiffened. Specialized. Hermanos stid_ of the optimist end of the pesimise that che one & a gay im: hocile, the other, a sad imbecile, It re ‘mains that—temperament, experience oF hhypothesis — itis despair chat gives prime mover to the work of Godard. ‘And thus he takes his place ia the line ff the sombre grest—Swift, Chamfort (not La Rochefouesuld, sad imbecile) Frice Lang (Fury — pitiless film, in which justice, in which the vitim, end: ing by peing more odious than the butchers and their injustice had beens film of which people are barely egin- ning to understand all that it foretold), Louis-Feedinand Céline, all, so far 3% they are of that line, provoking, exale ing, “invigorating, caphorizing, our ‘weapons of the Inst chance, the great drastic cemedy, for weathering the cape fof despair. And propos. therapy, T think oF that which cereaia paychiatiss Sometimes practise, in despair of the fase and of orthodoxy, under the code fname of "kielein-the-scar therapy. ‘But lee us close our cieele again. We hhad come to the lose children. Ic is curious; here I chink of Bernanos, who Sid of the young (at a time whee they were not yet — not to this degree — the “problem” of the world) that one ay they would vomie ie, this world impossible to live with, would chuck it EGE = in the air, for — if they found their prophet, and he commanded them to throw themselves out the windows — they had the strength of charactce tO 60 to the very end and to do so. And im- breciles, who are not of thie tempering, fein do nothing against those who are. "The yousg have 2 total approach ‘The beauey of youth comes from the ‘very fact that the entite being is always feady to put himself oa the stake. As do the pierroes of Godard. And le Fow is the most beautiful; crazy Pietroc who, dis rusted, throws himself oue of society, when i and he have sccepied cach ther as best they could, crtzy to the point “of working out’ for himself (heough love) s destiny of death. And the litte soldier; who, #0 escape an other dessiny, thought out for himselé another madness — to provoke this des tings €0 throw himself out of the win- dow. "One has only the luck thae one desciven” But in all cases, it is free course given to life, one abandons one self — to life; one abandons one’s life ‘= to death Jean-Luc Gedard: Bande a part, Anna Karina. a‘That, adventure? And all adventures ‘would be beautiful’... ‘All those who have sisked them. selves cotally have, in some way, shared in the same spirit, Uginess is that which is not inhabited by thae spirit To give ree course 0 life — that im too, 10 mime Tif, the true, the ideal life, that fof which’ fms of novels have made fone dream, Belmondo, Bogart; the lit Ue soldier, Spanish war; the Arcus, ‘westerns; Pierrot, the Robinsons — who fre two — Jules Verne in the midst, land Céline among. them. Robinsons, Dreams of nacure, How do these nostalgias for total communica tion, total communion, come t0 one? No need for references, cither to a di tant past, nor to the nearer Rousseau. Tels enough to walk in the street, Nothing but solitary people, One says to oneself hat people are separ ated, ic is strange, something should ‘make them onc, One says that co one self, precisely, in Bande part. la which Godard says) for Ardhue, for Franz, what they cannot formula, as the fan fastic, very near-by. Rimbaud, Poo; Le Bateau iere, Arthur Gordon Pym, Poo (whom Jules Verne loved s0 much) — hho is met aguin in Viore sa vie with his portraic of the artist "Yes, one s1j8 it —— they are asive ‘And Godard 00. And those, too, who Tove him. There is something. else. of ‘which Beenanos spoke great de the spit of childhood. And ie is there thac dreaming, secing, believing, doi loving, are the same’ naive movement, ‘hac gathers. bursts of speod, takes prob. Jems by surprise, and finds itself a the hheare of things, Ie i in Godard; i is that which he shows us; but in’ most people, it is not 10 he found. Te is even that from which one siffers, in his ‘work, ‘So one breaks everything, oF breaks oneself. Or, on the contrary, one withdraws into oneself, one faints. And tne chooses 0 break nothing, to touch nothing, even, And that nothing should touch us Us — the disquieting, pathetic Title faunm of Mascudin Femsinin, That fauna was brooding. Tt ‘has come to the sutiace, Taken its forms, Tt fascinates; ie frightens, Some elders say we, at Teast, were impassioned, and cry out at indifference (but when’ they soup themselves for their grand com ‘muaions — they ace of8ey); others, who have in mind certain specific passions, ery out at depoliticization, Tin any case they stare from thar — tack, emptiness (they inherited that t00 = from their elders), and they do not except, perhaps, a certain aspect. of rirvanic comfort, (And in this connce: tion — the heataik phenomenon under its original form grouped otherworld- Tics whose ambition was to attain noth fngness — curious return wo an old imysticiom), However that may be, they fre the proof that autonomy frightens society as much as revolt. In fact, the two attitudes, total, are the manifesta 4 tion of one same and dangerous re fasal of the world For everyching happens as if they aware born allergic «0 this world, As if this world were poison to them. Some feact by an almost visceral revolt of the hire organism — » vomiting. People fall them sick, and try to care for that ‘ickness — delingueney. Others have de- cided to ingurgitate the poison. To div gest ic Immunization or death, Others Still have found salvation in eccoplasm ‘They have reduced their substance Nothing alfects them any longer. Every~ thing puss through them. Aad the ‘world hae passed theough chem. Tt has Cmptied. itself through them, as the water of the crime empties itsel in a Hitchcock’ bacheub, ‘with a noe of flushing, making circles, ‘There are, 00, the sick — those who have integrated ‘the exact measure of poison, just enough to exit poisoned, just enough for what they call living These last, Godard put them at the start of Picrrat le fou — the reception. Aer that, useless ro come back co them. But the others, ie was very necesary that he come to them, and that he come back to them, Ie was necessary that he introduce this Inst metamozphosis that is, 00, the lase and most. dangerous vViiation in his body of work, made of « tension, of rupture, heeween these tO poles —— apathy, revolt. The lasc— Léaud, Alone and lose, with his. great heart and his litle revolts, And_ not strong enough ro be himself, Lost in his contretemps, trying to play at sex and ae polities, Who becomes militant ‘sone makes oneself a delinquent, and commits attempts on palating. Caught in the tenlfic of ideas like Ze petit soldat, fr like Piceroe in the tallic of arms. Bur they were strong enough to be alone, Or werk enough. Tn any case they had. the coherence of their _ma se, Thae is Lésud's madness, and is benuy — to attempe contact, But the others do not operate on the same cur ‘The others were nor all unknown to us, From America (where at in Scandia- fvia, what was brooding here manifested sali already), Godard had brought Pat fia, ‘cold litle being, avid and de tached, litle faraway Martian, 10 can false the Belmondo of A Bout de foujfte — who tort himself in secking her. Sexy at leas So litle Just a small coin of exchange. A. litle. devalued; there, with her, there was inflation Now, ie i here, And Léaud does not find himself again in it. He kills himseld seckiog. them, the others. But they are Ail che more alien to. him beeause they Shoold be nearer to hie. Because they are, in a sense, like him, and no more pathetic, in their sphere perhaps, than he, in his, is jo sevolt. But ia their sphere, one must he able to live, They have what is necessary, they have grown fin adequate shell, He, in this emptines, ‘cnnot find his breath, he fecly hin bursting out, he is not pressarized‘One cannot live without tenderness; point from which the drift is measured hreaer to shoot oneself” Bur perhaps (is mutants are almost always, femie the others have, in their sphere, theit nine). She has arrived at other waters own form of tenderness, They must where the currents, the winds, the hhave grown one of their ows, those waves, their lengths, are no longer the mutants, — bue whae form? Same. One no longer reaches het. There On that Godard makes his most agon- i 0 longer a. response. Indiflcenes, ining and his tenderest film, starting, coldness, lie (again — words)? {5 always, from an intimate penctes, She receives perhaps, transmits, another tion of the characters, sill themselves, language (the femme marize, ike the sail Toved, from document to fition, woman of Le Nowvean Monde). Sell Here is how the investigator has seen the same flesh, hot incarnating another them — “Because of eheie youth, they word, femain natural, They are exactly at ‘No doubt she is more sensitive than moment when they are going to be the man to the atmosphere and the Formed, when they are ill anocent and flesh of the time to what they convey {encrous’ Even condiioned, they keep — conditionings, sickness, poison of fnmocence in their conditioning, They the century, crafis of ideas, of words, are not aftaid of being judged — in of songs — with which she permeates vil or in. good — they are neither herself: more, chae she makes radically Inypocrites nor cowards part of her, That i because she is more "Ar the same time, Godard has car- alleable chan the man, that is t0 say ried his investigations farther stl, and, eter, but alto! more supple, which pitless he has loved them farther gull, i & strength. As proof — she lives of ‘And. his film is serene, just, generous, 1 he dis of i at trrible. For them, for us for the What i the Nowreaw Monde. that committed, she uncommitted, everyone. awaits ws? Fabulous question, “Ridica In comparison, Picrro! le fow is the lous And what is this parable? — Buc birch of a world, harmonious, that Gils Godard satis himself with seing, and fone. Perrot le fou bas aged, admirably. he sees what portends, Tt i true thar Weis a great classic, magnificens, that nothing ever portends to those who takes ous dream of the time when such have not “the divine facslyy of atten ‘words, such dead, sll existed, Lérud tion” — to take up again from Bernanos did noe even have his death, he disap- the phrase that he owed to Poe. peered, Only ‘one thing remained for Attention — to. receive everything Bim eo learn to be no longer living, from the world, and to take everything To. go through what the mutants had — attachment. And detachment — 10 kone through, Nor theze either did he be as if one were notin the workd, And Know how to set about ix From the frst those two other times of which the mutant, Patricia, there have heen few petit soldat spoke — that of action and Godard heroines who did not ac least that of reflection, the two sides. or faze the reference tov another world phases (synchrony, diachrony, one might (Gren co the Bardot of Le Mépris,n its say, in. Saussure’ fashion) of Godaed’s Jules Verne settings), ‘The woman is movement. Action — (0 start off the Zadical, She loves and that ie all, One film, to compose ic and let ft compose day, the man docs or says tome rile itself, hue in the framework (that of the Malis inished. Broken, An entire love fl, that of life) established by reflec Js tossed aside. [eis already another tion — always proceeding between two ‘world, And, in face, one can only feel films — and with the elements that che I the most alien possible, that which later has long since extcicated. All of B formed to be nenresty one can only them in state of readiness, Always cap feel the slightest breaking off or distor. able of seeing themselves integrate such tion in man-woman relationships az the and-such other clement that will ari, very Ope of catstrophe — the commie, or of doing without _suchvand-such Coded is houoted by all the distor, other, suddenly out of date ready 10 ata nate tenia: take, wendy to leave i Godard se his fume. That is the Teron om speech (to film, 00, swith detachment. As Brice fives to speak) of Brie Parain in Viore Parain said that ie was necesary co Live to vier done are the words that change Wife — echo of what was the [ast ambi fr disappear in Le Noneeau Monde or ‘00 of the petit soldat — “AIL that re- fa Alpbovlte, And in La Femme merge, mains for me is this one thing — t0 Lecnfarde speaks language completely earn not to be bitter” other than ours, iviving from another With Godard, detachment iy too, a Se Gitvophe’ (liming cae he reecon on the very mode of expres Mea SER inc foe “event of acon that engages him. Phocgraphs in culin Péminin — the woman kills the the film, cameras, films — means of cain Femina — the roman Kl he pakog investigations, of catching the — that other limit of distension or di Solitot ees Hae tone deer gaa a Tt eer nie of aension or dis “pe ‘adeen to the spear, and the Spe dae usin ( cel asian ES EN eae ge especially in the relationship of the ood of cinema and that of the spects- Pocpla’ Aatoeibel Bec Wl Coe ae eet leaner sed too the mootings are broken. And ery deeds, appropriation of ie hy hs itis the woman, who i the reference Sabwittss’ (ream of the tourist OF of LOY gk 0 XK i % DOS 2the crazed collector) — here the repro: {duction of the world leads t0 the link Now here, in fact, the spectator breaks hie link this sequence of the oxcards projects him out of the Sle. Tes exactly that — that i one of God ard’s means (one among others) for breaking the temptations of fascination, at identification, of “complaisance, of taking the film live and the spectacle die, Obviously that does not always pro «eed without collisions, and from thae i comes about that some spectators think themselves provoked, For wich Godard Something always comes to destroy a Ii te harmony that was shout ¢0 be bora (something that, in relation to it, comes fr gacs to too great distance, at 100 great length, for too long a time, too fae beyond: nies i be a lack, a sudden hole, where one expected 2 balancing symmetry or an antagonistic couplings but it i that you are invited to go be: yond, to accede to a superior harmon. ‘Only, to take you there, Godard asks you to make the journey. And he does fot spare you hookings xd unbookings ascents and descents, Moreover he him. Self Hogs himself ingo cach film, absn: slons himself to its movement, as one shundans oneself ¢0 waves carrying one, to their currents — but co currents that he has calculated, and ia which he has learned fo swim, The spectator does noc hhave to make so many calculations and ‘flor. He has only to make the journey ff the film, not that which Godard must hhave made to end in the file, The spec tacor isin that compartment that re produces faithfully on earth the condi tdons of life ia the satellite, He is asked fly t0 remain there, And to trust. That means, too, to trast in that further ad- dition’ that makes» Godaed film more than a film —~ ie is art itl. And that leads one far, You did not know it but the conditions of life in a saellice continue t0 be $0 faithfully reproduced Up there, that one would swear one were on earth, You did aot Know it you are in orbit, But the finest ching i that che large audience lends itelf sdmirably 0 God: td. It is reached, The large audience is Simple, and ie is sensitive t0 the sim plicty in Godard. Its able to see things, auite plainly, as choy are (like children, exible, opea, disponsible, always ready ‘Jean-Lue Gedard: Masculin Feminin, Jean-Pierre Leaud, Cathorne-Iabelle Dupor: vokes people so rethink, and cincma forgotten primitive quality. Or Le Cor films that take one by serprise; aad the with it And he is remarkable too in busier, with his great crude rustic houses Rusian mountains), on the other hand, chat an entire youth has found in him that play at city in the country; or Ed- Abbas lived, fe recognises Ife in Gods the equivalent of whae traditionally it ouard Leclece, who reinvents commerce, Grd. Te life. The little things, the big found in literature — a mentor in liv- a child who plays at trade, and sows ‘ones — everything is familiar co it, it ing ppanic in the webs of dubious sages. Gitcha Hold of 4 it let itself be led "With this gift for things obvious that "Godard is, t00, the childhood ‘of long, and. thus feels itself acceding, lead directly to the end, for frowtuilles cinema. The recovery of the time when. voor tb other places that were pechape that pulverize things problematical, cinema was simple and necwsary. He Joss familiar but thae now it fas rec- Godard, through the spit of childhood, had first to show what was in motion, ognized, And Godard would justify him- discovers the childhood of art. A lite then what that told. And the awarc SEE if thae remained for him to do like what Steavinsky and Klee discoy- ass of cinema dissolved itself in the ‘by this single eriterion — his fecun. ered —- when, beyond the most extraor- fascination of spectacle-tory. Sometimes Gig. For, whatever he takes up, he pro. dinary elaboration, they found again sone has nostalgia for that age, today 2sehen cinema, its innocence lost, knows hae ie is cinema. Godard has passed through that knowledge, and he has found, on the other side the simplicity and the necessity, With him, the aware fess of cinema mixes inextricably with the awatenes of life, And he makes the fsudience enter its third age; now one Says — that = as one stid — that moves, Buckle clasped? Or eycle trav which remains open? One {© think of what happened with liters ture. What to write? Whac is possible still to do, after Roustel, Joyce, Faulk net, Céline? As example Céline — all that life to end in those strange last ‘things that have something of the novel, ff the autobiography, and of the poem ‘And is it-not a litle of Godard which is defined here? ‘Will one say to one- self now — what is ie possible still ro film But perhaps ie is the co ‘everything Is. beginning, For another comparison is erue (to remain in lees ture) — the films of Godard (fragments fF not, with or without intersites) Bad again the tone of the frst fetions — parables, moralities, fubligus . .. And then, why remain in literature? We are in cinema; cinema is life now life, until proof to the contrary, coatiaues, But Godard’s adventure is possible only becnuse he lives it abandoning hi self to it, alte having abandoned every thing, even to and iacluding cinema. He