ATLRetro

by Melanie Crew
Contributing Writer

Emory Cinematheque offers art-house films to the masses! They’re available to the critics, film-students and all film-lovers alike! Their retro-tastic line-up of critically-acclaimed films, all screened in 35mm, is available free to the public every Wednesday night during each semester’s series.  Their Spring 2014 ‘Global French Cinema’ series runs through April 23 with all films being screened in room 208 of Emory’s White Hall at 7:30 pm, almost every Wednesday.  ATLRetro caught up with Dr. Matthew Bernstein, Chair of Emory’s Film and Media Department as well as Dr. Charlie Michael, Professor in the French and Italian Language Department at Emory and curator of the series, to discuss their love of French cinema and its profound international influence on filmmakers worldwide throughout the history of cinema.  Let Emory Cinematheque quench your thirst for all things retro, French and cinema-tastic!  

“The reach of (Jean) Renoir’s films was enormous,” Bernstein explains and was one of the reasons why Jean Renoir’s LA GRANDE ILLUSION/GRAND ILLUSION (1937) was the screening that kicked off the series. Given that the focus is French films in a global setting, it made absolute sense. Bernstein further went on to share a tidbit of film trivia: “Twentieth Century-Fox wanted to remake it with John Ford directing. Ford rightly demurred, saying it could not be replicated.” And rightly so! Renoir’s anti-war masterpiece, dubbed by Nazi Propaganda Minister Goebbels as “Cinematic Public Enemy No.1” was released on the eve of World War II, not only showcasing Renoir’s humanity but also touching on the harsh realities of nationalism, classism and anti-Semitism. The epic was one of the first prison escape movies, leading the way for a plethora of replicas attempting to reach the same peak, visually and emotionally.  The film proved so inspirational that even Orson Welles said that it would be one of two he would take with him, “on the ark” (Dick Cavett interviews Orson Welles, July 27, 1970).  American film lovers and critics alike agreed with the enormity and significance of Renoir’s work of art, when it became the first foreign-language film nominated for Best Film at the 1938 Academy Awards. 

“I think the 1960s New Wave probably still holds the mantle as the most influential movement in French filmmaking history,” notes Michael. Thus their next choice was an easy one, as Jean-Luc Godard is one of the most prominent members of the movement.  Godard’s PIERROT LE FOU/PIERROT THE MADMAN (1965) was touted as an apex in the French New Wave and considered Godard’s last ‘frolic’ before delving into his more radically political cinema. Godard dubs his protagonists as “the last romantic couple,” their love being the last shard of humanness left among the clouds of chaos that surrounds them. This tactic has been replicated time and time again in many modern films. Renata Adler, of the New York Times, described Godard’s chaotic and drastic hero as one whom, “ultimately wraps his head in dynamite and blows himself to bits,” but added that, “it is in part a delicate, sentimental love story.” (New York Times, January 1969)

Renior, Truffaut and Godard seem to be the usual suspects at most French cinematic events.  Michael notes, “The insertion of the word ‘global’ in front of the word ‘French’ in the title of the series is meant as a gentle push back against the sorts of common assumptions we have about foreign films.”  His goal was to redirect assumptions that French filmmakers only created their art in France. That couldn’t be more true when thinking about Ousmane Sembene’s first feature-length film, LA NOIRE DE/THE BLACK GIRL (1966).  Senbene has been dubbed the “Father of African Film” and this film in particular was the first Sub-Saharan African film made by an African filmmaker to receive international attention.  It’s the tale of a young Senegalese woman who abandons her home in Senegal to work for a wealthy French couple in France.  This film gracefully touches on history at its most repulsive – colonialism, racism and post-colonial identity – through the eyes of its heroine.

“French cinema and American cinema have a long, long, love-hate relationship,” says Michael, with regards to film as art and film as entertainment.  “Ever since the Lumieres and Edison, the two traditions have been inspiring each other and measuring themselves against one another,” he adds.  This dynamic can be seen clearly during their screening of  LA NUIT AMERICAINE (AMERICAN NIGHT)/DAY FOR NIGHT (1973), French New Wave alum Francois Truffaut’s dark comedy about filmmaking and his slight jab at the artificiality of American-style studio films. The film’s title speaks volumes regarding the director’s disregard for the artificial and the manufactured. Truffaut’s film within a film, not only spotlights the personal and chaotic lives of filmmakers over a short period of time and all the mishaps that go along with creating a film, but he also brings into question whether films, the end products, are more important than the lives of those who create them. 

