This year’s best movie so far, Inherent Vice, also sports some of the finest looking titles I have seen in a while. They’re done by Scarlet Letters and according to Movie Title Stills Collection, typed in Rolling Pen and Ne10 (although I’m not conviced about the latter). I wish the script would have been animated as if written however.
Posts Tagged cinema
Back from Sinful, and what a weekend it was. Luckily I was able to hand in my final assignment for the Masters course before heading off. While I am waiting for feedback on that, here’s my assignment from the previous month. That one was inspired by a Dangerous Minds meme called “famous composers doing normal shit”. Arnold Schönberg playing pingpong. I talked for a while about his Op. 42 while showing clips from Bruce LaBruce’s new film adaptation of Pierrot Lunaire (Op. 21).
While we’re working on getting Paul Kelly’s film Lawrence of Belgravia screened in Malmö, here’s an imaginary record sleeve for you. If we do have a srceening I would like this set to be played before and after the film. Despite the effort made with Stains On a Decade, a comprehensive Felt singles collection has yet to be released. Knowing how displeased Lawrence is with some of the recordings, it will probably never happen (he left a track off The Strange Idols Pattern… in the otherwise faithful Cherry Red reissue series for crissake!)
The design inspired by innovative cover of the original Creation LP Bubblegum Perfume. Innovative, since the back only said “check spine for tracklisting” in enormous type and, of course, the tracklisting was printed on the LP spine. I like the idea of thinking of these songs as one long segment of music rather than individual songs, which is reflected in the design of the gatefold inside (below). All of the 34 songs could technically fit on two discs, which incidentally divide the songs into Cherry Red and Creation releases. The back cover would just be green, naturally.
Another reason I had for creating these is that I recently managed to track down mp3s of the last few songs that I was missing. Many of them have not been reissued yet, like the b-side to “Index” e.g. (I do however see the pointlessness of doing that since they’re basically the same song).
A perfect film for the autumn is Antonioni’s Red Desert (1964), full of rusty industrial sets, a dubbed Richard Harris and a Monica Vitti of course. It was the director’s first colour film and this new dimension is explored thoroughly in the film, which also seems like the first in which he experiments significantly with camera work. The soundtrack features electronic music by Vittorio Gelmetti, which was quite unique at the time.
Mario Monicelli’s La Ragazza con la Pistola may have been nominated for an Academy Award for best foreign film, but is mainly interesting for Monica Vitti prancing around Edinburgh and Sheffield. The shot above, with Vitti’s character pointing out her legs in a billboard somewhere in London, is the most interesting one just cause the copy is brilliant! Also worth your attention is the slightly psychedelic soundtrack (it WAS 1968) by Peppino de Luca.
2 x No.2 = Fab4
I was watching the second Beatles film Help! yesterday, and it struck me that two No. 2’s from The Prisoner (Leo McKern and Patrick Cargill) star in it. The shot above is the only time they appear in the frame together though. That made me look into the many connections between The Beatles and Patrick McGoohan. McGoohan, who died in 2009, rose to fame with agent tv series Danger Man, turned down an offer to play James Bond, and created one of the best and most influential tv shows with The Prisoner. He was a fan of The Beatles, and used “All You Need Is Love” in the final Prisoner episode – the only time a Beatles song was ever licensed to a tv show.
I think The Beatles are marvellous. They are venturing into astonishing fields of music and are really searching in their embryonic ‘retirement’ to find new sounds. I am always listening to their latest work and get something new out of it each time I hear it. They epitomise the age. They parody all the things we grown-ups pay lip service to, but don’t practise. In one of their latest numbers they sing “All you Need Is Love” – just that, over and over again. Afterwards you realize that love is the thing that we have least of. They parody such ambiguities. (Patrick McGoohan, T.V. World, 1967)
The Beatles, or at least George Harrison, were fans of the Prisoner too. In fact they wanted McGoohan to direct their next film after The Magical Mystery Tour, but McGoohan who had had to finish The Prisoner off prematurely left the country and nothing came of it. Whether McGoohan, who was still playing John Drake in Danger Man when Help! was made, got any inspiration from that film is not clear.
It’s years since I lived in Glasgow now, but I’m still a member of the Monorail Film Club. Last weekend they screened Yugoslavian director Duan Makavejev’s Love Affair or The Case of the Missing Switchboard Operator from 1967. I watched it a few days ago, cause it’s on the Criterion Collection’s Makavejev box set. It’s a great film, inspired by the new wave of Western Europe. But even better is Man Is Not a Bird from the same box set. This film is two years older but is similarly a love story, as the sub title indicates. It also has a great title design:
Milena Dravić plays the female lead, the daughter of a small town family who take on a lodger who’s come from out of town to install some new equipment at the local metalworks. You might recognise the film’s title from the Broadcast song of off their perhaps best known album Ha Ha Sound. There is a great sequence in the film where people under hypnosis are convinced they are birds as part of a hypnotist’s show. It seems Trish Keenan’s taste in films was as great as in other areas.