hhas passed through the death of life without cinema—Brice Parain would say row, on the other side, he is where life and cinema are one FoThree Things... by Jean NarboniPerhaps the most surprising minute of cinema — and justly famous — was that of an abandonment. A mysterious impulse oF a premeditated act, eamou- flaging itsclf as a chance szroke of genius. the obscurity persists, all the more be cause the one responsible kept himself from clucidating “our questions ever Scll ic is tha camera, abruptly wan- dering and as if weary of accompany’ ings modest typoarapher, earned its hack on him, deparced to sweep the walls of a couryard, to find again, at the end of the movement, x murderer Thus M. Lange rid the co-op of the fgnoble Batala Perhaps, at the second of this swerve, cinema changed (Murnau in Sunrise Thad once, with genius, forseen_ the ange). Cinema was a0 longer » fith: ful follower or a tenacious voyeur; it neither Iny in wait nor hunted out; it hhecame “the one. who accompanied 00 longer's it kepe obscure a whole zealm fof gestures, of actions, and of motivae tions; around ie and withoue ithe musie ff the world existed without ead and fame 10 beat, Sometimes and as if by cchuace i happened that someone. was found on ie course, and chat yielded» film, A parenthesis, @ provisory game ‘of disclonure, an affectionate encircling, 4 provisory face to face, a furtive meet ing oF rough shock, as one bumps inco a perion at che turn in a street ‘Wich a lice luck, one might learn two or three things — of a city, of an object, of a being In Godard’s work we knew other forms of mecting face to face — con: Fromtations, identities stated hurriedly, eyes lowered oF turned away, somecimes boldly fixed on us (very often the fixing ‘would prove false or incomplete, and So much the better). But the cinéaste insisted, constrained, pitiless; sometimes ie happened that he made himself a policeman, Then the accused hazarded, ac the end of a long reciprocal silence, fone oF two other confidences, At other times, abrupt stops in the story, ‘stair landings happily arranged, st once pause and impetus, like those ‘moments’ when condensers recharge themaclves ia silence, permitted some, ‘moze loquacious, t0 address us — on anguage, memory, intelligence, oF love ‘With Deus a 1rols chosen no miore ‘of hese similar and fecund instances Ginema respects the lights, the eva sions, even imposes on itself those non Interferences (imperatively); eapeares at random s face that flings a few words find leaves us, abandons chat face 10 rmeet it again fortuitously in a shop, at the comer of a garage, oa the bare lawn of a hospital for chronic illnesses; ropes sketches an approach, thinks bet fen hesitates whether ie should choose fone rather ehin another. Sometimes re ounces — "of hee we will kaow noth- ing.” Won by this discretion, a voice whispers all along (whispering of an Cntirely different matuce from that of Macha’ Meril in Le Femme mariée, ex: plicable by egoistic personal motives) Avkind of cinema of secrecy of, why fot, of fespect (one imagines to. what poine it situates itself at the aatipodes ff that of reson), No longer on the watch, drawing on the quatry, of beeak- Jing and entering, but cinema as if for- tuitous, ready to welcome — before the fallout and extinction — some living fragments, Then how co be astonished at the prodigality of Godard at his thirst and at his fury to film, whea 50 ‘any things remain to receive, bat by bits and pieces, There is a strong bet 10 the contrary that today every. Deepacs tion mut weigh on him, that he dreams of the cinema in which there will a0 Tonger be situations, characters co bring to life, places co mark out, story to nar ‘ite but where one would install onesel before all things to lee them speak of themselves, the time chat they ate will: ing. Ts that eo say that in Deus: ou f70Ks chorer, false disorder, fragments, par- ticles, breaks of rhythm end of tone abound? Certainly not. Te i that here the famous "found pieces,” che elements fannexed and added t0 it in the course fof che story (that ordiaasly chey Block the better ¢0 set ic in motion again), are $0 many” that they become themselves the story and it web. No longer col lage, or visible seams, but a narration cof collage, a story and a contiaulty of the "too much” One can hazard a com- parison with the rerpiracory movement in which a widely curved line doubles and teabsorbs a series of oxillations of lesser amplitude, Here, a kind of (pa: tient, tenacious movement, slow and ring, ceaselesly coming back on it inserting shore broken Hines into a more. and more closely woven Intice, Catching them ina kindof spherical Volume, Unique movement of sttzing and of transport, analogous ¢0 the “Ju piterian dollying” of Le Chaut ‘du Styrene, which, exactly, struck Godard So much, Or, to risk another compaci- Son not £0 forcign to the subject of the film, like that of the atom, in which the random jumps of the electtons. from fone orbit to another integrate. them- Selves into a more vast gravieation. Tn the film is inseribed, ia depth, the figure ff its subject, of which one senses with- tout sifficuty thae it goes very far be yond the inital aneedoce. The black of ‘cup of colfce entirely invades the cine- fmascope sercen, where all the meet ings of the devil and the gods seem to foment, The layers of liquid cutn, stretch, fray. Bubbles rise, drift, burs flow. together, agglomerate in’ prov sional clusters: One knows what & cer tin writer could bring out of a cup of tea, Perhaps here 100 itis a question of “pure time,” on its moral slope. Birth fof new systems, appenrance of other nebulae, planetary disorders, redistribu> tion of gilaxie. . .. Sketch and hope ‘of another world, in which "the words would change their meanings and the meanings their words.” PnJean-Luc Godard directing Made in USA, Marianne Fithfull. Made in USA, French Gim im tech siscope and Easxmancolor of Jean-Luc Godard. Scenario: Jean-Luc Godard, from the novel Nothing in the Coffers by Richard Seaek. Assstantt: Chatles 1 Bitsch, Jean-Pierre Léaud, Claude Bak, Philippe Pouzene. Photogrepby: Raoul Coutard. Cameramen: Georges Liron, Jean Garceast, Music Schumann and Beethoven. Sound: René Levert. Editor: Agn’s Guillemot. Casty Anna Karina (Paula Nelson), Lazlo Seabo (Richard Widmark), Jean-Pierre Lénud (Donald Siegel), Yves Afonso (David Goodis), Ernest Menzer_(Typhus), Jean-Claude Bouillon (the inspector), Kyoko Kosa ka (Daisy Mizoguchi), ‘Rémo Forlani (ihe worker ia the bas), Philippe Labeo (Philippe Labro, journalist on Europe No. 1), Sylvain Godet (Robert Mac Namara), Jean-Pierre Biesse (Richard Nixon), Marianne Faithfull (the singer in the bar), Claude Bakka (man who 2 companies the singer) Roger Seipion (doctor of the institute), Rita Maiden (che woman who informs Paula), Tsu belle Pons (acwspaperwoman from out of town), Alexis Poliakoll (Fellow with the notebook at the red. telephone), liane Giovagnoli (dhe dendit’s asic ant), Miguel (the dentist), Mare Dudi coure (che bartender), Philippe Pouzenc (@ policeman), Fernand Coquet (the ‘man working on the posters), Danidle Palmero (the hotel chamiscrmaid), Marika Pecili (the giel suicide with the dog), Annie Guégan (the itl covered swith’ bandages), Jean-Philippe Nierman (he policeman who takes notes), Daniel, Bart (the policeman with the loading belt), Charles, Bitsch (driver of the red taxi, Politzer’s shadow and the record: fd voice of Jean-Lue Godard. Director of Production; René Demoulin. Pro eS ee 2ducers: Georges de Beauregard, Rome Paris Film, Aaouchka Films,” Sepic, 1966. Disiribator: Lex. Length: 1 he. Deut ou trois chotex que je sit Helle (wo on Three Things T know Abou Her). French film of Jean-Luc Godard. Techaiscope and Eastman’ Col- or. Photography: Raoul Coutard, Euifor Francoise Colin, Car!? Marina Viady (laliete), Anny Duperey (Mariznne), Hoges Moatsoret (Husband), Raoul Levy (Joha). Producer: Anouchka Films, Ar gos Films, Les Films du Carrose, Pare Fil, Jean-Luc Godard or the Urgency of Art by Michel In 1966 Jean-Luc Godard shot only three films, In that he is Less fecund thas Sacha Guitry, who, thirty years ago (in 1936) made five, between the three of the year before and the three of the year after. But Godard has this other Fecundity: his last two are twins—gae, challenge and experience. Ia any case, the royal Godard-independence of fab tlacion and of fabrication is to the pro duction of today what the royal Guilty was to thar of his time, Let us add some bother intersections —ehe liking for eau tilul crate lists; the share of woto-na ration (with Guitry, prolongation of that play of amused ostentation that was the maak of his modesty; with God: ied, unmasking of that very modesty): find the liking for words, with both handled ia a radically diferent way Thereupon, another kiaship — the spirit of provocation and of subversion already included ia the very process of But the great difference isin the ol imate from which the ewo sprang. and thich they ender. ‘The cinema of Guitry was a cinema of beeween-wo- wars, that of Godard is 2 cinema of be feween two worlds, Time, then, had stopped one did not know where one ‘var going. Now, one knows, time has become frantic, Then, it was the cuphor jc waste of substance and the profound but delectable sadness of terminal pe flods, Now, these are the tuzbulences in whose brease a world is in its death ‘agony and another is being brought co birch, In blood and pais, of course. In short, we are at the end of that long transition “marked by two or three things like Hitler, Stalin, Mao. Tei n0w soing to be a question, ia all simplicity, Sf an apocalypse. In the sense in which Caline snd, “The Pitheeanthropes are changing their myth. Blood is going 10 spur” ‘And with Godard blood spurts. Sue- cessor t0 Maseulin-Féminin of yesterday cultural broth in which Le Chinoise of Tomorrow has germinated, with Made in USA and Denx om trois choives que je seis delle, here ate the conjugnte hnemorshages of Blood and fcelings in the troubles of the time — troubles that fre the motor of there films, and radical 1y molded Made in USA is a film muls-colored like a place of torture, In the colors of Piceron, no dowhe, but two or chree tops more that make the vessel Over How. And in the webs (police and pol ities) OF Le Petit Soldat, bat. whose meshes transform the moti, and whose fidden revolution — way ut, escape, Delahaye makes you emerge in an airconditioned ‘outdoors (or perhaps ie is pure oxygen, fin the Apollo cabins?) inshore Plunges you into a chosen preparation ‘That i ao doube hecnuse we have passed into another dimension, Into that fof the bet, analogue (excepe for the Wehicle, here 404 instead of the Amer Jean Ford) to that which closes Alpbu tille, hypothesis (of artist, of scientist) to Fisk on a society, to key with this fone as one did with that, Two oF three things that one tres with ie, One will indeed se Deus ow trois choses que je sss delle rung on the same fuel (sx and society) a Lt Femme marice and Masculin Péminin, Yo sex sod in building, noth: ing. is right any longer, And here are the individual, the couple, the city, pol frie . . . all elements that this motor incorporates on its way — motor that, from wo times, shifts very quickly 10 theee movements and four speeds. Here is the entire linkage of society (he signs and links of the. time. sketching. cach ther, they alone, their story), gathered up in a genre and a style thac Godard perfects here, after having brushed two feeays in it. To contrast the story that Made in USA takes up again, Godard had alveady beforehand taken up again and finished (except that here he famputates ie of certain things that he ‘replaces by certain others), and ia any fase itis pare of his syle to make clas: sie films as well, Bue the two films have ‘4 point in common, It i the girl with her cortures bandaged of Dens ow trois hoses, who could have been found as well in Made in USA (and found, 200, in all the Godards, ia which ie seems 0 tos now that her place, empty, is await ing her), victim of some setling of ac counts — sexual, economic, politcal — with the common denominacor of money, motor of universal prostitution. Tf now we recall here the words of Le Petit Soldat on the time of rellection and the time of action (and those of Godard, saying of the cinema that i? led him to life), we see that the urgency to show and to fell (in his work from the stare with the incursions, lightning fiosh of Godard on the feld of news fems ‘and other siges of the times, ‘quickly caughe by his antennas), opeas fon the urgency of formal subversion economic, poltisl, And that leads us ircctly to those other words of the ‘ame Soldat, that the O.AS, and the ELLN. borrowed from their common Lenin — "Te is necessary somedimes 10 clear one’s way wih a poignard.” Now Godacd, in his cwin films, makes Tance aand poignard of every blade (and even, in Deux ow trois choses, of American seedlesheels). No doubr that is because it is necessary to indie wounds sed abscesses — to empty the body of venom — unless itis necessary to exmpty it ofall blood for some toral tranfusion, ‘or to empry it — why not? of all life. Now that one knows that civil. tions are mortal, onc can think that its necessary sometimes to aid. theie pase ing. Another bet. For what better or wha worse? Tn the time of poignards, must one ke oneself party a poignard? Os, let us say, in the time of the blind. one who blinds — possible mood of “blindioe’? Thea people will take one for. thei Buide, “As blind men are. taken’ for uides in the nocturnal rhymes of Ene manuel Delahaye of (40 take from Lac Moullet the diurnal side of the same idea) as the two Brigites take the blind ‘man for their guide when they want to ross the transparencies of the televl sion ura. Thus, the best mesns of bright. ening the lantern of a populace st fied by the continuous and infati ‘outpouring of soundimage = in formation and publicity included — is (by an operation of the homeopathi kind — unless one considers the lamin fous beam of the projection apparatus a the instrument — laser scalpel of 4 brain washing) the sound-image ielt, We had the frse stage of the opera: ‘ion in Gabiers 9 when Elia Kazan ea after having talked about television, "At that slychm, nothing has meaning any Jonger.” . ., Whenee, "What ought an artist to do if ic is not that — to force them to sce, to force them to feel, ace they do not want to or cannot discern any longer by themselves» Te sccms fo me that what a arte shouid do ir stop! come! stop! Took! just look ae that! just feel that! =.” To tceat the malaise by the malaise — that idea permits one to situate sen, too, in the work of Godard, Our world wads to place itself under the sign of sexsal, ity (dream of «lost paganiem), bot comes only to a morbid obsession, For we are budly freed (or badly chained) fn relation to that other dream — that of sngelism, which the Judeo-Christion fncurosis imposed on us. Now, Godard is of Chistian background, but within that milieu, exactly (Protestantism), Which, starting from a puritanismn ral generis, ends paradoxically by realizing 4 certain kind of equilibrium between refusal and aceepeance of the world a it is, sexed. ‘Thereupon, one “observes thac the precise explanation of sexuality fs the work only of cincastes of Proter tant background, Tngmar Becgman of, with us, Roger’ Leenhardt, when, i Rendes-tons de minult, he condemus filth by the device of frank obscenity et us specify thae the censors made quick’ work of bringing the epiode dlown to the level of the filthy, by the same operation that made them being down to the same level The Silence of u Bergman — projected uncut, by con: trast, in Provertant countries, Buc ia the realm of sexuality, Godard provokes us doubly. In the face of our obsesions, by his puritanism (his fierce Aepiction of che "civilization of the backside”); in the face of our ambitions, by ruly expressing sexual love and by expressing the necessity of this expres sion, Puritanism and frankasss xo hand jn hand. In actions and in words. Let tus think of Le Pet Soldat when, in the face of the girl's reticences, he cuts mat ters shore — "One must not give men fone’s arm when one docs not want 10 have anything to do with them” Here sow, in Dewx ow trois eboses, isthe toot fon frankness and inhibition’ in. sexual expresion thst the hoy makes the wel take, And thar sends ‘us back to the lessons and exercises in. language that fone finds in all Godard Sims, all haunt ed by the lie If one reflects that ic was Christiane that, with its crazed dream of angelism. set the world on the way of wh have called progress and. history, chat sto say (the angel ending by becom the beats) of materiaiso, one sees what Power of subversion the operation of frankness possesses, For lying and hyp criss (with which indesd it was nee essary to fill the ditch that had dug. i self between the two poles neither of which was Livable), have become. the very constituents of this world, « world Which would not long resist freshness of actions and of words, It is strange that ic is a dream of paganism — com scious and deliberate ~~ that one finds, moreover, in Picasso (who takes, he too as object eriminopolitical action Guer. fies) beyond he precise decomposition and recomposition of the world that his oignard-scalpel effects, demiurgic. in Sicument of the monstrous and marvel ‘ous teratology Ik is no less strange t0 note that Pic so too for a long time provoked much hatred and contempt. But one must note too reactions of another order, naive oF reasoned regret to sce that the world of Picasso, cut out of ours, risky cutting itself off from it Now, exactly, cinema—a fundament alice art, an art that compels fone, at every stage, to struggle agarant the weighe of things and of people — by its very nature and its operation, can ‘only catch one doubly to the real. — at the sime time that ie figures i, oF transfigures it, That is what Jean-Pieree Lefebvre refers to (Erench Citbiers 186) when he links "the harshness of life, the harshness of reality, of the concrete, the harshness of cinema itself” And that is what Godard illustrates when he seys that people have seen painters or writers become insane, but not cinéastes, "Cine sma keeps one from becoming insane." Te keeps one from becoming insane, and it cannot itself