“France’s youngest, flashiest and most visually-inventive of Jean-Luc Godard’s heirs”, Leos Carax,  makes his appearance with his second film, MAUVAIS SANG (“Bad Blood”)/THE NIGHT IS YOUNG (1986). Michael’s post-modern pick for the series, it will take you on the darkly-tinged 1980s journey of a French bad boy who falls for a beautifully tragic and very unavailable American girl. The film aims to “re-incorporates the post-modern slickness of US advertising,” while exposing the cinematic game of ping-pong that has been played between the US and France since the beginning of the art form. Carax’s film screams modern ’80s melodrama and has a film score including music from David Bowie. Still at the same time, the director pulls from his cinematic forefathers’ influence, as Richard Brody of the New Yorker explains, “with an emotional world akin to that of Godard’s early films, a visual vocabulary that pays tribute to his later ones, and a magical sensibility that owes much to Jean Cocteau, Carax allegorizes the burden of young genius in a world of mighty patriarchs who aren’t budging.” (Richard Brody, New Yorker, December 2013)

As much as French filmmakers enjoy taking a cunning jab at their American counterparts, from time-to-time they also enjoy a nice, swift kick to the rear with regards to their own industry. This can be seen in Olivier Assayas’ satire, IRMA VEP (1996) and his pictorial view of the contemporary French film industry.  Assayas’ film-within-a film technique, previously used by Truffaut and his other filmmaking forefathers, lays the framework that unfolds the beautifully tragic life of a filmmaker, well past his prime,, attempting to revive his career in an industry that has blown past him, by remaking and  modernizing Louis Feuillade’s classic silent film, LES VAMPIRES (1915).  Assayas, through his satire of the current French industry, was able to get back to his roots, or as Manohla Dargis of LA Weekly puts it beautifully, “There’s not a false note in IRMA VEP, not one wasted image, nor one superfluous move of the camera. [Assayas discovered] a native cinema as querulous, alive and magical as [French cinema] was, once upon a time.” 

The series then sends the viewer on a journey to Tunisia with the screening of Abdel Kechiche’s LA GRAINE ET LE MULET/THE SECRET OF THE GRAIN (COUS-COUS) (2007).  From the director of 2013’s BLUE IS THE WARMEST COLOR, this film follows an aging and displaced immigrant and his family trying to begin life anew by opening a family-run restaurant.  Kechiche touches on the universal theme of what to do next when life throws you a curve ball.  In this case, Kechiche’s hero takes that curve ball and attempts to turn it into a thriving restaurant and new life for him and his family. 

Directed by Agnes Varda, lifetime filmmaker and French New Wave alum, LES GLANEURS ET LA GLANEUSE/THE GLEANERS AND I (2000) was included in this series because it, “speaks out against our global problem with consumption and waste,” Michael says. The documentary is shot completely with her hand-held digital camera in a  total abandonment of the usual high-end equipment. That personal element, she said, took her back to the early short films she shot in 1957 and 1958. She told Melissa Anderson of Cineaste Magazine during a 2001 interview: “I felt free at that time. With the new digital camera, I felt I could film myself, get involved as a filmmaker.” Varda’s documentary follows the lives of various kinds of gleaners throughout the French countryside. (M. Anderson, Cineaste Magazine, 2001)

The series then crosses the Atlantic to Canada and Denis Villeneuve’s film adaptation of Wajdi Mouawad’s play by the same name, INCENDIES (2010). This movie takes the viewer on a nonlinear trek through time, using a dead mother’s flashbacks between present-day Quebec and 1970’s Lebanon as a pair of twins try to untangle the mystery of their mother’s life and the lack of their father in their own.  M. O’Sullivan of the Washington Post describes Villeneuve’s film as, “A horror movie, a love story and a mystery, each thread of which is so expertly interwoven into the larger narrative that it is impossible to separate any one strand from the other.” (M. O’Sullivan Film Review, May 2011)

