Jerry
@JacquesTourn
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Former programming director. Austin Film Society
Los Angeles-Texas
Joined January 2021
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Remembering when Truffaut died of brain cancer, and Godard reacted by saying it’s because he read bad books.
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Made for Television
I’ve become increasingly interested in the work that film directors have done in the television medium. Here are my top 15.
Please offer recommendations!
Streaming-era excluded.
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Of the 75 movies, Criterion Channel added this month, six were made before 1970. Old movie consumption is falling across the board.
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Remembering that time when the Vatican funded Rossellini’s Jesus movie and then refused to distribute it; not because it was heretical but because it was boring.
Terrence Malick's Biblical epic 'The Way of the Wind,' currently three hours long, is targeting a Cannes 2025 premiere and we have the exclusive first story details.
Read here:
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@WesleyLowery
A lot of Americans live under the false assumption they can freely immigrate to the country of their choice.
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Nostos: The Return (Piavoli, 1989)
Shooting the most famous epic in Western literature in 1.33:1 in 1989 is god-tier.
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Duelle (Rivette, 1976)
A movie so beautiful that I just wanted Rivette’s tortured plot mechanics to get out of the way sometimes.
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Bleak Teenagers
What an important genre-
U.S Go Home
A Brighter Summer Day
Mysterious Skin
A Nos Amours
Unknown Pleasures
The Last Picture Show
Out of the Blue
Portrait of a Young Girl at the End of the 60s in Brussels
August in the Water
Julien Donkey Boy
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Prénom Carmen (Godard, 1983)
Godard’s most intensely romantic film since Pierrot Le Fou, due to his partner Melville writing the story and dialogue. Winner at Venice, it’s unthinkable that a movie like this could win a major first prize in today’s festival environment.
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Top 24 of the 2000s, which I think was the best decade in cinema since the 1970s.
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This grossly exaggerates the amount of time it took technicians to adjust to the new technology, and completely ignores the fact that directors like Lubitsch, Renoir, Stetnberg, Lang, etc, needed no transition period at all.
Fun fact: the transition from silent cinema to sound arguably set back the visual language of cinema by at least a decade.
Because cameras were so loud and actors needed to speak near mics, shots became more static featuring less movement.
So shots like this became impossible.
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I conducted this interview 27 years ago. It’s cool people are still reading it.
Big fan of how this 1997 interview with Stan Brakhage ends. It’s true: Face/Off is the best summer Hollywood blockbuster of all time
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Il Messia (Roberto Rossellini, 1975)
New transfer that popped up 18 months ago. Subtitles in English y espanol. Probably the best it's ever looked:
Tag Gallagher's video essay on the film:
HAPPY EASTER EGGS!
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There’s finally a high definition transfer of Rossellini’s Acts of the Apostles on kg, which is probably going to be the cinema event of the year for me.
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Under 70 minutes, no tv movies:
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720p transfer of Oliveira's Acto da Primavera with English subtitles file available on my google share:
Happy Easter Eggs!
Acto da Primeravera (Oliveira, 1963)
Oliveira arrives in a remote Portuguese village to have its denizens reenact their 500-year-old Passion play text for his camera. And because he drives a Chevy, he gets there before Rossellini, before Eustache, before Straub/Huillet.
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The Last Command (Sternberg, 1928)
Herman J. Mankiewicz could write some title cards.
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The Inheritance (Ribeiro Candeias, 1970)
Shakespeare’s Hamlet updated to a late-19th century Brazilian rancho, without spoken dialogue, and shot like Jean Vigo would have shot a John Payne western for Republic Pictures.
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Scénario du film Passion (Godard, 1982)
Godard finished this 50-minute video essay before Passion, and I get the impression that the feature was the means and this was the end.
Also, Godard beat Kiarostami to the film-within-a-film-within-a film conceit.
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The Hips of J.W. (Monteiro, 1997)
Dedicated to Huillet/Straub and opened with a quote from a postcard that Serge Daney sent to Monteiro:
“I dreamt that John Wayne had a wonderful way of swinging his hips at the North Pole.”
