Whenever I am on a Metro North train, barreling along the Hudson River north of New York City, I try to sit on the river side of the car in order to get a good look at Bannerman’s Castle. Perhaps you, too, have been intrigued by the carcass of what appears to be a red brick castle fallen into decay, about 1,000 feet from the shoreline on the six-acre Pollepel Island. Having just watched René Clair’s The Ghost Goes West, I couldn’t help but think of the decrepit, battered ruin.
Posts tagged ‘René Clair’
These notes accompany screenings of René Clair’s </i>Under the Roofs of Paris, August 25, 26, and 27 in Theater 3.</p>
René Clair (1898–1981), a disappointed poet, novelist, and actor, lived and worked on the fringes of the French Surrealist movement in the 1920s. (We included his Entr’acte (1924) in the French Avant-Garde program earlier in the series.) In total, he made eight silent films of varied lengths—most notably 1927’s Un Chapeau de Paille d’Italie (The Italian Straw Hat)—establishing a reputation for humor and fanciful imagination.
These notes accompany the French Avant-Garde of the 1920s program, screening April 14, 15, and 16 in Theater 3.
Charles Sheeler comes to mind as one of the few American artists who dabbled in film in the 1920s. Whereas in Germany the mainstream Expressionist cinema was itself avant-garde, and in Italy the society became surreal following Mussolini’s rise to power in 1922, France presented a unique instance of a free interplay of filmmakers with other visual artists. This program is an attempt to capture some of this interaction and to suggest how it might have benefited French culture. It also suggests that a society where the movies were totally dominated neither by commerce nor by the state provided an appealing model. It was certainly beneficial to Iris Barry, the founder of The Museum of Modern Art Film Library, to be able to cite names like Man Ray, Duchamp, Léger, and Dalí in establishing the high aspirations and legitimacy of film when appealing for funds from patrons who might look askance at Douglas Fairbanks, Charles Chaplin, or Walt Disney. (It was left for us future generations to make cogent arguments for Otto Preminger, Clint Eastwood, and John Waters.)
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