The French aren’t always so sophisticated, artsy and stuck-up, as proven with the series’ next film. Michel Hazanavicius’ parody, OSS 117: CAIRE LE NID D’ESPIONS/OSS 117: CAIRO, NEST OF SPIES (2006), represents a layer of French cinema rarely seen when offering up such a series.  Kudos to Michael for throwing this one in! OSS 117 spoofs ’50s and ’60s spy films, following the exploits of a French secret agent in 1955 Cairo. Curt Holman, Creative Loafing noted that, “CAIRO, NEST OF SPIES looks like a perfect artifact from half a century ago, but its political satire smells brand new.” (Curt Holman, Film Review, June 2008)  Hazanavicius is better known for his throwback to the ’20s retro-style film, THE ARTIST (2011), which won five Academy Awards.

Finally, Emory Cinematheque screens Marcel Carne’s celebrated three-hour, two-part epic, LES ENFANTS DU PARADIS/CHILDREN OF PARADISE (1945), set in the 1820s and 1830s Parisian theatre scene and filmed during Germany’s occupation of France during World War II.  Follow the mime, the actor, the criminal and the aristocrat as they pine over the gloriously beautiful courtesan.  During a 1990 interview with Brian Stonehill for Criterion, Carne responded to his question about the New Wave Critics’ aversion to studio films, stating that Francois Truffaut once told him, “I would give up all my films to have directed CHILDREN OF PARADISE.” (Exerpt from 1990 Criterion Audio Interview). In the original American trailer for the film, it was described as, “The French answer to GONE WITH THE WIND.”

Both Michael and Bernstein have enjoyed and continue to express gratitude for the opportunity to share their love of cinema and in particular, during this semester’s series, their love of French-language cinema.  “Frankly, it was difficult not to show more films from that period [French New Wave] in this series – but I really think there are other great stories to be told and films to be seen.  French-language filmmaking is so deep, rich and varied,” explains Michael.  Bernstein notes that, “Truffaut and Godard and their cohorts (of the French New Wave movement) reinvented film language and influenced filmmakers the world over, while inspiring the greats [Coppola, Scorsese, Paul Schrader, et al] and continuing to have a hand in the production of modern films.”

See below for a full screening schedule and make sure you make it out to Emory Cinematheque for the remainder of their Spring 2014 ‘Global French Cinema’ series!

Full Screening Schedule:

1/22/14 – ‘La Grande Illusion’ (1937) – Jean Renoir
2/05/14 – ‘Pierrot le fou’ (1965) – Jean-Luc Godard
2/12/14 – ‘La Noire de…’ (1966) – Ousmane Sembene
2/19/14 – ‘La nuit americaine’ (1973) – Francois Truffaut
2/26/14 – ‘Mauvais Sang’ (1986) – Leos Carax
3/19/14 – ‘Irma Vep’ (1996) – Olivier Assayas
3/26/14 – ‘La graine et le mulet’ (2007) – Abdel Kechiche
4/02/14 – ‘Les enfants du paradis’ – (1945) – Marcel Carne
4/09/14 – ‘Les glaneurs et la glaneuse’ (2001) – Agnes Varda
4/16/14 – ‘Incendies’ (2010) – Denis Villeneuve
4/23/14 – ‘OSS 117: Caire, le nid d’espions’ (2006) – Michel Hazanavicius

The three-dimensional mandala of Guhasamaja from Gyuto Monastery in India- a large wooden palace, carved so intricately it would take you hours to notice all the details. Photo credit: Lisa Stock

By Lisa Stock
Contributing Writer

In a world often defined by small cubicles, cramped airplanes, thick traffic and crowded super-stores, personal space is greatly sought but not often achieved. Recently, I’ve limited mine to my smart phone, the steering wheel and whatever computer or TV screen is in front of me. My personal space has effectively become a cluttered mess of sometimes organized mayhem. Or so I thought, until I went to MANDALA: SACRED CIRCLE IN TIBETAN BUDDHISM at the Michael C. Carlos Museum at Emory University through April 15. The Buddhists have a unique and beautiful perspective on sacred space and honor that through the tradition of mandalas.