hecome insane, as, one ces at time with some people whose arg, chrough reflecting iself or in is shame of knowing itself naked ie hasJean-tue Godard: Mede in USA, Ernest Menzer, Anna Karina, covered itself with mirtors to reflec that image) cads ia no longer reflecting, ss ppreme obscenity, anything but itself lic dele a calypse, Thus cinema, whose “realism preserves one from the opposite excestes of running away and of becoming en Snared, 13 the at that can. best enunciate denounce, break down the hypocrisy st the root of angelic’ materiaisms, Ie ig 00, the realism of cinema that seis the spring of its most. beautiful movements. That, taking reality as its have, cinema tends to separate itself feom «skin, and one has liane 1{ bur scarcely does one say chat to one self, than one is brought back, with the Same movement, in a Kamikaze dive, a if the pilot wanted to crush the base from which he has just taken of Exactly; these movements that shake the apparatus in all is structure — and tus with it — even to making ie verge fon disintegration, are, perhaps, exper ments, attempts, tests, in view of an: forder, suring from one, co modify ther! Inthe limit (Alphaville), “To change the words of one's meaning, oF the meaning of one's words.” For one ‘must begia with language, as one Sces through all” Godard's reflections on Tanguage, and jn addition the litle cx reise of linguistic cvratology given us in Made in USA, by a very Beigittian truck driver, an exereise that founds by the absurd the following one, that al ready mentioned, of Dews ow roi chores OF these wo exercises, one can say that the frst takes us out of reality, and the second brings us hack co it. But is not the reverse at well? In short, there we have one of the exchange movements that nover stop animating the common field of the work and of reality, that common feld whose mex sages. are perecived by the sume an- fenaas, For it is the same antennas that Allow one to receive the real and the ‘cinematic (besides, one verifies every day thae he who canaor catch the one can- fnoe extch the other either). And the world is lived, and made, by those who catch, ‘Among them, some are able 10 tran mit as well. Then they describe what is in modon, of try to explsin ie Some timen they are jousnaliva, rarely socol ‘pins cotnetines scientists, rarely phe ‘rophers Some others, creators, ate able {0 draw too feom this reality work that given it form and. goes Veyond i Now Godard is onc of those who ta verse ceasclessfy in oth directions the dlsfereot degrees of this sale, cemess Iy alternating the diferent times, of te ception and of transmission. ct ss note here that the your 1968 (which goes fom Moretin Béminin xo. Dens ow Irois bores) is prechely the year in Which the world fegan to become aware Of a certain number of messages (that ‘were picked up only by two or shree Ostrogoths with particularly acute am tennss). Ths, the world began *0 be come aware of the wants of South, and youth, of ts wants, What ie wants — ihe denth of this Gvilintion — of ‘which ie happens that, happily oF une Trapp, the ‘United States is the last pillar, Thereby, we come back 10 Made fn USA and to Deus ow trois ebores, same skin, and the impact is ao lew the two steps of the ascent that goes Brilliant. Godard, precisly, isthe sep- ffOm Matculin Féminin to La Chinoke aration and the feturn, ceuelealy, un’ The axcending operation is performed der all possible rhythms and amplituds. here with the aid of precise dccompont ‘That iso belive, at moment, that onc tions and formal recompositons. The Isbeing weenched away from the world, fashioning and varicgations of the (0 works are no more arbitrary than those Of the place of toreure. Godard ext cates, scours off, cuts free, the essential hhe draws from ie significant fragments Gome of which one finds again {rom film to film, differently. placed and framed), and those fragments are enough connected for each person co be able to recognize in them his. real and enough disconnected for discontin. utes to establish themsclyes, smargins thae the imagination must populate, ea- imate, as it animates (living them, creating them, stating from their roles Spreciee, lee us mot forget) the word: of a myth, made or being made. ‘That i the simple and fundamental operation of every. spectator who par ticipate in the work that one gives hin ‘Aa’ operation that is here all the more elementary because Godard never ex presses anything but the simple and the fundamental. And complex at the same time, of course, as one sees in the cup of coffee of Dens ou trois eboses, which, fn one same movement (very “much Vertigo and very much Victor Hugo) expresses, from the microscopie 10 the macroscopic, the entire cosmos, our selves included, who live the action of contemplation — and the opposite, Of this first and universally understood vi fon, we have there the frst great equiv alenc in cinema, For each person to sce fe and to understand it ashe sees it, To aceepe i and to accept himsell widhin ik There as elsewhere. For elsewhere too Godard's ideas, the big ones or the lit. te ones, share’ in the obvious and sim- pile nature of that one. Obviously, one fan always refuse, Very well. $0, one refuses t entir, 10 play the game. ‘Thereupon, one comes out furious. Dama! The game has coatiaued with: ‘out one, Ob, but that is precisely the affront — one wanted 0. play. Only, te another game. All righ, then, bur in those cases one anticipates. One must know whae one wants. And make ie Known. Rules oa the table. But useless to blame the game or the players. Rules fom the table, one says — I play bridge not poker. But one does nox sit dows at the poker table with the idea of ap plying the rules of bridge, chucking the mess, telling off the players, and. de claring that their game is stupid. One fan, yes, prefer another, for their game is not the only one. Oniy it, chat game fs uelf and noe another, and if one docs fnoc want to play it, one goes to the fable next 10 5 Godard is not the only one, and he hhas not done all, said all, all alone, all the time. Only he is himself, Godard, fand chat is not too bud. Teis ike Claude LeviStrauss said (who, besides, does noe much like Godard, noe Jung, nor Pic 850 — who he admires ‘all the same): "To those who say to me that there is something else, Tean only reply — Very well, i all yours. ask only thar one ‘ot sh into dogmatism. One does what fone can, where one can” Michel DELAHAYE yInterview with Andy Warbol by Gretoben BergANDY WARHOL—T'd prefer to re main a mystery, I never like to give my background and, anyway, T male it all up diferent every time I'm asked. Its not just thac it's part of my image not (o tell everything, ies just that 1 forget wha I said the day before and T have to make ic all up over again, I don’t think T have ea image, anyway, favor able or unfavorable. Tim inlluenced by othe painters, everyone is in ast: all the American artits have influenced me; wo of my favorites are Andrew Wyeth and John Sloan; of, I Iove them, I think they're great, Life and living infuence 1e more than particular people, People in general influence me; I bate just ob jets they have no interest for me at all, so when T paint T just make more fand more of these objects, without feeling for them. All the publicity I've gouin ..» its so fanny, really. its not that’ they don't understand me, T think everyone understands everyone, fon-communication is not « problem, ics just that T feel Tm understood and’ am ‘noc bothered by any of the dhings thatre writtea on me: I'don't sead much about myself, anyway, I just look at the ple tures in the articles, it doesn't. matter what they say about me; I just read the textures of che words T sve everything that way, the surface things, a kind. of mental Braille, 1 pass my hands over the surface of things. I dhiok of myself os an Amer jean artist; I like ie here, T think its 30 great. Tes fantastic. Td like co work in Europe bur T wouldn't do the same things, Td do different things. 1 feel 1 represent the USS. in my art but. I'm not a socal exiie: T just paint those ‘objects im my paintings because those are the things I Know best. I'm nor tying to critiive the US. in any way, n0t laying to show up any wgliness at all: Tm just a pure artis, T guess, But 1 can't ay if Take myself very seriously as an arts: T just hadn't thought about ik, Tdon't know how they consider me in print, though, T don't paine anymore, T gave it up about year ago and just do movies now. I could do two things at the same sime but movies are more exciting Painting was just a phase I went through. Bue I'm doing some floating sculpture now: silver rectangles that I blow up and. thst float. Not like Alexander Calder mobiles, these don't touch any- 8, they jose floae free. “They just had “a retrospective exhibicion of my work thae they made me go to and it vras fant the people crowded in so much to sea me or my paintings that they had to take the piceures off the walls before they could gee us out. They were very enthusiastic, T_ gues, T don't feel I'm representing the main sex symbols of four time im some of my pictures, such All the photographs of Andy Warhol ond his stars ore by Gretchen Berg. »as Marilyn Moncoe or Elizabeth Taylor, just see Monroe as just another person, AS for whether is symbolical to. paint ‘Monroe in such violent colors it’ beauty, and she's beautfal and if something's Iheautifol, ies pretty colors, that’s all Or something. ‘The Monroe picture was part of a death series T war doing, of people who had. died "by different ‘ways. ‘There war no profound reason for doing a death series, n0. "vitims ‘of their time”; there was no reason for doing i at all, juse a surface reason, T delight ia the world; I get great jy out of it, bue Tm not sensuous. I've heard ic said thae my paintings are as much a part of che fashionable wo as clothes and ears I guess is starting Soom all the fashionable only the Beginning, ill get better and every thing will be useful decoration. T don't think chere's anything wrong with being fashionable or succesfal, as for me being. successful, well... uhbh . . ie just skves you something to do, you know. For instance, I'm trying to do's business hhete at the Factory and a loe of people jus come up and sit around and do nothing, 1 jase can'e have hat, because oF my work, Ie dida’t fake me a long time to be ‘come suceessful, T'was doing very. well fas & commercial artist, in fact, T was ddoiag beter there than with the paint ings “and movies which haven't done anything. Te dida't surprise me_when T made it; its just work «5 i€3 just ‘work, I never thought about becoming famous, it doesn’t matter... I feel ex actly the same way now i did before «Tim nor the exhibitionist the ati {uy to make me out as but Vm not much of a hard-working man, ether: it looks like fm working harder than 1 fam here because all the paintings are copied from my one original by my assistants, like 1 factory would do. it, because we're turning out a painting every day and a sculpture every day and a movie every day. Several people could do the work that T do just as ‘well because ies very simple to do: the pattern’s right there. After all, there're ‘lot of painters and draughtsmen who just paine and draw a little and give ic to someone else to finish, ‘There're five Pop artists who are all doing the same kind of work but in differne di rections: I'm “one, ‘Tom Wesselimaa, ‘whose work I admire very much, is an. other. T don’t regard myself as he leader of Pop Art or a better painter than the others, T never wanted to be a painter; 1 wanted £0 be a tap-dancer. I doa't even know if T'm an example of the new frend in American art because theres so much being done here and its 30 szood and so greae here, i’ hard to tell ‘where the wead is. I don't thiok I'm looked up to by a Iaege segment of young people, though kids seem t0 like my work, but Tm not their leader, oF like that. Te and my assistants atract a lot of atten- tion wherever we go it’s because my assistants look so great and i’ them that the people are really staring at, but 1 don't think I'm the cause of the excite. We make files and paintings and sculpture just to keep off the stecets, ‘When I did the cover for the TV Guide, that was just to pay the rene ae the Factory. Tim noe being modes, t's just thac those who help me are so. good find the camera when i turns on jase focusses on the “actors who do. what they're supposed to do and they do it 50 well, Tes not that I don't like to Speak about myself, it's that there really isn't anything to sty about me. I don’t talk very much or say very much in interviews; T'm really not saying any- thing now. If you want «0 know all about Andy Warhol, just look at the surface: of my paintings and films and ime, and there Tam. ‘There's nothing behind it. T don't feet my posiion at fan aceepted artist i precarious in_any ‘way, the changing treads. in ast don't frighten me, ie really just doesn't make any difference; if you feel you have ‘nothing to lose, then theres nothing t0 be afraid of end T have nothing ro lore, 1 doesn’t make any difference that I'm accepted by a fashionable crowd: its magic if ie happens and if ie dowsn', it doesn’t matter. T could be just av sade Genly forgoren. Te docsn'e mean that ‘auch, T always had this philosophy of: “Te really docsn't matter." Tes an East erm philosophy more chen Wesern, Tes 00 hard to ehiak about things. T think people should think less anyway. im not tying to educate people to see things or feel things in. my paintings; there's no form of education in. them ae all. T made my artist films using, for several hours, just one acior on the screen doing the same thing: cating oF sleeping of smokiog; I did this because people usually just go to the movies 10 sce only the star, to-eat him up, so here at last is @ chance to look only at the star for as long as you like, 30 matter ‘what he does and to eat him pall you wane to. Teas also easier to-make. I don’t think Pop Art is on the way ‘out; people are sill going to it and boy ing it but T can’t tell you what Pop Artis: is too involved; it’s jus taking the outside and putting ie on the inside for taking the ioside and putting it on the outside, bringing the ordinary ob- jecs into the home. Pop Ar is for ‘everyone, I don’t think art should he fonly for the select few, I think e should he for the mass of American people and they usually accept art anyway. I think Pop Arc is legitimate form of art like any other, Impressionism, ete. Its not just a pucoa. Tm not the High Priest of Pop Art, that is, popular art, Tm just one of the workers in it. I'm ncicher bothered by what is written about me oF what people may think of me reading it, I jus went 10 high school, didn’t mean anything to me, ‘The two gitls T used most ia films, Baby Jane Holzer and Edie wick’ are noe representatives of trends in women of fashion of an they're just used because they te £ able in’ chemselves. Esquire asked questionnaire who would like have play me and T answered Sedgwick eeause she docs everyth betcer than I do. Ie was just a s ‘question, so T gaye them a surface a swer. People say Edie looks like me hue thae wasn't my idea ae alls i wan het own idea and I was so. surprised she has blonde shore hair, bue she never wears dark lasses « iv not more iatelligent than T appese T never have time to think about the real Andy Warhol, we're just so busy here... not working, busy playing be cause work is play when i's something you lke. My philosophy ist every day's a new day. T'don't worry about act or life: I scan, the war and the bomb worry me but usually, there's nor much you can do about them. I've represented it in Some of my films and Tm going to try and do more, such as The Life of Juanita Gastro, the point of whieh i, i depends fon how you want to look at it, Money ocsn'e worry me, either, ehough I somer times wonder where is 12 Somebody's gor ic alll T won't let my films he shown, for free. I'm workiag principally with Ronald Tavel, « playwright, who's wr ten about ten’ movies for me; he waites the script and I sort of give him idea of what T want and now he's d the films as off Broadway. plays T don't really feel all these people with me every day at the Factory are just hanging around me, I'm more hang: Jing around them. (Oh, those age great ppants, where did you get them? Ob, T think they're so great) I haven't buile up a defense against questions that try {0 go below the surface, I don't feel I'm bothered that much by people, 1 feel Tm very much a pare of my times, of my culture, as much @ part of i as rockets and television, I like American films best, think ehey're so great, they so clear, they're so tue, their surfaces are great. I ike what they have t0 $5 they really don’t have much 10 say, £0 thats why they're s0 good. I feel the less something has to say the more perfect it is. There's’ more to. think about ia European films. 1 think we're a vacuum here at the Factory: its great. 1 like being = vac ‘uum; ie leaves me alone to work. We are. bothered, though, we have cops ‘coming up here all the time, they think ‘we're doing awful things and we aren't. People «ry to trap us sometimes: a gitl called up here and offered me a film Scripe called Up Your Ase and T thought the title was so wonderful and I'm s0 friendly that I invited her to come up swith ie, bu ie was so dicty that I think she must have beee a lady cop. 1 don'tAndy Warhol in the Factory.now if she was genuine of not but we haven't seen het since tnd Fm not sur Prise. 1 gues she thought that was the perfect thing for Andy Warhol. 