JCM’s magnus opus.
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Watching Eustache’s entire restored filmography over the last three days has been one of the most rewarding viewing experiences of my life.
Thank you, Jean.
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Acto da Primeravera (Oliveira, 1963)
Oliveira arrives in a remote Portuguese village to have its denizens reenact their 500-year-old Passion play text for his camera. And because he drives a Chevy, he gets there before Rossellini, before Eustache, before Straub/Huillet.
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Wake of the Red Witch (Ludwig, 1948)
“I didn't know the big, dumb sonofabitch could act.” -John Ford after seeing Red River
“I didn't know the big, dumb sonofabitch could act underwater.” --John Ford after seeing Red Witch
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Graduate First (Pialat, 1979)
The king of all hangout movies (or at the very least co-consul with Monteiro’s The Last Dive).
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I’m blind and can’t see the Jacques Tourneur westerns on this list. Can somebody help me?
“When the legend becomes fact, print the legend.” IndieWire ranks the 100 best Westerns of all time:
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For Mikio Naruse’s birthday, check out
@sallitt
‘s extraordinary A Mikio Naruse Companion, which he has provided online here:
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@davidcinema
Mother Joan of the Angels (1961, dir. Jerzy Kawalerowicz)
An artifact film seemingly born naked out of the historical event it presents. Plus, demon-possessed nuns.
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Fort Apache (Ford, 1948)
The way Ford blackens Fonda’s eyeballs as he gives the order for massacre is…astonishing.
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Every Monteiro film restored to 4k. Home video event of the decade.
C’est avec émotion que nous accueillons au sein de notre collection Section Parallèle l’immense cinéaste portugais Joâo Cesar Monteiro. L’ensemble de son œuvre, restaurée en 2 et 4K, sera regroupé dans un coffret prévu pour la fin d’année.
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Haut bas fragile (Rivette, 1996)
Rivettes acting like they eat hotdogs and double-scoop ice cream cones every day.
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Everybody knows João César Monteiro is Taylor Swift for men.
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An American Romance (King Vidor, 1944)
This is King Vidor’s James Benning movie.
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This goes hand-in-hand with the fetishization of Late Style, where a director’s most recent films are by default the best.
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Blind Husbands (Stroheim, 1919)
My initial impression after watching the astonishing 2021 Austrian restoration is that by 1919 Stroheim had taken a quantum leapfrog forward off the back of Griffith.
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I picked two random nominated films from this year’s Independent Spirit Awards, and both were produced by billion dollar companies.
“Indie cinema is where I want to live and be. So to be in the middle of that is something that I take great pride in."
Ahead of today's Indie Spirit Awards, revisit our interview with Paul Mescal from last year's ceremony:
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Toni (Renoir, 1935)
Rewatching the 1930s Renoirs in their restored versions has been an eye-opener. Renoir was rarely traditionally beautiful, but he is here.
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I set a goal to watch every single Chabrol film in chronological order this calendar year. I gave up the chronological part awhile back, and today, after 40 movies, I’m abandoning the project all together because I’m exhausted.
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What is your all-time favorite trilogy?
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The Uncertainty Principle (de Oliveira, 2002)
94-year-old Manoel pulling off the hardest techno club scene of the 21st century.
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Two Rode Together (Ford, 1961)
The last time I saw this was some 25 years ago, and never has a movie grown greater for me upon a rewatch than this one. This is going to be The Searchers for a generation as of yet unborn.
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Rose Bernd (Staudte, 1957)
Staudte’s Agfacolor feels more proto-Fassbinder than Sirk’s Technicolor.
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Film criticism anecdotes suck unless they’re done by Tag Gallagher:
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Cleopatra (Bressane, 2007)
21st century old-school historical epic that takes the lessons of Rossellini, Straub/Huillet and Cottafavi to heart. Thanks to
@filipefurtado
for recommending this as my Bressane entry point.
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Home alone for the next three days, so I’m going to do 80s Godard in chronological order. I haven’t seen the features in more than 20 years, and I’m not sure I’ve seen any of the shorts.