Mandala is the Sanskirt word for “circle” and can also mean “house” or “palace” in the Buddhist tradition. The mandala serves as an aid to meditation on the path to enlightenment, and helps to view the world in more harmonious ways. The term can be applied to everything from the sphere of the universe, to a circular painting, to the space you create around yourself. As presented in the exhibit, the art of mandalas is not limited to circular paintings but also manifests in tapestries, reliquaries and sculpture. The most impressive piece is the three-dimensional mandala of Guhasamaja from Gyuto Monastery inIndia- a large wooden palace, carved so intricately it would take you hours to notice all the details. But that’s the beauty of mandalas – you could easily stand there all day and look at them. They are said to bring peace and harmony to the creator and viewer.

A 16th century, 8-foot Buddhist cosmological scroll. Photo credit: Lisa Stock.

The message of the exhibit is the concept of sacred space. Each of us creates our own personal mandala of sacred space. It’s what we put out to our families, our coworkers and friends, and what we take inward as well. My mandala may seem narrow at times, but it can be a beautiful one. If I’m collecting photos on Pinterest of faraway places I’d like to visit and those inspire me to take a walk in the park at lunch to see the trees budding early, then that computer has become part of a tranquil mandala. Our sacred space is, truly, what we make it. This exhibit is definitely one you carry out into the world with you. To that point, from Feb. 1-11, monks from the Drepung-Loseling Monastery will construct a sand mandala on site. On April 15, the sand will be swept into a container and poured into the nearby stream so the blessing of the mandala can spread throughout the city.

In conjunction with MANDALA: SACRED CIRCLE IN TIBETAN BUDDHISM, the Carlos Museum are also offering an extensive list of related programs such as “Embodying Nirvana: Meditations on Buddhist Mandalas,” a lecture by John Dunne, Associate Professor of Religion at Emory University (Feb. 9, 7:30 p.m.); Artful Stories (for children on Feb. 18); AntiquiTEA – tea and a lecture on the importance of a rice mandala (March 6) and more. For more information and a complete schedule of events, click here.

Friday, June 17

Libby Whittemore

It’s an all-around jazzy evening at three Atlanta theaters, attractions and museums. Beloved Atlanta chanteuse Libby Whittemore returns to Actor’s Express for the second show in a four-day run (June 16-19) of LISA & LIBBY’S SUMMER CAMP, joining singer Lisa Paige and musical director/accompanist Robert Strickland for a summer-themed new installment to the Libby’s at the Express series. The show combines standards, Broadway tunes, and more, and in the second act, the 31st Ladyof Country Music Connie Sue Day. Shows start at 7:30 PM. Vocalist Marsha DuPree sings sweet, soulful cabaret and musical revue favorites at Callanwolde Jazz on the Lawn. Or head to the halls of the High Museum of Art for a night of art and Friday Jazz with Kevin Bales. Joe Gransden brings his big band style of jazz to Jazz Journeys at Georgia Aquarium. If swingin’ blues is more your mood tonight, Jump’n Jukes are at Fat Matt’s Rib Shack. Or catch an IMAX movie and merengue the night away during Salsa Night with Salsambo Dance Studio at Fernbank Museum of Natural History’s Martinis and IMAX.

Saturday June 18

What could be more retro than the first annual Rockabilly Luau at the Masquerade Music Park from noon to 8 PM, featuring a mix of rockabilly, psychobilly, surf and psycho-surf music by Hot Rod Walt and the Psycho DeVilles, Daikaiju, The Pelvis Breastlies, The Mystery Men?, The Rebel Surfers,The Go Devils, The Atomic Rockets and C.N.I. COW. More performers include Blast-off Burlesque, Davina and the Harlots, The Spinderellas and authentic Polynesian dancers and fire dancers. The total tiki day also promises Hawaiian BBQ and beer, a pre-1968 car show, Hawaiian pin-up girl and swimsuit contest, live tiki carving, lei greeters, a worst Hawaiian shirt contest, vendors and classic tropical drinks. All ticket sales support two local animal rescues. Catch ATLRetro‘s sneak preview with founders and this week’s Kool Kats Chris Mattox and Jessica Vega here and an exclusive interview with The Rebel Surfers here.