1 dont echt sioations ke that hut Vn not fnweresed. in subjects like’ tha, thats ‘oe what T'm pushing, Ree in Amerie, Tm "just doing work. Doing. things Keeping busy. I think that's the best thing in lite keeping buy. ‘Myst films ug the sationary ob- jects were also made to help the aude fences get more aegusited. with them Selves, Usually, when you go tothe mor: fey you sie ina fantay” work, bot ven you see something that disturbs Jou, you gee more iavoived with the Deople next to you. Movies ate doing « Tile more than you cin do with plays and concerts where you ju have (0 there and T think sleviion will do more than the movies You covid do more things watching my movie than ‘with ‘ther kinds of movies: you could ext snd {tink and smoke and’ cough aod look way and then look back and they'd sll ie there: Irs aoe the deal movie just sy kind of movi. My. ee come plc fa themselves sl 16mm, back snd ‘white, me doing my own photography, 3nd the 70 minute ones have ‘optic sound which i rather bad which we wil Change” when we get a regular sound taperecorder, I find editing too tring Imyslt ab facies are mach too ck tnd uncertain, the way they are. now ‘They're experimental fons 1 call them that because T don't know whet Tn do ing. Tm interened in audience reaction tory ms: my files now will be ex Peviments, in a certain way, on ting their reactions Tlie the a snakers of the New Americ. Underground Ci fern, I thik theyre teeiie: An Unde. {ground Movie is« movie you make and Show aderground, tke at the. Po Mater Cinematheque on 41st St 1 ike All kinds of fms exeepeanimaced films, 1 don't know wiy, except cartoons. Art snd fils have nothing to do with each ‘ther: fm fs jus something you photo. raph, noe to show painting on, T Just Aion like i hue that doesnt mean its ‘wrong. Kenneth Anges Scorpio. Rising interewed me ism srnnge fm oi ould have Been better with a rciular Sound track, such as my Vieyl, which dale with somewhat the same’ subject tout was a sadsmmasochit lm, Scorpio vias real bt Vinyl was ral, and ot Fea i was jst mood. 1 don’t have strong festings about sade jsm and masochism, T don't have stooog fcsings om anything seus whatever happens atouad me for my material, 1 don't collect photograpis or arse for feterence materia I dont believe in te T'used to collect imagine photographs for my paintings, though. “The world fascinate me. Is so nice, whatever ie Tapprove of what every body docs ie must be right beenure somebody sald it was right, T wouldn't judge anybody. “Tthoveht Kennedy was seat I-wnsae shocked at his death a 4x was just something that happened. (Why do you look like a cowboy today, ‘with that neckerchie??) Ie isn't for me t0 judge it. Twas going to make a film oa the assissination but I never did. I'm ‘very passive. accept things. Ym just watching, observing the world, Slavko Vorkapich was just telling you how smake movies his way, that’s why 1 sold, iy ticket after going to the Museum of ‘Modern Are to his first lecture plan to do some more films soon, in 5mm: perhaps an autobiography of my- Sell, My newest film is'Tbe Bed, from ‘ piay by: Bob Heide that played at the Calle’ Gino, in which well use a spl screen, one side static of two people in bed and the other, moving, of the lives ff these two for ewo year All my fils fre artificial buc then everything is sore Of artificial, I don't know where the ar- tiliial stops and the real stats. The arti- ficial fascinates me, the bright and shiny T don't know what will happen to me in ten years... the only goal T have i to have n swimming pool in Hollywood. Think is great, Tike its artifical qual iry. New York like Paris and Los An- eles i so American, so new and difer ‘ent and everything is bigger and prettier and simpler and flat, That's the way I Tike to see the world. (Gerard, you should get a haircut, that style doesn't suit you at all). Its aot thae Tve always been looking for 2 kind of Los Angeles paradise; T-woulda't be taken over by Hollywood, Td juse do whae I always like to do. Or something. (Ob, hi, Dav- id) My Hustler as shot by me, and Charles Wein dirceted the actors while ‘we were shootiag. Irs about an axing (queen tying to hold on 2 young hust- ler and his ewo rivals, another hustler and girly the actos were all doing ‘whae they did in tea life, chey followed ‘their own. profesions on the. screen, (Hello, Barbara.) I've been called: "Com: plex, nave, subele and sophisticaced —" all ia one article! They were just being mean, ‘Those are contradictory state: ‘ments but Tim sot full of contradictions. {just don’t have any strong opinions on anything, (Hi, Randy.) Tes tue thac T don't have anyehing to say and that I'm fot smart enough to reconstruct the sume things every day, 30 T just don’t ty anything. “I don't think it matters hhow I'm appreciated, on many levels oF fn just one. The death series T did was ivided iaco two parts: the first on fa mous deaths and the second on people ‘sobody ever heard of and I thought chat people should think about them some ‘tho jumped off the Em ing or the ladies who ate the pojsoned tuna fish and people get ting killed in ear erashes, Ie not that 1 feel sorzy for them, is just thae people feo by and ie doesn't really matter to ‘them that someone unknown was killed so T thought # would be nice for these tunknown people to be remembered by. those who, ordinarily, wouldn't think of them. (Oh, hi, Paul) I woulda’ have stopped Monroe from killing herself, for tance: I think everyone should do whatever they wane t0 do and if chat made her happier, chen thats what she should have done, (There's something burning here, T think. Don'e you smell something?) ina che Flint heads T did of Jacqueline Kennedy ia the death series, Je-was jnst to show her face and the pase age of time from the time the bullee suck Joha Kennedy to the time she buried him. Or something. ‘The United Seates has « habit of making heroes out fof anything and anybody, which is so reat. You could do anything. here. OF 9 nothing. But T always think you Should do something. Fight for it, fight, fight. (There i: something huraing hore! Danay, will you please get up? You're fon fre! Really, Danny, we're not kid- ding now, Now will you get up? I mean, really, Danny, i's not funny. Its not cen necessary. I kucw T smelt something burning!) That was one of my assistants; they're noe all painters, they do every~ thing: Danny Williams used to work as ‘sound man for the film-making team ‘of Robert Drew and Don Alan Penne baker, Paul Morcisey is film-maker and Gerard Malanga, a poet, We're £0- fing iato show business now, we have a rock and roll group called ‘The Velvet Underground, they practice at the Fe tory. Vim in theie act, [just walk on in fone scene. But anybody who comes by hee is welcome, its just that were 17> ing «0 do some work here « I think the youth of today are teri they'se much older and they know more about things than they used to, When tecragers are accused of doing wrong things, most of the time, they're not even doing wrong things it was just ocher people who thoughe they were bad. The ‘movies I'l be doing will be for younger people; Ta like to portray chem in my fils, too. I just core out an article about the funeral of one of the motorcycle sang, leaders where they all turned up fon their motorcycles and T thought ‘was so great that I'm going to make a film of ie one day. Te was fantastic - they're the modera outlaws... I don't cerca know what they do... what do they do? think American women ace all so Iesutifal, T like the way they look, they're terrific, ‘The California Look is great bur when you get hack 10 New ‘York you're «0 glad 10 be back because they're stranger looking here bue they're ‘more beautiful even, the New York Look. I read an article on me once that described thod of silk Screen copying and painting: “What a old and audacious solution, what depths of the man are revealed in this solution!” What does thet mean? My paintings never tara out the way’ I ex pect them ro but I'm never surprised, T think America is terrific but I could srork anywhere — anywhere 1 could af- ford to live. When Tread magazines T just look at the pictures and the words, Ton’ usually read it, There's no meanng co the words, I just feel the shapes with my eye and if you Took ac some- thing long enough, Ive discovered, the ‘meaning goes away . . . The file’ I'm working on now isa 70-minute acia ‘with the Puerto Rican female imperson ator, Mario Montez, called Mr, Stomp ‘ato. 1 think the questions usually asked ime in interviews should be more clever and brighter, they should try to find out ‘more about me, But T think newspaper reporting is the only way co write be ‘cause it tells whats happening and docs ant give anyone's opinion, I always like to Know “what's happening.” ‘There's nothing. really to understand jn my work I make experimental films and everyone thinks those are the kind where you sce how much dire you exo {et on the film, or when you zoom for. ward, che camera keeps getting the wrong face or it jiggles all the time: but Its 20 easy to make movies, you can just shoot and every picrure really comes out right. T didn’t want to paint anymore so thought thatthe way to finish of paint: ing for me would be so have a painting that floats, so I invented the floating sil- ver rectangles that you fill up with hel. jum and let out of your window... 1 like silver... and now we have x band, the Velver Underground, who will he: Tong to the biggest discothéque ia the world, ‘where painting and music and feulprure cam be combined and that’s what Tin doing now. Interviews are like sitting in. those Ford machines at che World's Fair that toured you around while someone spoke commentary; I always feel that my. ‘words are coming from behind me, sot From me. The interviewer should’ jast tell me the words he wants me to sty fand Til repeat them alter him. T thiak ‘that would be so great bectuse I'm so empty T just cane think of anyebing sy 1 still care about people but it would be so much easier not to cate... #4100 hnard to care. 1 doa’? want co get too involved in other people's lives». T don'e want co get tbo dose... T doa'e like to touch things . . that’s why my work is so disane from aayself . The Sub-New York The Chelses Girls bas made the move uptown from the Film-Makers’ Cine smatheque 1 the Cinema Rendezvous ‘where, ironically enough, many family ‘ype flicks have premiered or returned for the kiddies oter the years, Needless to say The Chelsew Girls is not for the Kiddies, nor for adults of kiddycar coy- ness. Functional voyeurs will be bored to distraction, Warhol dacsn't exploit depravity as much as he certifies i. Most pornography. ig antierotie because of the crudity of is ccrtfication, but The Chelsea Girls isn't even pornographic, ‘The flashes of ale Caucasian nudity depress the viewer with intimations of 4 pitiful passviey, Warhol bas refined the old Hollywood tease into a kind of tepid torture in which organisms tall away their orgasms, Tam mot sure the version of The Chelsea Girls finally seen at the Cine sma Rendezvous. is the same film that wyed_at the Cinematheque. The run- fing time was originally reported at four hours ie is now three and a ball ‘The “ending” seems to have been changed somewhere between the Cine- ‘matheque and the Rendezvous. All the feviews T have read pro and con seem to be vague about details. Part of the Doblem is the studied unprofessionalism Of che presentation. Neither Andy War hol mor the Cinematheque provided press sheets, credits, synopses, ete. The reviewer i ift to his own recollections. Many of his predecesiors have | pro Claimed that they have been put upon, ‘or wore still, “put on.” Is The Chelsea Girls 2 "pucon? T would say is prob- ably no more a “puron” than Lawrence Of Arabia. Lawrence may have ana vantage around the ‘edges, but The CGhelvea Girls has more conviction st its "Andy Warhol presents his material on Sensibility ‘wo screens simultancously, and uses the double screen to develop the most ob- vious contrasts. One screen is. usually synchronized with a sound-trick while the other is silent. One screen is ia lackiand.whie, One screen may, show “girls” while the other shows. "boys." ‘The quoces around “boys” and “sits” are applied advisedly. ‘The only polar inies" Warhol projects. ace homosexual and sadomasochistic. No one in War: hols world is *sraighe” oF “true.” and the percentage of deviation is flagrant fexagueration even for the fetid Locale Fortunately, The Chelsea Girls is a0t concerned with deviation as a clinical Subject, nor with homosexvalicy asa state of fallen Grace, Some of the more sophisticated Establishment reviewers write as if everything that happens south ‘of 14th Street comes out of Dante's Ia fore, Wathol js not bosh, but sicher fs he Bosch, ‘The Chelsea Hotel is not hell. Ie is am earthly, earthy place like any other where even fas dykes and junkies have t0 go on living 24 hours & day. This i where Warhol has beea heading through the somaambulism of Stecp and the egregiousness of Em pire—eoward an existential realism be yond the dimensions of the. cincms Warhol disdains the conventional view ‘of film as a thing of bits and. pieces, Perhaps “disdains" is coo strong a term for an ateicade that is at best instinctive, fat worst indifferent. As his scene ses ‘ments untcel, the footage is finally punctuated by telltale leaders and then Kkaplunk blankness on the serees, This indicates that each scene runs out of film before ie cuns out of talk. If there were more film, there would be # talk, If ehere were less film, chere would be fess tale, How much moze gravuicous snd imprecise can cinema be? Goodbye Sergei Hisenstein, Hello Eastman Koda Benides, what with the problems of pro- jection and the personalities of projec: Noniss, cach showing of The Chelsea Girls may qualify as a distinely unique happening. Andy Warhol displays some. disturbs ing flourishes of technique. His z00ms fre perhaps the first anti-zooms in film history. Unlike Stanley Kramer's 200ms (Ga. Judgment at Nuremberg) which 80 hot-ing wo the heart of the theacics, Andy. Warhol's zooms swoop on ines. sential details with unerring inaccuracy. With a double screen, the gratuitous zoom is a particularly menacing. di traction «0 che darting eye. (Is that a sicl’s hare thigh? No, its a closeup of the kitchen sink) ‘A less conspicuous addition to War- hols abacadabea ursenal isthe eraveliag shot which consists of a slow (camera movement from lefe to right, culminating in « rapid recurs shot from right to leit. Whae does ic mean? Nothing dhae I can figure out Warhol has heen experimentiog with jnry effects ever since one of his Camp Parties on film, The mos glaring weak: ness of The Cheles Girls is its attempts at art through cinematic technique. The color LSD frames don't work as halls: cinations; the close-ups and camera movements don’t work as comments. Nonetheless a meaningful form and sensibility emerges through all the ap: ‘pareat arrogance and obfuscation, ‘Richard Goldstein's excellent critique fg che Sunday World Journal, ‘Tribune sgives the impression” that Warhol's vision is as glossy and pop-yed as Rich: acd Lasers T don't fad. Wathol xu ‘courant in this way at all. The Chelsea Girls is nctually closer to Namook of the North chan to The Knack, Ie is a9 docu mentary that The Cheliea Girls achieves aity greatere distinction, What Warhol is documenting is « subspecies of the New Yorke sensibility, sensibiliy chat Paddy Chayevsky only) mimicked in the party scene in The Bochelor Party, x sessibil ity that Cliflord Odets only hinted ae ia Steet Snell of Success, and let's not even mention such contorted Village vilenesses as Two for she Seesaw, A Pine “ Madness, and) Penelope ‘When’ the “Pope” of Greenwich Vil lage talks about sin and idolatry, when a creature in drag “does” Ethel Mer fan in ewo of the funniest song. num bers ever, when a balding fag simpers shout the’ Johason admenstruation, ‘when a bull dyke complains about her imate getting hepatitis, i's time to send the childeea home and scrap Lillian Hellman’s The Children’s Hour, War- hol's people are more real than real be cause the camera encourages their ex: hibitionfam, ‘They are all "performing because their lives are one long. pet remance, and their party ie stendy gave. of Warhol's camera reveals considerable talent and beauty‘The Pope character js the closest thing to the late Lenny Bruce to come along jn some time, and his Figaro. repartee swith a gisl called Ingrid is an extraor dinasily sustained slice of improvisation ‘The film begins with che beautiful blonde Nico om che righe screen, the Pope and Ingrid on the left. The film fends with Nico on the left, the Pope fon the fight, and I felt moved by the juxeaposition’ of wit and beauty. Ware hol's people wre not all this effective. Marie! Menken, puctculaely, is = big bore, bur they are There and though I would’ swant to live with them, they are ceruialy work a visie if you're in terested in life on this ph Andrew SARRIS Andy Werhol and Ingrid Super stor, who oppeors frequently in The Chelsea Girls‘Camus once said thar the best way of comprehending toral reality would be fo film the life of a man. This would suppore that an audience stops living in ‘order to observe the endless production ff one man's existence. Camus thea add fed that this would be impossible des- pite such an ideal public since even with Sa ubiquitous exmera on the subject, fight and. day, there would still be Countless. other “necessary inclusions, Such as people, known and unknown, who would not be accounted for. Oaly God, Camus concluded, is capable of presenting every phase’ of reality: art fies are unfaithful by definidon, Is Wathol God? After all, he has, ia his own way, tried to realize the mo- ment, of viewed in another way, fmortilize the infinite in the repetition that is involved ia looking a solitary fiction, Just as Francis Ponge, che con: temporary French poet, believes a dur able language ean be found by describ- the material objects he has known since childhood, and believing further that the material objects around hin constitute the oaly metaphor for iafin- ity, so Wathot has labored at the distil- lation of reality through the overexpos- ure in me of @ qumber of highly banal tations: eating, Kissing, cutting, By take jing such aspects of man's life, he has sven them a posible magical quality that is, if we were to extrapolate the metaphysical idea from the conceptual ization of chat idea. Much as God is the ‘greatest materialist, so Warhol implies a ‘new materialism in his work: a nega: tion of existential suffering ia the ex Ceriorization of man’s abject nature ia its confroneation with the simplified cle- ‘ments tha constiture his environment. ‘Ani, if we were to study this from a point of view other than the cinem fone, it might be a rather hypnotic per- formance: Warhol, for whatever reason, conscious of not, comical oF tragic has succeeded in challenging «certain sa- redness that we have heretofore. av tached to the positon of the subject: ‘object relationship. By focusing