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“Fassbinder had heard that I had trouble with Coppola about my film. We were looking down at all this Hollywood hustle and bustle. He put his arm around my shoulder and said: ‘I know you’re having serious trouble. If you want me to beat Coppola up, just show me where he is.’”
This is how America treats Francis Ford Coppola- one of its greatest filmmakers.
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Pirosmani (Shengelaia, 1969)
Stunning biopic of the Georgian peasant painter who made his village his own exhibition gallery, not by selling his paintings, but by bartering them for food and drink.
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Brakhage told me that Kenneth Anger put a curse on him. Not metaphorically. A literal curse.
Post a gif of a famous person you’ve met.
I met Arnold Schwarzenegger when I was a volunteer poll worker in high school— when he was running for CA Governor.
He smelled like expensive cologne, had a strong handshake, and remembered my name. A gentleman, in those respects
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The Shepherd of the Hills (Hathaway, 1941)
I’m surprised this shot of Betty Field disrobing In front of two male characters was allowed in 1941. Anybody with knowledge of the production code care to comment?
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46 replies and not a single mention of Monte Hellman.
so we all know about Scorsese, Coppola, Spielberg, De Palma and Lucas as the big guys of New Hollywood...but who do you think should be talked about more as New Hollywood figures or who are the unsung heroes of New Hollywood?
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Kasba (Kumar Shahani, 1991)
When you claim you’re a mix of Bresson, Rossellini, and Indian ornamentation, and then you pull it off.
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Flame of the Islands (Ludwig, 1955)
It's not blood, It's red.” -Godard
“It’s not red, it’s blood.” -Ludwig
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Les Ombres (Brisseau, 1982)
When mother suffers a mental breakdown, father and daughter are left to pick up the pieces. Astonishing made-for-tv chamber drama. Few directors are as clear-eyed about depression as Brisseau.
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L’amour fou (Rivette, 1969)
Now I understand that Out 1 was Rivette’s deserved vacation, because I don’t think any director has ever made himself more vulnerable than this.
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Equinox Flower (Ozu, 1958)
The question Ozu viewers have been asking themselves for 75 years.
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Char Adhyay (Shahani, 1997)
As
@sallitt
notes, this adaptation of the novel about revolutionaries in 1930s Bengal is one of the great film-the-text movies. All three of the features I’ve seen from Bresson’s former assistant director (he only made five) are extraordinary.
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False Faces (Sherman, 1932)
Two drunk blondes kicking a cop’s ass is why I watch pre-code cinema.
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Greed (Stroheim, 1924)
After waiting three decades for the miracle discovery of an original version, I finally succumbed.
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Just about halfway through 2024, so here are my favorite new watches of the year so far. Astruc has been my big discovery.
It had been 30 years since I saw Two Rode Together and Blind Husbands, so I’m including them.
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Paul Schrader presenting the restoration of “Four Nights of a Dreamer” by Robert Bresson, saying that the French filmmaker “wasn't good with color”
Paul Schrader presentando la restauración de “Cuatro noches de un soñador” de Robert Bresson, diciendo que el cineasta francés “no era bueno con el color”
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The Mouth Agape (Pialat, 1974)
The five-year gap between this, Pialat’s biggest box office bomb, and his next film is a black hole in cinema.
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The Night of Counting the Years (Shadi Abdel Salam, 1969)
Had no idea Rossellini produced this film while I was watching it and thinking, “omg this is the Egyptian Rossellini.”
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@baseballcrank
A small percentage of military personnel sees infantry combat. Learn how the military works.
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La Chiene (Renoir, 1931)
Finally got around to the amazing restoration of this. Renoir’s sound feature debut, and he’s already pulling off 90 second dolly shots full of focus racks of a man lathering his face. No freer director ever existed.
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It’s good that the S&S poll included so many 21st century films.
Imho, the most interesting 21st cinema has come out of Latin America.
The S&S poll does not contain a single Latin American film from any era.
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He chose Borzage’s I’ve Always Loved You. Every passing day, it gets harder to hate this guy.