Papa Said Knock You Out and that’s exactly what Atlanta Rollergirls plan to do today in their monthly double-header at the Yaraab Shrine Center. First bout between the Sake Tuyas and Toxic Shocks is sold out, we hear, but tickets were still available at press time for the second match at 7:30 PM between Atlanta Rumble B‘s and visiting team Fort Myers Derby Girls. Then take the Highway to Hellbilly as world-famous mountain Dancing Outlaw Jesco White and country singer-songwriter Roger Alan Wade burn up Atlanta at 529 Club in East Atlanta. DJ Romeo Cologne transforms the sensationally seedy Clermont Lounge into a ’70s disco/funk inferno. And of course, ’80s metalheads/rockers will want to head to Lakewood Amphitheatre for Heart and Def Leppard.

Sunday June 19

Blake Rainey & His Demons headlines blues “dunch” between 1 and 4 PM at The Earl. Hall & Oates play Chastain Park Amphitheatre.

Closing this weekend

Ray Harryhausen's interpretation of the Cyclops in THE 7TH VOYAGE OF SINBAD (1958)

Sun. June 19 is the last day to see the original images which inspired Ray Harryhausen‘s amazing stop-motion cyclops, centaurs and other mythological beasts in the special exhibition, MONSTERS, DEMONS AND WINGED BEASTS: COMPOSITE CREATURES IN THE ANCIENT WORLD at the Michael C. Carlos Museum at Emory University through June 19. The exhibition of monstrous art, drawn from the museum’s permanent collections, shows how the ancient Greeks were inspired by other Middle Eastern cultures in developing a vast repertoire of richly imagined creatures.

Kandace Christian as Margaret Mitchell. Photo courtesy of Melita Easters.

Find out about the headstrong, irrepressible early years and the human side of MRS. JOHN MARSH..THE WORLD KNEW HER AS MARGARET MITCHELL at the Ansley Park Playhouse. The well-reviewed hit one-woman show by Melita Easters and starring Kandace Christian has gotten some great reviews and even includes a rare perspective on her year at Smith College in Northampton, Massachusetts – the only time she ever left the Southeast. Friday and Saturday at 8 PM and Sunday at 2 PM.

Ongoing

MODERN BY DESIGN, the High‘s newest special exhibition opening on Sat. June 4, celebrates three key moments in modern design and also the Museum of Modern Art, New York‘s (MOMA) collection history. The works on loan from MOMA cover “Machine Art” (1934), “Good Design” (1950-55) and “Italy: The New Domestic Landscape” (1972), with the latter addressing modernism in the context of 1960s and ’70s counterculture.

The ever irreverent Dad’s Garage Theatre takes a stab at the ’80s horror genre of camp slasher films in SLAUGHTER CAMP about a homicidal maniac terrorizing a theatre camp. June 2-25 on the main stage.

Get a rare chance to view original manuscript pages from the last four chapters of ATLANTA’S BOOK: THE LOST GONE WITH THE WIND MANUSCRIPTat the Atlanta History Center. The new exhibit, which opens today and runs through Sept. 5, is part of a series of activities celebrating the 75th anniversary of the publication of the international bestseller and also includes foreign and first edition copies, the desk Margaret Mitchell used while writing it and select images.

Tune back in on Monday for This Week in Retro Atlanta. If you know of a cool vintage-inspired happening, send suggestions to ATLRetro@gmail.com.

This week’s Kool Kat isn’t a person but a garden which happens to belong to a Retro home, one of those 1920s neo-Tudor-revival manors on Fairview Road where we can only imagine the Gatsby-style Charleston parties that once went on. Vintage Atlanta got a massive break in the early 1990s when a lawsuit finally took away the threat of Freedom Parkway being extended through what’s now Freedom Park. It was too late to save all of the historic homes that were demolished in the 1960s and ‘70s due to the specter of the “Stone Mountain Freeway,” but the threat of overlooking a highway lowered home prices in the parts of Druid Hills next door to it enough to make a deal for homeowners Christine Cozzens, an English professor at Agnes Scott College, and Ron Calabrese, a biology professor at Emory University. A potential view of asphalt vanquished, they planted a garden so beautiful that it’s a work of art, one of several that complement historic homes in Druid Hills, Morningside and Buckhead on The Artful Garden Tour, Sat. May 14 from 10 AM to 5 PM, which benefits the High Museum of Art.