ons membrane or a muscle or the Empire State Building, he has caused us to rede- fine our problematiqne; to force the eye to recommie itelf to a truth that had snk out of sight, If one considers that the altcenative is either socialist realism for Hollywood constructs, Wathol is about as right as both in his dslectic, However, given such ambitions, there semains a positive reaction of observing fan exoist operating in a void. The ex- ential refusal of most of the New York underground filmmakers, a refusal 4“ Warhol’ Underground ell-ctwal oF emotes problems, results in an unsatisfactory Cinematic experience. ‘There is a pro- found emptiness on this screen that does ‘not come from the agile fabrications of the director’ mind, On the contrary ‘one emptiness sivals another. If chere i {coolness about the edges, on those end lege shorts, i¢ must be atteibuted to che rnonchalance with which all matter is taken, This is avowed by Warhol himself thus confusing the viewer and especially the critics who have to accept him a froat value and in their inabiliey co do 0, seek alternative explanations «o ill, the vacuum. “This detachment is most stikingly ible in Warhol's style: the particular thetoric of his films. His techaique is a {chelliows one, and. comprehensible. in the underground movement by it glor iffetion of an infantile rcjection of 2 technical proficiency it has never ac ‘quired and which ie deems co be that fof the big bad Hollywood giane. With ‘drawal in the face of the machine is not fan original act. Others, not in the movies have revolted with equal and foften greater passion, from the besio ing of the Industrial Revolution. This feaction is particularly understandable ‘America which seemed at times to be ceaveloped in a mystic adoration of the machine. Automation is the perfect sole ton to the dchumanization of societs- ‘Thic puritanical hardness has become hhard edge pop art. Ic is the tight skin of the drum or the woman's smile. The fnrichment of life has too oftes been shaped into an American version of the bonsti trec: a commitment # the sestructive clements. This is then adapt cd to the cinema by the accepeance of failure and its reaction: a fantasy world of adulation. The scrugele on the screen fs nevce intended to reveal cither stron desires of spiritual forces. From the mo- ment the camera is focused, there is a willful abstinence on the pare of the di Fector 10 iaterrupe the flow of noching- hness. Wich no control over the means at his disposition, Andy Warhol blithel= {oes on, turning out reels as he would Spaghet, He is lke dhe illiterate child ‘iho plays with the levers om an IBM leciic. No. conventions, save perhaps the most restrictive one! the academic adherence to the lines of his owa signs tute, Warhol does have his style and 0 far, he hes been religiously faithful t0 ie. Fathetie rejection of past modes of ex pression has always been an integral part of the revolutionary ceeed of every authentic literary oF artistic movements there is 90 reason to believe that such a rejection is not a mark of the avant tarde in whatever field it may be ef countered, There are, however, certain lassie rules to the art of revolution! ‘Tears, Aragon, Desnos, Pound, Pollock, Brauacs, MacLow and Ginsberg had, prior to vomiting, eaten thei fil of the ase, Before the revolt they had mas fered the invalid forms, Before rejee tion, there had been a cultural impres- nation of the traditions of the past. The aradoxical consequences of this mo- Bility from past co present is that, as these artists burned yesterday's books fand manifestos at Fabrenbeit 151, they ‘were doing s0 withia che confines Of the Nery language they were expanding. ‘There is an clegance in the fery proter tation of Aragon. A lucidity in Bretoa’s Nadja. A world of erudition in Pound’s Cantos. The point is that, given the Iib- erating influence of a movement like Surrealism, the emission of unconscious threads of thoughts, through automatic writing, sill meant something, The sig- hifcance was in the predicability of ‘the cultural revolution so chat even aS they spoke and derided the world about them and shocked their contemporaries, fom, at a certain distance, we are quite SSpable of understanding’ che rationale SF hac decision and. incorporating within « logical development. ‘Does Warhol conform to this pattern? Pattern, according to what I believe ‘would coasist ina substantial seproces fag of the past that would allow the arvst to back away and create, withia fan eventually signiiane feame of refer- fSnce, an authentic vision, Such a. vision wwonid, by necesity, vitwally redefine the Comic and the tragic condition of man. using che most unexpected menos of ex: presion. As far ae Warhol is concerned. the answer is negative, He i revolting from the technical perfection of a non- existing threat: Hollywood. ‘The teal threat comes from Japan and from Eur rope. (I leave England out because it is sell emerging {rom its feudal state: ite pictures one admires most often ia terms of its past. Its heavy proletarian myth fabrications become tedious as docs its directorial arm: Georgy. Girl being a most characteristic poverty-blead fof this sore) In Japan and in Europe, the most gifted filmmakers have cow emaed their past products since they hhad failed to entertain the fandamental problems of our times: problems chat had already been examined by painters, musicians and writers, Their style and their thought are a perfect rejoinder 0 the helpless mature of the spoiled chil- ren of the factory that’ Warhol runs.But aow Warhol films The Cheltes Girls, What are we 0 expect? Has he forsaken his Chardia period? Has he evolved in any dizecion other than that which he has been following ia the pase? I doubr it. What we get in this Tatest file, chat has won long lines of curious linemakers, i< a nihilistic por- rit of a secondorder Society, done with characteristic artlesness, Rather than focusing three hours on one subs ject he has focused eight hours on @ umber of different scenes: the result is che same in the old works, Hie att tude has not changed since he deals with humans in the sime way he dealt swith objects, thereby attesting. t0 both his consistency and his limitations. At whatever level one wishes to analyze The Chelsea Girls, one ix bound to be disappointed. Ie ie nor the Coney Island fof the Mind; itis not Vice and’ Vir; it is not American society corrupted by the Atom Bomb or napalm in Vict Nam; it is not queerdom versus square: Fven more bewildering on this aspect of styliation in Warhol's work, is a re- cent interview by one of the performers in The Chelies Girls, over WRVR, Riv etside Radio Station ia New York. Ac cording to this speaker, Warhol should not be eredited with any of hie previous ventures since im all of them he had hot been acting alone. Either someone had written the scenario or someone hnad operated the camera. His latest is consequently his frst. How does Warhol ‘operate? Wall, accordiny to the friend fof the factory, Andy just doosa't give 2 shie! He loves himself, like we all do, dnd he would do anything to retain the Blory he is basking in. We have so uch money, claimed the young man, that we are beyond good and evil! What about the picwte itself? Andy just gave us each one half hour and we had to freak it oue as. best we could since the whole thing was so. boring anyhow. That is about as close as Tcan fect tO paraphrasing Rene Ricard’: ‘erbal communication. ‘Loc us assume that Warhol bas more to do with the films chat bear his name than Ricard pretends, The assumption Seems warranted since there is such continuity in his work ‘The most evident point of interes, upon fest viewing of The Chelvea Girls is. the haphazardous division of the Screen ia two usually. unsynchronized Segments, each one showing’ feel that sy of may not correspond t0 its con figuous partner. AC times, we may even onde Joo Mela! ronan nd has not rearranzed things s0 that clari would emerge from the mobile duality of action on the left and stillness on the ight, or color on one side. and black and white on che other. It must hhave been geeae fan eo match the se- quences: a form of rudimentary art. But this stunt disvipeter ity encraics and loses its virtue by diac of repetition. The fnovelty werrs of when it is apparent that the reels could just as well be ‘owed independently. (A sore of ince Inave happening) Toeether they ive the ilksion of spacoumses, Bat why foe multiply this 10 four simoltncous nd different rooms inthe Chelsea? The ouclton ithnt this double expomste ow artic than i is pochologial. Ie is form of woyeuriane, Each room Inca n wall andthe. camera becomes the omnipresent guess, sporting people fn the bed or nthe hitches, "The technical gimmicks continae throughout the fin, Apare from the two. feel Warhol has other ways of Shaving the comers, These are moments Shen he zooms in and. others when. Thirty, he Zoom out! The sound ocr the’ same, Somecmes ies clear nd sometimes i is garbled, The colors fe sometimes inceretang, though in, Mier Rel De iis difcat for an nutcr to enc! inthe se of that colot Sather symbolically oF ethically. The ISD saquenee maybe fed ur there i to jostitcaton for tha color other than the plese of Warhol's group. The fin thar ne has to make, wes appee- Sting the thoi llores Ya this, {Sthae ies very dial o soeced using medium with i mocked by the wet “There are nevertles, «number of qualities that gee toe mentioned The Sree is the eling of tr that ee Ceives from this sey into. bored from revealing, as would 2 nude ce tanin epee eee iy’ clam enter peer asked Tows his performers to. act out thee Homosexual loves Their extence deadening. Their ives ace not one Srey. Ie is » penis anda quartet ia Se to four hours of flim and the rest {slong abou deing nothing, nothing, Poving lial, al with evident hes ff, who harmony o degre, Was the'camen's eye that forbade them © wet w they svemally would? 1 doube wits roe dar there re 20 aeons in the’ film, “That these people have vot the slight idea of whar acting mes Pu ehh agin sign of teh that i Shervable in Tbe" Cbelies Gil no cepa ca eesti tional fgure—Ondino). ‘The debuenntes td the quests are quite tre to them tres nanche, doclegm, eemrcte thought and cinoton: Tew ery more: ress cee epriegncayeea ene aleh Self hut Warhols quaies as direcon. “There fv 0_ pretense (ave the foling around "withthe above: tmendoocd technical hd play) to fab Fate something that docs noe cai co Hlareae the depts of degeaersey. In {his arts ln Cat cally purl che thythmis modes of existence of a cer {ain group of people, though, tach, love are all exprened ia «minor key ‘The cru of the tance ie thus te fail porsdoxial gual ‘The second truth, and much more in teresting tome, i© the function of the subsdialogue. If Nathalie Sarraute were fo see ehis film, she might he amused fat the way her cropistic theories fave been incorporated into the work of in ddividaals who most likely have never heard of “her, ‘The performers force themselves to talle normally. There are disconnected. snatches of conversations since the reels operate independently of cach other the noise that is tak is ever present, That noise constitutes one. of the only ways of reaching an uader- standing: of expressing an emocion prior to its formulation in physical terms. The silences are themselves very significant. ‘They indicate cqual actions: moments when the performers, using their no imal radar-like pereepeivity, donot feel threatened by the conditions in. which they find themselves. The kitchen se- ‘quence is practically all silence, whereas the mother and her son i measly all ddisyacheonized talk, A telephone con versition between a lesbian and her friend, an endless peroration by Ondine, another monologue by the semi-nude ‘skinned LSD captive: in monosylla bic English, these performers speak ‘universal language thar acts as tyrant by the very fact that alll that is ex [pressed is couched in the most common denominators, testifying that the flaccid fareas of human relationships pictured jn this lm are parallel co che actual lives of these individuals, We are bur dened by the lightness of the matter conveyed ia the conversations and yet ‘we ate equally made aware of the exist- nce of a nether world of the individual that travels to the surface via the verb. Somewhat related 10 this preoccupa- tion with dialogue is the success, on Warhol's terms, of the humorous cle- iment Thete are a number of diferent types of humor, ‘There is the evident play beeweca lesbians and homosexuals: the references and the jokes, as well a5 the sophomoric, though probably accu rate parody. of pornographic “novels where’ a «ype of sado-mavochism is aa expected backdrop. There is a technical joke thar Warhol perpetuates on the Screen with his gimmicks. ‘There, are also the allusions to serious things, This is perhaps more titilating. In The Ice ‘man Cometh, everyone is always dream Ing of doing something ia thae famous bar ia The Chelsee Girls, Johason, Viet Nam and other topical subjects are fee- quently mentioned. However this has nly 10 do with the sound of the words that are those of the press and TV and Which give us the musical Key of today’s converiations. ‘The performers are not Involved in the problems thar are dis ‘cused: the talk & merely a reflection of the way sgnificane issues are adulter- fated. "There ate other instances | oF humor: comical seenes such as the trans vestte singer, torching hime favors of the males lounging in. bed: for the visual reference to Giles Gow! Boys or the eating of an orange, oF the apnearance and disappearance of a lady under the kitchen sink. apparently join ing one room to another, or Nico, per petually clipping her bangs as the cam ”era focuses on pieces of furniture as if placing them in chose narrow cubicles, gheness, and without the slightest they were parts of her body has already conceded that their lives are meaning. Ie is as ploy and Lastly, 1 would say that Wacho: has like those of Dante's creaturss in is Madison ‘Avenue copy. We are succeeded in measuring the destiny fac- forever doomed to being the same. sn o often that when we tor of his subjects. The very fact of feeling und inactive. “This oppresive free, we seek. pervencly, tobe taleca feogth and the immaterial existence of feeling that is conveyed by the seen in, to be given a chunce at elucubrations these peripheral individuals, attached ro docs manage to divulge one unalterable endless and vuln, Yet Warhol. fetishes like the whip, gives one the dictate: the inne life of the performers simply stating his ponition sbout making se of the movement of destiny itself, is as dull at their pretended improvise. it making, Kis five, maine « eocld disemboweled and yet functioning, The tions, The lackluster qualita of this for himself and his ‘rionds. In’ our ocable boredom that the film im- moribund of the end of the search for meaning. ascribing to others poses on the viewer is equal to the im. Id is the seal of authenticity and the depth we lack, of to others the of Sartre in No Exit. that which saves this film. imaginative values that we donot pos Whereas Garcin and the two women only able to listen to sess we have come to expect from the are imprisoned and slowly come to that appreciate what he says! least interestiog story a mont extraordi: realization, Warhol still has his per- When he speaks, and he is disarmingly nary product, The paton hes been ne formers pretending, although he, by charming about it, it is always with taken for the content, indifference, lercrs are inept in expressing sigaiicane ‘ideas, since they fre unable to be challenged like Resasis lenged by. the inventions ferything finds its resolu tion in a basic English shetosie that per petuates the weakening of our discrimi hating. taste. Warhols elevation from subculture to cultural hero, his marvel- fous presence, represents a fantastic ad mission of New York's complete in biiey to magch the unprecedented fle making activides of the rest of the World, That the crowd stands in line 10 sce Chelsea Girls with as much patience as it docs Blow Up, attests to is intl lecwual permeability and to its sense of democracy! New York, which is sup posed to. have the most. sophisticated Public of any town, is ready to commit itself to the most outlandish judgments that ‘tell’ more about the judges than about the intrinsic qualities of the thing being indaed. ‘Commanded by this esthetic salivation complex, thore who have praised Chel ea Girls, have done 30.48 2. subcon- scious testimonial to our’ failure to reduce a valid arts universal in its truth and geneeal in its visual. commit ‘meat co the most stimulating problems of our time. —Serge GAVRONSKY | Gerard Melange, Rene Ricard, and International Velvet, all of The Chelsea Girls ”Defense of ‘Torn Curtain’ The Infernal Machine As long as it works, every proceeding of magic or of slcight of hand deter mines ts own ends and means: and then fe matters litle if ie is the dove that comes out of the handkerchief or vice versa, Questioning himself on the statue Of Tiresas ie Le Testo POrpbee Cocteau, master at those games, said of the soothsayer of Thebes, "One pots paper into his mouth, and from it come fovels, discourses, words, poems.” As for the infernal machine of Torm Cur Zin, ic a8 Hf on the contrary Hitchcock inserted fears, obsessions, calculations, and from it came serpentines, garlands, ibbons. Ribbons of film,” or those flickering red ribbons that represent & fire in the background of a ballet scene No more aced for real flames (it -not to burn, at lease to create a panic). The scientist has only to shout "Eisel” for cveryone (0 follow ‘Araberques without great quence? No doubt the leaden skies of The Birds or the wan false hopes of Marnie troubled us in quite a different fashion, But is it really limitation of ambition of impoverishment in Hitch fock to wane today to renew the bod, through "his films, with the. fantasti found trips and adventurous itineraric, fo less authentic a vein of his work from The Lady Vanishes to The Mun Who Knew Too Much? Does not the credit Hise of Tor Curtain indicate at the very stare a possible path for the fle (nearer, in ie tone, to others called ambitious”), « path chat i within one’s rights to suppose here or having heen too quickly and definitely aban