Cult auteur Albert Serra selects five influential films – HERO
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@sadfilmcritic
Lee deliberately made Malcolm X as a genre mash-up. Critics at the time didn’t get it, and neither does film twitter.
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Maya Darpan (Shahani, 1972)
Called by Bresson “the slowest movie ever” during his James Bomd fanboy period, this is one of the five best debut features I’ve ever seen.
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50s Naruse
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She Wore a Yellow Ribbon (Ford, 1949)
Ben Johnson: best rider to ever sit a horse in a major motion picture.
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USA- Wagon Master
England- Gideon’s Day
France- What Price Glory?
Ireland- The Quiet Man
Wales- How Green Was My Valley
Polynesia- Donovan’s Reef
West Indies- The Long Voyage Home
Mongolia- 7 Women
Kenya- Mogambo
Navajo Nation- Fort Apache
My top 10 movie list - 1 Film each from 10 different Countries:
1) A Fugitive from the Past (1965) - Japan 🇯🇵
2) Stalker (1979) - Russia 🇷🇺
3) The Last Laugh (1924) - Germany 🇩🇪
4) La Notte (1961) - Italy 🇮🇹
5) Citizen Kane (1941) - USA 🇺🇸
6) Peeping Tom (1960) - United
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My daughter thought Gaspard from A Summer’s Tale was still 22 years old, so I showed her this screenshot and ruined her day.
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The Hurricane (Ford, 1937)
Everybody sees this as his Murnau swan song, but I think Ford saw Blood of a Poet and said to himself “I can make a better gay-as-fuck movie than Cocteau.”
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I FUCKING LOVE SITTING DOWN TO A NEW OLIVEIRA. I CANNOT BELIEVE HE’S DEAD!
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Happy Birthday, Jean-Pierre Leaud!
Reposting what I want to believe is the happiest frame of film in his life:
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Monte Hellman is the best director Corman ever mentored. Little-known fact: Corman funded Hellman’s theater troupe before the latter got into movies.
Among so many gifts, Roger Corman gave us these. Two of my favorites. RIP.
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Alice or the Last Escapade (Chabrol, 1977)
Chabrol channels Lewis Carroll, James Whale and Bunuel for his entry in the trapped-in-a-house subgenre. Sylvia Kristel gives an outstanding performance as the scream queen who refuses to scream.
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Le Cochon (Eustache/Barjol, 1970)
Remains without subtitles because the language is beyond our grasp.
As supreme an achievement as The Mother and the Whore.
“Neo-Lumières, elaborate non-fictions. Anti-cinema vérité that reveals ancestral facts.” -Eliecer Gaspar
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Zeroes and Ones (Ferrara)
What is the most beautiful film shot digitally from the last 10 years? Plz not the obvious fincher/mann, dig a little deeper. Extra points for descriptions on what you enjoyed about it, composition, colour, etc.
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My Little Loves (Eustache, 1974)
After making consecutive narrative feature masterpieces in back-to-back years, Eustache is finished with the format at age 36.
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De Grey, un Récit romanesque (Chabrol, 1976)
The second adaptation from Chabrol for the tv anthology “Nouvelles d’ Henry James.” Chabrol’s secondary career as television director of period pieces is stunning.
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A Idade da Terra (Rocha, 1980)
“Dost thou renounce Satan? and all his works? and all his pomps?”
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I’m taking a movie break and heading to Texas until the New Year, so here’s my top first views for 2023, my best year for movie watching since 1999.
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I’ve watched about 20 hours of Olympic surfing coverage this week. They’re surfing Serra’s wave from Pacifiction, and I’m obsessed.
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The editor cut out the part where Brakhage accuses Kenneth Anger of putting a curse on him.
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10 Americana films
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16 favorite first views of 2024
Here are the 18 best movies I’ve seen this year (no 2024 titles). Ranking is rough.
It’s been a terrific year. A number of these are now all time favs
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@selfstyledsiren
“You’re the Ursula Andress of political militancy.” 😂
Of course, Godard would later “apologize” with his very emotional tributes to Truffaut in 2X50 Years of French Cinema and Histoire(s) du Cinema.
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