A: Who are you? X: You know. A: What's your name? X: It doesn't matter.
*
After four days with Last Year at Marienbad, I'm a bit dizzy. This film is in itself an experience. And most likely different for each viewer. A writer's film - in every sense. Powerful performances by Delphine Seyrig - as A, Giorgio Albertazzi - as X, and Sacha Pitoëff - as M.
Empty salons. Corridors. Salons. Doors. Doors. Salons. Empty chairs, deep armchairs, thick carpets. Heavy hangings. Stairs, steps. Steps, one after the other. Glass objects, objects still intact, empty glasses. A glass that falls, three, two, one, zero. Glass partition, letters.
Reinhardt is on my short list of favorite guitarists. He is acknowledged as being the music world’s first great jazz guitar soloist. I agree. An injury from a fire left him with only two fully usable fingers on his left hand, yet he developed a style of playing that was phenomenal. For much of WWII, Reinhardt, a gypsy, found himself on the run from Nazi units that had been dispatched to find and kill him. Obviously, they weren’t successful.
The song was given a dramatic shift by Bernie Henighen and Clarence Williams, creating a vocalese staple of the jazz world. The title morphed to Round Midnight
The Woodpecker Pecks, but the Hole Does Not Appear
It’s hard to imagine how unremembered we all become, How quickly all that we’ve done Is unremembered and unforgiven, how quickly Bog lilies and yellow clover flashlight our footfalls, How quickly and finally the landscape subsumes us, And everything that we are becomes what we are not.
it's a strange old game - you learn it slow one step forward and it's back to go you're standing on the throttle you're standing on the breaks in the groove 'til you make a mistake
Between my finger and my thumb The squat pen rests; as snug as a gun.
Under my window a clean rasping sound When the spade sinks into gravelly ground: My father, digging. I look down
Till his straining rump among the flowerbeds Bends low, comes up twenty years away Stooping in rhythm through potato drills Where he was digging.
The coarse boot nestled on the lug, the shaft Against the inside knee was levered firmly. He rooted out tall tops, buried the bright edge deep To scatter new potatoes that we picked Loving their cool hardness in our hands.
By God, the old man could handle a spade, Just like his old man.
My grandfather could cut more turf in a day Than any other man on Toner’s bog. Once I carried him milk in a bottle Corked sloppily with paper. He straightened up To drink it, then fell to right away Nicking and slicing neatly, heaving sods Over his shoulder, digging down and down For the good turf. Digging.
The cold smell of potato mold, the squelch and slap Of soggy peat, the curt cuts of an edge Through living roots awaken in my head. But I’ve no spade to follow men like them.
Between my finger and my thumb The squat pen rests. I’ll dig with it.
*
Here is a poem for the whole of life. And that includes, certainly, the world of writing – but it takes in so much more. The poem exudes with a personal history that is inseparable from myth.
Birthright. Legacy. Spend your days – all of them – just trying to get at the passing on here. You will, of course, come up short – but Oh the beauty in that trying.
At times, the best way to find any understanding of life is through the mundane. Repetition becomes maniacal becomes truth. For me, that is what Danish filmmaker Jørgen Leth sets out to show in his brief, hypnotic, experimental work Det Perfekte menneske (The Perfect Human, 1967). The human being – the perfect man, the perfect woman – as landscape.
Again today I experienced something I hope to understand in a day or two.
~
There is a mystery in Leth’s film that has haunted Lars von Trier, another filmmaker – who forces Leth out of his obscure and depressed life in Haiti to revisit The Perfect Human. De Fem benspænd (The Five Obstructions, 2003) is an ingenious concept and production, directed by Leth and von Trier. Amazing.
Leth, based on von Trier’s project, must rethink the intervening thirty-five years and recreate, in the present, his “Perfect Human”. Leth accepts the challenge. But there are rules. He must make five new films, using the theme and script of the original, but with obstructions, designed to make Leth fail. Von Trier does this because he believes Leth’s original film to be, in fact, a perfect work.
Each film will have a different set of obstructions. Leth likes cigars from Havana, so the setting of the first “Obstruction” must be Cuba. After that, Leth decides he will not help or give away his weaknesses to von Trier. That doesn’t matter since von Trier is convinced he understands Leth more completely than Leth understands himself.
The retooling of the original idea is a fascinating possibility. Leth succeeds – no matter the setting or obstacle. With The Five Obstructions the viewer must experience the individual pieces but must also find the sum of those pieces.
The film is part joke, part journey, part fiction, part documentary – but total art. The ultimate truth? ... art cannot be duplicated – only imitated.
The major barrier for #1 is that no scene could be more than 12 frames – or ½ second – in length. Leth initially assumes this rule to be a monster, but later surrenders to it, calling it “a paper tiger”.
Obstruction #1 – The Perfect Human: Cuba (Leth, Dir. / 2003):
Sam Rasnake, a sardonic twist of fate, is a pathetic excuse for a poet who once dreamed he was a human who dreamed he was a teacher who thought he could play guitar. Along the way - a soul-mate, two children - one collection, Necessary Motions; three chapbooks, Religions of the Blood, Lessons in Morphology, and Inside a Broken Clock. He even thinks he edits a magazine - Blue Fifth Review.