doned, intentionally relinquished? "Pro posing, bordered by indistinct and dite Fuse flames, a series of drawn faces, kneaded, deformed, like those of aviators subjece t© cenerifagal force, faces like fone of another kind of clay, slowly modelled, melted, in the fires of pot teries, A kind of grimacing nocturnal Yersion of a dream of which the film Js the divenal face and in. some way pressurized and cold. As with those threadlike statues of Giacomet, people aa thin ws pins, whose beauty comes ts much from what remains to them a from what has ben taken sway from them, as much ftom their peremptory presence as from the void hollowed fhout them and which they had to sur vive, Torm Cartuin affects me by this cemaciation, this melting, this loss of substance imposed on characters and on situations (though a knife broken under a clavicle and an opened kitchen stove each us with real blood and with nox fous effluvia that can be more dirctly eed ou) So the spy who did not know enough, goes out into the cold (Hitchcock in: Sis om that; although hhe fools the Cox ‘munist scientist, Newman knows err tha he. Thus 09, the director, who, deluding us, yet in’ any case knows 90 ‘more Foiled scientist, impelled by sheer personal motives of ambition, he plunges himself into aa exetisdcal cal ulation, Tes waters, one guesses, will be frozen quickly, even to covering. the entire fim with » glaze, with a light frost, appropriate for deforming. perceptibly but decisively. the slightes: aes and gestures. Whence its strange Surrealism, its too offhand pace, this Geceptive lightness, this falsely easy Ise aopect legiaty aac epee priate for certain dreams, and those not the lease disquieting (the clearest. ex ample is the scene of the bus, which buathes in a bizarre atmosphere of play tenmocivated, ambushed “at every “mo ment, by the risks of a fall—of a rude awakening?) The somnambulistic pace OF the story. Its unfolding, staggering litle, vacillacing, somewhat jerky father than flowing then suddenty jam: med, as certain words are for aphasias (che' blackboard. scene, and. expecially that of the post office). So the game is disquieting; the gag is olf the mark Iaughter is born, a litle displaced in relation to its cause ahd to the nature of that cause. Chorcography contends Svith tricks in duplicity (a fraction of a Second will he enough for the turning ballerina to see better than the police ‘men); romantic inconsistency and mathe ‘matical calculation make very false al ances, Into the film have slipped ansi fous of malicious witnesses of ourselves, fof ou incredulity; a Polish countess docs fot succeed in understanding. that levv ing Fast Berlin should be » problem, shen for her there is only the problem Of entering the United States; the cast sways of the bus comment on the spect approve it noisily with their Bat all, more oF less, will he Tass of nightmare Hitchcockian soothsayer, with he swallows pple subjected 10 the Eternal three surprising mouths dramas, he sends out images, he desige nates them as such. From them is hora fear, oppression, death Jean NARBONI atThe Curtain Lifted, Fallen Again ‘That mouth which opens inordinate- ly to ery out, and from which comes no audible sound, plaint, ery, and which howls nevertheless — by gesture, fn the act of crying out without voice — that mouth which therefore ries ove with silence, is the mouth of Melanie's “mother in’ The Birds, the ‘mouth, too, of the murderiog country- woman of Torn Curtain, faces sarteted ‘with fright, when cach woman secs ‘death in the face — death of the Other, neighbor, spy — and, with death, all the menace and mystery of the world sing in a single whole. This world, lent and at the same stroke revealed ina cry ia the unbearable silence, is the world that one cannot avoid seeing, the face of that Medusa whore gaze one docs aoe meet with impunity, that eye fof death — that mirgor? —'to which the power, tragic and magic, is given fof changing. living beings into ‘dead statues, One evokes and conceives that Death only as che death of other peo- pile, absolute, irreducible ochernesss and yet itis enough to be witness of it for ite destination — like che mirror — t0 file towards one, for the time of = mute cry. ‘What else are we taught by the like faces, convalsed, the knotted throat, the fixed eyes of those women trans ported — all at once and without aay ‘other movement than that of lips on emptiness — into the hieratic attirude of Possesion — Possession magical and physical By the flesh as much as by the Spirit, since ie is one same travesty of fgtin chat indicates time suspended by fright and ecstasy? ‘Taut faces whose suicession. goes far into. the pase (Per hhaps to thet of Patricia Hitchcock in Strangers on « Train), and of which there are three in Tore Curtain — that ff the farm woman, that of the coun: tess, that of che ballerina, congealed by the image itself. Asif ie were to Women (mothers, companions, travelers, seers) rather than to his masculine heroes, chat Hicchcock accorded iatencionally the formal privilege of being mirrors of Death — witnesses (therefore compro- mised, guilty e+ well as victims), inter ‘mediaries and mediatrices of ‘Death, ith the hero as with the spectstor (che ‘one then being the double of the other, fand the two making only one)? Silent things; ehings doubly shown, doubly present ‘Torn Curtain places itself entirely ue der the scal of silence. All the kinds of Silence — questions eft without re sponses (the scientiico police iaterto- sBuions): advances oF retreats {a covert words (Newman's lies and pretenses 0 Julie Andrews); dialogues ia halfwords (he scientific discussions); silences of hearing (the chatter of Gromeck, which Ey ‘occurs outside Newman's hearing); and feven to the frank and beaucifal silences of the two explanations, the one senti- ‘meatal and moral, becwcen Paul and Julie, of which Hitchcock plays at rid- ding himself — everyone has understood, texcept the person concemned—and which hhe makes convey a certain mystery by filming ie at « distance; and the other, scientfi, in which the noise of chalk ind the learned grunts constiute « dia logue clearer than all speech “That about which Hitchcock speaks to us and of which he makes a game in Torn Curtain — is it not thencelorth Language itself, ies vicious circles, its fave pretenses, its weaps and stares dramas? That was the subject of Marti oo, but here speceh, question, response {and the language of silences) are at the center of the citele; seareely any action, fany longer, but a constant commentary fon action (scene of the bus); a. verbal ‘representation of dramas (he countess! monologue); a double game of words (Newman's “treason consists frst’ of being silent, thea of specking; the quite opposite “loyalty” of Julie Andrews, of speaking — co protest, of being silent, then of speaking again); a substitation fof words for actions as vectors of sus- pene (scene of Albert; quest, set t0 a thythm of questions and of silences); finally a use of the word as power (that, ‘again, of the magic formula) of bers tion, of escape (Newman's “fire!” at the cheatre). Prey to transfers, confusions, phantasns, mirages, secrets, and so on, ‘which constitute the thread of their ad ventures, Hitchcock's heroes are always betrayed by a world — that of the film ‘which everything is the sign of Something else, in which is brought about, neater and. nearer, a perpetual Shifting of meanings which at the same time frees signs (making them deviate from the familiar toward the mysterious, ‘opening them to all possibilities) and imprisons the hero ia as maay symbols. World on a double foundation (with multiple readings); that, of course, of the spectacle (which i the systematic if aside of mcanings), of a tot in mie en icine, "The famous pas: sivity of the Hitchcock hero (which finds Ia Newman a perfection. verging on ‘caricature) is only that of a blind. man ‘whom a hand at once friendly and inim- Feal guides from trials to erlumphs. Spectator and hero are both iavolved thae is to say they undergo various an- Fulshes, fears, emotions, fele by each io the course of the film's round trip) in a systematic discovery of the powers ff cinematographic language, a veritable Tesson in reading, with is exercises, its codes to decipher, its cacch-questions ‘among. them, for example, in Torn Cur- tain, the “polideal implication" of the film. 1s ft the same Hitchcock who said to ‘Trusfaut (in Le cinéma relon Hitchcock): "The audience fs not incerested in polities ja the cinema; how do you explain that almost all fms ja which = & ‘question of politics, of the izox Ihave been failures?”, and who bas ‘ways eared s0 much about the audicace find success — is ie the same Hitchcock Stho filmed Torm Curtain? Is that probe bly beenuse, ftom iron curtain to tore curtain, there is, as one Sis, a "world SBMfhat of the dream? ‘What is Newman's “problem” ia Tore Curtain? What preoceupies him, moves hhim? Not so much the famous “secret fo be stolen (that is an accomplished m from the middle of the fils), 208 his jastifcation in the eyes of his fiancée (which searecly preoecupies him, and which, t00, i established toward the middle of ‘the lm); but his escape East Germany, as Iitcheock shows it, is like those magic circles (the symbol lester pi indicates thae several times) which it is easier co penetrate chan <0 Teave, From the beginning of his “mis sion; Newman meets “contacts” who tice ncither to guide him, nor t0 help bhim succeed (besides, no one knows his sims), but who, already, prepare scape; the first drama (che Killing of Gromeck) is provoked not by the con: aquest to be made, but by the flight co bbe assured; and the mechanism of su ‘pense will bear oaly on the accomplish: meat of this ight (all the last thied ff the file). A. serange flight; as always with Hitchcock (North by Northwest, Psy- cho), one flees in the interior of prison whose walls move at the same time as the prisoner. Infinite flight of hightmares, frantic uacolling of obste cles that link to and generate each other Tike metamorphoses of a single obstacle, ‘of the same porsucr. The bus of the flight (which could as well be motion- less, so much the setting that unreels about ic takes on iolf co arrange sur prises for’ ie, making daagers appear fand stealing them away like a succession fof mental images, of dream scenes) even substitutes itelf for the prot: fonists for the frst half of the escape Gnd Hitchcock said to Trufant tha he conceived this bus as an actual character Of the film); it is at once thelr means Of escape and their prison, ae once pro: fection and source of dangers; it pre- Sents (like the boat of Lifeboat) a small Scale model of the universe, thescre within the drama, film within the film (with its characters, the comie ones and the anxious ones, its gags, its. fears); feself finally duplicates deel (as a good Hitchcockian ero), is pursued by is double (which moreover is, if one can Say to, the “innocent” one of the (0, the simple, the true, but aso che “bad” fone, Thus the rod unfolding Ga a ‘dream time, passing flexibly from draw: ing out to accelerating; the very. time fof suspense) from Leipzig to Berlin, found less in East Germany than’ in Hitcheockland. Not faaginary or image ined country — but the site of images, ff the dcam, and of dreem represeotsAfred Hitchcock: Torn Curtain, Paul Netion, of the projection and of the con stitution of phantasms in the. sexing, Through the images that Higcheock chooses to show of it, this Germany. Tand of fears and of secrets, finds itself related by the micror of he dream 10 America according to Hitchcock; the jsolated farm, the green fields, Karl Marx University or ‘the post office of the Fricdrichserasse contiaue the fel, the U.N. corridors or the restaurant of North by Nordbwces, the farm of the school of The Birds, Idestity not only of aspect (colors, white and coxally unrealistic lig OF funesions there are the ver stakes and beacons of fear, the same privileged screens of projections of them Selves, against which the fugitives col- Tide, Analogous identity of the logic of fear (which organizes the political inc ences of the fila the Germans’ fear Of being betrayed, the others’ of being taken, the countes's of staying) and of the logic of dream; the suspense: being ft once their conjunction and expreston, For example, this double logic im poses some inversions in relation to the ‘lassie Hitchcock scheme, Ordinarily, the Hitchcock spies ("bad by definition) operate in America and seal. secrets from the Americans. Ie ithe con trary here: Ameries goes to the “bad! (by definition, this time, the Commu: nists), and the spy is American, while the secret is Communist. The “good American is at che same time the “bad spy; he betrays, steals, causes some ‘the Communists (automatically for the Western-American audi ence), remaining uatil the end. withia their rights and doing aothing but de fend themselves, Irony, perversion, Hitcheockian, bor also « systematic con fasion of signiticance, which makes the political “message” of Toru Curtain ‘much more ambiguous than an entirely politcal logic would impose. ‘That this fuoambulists Germany, mysterious be yond an iron cureain which is the very sercen of the spectacle, comes to double perfectly Hitchcock's Americas, Twill want for supplementary proof only these ‘words of the author, ‘twice said (60 much ie sted him, no doube) — firse the chiet of police, thea Professor Linde offer Havana to the American Scientieapy — "They ate outs now.” One smoke, for Hitchcock, is worth another. Jean-Louis COMOLLI Anxiety Bebind the Window Pane Torn Curtain is at Gast the expectae tion of a grinlike contraction. To do Violence to a young American, com plezely a member of the happy society, with her smooth face free of che slight est worry, to humiliate her, to disquiet hher, co corrupt her, until at last ia her ‘es 50 unbearably blue and clear should appear the shadow of an anxiety that will be transformed suddenly. into in- Surmountable panic. Perhaps chen che film tells us the stages of the bieth (oF the rebisth) of a soul. Like Naked Kiss (on the woman's side), The Searchers (on the man's), Wild River (on both sides, as in the end with the filme cited above, salvation purposely going on sn ‘caval footing). At the very start Hitchcock shows us his cards, refusing the facility of a plot thac would rest solely on the identisy of the characters, choosing and assum his actors with their mythologies. (Julie Andrews, symbol of the average Ameri: an woman — from Mary Poppins to Haveai, including The Sound of Mase "and Paul Newman, student of “the Method” and 30 classified "a problem ole man"), Within the f these well defined types, terest himelf only” in. var modulations, so small as they may be, at first isolating each character, then fe Seeing him in a wider field ‘so as 10 lise the inventory "oF an entire latent series of possible relations, making them crop out exactly the necessary amount, sed ins macner subtle enough (0 4. ape all systemization (tis to this extent that is ooe unwarranted to think of Au bsard Balthaser) Come, pass, cross one another, and pass aio, then, in isolated or mingled waves, an endee series of characters ‘who mark out the work with islets of Folitude, of adie, of cruelyy, Thus Gromeck, unsuccessfully dissembling. tunder frightening enowgh mask 0! senial cynicism some secret humiliation Contracted acrost the Atlantic, inguiting with facttious eagerness about the cur rent use of certain Anglo-Saxon idioms or the existence of such-and-such a pi oria at the corner of 88th Serect, as ‘many images which, recalled thanks 0 the presence of the foreigners, from very body of his wound. Or gain Kael who, under his courteous exterior, dis: sembles a very confused sentiment for Miss Sherman, And Lindt, prey to a continual auto: contemplation, interests Hitchcock oaly for a few seconds in which everything is going to reel around him, when, yee at ease, warm in his familiar surround: Ings, he realizes that he has been fooled; all his system collapses, the calli fia question of his own person is ia- cvitable, It is this distress thae Hitch. ack wanted fo catch, For each character, at any instant can arise the unexpected tvent thae breaks the too perfect mech: anism and compels them to emerge from their egocentricty, from ehele incapacity to envisage. the ‘presence of agother, whieh would endanger the obsession that they were pursuing yee imper 5s% Behind these steel greys, these me- tallic greens, inserted in networks of rigid horizontals and verticals, defining, thus a perfectly homogencous space that fills the entire screen, can suddenly rape some debauch of more or less Sidious live colors, exigent, totalitarian, like ‘the red of the scart’ and of ‘the ‘checks and of the lips of a Polish coun: tess who comes to tell us her misfor- tunes and her hopes of, at the tara of a abrupt movemest, the venomous black flash of a dancer's glance theee times repeated, The entire film is made thus fof jumps chat are colliions and refus als; the story scems here to pursue a log. fal progression, there 0 let itself breathe fa the wide unexpected gaps, in order co free itself then of all tradition: al narrative constraints, and co pursue jn new colors forms and sounds a more solicary, intimate, and especially a more threatening deeam. For Hitchcock as always unfailingly touches the most sensitive points n the scene of Gromeck’s murder, to know ‘tho is going to kill whom is hardly important. What counts is the dream ppotcatial engendered, Encountering this ‘woman with the mysterious washed-out face, whom Newman has never sen and with whom, ignoring her langoage, he ‘cannot speale only two forms of relation Simultaneously. ‘The very "decomposed killing reproduces ia ee diflerene Phases all the episodes of the sexual act wit in parler the tong fa x and the sitempt to remove every stain from the clothing. A very eroue seen, and of the rarest poetry, which recalls that “of Accetone, where — certainly more physically — the supporter of a Cinema of poetry" shown ‘two. men figh, shows chem too in the course of embracing. But Hitchcock: goes farther Sill, and the scene acquires all is strength because ie refers us to the oper ing of the film when, under the sheet Paul Newman snd Julie Andzews give Themelverup to activites pefeedy