Druid Hills itself could be called a garden neighborhood, designed to around curving interconnecting parks by pioneering landscape architect Frederik Law Olmsted, who also designed Central Park in New York and the Chicago’s World Fair. Olmsted embraced living in nature, and so does this house. Cozzens grew up in a neo-Tudor revival house and loved the fact that former owners had never changed the floor plan, as has happened to many Druid Hills homes, but the one addition the couple did make was a conservatory. “The idea was that we needed some more living space but we wanted to be able to be outdoors year-round,” she says. The garden, designed by well-known Atlanta landscape architect Mary Palmer Dargan, of Dargan Landscape Architects, literally encircles the house so big windows in the front and back also provide breathtaking views.

When Cozzens and Calabrese moved in with her then-small three children, the only blooms endured for a few weeks in the spring, but now the house is surrounded by an eclectic variety of shrubs, native plants and perennials, allowing for year-round color without a lot of work to maintain the loveliness. The variety reminds Cozzens of Merrion Square and other places in Dublin which the Irish literature expert has visited while leading student trips. “It wouldn’t be miles of privet or boxwood,” she says. “It would be different leaf textures, different colors, different everything right next to each other—an incredible tapestry of leaves.”

Winding paths lead to other parts of the garden including a vegetable planting area with five beds, the Crepe Myrtle Parking Nook which makes for a breathtaking view from the kitchen window, and Emma’s Garden, named after the family’s daughter, which still contains the small unicorn statue the now-20-year-old loved at age 9. The house and garden took a tragic hit in 2009 when a giant tree fell, and the drought gave an extra hit, but the possibility to participate in this year’s Artful Garden Tour provided inspiration to revive the garden after that difficult time. It’s also been featured in the HGTV series GROUND BREAKERS.

Tickets for The Artful Garden Tour are available here.

SMILE JOHN: Includes HAPPY BIRTHDAY TO JOHN (1972), Dir: Jonas Mekas; FILM NO. 5 (SMILE) (1968), Dir: Yoko Ono; Fri. March 25, 7 PM; Plaza Theatre; $10 ($8 if attending 9 PM screening, too)

SKY, BED PEACE: Includes BED IN (1969), Dir: Yoko Ono and John Lennon; APOTHEOSIS (1970), Dir: Yoko Ono and John Lennon; Fri. March 25, 9 PM; Plaza Theatre; $10 ($8 if attending 7 PM screening, too)

Yoko Ono and John Lennon Montreal Bed-In, 1969 Photo by Ivor Sharp ©Yoko Ono.

Since he started Film Love, his provocative avant-garde film series, in 2003, Andy Ditzler has explored everything from the beat cinema subculture to American racism. But this Friday March 25 at the Plaza Theatre, audiences will be treated to filmmaking as love-making between two intensively creative people with the first two of five installments of YOKO ONO: reality dreams, which Film Love is co-presenting with Emory University and Atlanta Contemporary Art Center. John Lennon and Yoko Ono certainly must be one of the most famous couples of the 20th century, but these experimental films are rarely seen and aren’t available on video.

ATLRetro recently caught up with Andy to ask him about his own passion for avant-garde film, the origins of Film Love, what Frequent Small Meals are, and why you should spend Friday night getting to know John and Yoko better through some extraordinary movies.

From what I understand, you started Film Love in 2003 with a beat cinema series at Eyedrum. How did you become so interested in and passionate about experimental and avant-garde cinema?

In the early ‘90s, I was living in Boulder, where the great avant-garde filmmaker Stan Brakhage was teaching. I attended his screenings and classes. He showed the wildest films, things I had no idea how to process or even understand. Yet Brakhage had a way of talking about the films that made it clear that watching them was to be considered an adventure, that you could figure it out, and most of all how important it was that we gather to watch these films.

Andy Ditzler, founder & curator of Film Love.

Some of the films were so small, so obscure, that they almost disappeared off the screen. I was hooked. One day Stan showed THE END and THE MAN WHO INVENTED GOLD by Christopher Maclaine. Maclaine was a shadowy figure, long dead, and his films of Beat San Francisco in the ‘50s were completely haunting. I totally connected with them.

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