Amos Vogel: Film as a Subversive Art

William Klein moved into more blatantly political territory with this hilarious, vicious Vietnam-era lampoon of imperialist American foreign policy. Mr. Freedom (John Abbey), a bellowing good-ol’-boy superhero decked out in copious football padding, jets to France to cut off a Commie invasion from Switzerland. A destructive, arrogant patriot in tight pants, Freedom joins forces with Marie Madeleine (a satirically sexy Delphine Seyrig) to combat lefty freethinkers, as well as the insidious evildoers Moujik Man and inflatable Red China Man, culminating in a star-spangled showdown of kitschy excess. Delightfully crass, Mr. Freedom is a trenchant, rib-tickling takedown of gaudy modern Americana.Read More »

From Amos Vogel’s Film as a Subversive Art:
A disembodied, ‘live’ hand invades the life of an artist-puppet, instructing him what to create, bringing him TV and newspapers (filled with ‘Hand’ activities), finally compelling him to make sculptures of itself. After his death in frustration, the Hand gives him an ornate State funeral as a great artist of the people. A courageous early work of the Czech renaissance.Read More »

Synopsis:
What starts off as a conventional travelogue turns into a satirical portrait of the town of Nice on the French Côte d’Azur, especially its wealthy inhabitants.Read More »

On a winter’s day, a woman stretches near a window then sits in a bathtub of water. She’s happy. Her lover is nearby; there are close ups of her face, her pregnant belly, and his hands caressing her. She gives birth: we see the crowning of the baby’s head, then the birth itself; we watch a pair of hands tie off and cut the umbilical cord. With the help of the attending hands, the mother expels the placenta. The infant, a baby girl, nurses. We return from time to time to the bath scene. By the end, dad’s excited; mother and daughter rest.Read More »

not recommended for people sensitive to flashing lights and colors,

Quote:
This film further indicates that computer animation — once a gimmick — is fast becoming a fully-fledged art; the complexity of its design and movement, its speed and rhythm, richness of form and motion — coupled with stroboscopic effects to affect brain waves — is quite overpowering. What is even more ominous is that while design and action are programmed, the ‘result’, in any particular sequence, is neither entirely predictable nor under complete human control, being created at a rate faster (and in concatenations more complex) than eye and mind can follow or initiate. Our sense of reality is thus disturbed not only by the filmmaker but also by the machines we have produced.
– Amos Vogel, Film as a Subversive ArtRead More »

From Amos Vogel’s Film as a Subversive Art:
This deceptively humorous cinema verite study of a travelling evangelist emerges as a ruthless expose of an aspect of America’s national psyche, with implications far beyond its immediate subject matter. Marjoe began by performing marriage ceremonies at the age of four (seen in marvelous newsreels of the time) and graduated to fame on the “Holy Roller” Pentecostal circuit, throwing women into convulsions, performing miracles, providing sex substitutes and mass therapy to the countless victimized poor and ignorant who flock to his meetings with their offerings. While the sequences of a prancing Mick Jagger imitation (complete with rock rhythms and brimstone) and of his huge and suffering audience in themselves constitute an impressive achievement of non-fiction cinema, simultaneous private interviews reveal the fiery evangelist to be a cynical atheist and hedonist, with contempt for his “work” and at best an ambiguous solicitude for his flock.Read More »

“A soldier is assigned to guard a fortress on a remote Greek island and finds himself unable to cope with the crushing boredom of the task in this interesting drama, an early film by renowned-director Werner Herzog. The story is set during WW II and concerns a soldier who was wounded and stationed on the Nazi-controlled island. He is accompanied by his wife and two other guards. It is a very quiet island and soon the men begin looking for constructive things to do. First they paint houses. Then they try raising goats. One of them finds a small stockpile of explosives, so the men begin making bombs. Another of the men can read Greek and so begins translating some of the ancient inscriptions on the castle walls.Read More »

Quote:
The Sin of Jesus was based on the story of Isaac Babel, a woman on a chicken farm who spends her days working at an egg-sorting machine. “I’m the only woman here.” She is pregnant, her husband spends his days lying in bed, and his friends encourage him to go out on the town with them. The woman talks to herself as she works, lost in the monotony of human existence. She counts the passing days in the same way she counts eggs. Even extraordinary events, such as the appearance of Jesus Christ in the barn, go under the stream of this melancholy solipsism.Read More »

Quote:
Inspired by Thorndike’s similar East German films,
this is a carefully researched, professionally executed
indictment of the West German government bureaucracy,
proving that many of its members — individually shown
and identified — had served in the same capacity under
the Nazis. A barrage of official documents, incriminating
photographs and Nazi newsreels substantiate the argument.Read More »