traceable, but” devoid of the slightest ‘totcim By this compatizon, Hitch cock wants to prefer the puthentcy of fone face to truth and of the othet (0 candy. pink realism, alfiemiog, inthe fame stroke, the existence of second fim chat crops out more and more vox Jencly. "That on a diferent planc, one find these ewo levels again inthe post cffice scene. Certain, at every intent the police ean appear, but the tru "su Dense" i eiewhere, What counts is this Snervaton, this leveling 40 the rawness ‘of nerves, this eagle exasperation mani fested by the fexntic ques for that Mr. Albert, an expectation that collides ‘against a wall of tndiferent, politely Inypocrideal gazes or of scorn, ‘Then the “suspense” would be only that rant desire to fall on a friendly sae which, instead of being silent ot of returning undecipherable signs, ‘would be the place of a moment of re ‘pose, of warmth, where at last simple, easily markable ‘relationships of pleas fant companionship could be pursued. Buc itis precisely that form of r ship tha Hitchcock criticizes. ‘That what he shows us again with an in credible effcacity in two adjacene scenes — that of the interrogation of Julie An- drews and that of the "revelation. Cromexamined, pressed with questions by Linde and bis colleagues, Julie An. drews lets her gaze wander irom one face to another, trying, like Lila Ked- rova at the postoffice, to decipher the code of each of het interlocutors. Bat nothing responds; relationships, even or ‘especially with Newman, are so perverse that the mystery remains complete. The Impression of solitude is complete, and Julie Andrews seems naked, conten: plated without her knowledge by band of voyeurs, Fach person maintains his poine of view, fundamentally alien to eich other. With the following scene appearances change completely. Fallaci= ‘ously and more sadistically still, Hitch- Cock is going to transform the contract- fed mouth of Julie Andrews to a smile, her tears of bitterness to tears of joy, ing her find again, at the end of 4 iywood kiss (in'm purposely “typical” 1a) at the top of a Lede green hi ‘momentarily forgotten image of far-off America, pink and pale blue, She has finally found that fauldess glance that satisfies itself with sending back to her her own image, But ie is a catica- ture clearly designated as such. Not happiness, not fulbillment, bue deri of Tike the Hawks of Red Line, Hitch ‘cock plays_on the convention that he tuses in order co make people believe chit itis the place of the relationships, but which he undermines ereacherous and designates as the most inauthen that exist. After relationships of perver- siry, Julie Andrews finds only inauthen- ticity. From that to say that the first ‘named are the only true ones? In any ‘ise, Hitchcock shows ws dhat the space ln which things would be only what they aze, or what one would wish that they be, does not exist, or iF ie exists, that ie could only be impure Sylvain GODET The Castanays of the Bus As early as the eredic Hise monstrous faces writhe on a background of these ening sky. The obsolece device of double exposure is reinforced by the erudity of the grimace, No artifice is spared the spectator. The contrivances are avowed. ‘The gates of the grotesque nightmare ‘ean open frankly. For those few faces alimpsed rapidly in a mixture of smoke and clouds not only evoke some spells, bout at the same scroke situate them in the arsenal of tricks and snares, Te is not the free disarticulation of the ani. ‘mated film or the schematic folklore of the comic strip. Ie che spectacle of che conjurer, at once derisory and fabulous. ‘The two characters drawn along in the adventure. are "manipslated,” s+ one ‘says of marionettes ot of puppets. They possess 0 human dimension and defy all peychological mapping, ‘They acquire no destiny in the course of the ord ‘rough which they pass, for dramatiza: ‘on is replaced by magic. Which in volves a perpetual recourse to mets morphosis, For the space of the film, contrived, is supercharged with snares, ‘with behindscenes, and with duplieste buses. The posibility of emerging. from this multiply faceted world is ceasclesly brought agsin into question, because it scapes all deduction, all attempts at logical resolution. The irrational makes ‘quick work of upsetting the weak hi torical and gcogeaphical coordinates, When it is cold, water freezes in the lasses of the passengers of a boat like a child's plaything, and i is enough for the chilly occupants to huddle under the covers snd to adopt a playful be- havior #9 escape reality. Not only do the accesories participate in an entire mythology of fairy tales, bot the outline fed figures as well; the spy with the clean and shaven face Waking. himself ‘more to the innoceat bero than to the professor, his companion recalling, fea- ture by feature, some Mary Poppins; this ballerina celebrating the fre with malevolent smiles, or that paint-daubed fold madwoman with the face of a s0r ceress awaiting escape with the same somoambulistic anxiety with which one awaits the awakening Bur by dine of looking at the fire on the stage one ends by drawing ie into the body of the the- ater; the bridge is crossed, and the most complete disorder reigns — “disorder” the sense in which Cocteau employed ig. Ie will be enough to knock on a red oot t0 find oneself in a basket and on the Noch Sex. Whar chen are all the Simulacra? According to the tradition of popular tales, ic happened often chat highway bandies demanded the purses fof travelers pasting through the forest, Here the bus, or rather is exact copy, hhas replaced the horse as the iron cis tin has the misror. In order to get 0 the hotom of this story of ire and ice it is enough 0 open the famous bas kes; no hero emerges, but crepe paper find streamers Ie is che ultimate unconsteaint that Hitchcock demonstrates, the uncon: straint that animates snd adorns statues with tiasel, and that one finds ia the gardens of Testament POrphée ot of Il These Women — the echoless voice of the Poet.—André TECHINEAlfred Hitchcock: Torn Curtain, Paul Newman, Carolyn Conwell, Wolfgang Kieling,The Company Man Tore Curtain isthe 30 film of Alfred HitcheocK’s delightfully de: Ceptive dirctorialcarcer, ‘This. ltrs commercial package of Paul Newman Jule Andrews, Hitchcock himself and a spy subject as done boffo. busines found the country even though the re jews have ranged. from. mixed. to mnldly untavorsble, and there ie ew fecling thar Newman 20d Andtews teem somewhat waved io routine Te is posible alo, that socalled Gilt ctliciam of “Hitchcoces mystical miseenacene bas made audiences and evlewers concentrate so mich on the as of each image that. they miss the plot flowing by. Like Edgar filen Pot ‘Pusloined ‘Letter, Hit ‘cock’ meanings are in fall yiew on the Srface of the ecreso, Hitchcock's disee tion, such at ie ty i not mere decor tion but the very shape and. subvnce Of hit sory, We farther stipulate that ‘Form. Cartan is basically x Hitche cockian plot even though Brian Moore tecdives Sole credie for the scrip. “The opening cree of Torn Gartain show's socceion of fac writhing in anguish against a baek> Bround of fie, The faces scm to Swit] {va rod sen of suferings the pain is Dulpale, Av strangely serous ial Dveraure to be composed in an age of Palas Pop and batty Camp. Disolve to a crulee ship salliag up a Norwesien fjord agaist ancy Bue sky, Lenmedl te trmperntae coats with opening fred A series of eaablihing. show determine that the ships heating is he Ing. repaired, further hat the. grote guely hundicdup pesengers in the dia Ing room are members of an. inten ‘ional scenic conference, In the mids of this. comie dicomforn, 2 character inter identi. Profesor Kerl Man feed (Gunter rack) glance with cons cer at an empey table for two. Hach: Sock achieve this mood of alsive with toe of his patened crip reverse Cul We Stready” nee that this table for to Should be occupied by. Paul New than and Tolle Andrews. Who eee could cause such concern? Our suspicions are Immediately juslied by’ « quick cat t0 asateroom where, a¢ one sispicously ingenuous young. reader of the New York Times remarked, Harper i in bel vith Mary Poppins sndes ple of bee other and overcoats Catto badges on fous hanging. on chats.” Newman’: Badge identies "hin as Profesor Michael Armstcong presumably the All American Male, Julie Andrews is sim ply Sarah Sherman, an innocent young Bick enjoying an” sigan before Sreakfare and « honsymoon before mar age. We are alrady many degrch Fabrea- heit away. ftom the world of ‘Jemes se Bond where no one ever sweats oF shivers. Hitchcock “has taken us from fire to ice, and in the process he has denoted a fundamental disorder in the world he has crested. As far as we can ascertain, Newman and Andrews are the ‘only Americans on the cruise ship. and ‘They Are Not Where They Are Sup- posed To Be. Ta some subele way, they hhave broken the rules of the community around them by circumventing its sul fering. Indicative of how Hitchcock's form comes full ciecle is the fact that ie vety last shot of the film shows Newman and Andrews escaping once more into the sanctuary of blanket, the couple's cocoon, the warp and woo! fand womb from wheace the Ugh, ‘Quiee, and Tonocent Americans emerge periodically 0 bring chaos and coalu Sion abroad, Aad. make” so. mistake about it, Form Cartain is at least partly a parable of American meddling fm the world, When there is a knock on the door, the audience is immediately apprehen- ive that the worried-looking scientist hhas come to check upon the indecorous behavior of his colleagues. Fortunately, ic is only a bellboy with» radiogeam ‘There is almost a sigh of comic telief Newman reads che apparently mean isles. message, but then our hero in- explicably denies chat he isthe intended recipient, Suddenly we sense that Now- ‘maa is hiding something {com Andrews, fand in that moment, she becomes both the temporary protagonist and che au dience’s point of view We ate subsequently launched into a succession of commonplace incidents fected with the intrigue of Hitchcock's reverse cuts, A cryptic radiogram is dis patched by Newman, « book is picked Up ia a shop specializing in religious tracts, a luncheon date is canceled, x fake flight to Stockholm i» announced, New- man is up to something, bar what? Julie ‘Andrews feels rejected, cbuifed, and Inamiliated, but she perseveres to. the point of following her man to East Berlin where, as it urns out, he is ap- parently defecting to the Fast Germans. 1 we could forget the espionage trap pings for a moment, it would seem al- most as if Newman were clumsily at anging an asignation with another woman, and Andzews was checking up fon him. There is never really any mea- Jngful communicacion beeween New- man and Andrews, and there is a clas- fic onevake sequence ina hotel room that would inspire rapturous essays for ics _meaningfal use of color if only it had popped up in an Antonioni Bl Nonetheless Julie Andrews i emo- sionally. released by elaborate camera movements all the more expressive be: ‘cause Hitchcock is too adept at montage to require camera movement for mere: ly mechanical asignments, Hitchcock's fconomy of expression makes him ia- finitely superior techaieally to such non: montage directors as Kubrick and Fel Fini, whose camera movements often de- -gengrate {com gratutousness to monot ‘ony from sheer overwork, In face, Hitch: ‘cock is about the only director alive to ‘day who could tell a story replete with ‘emotional relationships without using 4 line of dialogue, (OF course, the audience inevitably dis: believes in Newman's defection, Yet the discomfort persists, The East Germans fare too sympathetically civilized to seem stock villains, Hansjoorg Felmy, the ciony eaalyet of Siation Six Subura, plays che security. chief with warm Chasm and cool competence, Welfgane Kicling’s Commonist watchdog, Gto- mck, is a gem of « cameo characteriza tion asthe surmchewing fan of Warnce’s jester movies and a former iahab- itant of Seth Street, These people have not initiated the intrigue, They ate Increly reacting to it with justifiable sus picion, All the other characters in the film, Communist, non-Communist, and Anti Communist alike, belong 10 4 world Of fixed, even orderly. ieologice and ‘atin, Newman and Andrews have dis rupted this world; they have torn the curtain, and human blood, not theirs, has been spilled, but for what purpose? We won find ove. Newman tlls an Allied agent that the bogus defection ig designed to obtain a secret from the enemy, Newman's funds had been cut off ig Washington because he was un- able to calculate the sltimate foramla fof the antimissile misile. An East Ger Iman scicotise (Ludwig Donath) has the secret, and Newman intends to pick the Scientists brain by cajoling his curios ity, Newman is certainly no. patriot Otherwise there would be 30 obligatory scene of his superiors imploring him t0 pose as a defector for national security, fed there is no such scene even implied Newman goes i vietualy alone, endan- geting friendly agents and innocent by Sanders in the proces. He i simply a conniving petty bureaucrat out to steal f trade secret {rom the enemy, in this ase the East Germans, but ic could just be a sval company. Paul New the organization men par & Cellence, using waserupulous means 1 Schieve dubious ends, and Julie Ar- sews is the perfect company wife smug, superior, completely confident that coough money can compensate for fnything. That Newnan, particularly Fe antisypecast makes Hitcheock’s state- iment on Americans of the '60s come Over more forcefully. “The most admired scene i the film. and sightfally +0, is the one in which Newman ands woman accomplice kill Gromek, slowly, toreously, painful. 1h, with a knife, a shovel, aad fin bby icking Gromek’s head in a gas oven a sequence culminating morally ‘with’ Newman's palm stained with Geo Imeks blood, This is the only murder in the movie, and it constitutes Hitch Cock’s comment on the Bond casualness fabout killing, and perhaps also on the perversion of a genre that HitchcockAlfred Hitcheock: Torn Curtain, Lila. Kedrove and Frite Lang s0 often transcended wth theie noble ar Andrew SARRIS Aaors and Directors orm Curtain is ieehcock’s Anatomy of a Marder, it is his Flight of tbe Phoomix, it 1s his movie about actos. Hitchcock, who has worked s0 well with Cary Grant, James Stewart and Joseph Couea, who lists Actors’ Studio actor as a pet peeve, isnot going 0 let himself be shorcchanged by an Acton Seudio alumnus, Hitchcock has case Newman as an actor In a Torn Curtain interview Hitch cock aids "Actors are. children, and T'iove them, ut ns soon as they stop shooting, they go. into their dressing fooms and coatinge their love scenes ‘They can’t help ic. They're all so a tracive” orm Cartain begins with 20 actor und an actress in bed, hidden lunderneath the blankets, while a roma. ficnlly ineffective East German. scientist ‘vith Hitchcock's physique is kepe wait Ing for tanch. ‘At the aispore in East Berlin, an aciress-type thinks the photographers are meant for her. When the finds out they are waiting for Newman, ie is one ctor upsiaging another. Beware ua actress spurned: she never forges. A Hitchcock self portrait is the con siderace and restrained head of the ast German Secret Police Hitchcock reveals the actor's response to Hitchcock's soul: The Fast German watchdog catches up with Newman after Newman, tis "done" the museum in nothing dat, ‘The watchdog asks: "You don't like our museum?” Newman sys "Tye seen better.” The mangled musder of the watch- dog is what actors do to the director tnd his artieie plans shea given the chance, While the murder is going on the watchdog says: "This i ridiculous Tm “a. professional, What are you doing "The seiatise Linde, another Hitehcockself-portrait, is tricked ioto telling New- man what a scene means and discovers that the actor is misusing the insight "Stop, you can't leave this tom,” Lindt screams, betrayed, beaten "The “unscheduled” bus is filled with an assortment of actorsypes, phlegmacic fand hysterical, ‘The bus is escorted. by the Fase German Police who collecively sand for the director, When the bus ops, the actors wildly flee tcying «0 ‘Seape the director. He opens fire with a machine gua. Hitchcock dream come tue. Later it is revealed that the only ‘casualty ix “one person hie in the foot ‘The ditector dacen't really harm his The lady looking for a “sponsor” who noses out Newman and Andrews, an setrese who thinks they can get her a part in 1 Hollywood movi. ‘A. remarkable scene oceurs in the theatre, Gradually the police walk aor fun to take up their posts. Their acticude jg soft or neutral nor haed. The head fof the Secret Police enters with two fides. His demeanour indicates well- ‘meaning coacera, The claustrophobic factor yells “Fire!” In the middle of the Confusion the Chief of the Secret Police is shown with his arms raised above the crowd, taping unsuccessfully 10 reach Newman snd Andrews, This is the moment in che film that couched me ‘Without « torn curtain you have a ‘camera that receives no light. You have fowo actors underneath a blanket, im: pervious to che nceds of a photographer Stephen GOTTLIEB Torn Curtain (Le Rideau décbiré) American film in Technicolor of Alfted Hitchcock, Scenario: Brian Moore Photography: Joha BE. Wazren, Gamers 1» Leonard South, Music: John Ad- Decors: Hein Heckroih, “Fraok ‘Arrigo, George Milo, Costumes: for Julie Andrews: Hal Saunders, Sond Waldon O, "Watson, William Russel Atsctant to Mitcheock: Peggy Roberton, “Assstans director: Donald Baer, Editor Bud. Hoffman, Cart!" Paul | Newman (Michacl Armstrong), Jolie Andrews (Garah Sherman), Lila Kedrova (Coun: tess Kuchiaska(, Hansjoeeg Folmy (einrich Gerhard), ‘Tamars Touma nova (ballerina), Ludwig Donach (Pro fewor Linds),” Wolfgang Kieling (Gromek), Gunter Strack. (Professor Manfred), David Opatoshu (Jacobi), Gisela Fischer (Dr, Koska), Peter Bourne (Professor Hengstrom), Mort Mills (the farmer), Carolyn Conwell (the farmer's wife), Esk Holland (che hhotel employee), Peter Lore (the taxi driver), Alfred Hitcheock (sitting in the lobby of the hoeel in. Stockholm, a child on hie lap). Director of produc tion: Jack Cottick, Producer: Alfted Hitehcock, 1966. Distributor: Universal Length: 2 hours Alfred Hitcheock: Torn Curtain, Julie Andrews lila Kedrova, Paul Newman.Don Owen: Nobody Waved Goodbye, Claude Rae, Peter Kastner. Nobody Waved Goodbye (Départ tans John Spotton. Music: Eldon Rathbura. (The probation officer). Production di- Cost: Peter Kastner (Peter), Julie Biggs rector: Tom Daly, Producer: National (Golie), Claude Rac (The father), Char- Film Office, 1968. Divributor: Ale Scenario: Don Owen. Photography: mion King (The mother), John Sullivan france. Length: 1 he. 20 min, dieu), Canadian film of Don Owen.The new cinema was born, according to Narboni, at the intersection of the noucelle sage and of Italian neorealiss (Cebiers 178, pp. 58). It attends more to describing structures than to telling ‘ories it sims more atx sociological and historical reality than at characteriza: tions. Thus, from spectacle, cinema be comes a reaction to a set of données in elation to which the cinéaste defines himself at the same cime that he desig- fates his art, So the new cinema can Tend itself to reviving frontier phenom- ena — among them the youth that these ciacastes are still nest, Don Owen, like other young directors, looks at adolescence, Calls it ia question. But it is no longer a matter of a fiveand-ten ‘cent sore adolescence The film shows clearly chae the ado- lescent lives in the ambiguity of eo ‘contradictory worlds, that of play and thae of work. On one hand the world ‘of childhood, built on the le, on the other a disease and frozen world, which Scems true, but which, perhaps, contains another lic. Peter goes towards « would be serious age, and his project is «0 make himself more serious, more adult, than he can be. OF childhood he keeps the raste for sacrilege, the spontancity, the naiveté, But people make him us derstand thac adulthood proposes re- spect, the sense of responsibility and of the reasonable. Ia the midst” of this tragic tension, the adolescent wants he's hero of Freedom, but he docs not succeed at it, since “he questions and is questioned’ in. turn. Because people still decide for him, his decisions are errors. Nevertheless, he is no longer like the child, excused by his naiveté, and he finds himself already accused, bro: alized. ‘The marvelous moments of the film are tho in which Peter and. Julie abandon their project of heing adults fand amose themselves in a group, loiter at night, sing on the subway platform, 0 about on a Vespa or in a small bout, moments of playing cruant. In the end people will pardon Peter for cutting his lasses, for failing his examinations. Peo ple will not accept his wanting to carn ‘money and to live with Julie; "he is too young for that” Peter and Julie cannot assume the responsibilities that people fre still unwilling to grant them; the ‘world of work and that of married life fre. sll forbidden to them. This." ple” is the sneering reality of fa Of moral advisors, of employers. In this world, the adolescent is even more ill Sees than in the awkwardness of love for of the firse arguments with his friends, more awkward than in his very awkwardness, The adolescent is an oUt ofthe-way being whom sheer dailiness wounds "This wound is felt in a painful con fice that Poter and Julie experience i hyperbolic fashion. Te develops fest ia the framework of school. then ia that ff Peter's family, then with the police, ‘with Julie's mother, then ia the Seasch for work, in the need for earning money. But the extreme point of out bbaret of conflict is thae in which Peter and Julie oppose each other. Julie ex [pects a baby; she has hecome a woman: and according to the thought that Faulkner attributes to Gavin Stevens in The Hemles, "Women are not interes fed in the romanticism of dreams; they fre interested only in the reality of facts" The romanticiim of dreams would be to ser off in a car and with ‘money of one's own. ‘The reality of facts fs that Peter has stolen hoth the money and the cat, That is what Julie does fot accept, alone at che edge of the highway, while Pewee escapes toward prison, toward another dream of free: dom, "The honesty of the film, its beauty is precisely that of placing itself ovt- side adolescence, Peter is accused and excused. He is judged. Here adolescence Js not the plaintiff; ie seems char Don Owen condemns i€ through che adult world that is already in it, Poter is Tainted being because he cheats, but it is society thae cheats in him, Product of the lower middle elas, he has che cow ardice, or that kind of courage, of des tir, Nobody Wared Goodbye is a de- fertiinise film chat shows that the reel ity of he feelings must pass through fan economic reality. The’ are of Don Gwen is not one of reconstruction but fof untealization. The camera. progres sively unrealizes Pever’s intention, with ‘out for all that granting values eo 50° tety—which is seen as a base of lawful nonsense, Nobody Waved Goodbye is the story of 4 failure; Peter sinks into the greenish night, and ie i at this end: ing ‘that the tragic poetry of the new Don Owen: Nobody Woved Goodbye, Peter Kastner, Julie Biggs. cinema begins. He carries off with him his dream of frcedom that is ours £00. The desire to detach himself from all the determination io which he is set to flee hefore all reserve and all con: straint, i a. negative freedom, what Hegel ‘calls the “freedom of the voi eis a fanatical freedom. In this film, the indicment is con- temporary with the plea for the de- fense, the accused is the pair adoles- cencesociery. It is this double poine of view that characterizes the very style of Don Owen, Plaintiff against adoles- ence, he demonstrates, defines, brings facts. Being a lawyer, he fies: that is (0 say, he is a poet, he sings. The film is related by ite theme to Black Peter, «0 Pore Nos! a les yews blews, indeed 0 Maicaline Feminine, of even to Adiew Philippine, Bue by its style, which #8 hhere thought and form, i€ diferentates itself entirely from these related works, Cinema is no longer expression, but painting of revolt. 1 is a kind of i Dressoniom that disproves in time the facets of @ phenomenon. ‘The elements are juxtaposed in discontinuity. Opposite to Forman, who stretches his ideasse- quences to esthetic uneasiness, Don ‘Owen pastes in a spiral over an entire world, over a reality, uying to extricate its meaning. Ic is « phenomenology that tries to describe the esence of doles fence. ‘The cineaste hat gone beyond fevolt in cinema iteelf, and Don Owen ‘can tura around t0 consider what a0 dloube he has been. One would like to sce Peters adventure extended ‘would be the tale of freed agai a‘James Leahy writes us io part as fo lows: "If you haven't gone to press wondered if, to keep my publisher and the Chicago Daily News happy, you'd be able eo desert the following blurb with my acdele: "This article origin Appeared in. shortened fo Panorama Magazine of the’ Chicago Dainly News on January 28th, 1967. James Leaby’s book, will be published "A. S. Barnes, New York, in the Fall (of 1967." Many thanks Many thanks from us here at Cahiers du Cinema in English for James Teahy’s article on Joseph Losey’s Accident, ‘which appeared ia CdCIE Number 9. We ook forward to reading Mr. Leaby’s book on Joseph Losey. Indeed, it is heartening to note all the books ‘on in dividual ditectore now becoming, avsile able in Baglish. Curiously, dhe one for who has been most completely and lovingly covered is also one of the most controversial. T speak of the Alfred Hitchcock who has been superlatively studied and/or interviewed by Francois Trulfaue, Robia Wood, Peter Bogdano- vich, Eric Rohmer & Claude Chabrol, find” Jean Douchet. Francois. Teufaut’s hook'lenech interview with Alfred Hitchcock will be published in English by Simon & Schuster later this year. 1 hhave beheld the lavishly illustrated Freach edition, and wish it well om ics perilous pilgrimage to edify the Hitch Cockians and to enlighten the Hitch: Knockians. If Teulfaut can't beidge the credibility gap hetween the two factions, nobody ea Exnest Callenbach of Film Quarterly hhag raised a collateral issue by clog ‘Trufaues work on Hitchcock and Don: ald Richie's on Akira Kurosawa as mod: ls of shotby.shot techaical analysis Both books are indispensable to. any personal or instictional library with the Slightest ‘pretense. to film scholarship. (The Films of Akira Kurosawa by Dos: ald Richie is published by the Univer. Sicy of Califorsia Press ia Berkeley and Lox Angeles, California.) There is « bis difference beeween them, however. Tea faue’s analysis of Hitchcock deals all its cards “face up. Aa English-speaking reader, especially, understands all the nuances and associations involved. By contrast, Kurosawa represents to. the Western reader and moviegoer a frag: mented expresion of a0 alien culture ‘As Our Man in Japen, Donald Richie serites from a privileged position, Who ‘an question the relevance of his back ground information down to the last “ Editor's Eyrie elena tedious biographical detail? If Richie hhad noe written @ book oa Kurosewa, ic is doubtful that anyone else would hhave beca qualified to do so. Everything Richie touches upon is automatically exotic and potentially meaningful. At 2 time when. Japanese films are out of fashion in America, Richie's dense vol lume may serve as/a useful frame of reference, Certainly, CAGE hopes to say more on Kurosawa and the Japanese ‘nema in Tater isues. Bor the present, Ice us.make zoom on our shelves for both Teuflauttlitchcock’ and. Richic- Kurosawa, "Books on individual diecetors arouse fn me a feeling of fraternity not merely Ihecaase I have written one myself (The Films of Jose) ow Sternberg, The Mu- seum of Modern Arc, New York), but also because each directorial dissertation Fepresents one more pillar ia the Pan- ‘theon of Auteurs, Under this ecumenical spell, T can't feel hostile to even such immediate competition as Herman G. ‘Weinbers’s Josef von Sternberg (Cinemi Aujourhui, No. 45, Editions Seghers, Pari, wo be published ia Eaglish later this year by E. P. Dutton), There is always room for more than ‘one inter pretation of the giants ia the Pantheon Variety's Hollywood Production Pulse fof May 3, 1967 takes in a great deal fof Britsh’ and other European produc tion. Anyway, 63 productions are listed, including A Dandy in Aspe credited wo the late Anthony Mana, Laurence Har- vey is completing the shooting inter rupted by the death of one of Holly- wwood's lest appreciated action directors Anthoay wae les highly regarded in ‘America than Delbert of Daniel, a case ‘of outdoorsy adventurous being taken lex seriously than indoorsy reais. Semuel Fuller is in Acapulco directing Tusiss of sho Knife with Barry Sullivan, Arthur Kennedy, Burt Reynolds, Sylvia Pinal, Ignacio Lopez Tarso and Fran- cisco Reguers, Obviously a low-budget assignment. “There are a great many unfamiliar feames ia. the directorial ranks: Heeb Ledeer (Armageddon 1975), Jeery Paris (Never a” Dall Moment), Michael OHerlihy (The One and Only Genuine Original Family Brand) Franco Tadovino (Catch 22 Catch Can), John Boorman (Point Blent), Paul Aimond (Isabel), John Danischewsky (Avalanche), Arthur Nadel (Clambake), William Hale (Jour ney to Shiloh), Alana Rafkin (The Win- hing Postion), Robert Aleman (A Spoon Jul of Love), Oliver Deake (They Raw or Their Lives), Gerard Schaitzer (Sail to. Glory) and Fred Sturgis (Dark of the Sun). Most of the above projecs ound roatine even by sleeper standards (Genevieve Bujold, however, should THEY’RE ALL HERE! The world's largest collection of books and related materials on motion pictures! Send for our 250 page catalog list- ing thousands of items. The most complete list of film pub- lications in existence. Books, mag: azines, annuals, directories, press- books, posters ‘and stills. History, biography, criticism, technique. Send $1.00 to LARRY EDMUNDS BOOKSHOP 6658 Hollywood Blvd. Hollywood, California 90028be anything bue routine in Tvsbel, and the same can be hoped for Angie Dick inson in Point Blan). The best commercial prospects are Star (Robert Wise and Julie Andrews), Gameloe (Joshua Logan and Vanessa Redgrave), Charge of the Light Brigade (Tosy ‘Richardson and Vanessa Red- grave), Valley of the Dolls (Mark Rob- Son), Fimiaw's Rainbow (Francis Ford Coppola), The Trip (Roger Corman, Meamicbile, Far From the Front (Jack Smighe and Paul Newman), Preity Polly (Gay Green and Hayley’ Mills), and The Ambusbers (Henry Levin, "Dean Marta, Janice Rule and Senta Berger). The’ culturally ambitious projects seem to be In Cold Blood (Richard Brooks), Guess Who's Coming 10. Dine nner (Stanley Kramer, Katharine Hep- bbura, Spencer Tracy, Sidney Poitier, and guess who's coming ro dinner’), The Graduate (Mike Nichols, Anne’ Ban. croft, Dustin Hoffman and Katharine Ros}, TP.A. (Theodore J. Flicker), Petalig Richasd Lester, Jolie Chest and Kim Hunter), Bye Bye Braverman (Sidney Lumet) and Work Is A Four Letter Word (Peter Hall). ‘Byron “Haskin merits x look with Suzanne Pleshette in The Power as docs ‘Masio Bava with Catherine Deneuve in Diabolié. Doa Weis is more dubious wich Phyllis Diller ia Did You Hear the One About the Traveling Saleslady? live Donner (Here We Go Rosnd te Mulberry Bush) and Seth Holt (People Who Make No Noite Are Dangerous) are both worth waiting for in this age of long titles, The cast of Mr. Sebastian (Dirk Bogarde, Susannah York, John Gielgud and Lilli Palmer) almost makes the question of David Greene's direction tcademie. There are those who would mention also The Extraordinary Seaman for John Frankenheimes. This observer prefers (0 contemplate the poteatialites ff Seella Stevens in Brian Huttoa’s Sol Madrid, Also the provoestive coupling Of Pecula Clark and Fred Astaire in Finian’s Rainbow FOCUS! is the mame of a new movie journal in Chicago, and I use the word movie advieedly. The editors and \con- tributors seem’ to like movies rather than cinemah, This sort of thing can [set you into trouble in many places, but wwe here at CAGE can only applaud. ‘The subscription rare is ewo dollars for twelve numbers. Inquiries should be dressed to Focus! c/o doc lms, unt versity of chicago, faculty exchange, Chicago ill. 60637. The lower-case leer. lng is pare of the magazine's ssle "TAKE ONE is lively, skeptical Cana- dian Film Magazine published bi monthly by Unicorn Publishers, Post Office Box 1778, Station B, Montreal 2, P.Q. The subscription rate is $1.50 for 6 Ieoues CASTLE OF FRANKENSTEIN is a ‘quarterly recommended not only to ad mirers of horzor films, but to movie enthusiasts who like 1 keep up with some of the more obscure output of the film industry. Subscription rates are $3.00 for 6 issues; $5.00 for 10 issues in the USA. and Canada, Elsewhere: add $1.00 more, Inquiries may be di rected to Castle of Frankenstein, Gothic Castle Publishing Company, Box 43, Hudson Heights Station, North Bergen, New Jersey 07048, Unfortunately, the mortality rate among film magazines is extremely high. Recent cloak and. dagger revelations bout Ramparts and Encounter indicate the amount of money required to sub: ige so-called free thought. Needless to say, neither the GLA, nor any well endowed philanthropists have ever con tibuted to the coffers of Cahiers du Ginema in English. We do the best we fan, bu we could do a lot beter with fan extra million oF so, that is with no rings acached, and what a geand tal is, Tt the fate of film magazines seems 00 esoteric a matter for serious con (era, the demise of the World Journal ‘Tribune can be added to the evidence ‘of economic concentration in the com: ‘munications media. Everything is being, engulfed by bigness and litle mag: ines are foredoomed almost by defi tion, Him enthusiasts eed cheie litle magazines asthe magazines need the husasts. There is a poine at which triumphant vulgarity ceases to be anus ing and becomes oppressive. That point hae arrived Future issues of Cabiers dr Cinema in English will be open to personal ads of a professional nature—jobs, scholarship information, ete The rate is 25 cents per word. Minimum charge for each ad is $3.00. Ads and prepaid checks and money orders may be mailed to Cabiers Publishing Company, 635 Madison Avenue, New Yor 10022, N.Y. FILM-MAKERS’ S185 WAIST STREET@ TELE SEU315-97=NPCIN® CINEMATHEQUESUBSCRIBE CATCH UP. cabiers du CINEMA in english FILL IN THE COUPON BELOW TO BE CERTAIN YOU RECEIVE THE ENGLISH TRANSLATION OF THE WORLD'S MOST IMPORTANT. FILM MAGAZINE EACH AND EVERY MONTH No. No, No. No, Highli ‘CAHIERS PUBLISHING CO., INC. 635 Madison Avenue New York, N.Y. 10022, U.S.A. Please enter my subscription to twelve numbers of CAHIERS DU CINEMA IN ENGLISH at $9.50 per year (Domestic) or $10.50 per year (Foreign). NAME nnn ‘ADDRESS ithe: Payment Enclosed [) Please bill me [ CAHIERS PUBLISHING CO. 635 Madison Avenue New York, N. Y, 10022, U.S.A. Please send me the following back issues of CAHIERS DU INC. CINEMA IN ENGLISH ot $1.25 each: 20 30 40 506070 80. enclose — Bas aoe NAME: Seuss 2 ADDRESS z Cre eesJanus Films presents THE FILM THAT CHANGED, THE LANGUAGE OF CINEMA Michelangelo Antonioni’s Masterpiece CAVVEN) VOTED AMONG THE FIVE GREATEST FILMS OF ALL TIME IN THE RECENT SIGHT AND SOUND POLL K .E NOW AT SPECIAL REDUCED RATE IN 16mm ANO 35m IN BOTH CINEMASCOPE AND STANDARD VERSIONS LANE SGN GCC NE | aati rimi-2ay PL3.7100 The new Janus Films Catalog is | Playdates for L’AVVENTURA may be submitted on this coupon. | now in preparation and will be | | released in April. This reference | Date requested —______16mm ___35mm | book contains detailed informa- ! New catalog requested Put on the mailing list___ | tion and criticism on many of the | most important films ever made. | address It will be made available to | seats. Admission is___charged schools, churches, universities, | Auditorium size: not charged film societies, art centers, etc. upon request. Ji NUS FILMS + 24 WEST 58TH STREET, NEW YORK, N. Y., 10019 * 212 PL 3-7400"A FASCINATING EXPERIENCE! A first-class and very high-class thriller! TERENCE STAMP raises the s Lae psychological boiling point...an ‘ : actor's must-see performance! “WHOLLY EXTRAORDINARY! ‘SAMANTHA EGGAR provides a A classic thriller! An astound- touching portrait! ingly perfect performance by . JUDITH CRIST, HERALD TRIBUNE TERENCE STAMP! A tribute to ¢ ie : TELE x WILLIAM WYLER! The artistry * of WYLER and STAMP place the picture on a timeless level!” ARCHER WINSTEN, POST WILLIAM WYLER'S po the Collector (== in TECHNICOLOR® ; Cannes Film Festival Double Award Winner *