Monk Comes Down the Mountain - Chen Kaige's new movie slips through town.

Monk Comes Down the Mountain - Chinese poster

I dont know whether anybody in the Fairfax of Murdoch press or indeed anywhere else has mentioned that Chen Kaige's new movie opened here on 3 July simultaneously with its opening throughout China. The film topped the Chinese box office chart last week but didn't make the top twenty here, which means it took less than the film at number 20, Walking the Camino, which grossed $67,000. So, not many have tracked it down in these parts. This would seem to be confirmed by the fact that for its second and no doubt last week at Event Cinemas on George St the film is playing once a day only at 10.00 am. Actually that's a good time to see a movie if your life or your weekends permit such diurnal activity.

Chen emerged in the mid-80s, one of the first band of graduates from the national film school after it reopened for business following Mao's Cultural Revolution. For a while that group of film-makers did in fact bring forth their own cultural revolution and way back in the late eighties Andrew Pike at Ronin Films brought in quite a bundle of them for a most exciting season that went round Australia, all the way to Bruce Simpson's Classic Cinema in Stanley Street East Brisbane. Bruce even arranged for the Queensland Govenment of all people to bring out Tian Zhuanzhuang to introduce his legendary and banned for awhile Horse Thief (1986). The 35mm copies of some of the most important Chinese films ever made are now lodged with the NFSA in Canberra. Chen had three films among the bundle - Yellow Earth (1984), The Big Parade (1986)  and King of the Children (1987). They were all in their ways small masterpieces and bespoke a director unafraid of taking on the shibboleths of Chinese society in its early post-Mao period. Much of Chen's early life and career were chronicled when the script of King of the Children was published in English accompanied by a long and illuminating essay by critic Tony Rayns.

I dont want to be too dogmatic but I think Chen's career peaked early, when he won the Cannes Palme D'Or and got an Oscar nomination for his Farewell My Concubine (1993). He slowly slipped from high regard, a career arc that ended near rock bottom with an attempted so called erotic thriller made in English, Killing Me Softly (2002). Since then its been a struggle and certainly after retreating back to China there's been no attempt by him to pick up the early strands and take any sort of oppositional position.

But curiosity compels you to see anything he produces so, in its dying days, a trip to Monk Comes Down the Mountain,described as "a Chinese comedy-fantasy-adventure" has to be organised asap.

Bologna Diary wrap up

Dariush Mehrjui's film was included in the Iranian films of the 60s

Bologna’s Cinema Ritrovato has now finished but once again proved it is a combination of the Cannes of Restoration and public discussion and scholarship into it, and the Mecca, the holy place where cinephiles meet and worship. On this blog,there are reports on a lot of the events of the eight days if you start here and then scroll down or click on the stories at the side. There are also links to Neil McGlone’s blog. However, the cream of the crop belongs, as always, to David Bordwell and Kristin Thompson who, like front row forwards in a tight game put in the hard yards where it matters. (Sorry, State of Origin Rugby League was on last night.) The extensive and detailed reporting is a pleasure to read. Just start at the top.   David thinks Bologna has grown too big, too extensive, too wildly fecund. How do you choose between the Iranian new wave of the 60s and unseen Ingrid Bergmans of the 30s. Ehsan Khoshbakhat, the curator of the series, was thrilled to pack out one of the Cineteca's cinemas when the Bergman retro was on just across the foyer. But, should you have to? Can Bologna ever again slow down to a point where you might just see everything you want to see. I think it’s gone past that moment. 

Another screen was added this year and it was in that space, doubling as an auditorium for discussion, that I saw Mizoguchi’s late color epic Shin Heike Monogatari/Thee Taira Clan Saga (Japan, 1955) in a beautiful digital restoration that put to shame much of the rest of the selection of Japanese colour films from the 50s. Those rest were screened in new 35mm prints. Some confused the yellowing copies for nostalgic recreations of the past. Others realised that the decision to make new prints and do no restoration work to produce a digital copy that restores the filmmakers’ visions of the day was a hapless misjudgment.

A Touch of Zen

The one Chinese film on show, the first I’ve seen at Bologna in four years’ attendance, was King Hu’s Xia Nu/A Touch of Zen (Taiwan, 1971) and the comparison with the Japanese films was stark. This was a beautiful job of work, the three hours of balletic mayhem and historical intrigue, restored to its prime and as easy to follow as I’ve always found it!  Actually in three viewings I dont think I’ve ever managed to work out just how it is we get to the final fight scene with the General and the monk, the main characters from most of the rest of the story having been thrust aside, but scene by scene King Hu’s mise-en-scene is superb and it carries most along for its three hours. Most except the steady trickle of walkouts who ignored what was implored of them in the somewhat lengthy intro - "wait for the climax and you will experience a touch of zen!"

So, what else was seen that hasn't been reported - restorations of Charles Vidor's Cover Girl (1944), Julien Duvivier's La Belle Equipe (1936), George Fitzmaurice's The Man and the Moment (1929, restored from the Vitagraph rolls found in the Milan Cineteca). Then there were three films by Renato Castellani, Un Colpo di Pistola (1942, his debut film based on Pushkin), Sotto il sole di Roma (1948, touted as a major neo-realist discovery and a precursor to Pasolini's Accattone  (1961), but sadly neither) and I Sogni di Cassetto (1957, a Jacques Becker type domestic comedy redeemed  and enlivened by the presence of the young and scrumptious Lea Massari). Others saw more of and in Castellani's career than I.

Finally I should just say that once again nothing from Australia was included in the program. Oh well. I do however have one suggestion for Bologna for next year which I shall pass along. It should include in its newish documentary strand Gillian Armstrong’new film about the Oscar-winning designer Orry-Kelly, a flamboyant Aussie who made the big time in Hollywood. For a reminder of how good the film is, please have a read of Barrie Pattison’s very enthusiastic review of one of the Sydney Film Festival screenings. Over to whomever to manage an Italian premiere that would fill the room.

NFSA News -

Arts Minister George Brandis has announced that Michael Loebenstein will continue as the Chief Executive Officer of the National Film and Sound Archive (NFSA) for another three years. “As CEO, he has raised the profile of the NFSA nationally and internationally, and developed a number of important collaborations. Mr Loebenstein has provided high quality leadership and delivered a wide ranging modernisation and restructure of the institution. His reappointment will ensure that the current renewal of the organisation is seen through to completion.” It been busy, busy all round for Michael who also just became a first time father. As well the NFSA has announced it will be launching a new NFSA e-Newsletter. The  newsletter will be  a regular dispatch to NFSA constituents, supporters and followers to inform them about agency-wide activities. I think it’s a different newsletter to the one mentioned on the front page of the NFSA website and have been advised that to get on to the new list you need to email enquiries@nfsa.gov.au and they will add your name.

George Brandis has also announced that Ms Gabrielle Trainor has been reappointed as Chair of the NFSA board. “During her term as chair since 2012, Ms Trainor has displayed excellent strategic, management and policy expertise. As well as overseeing comprehensive business reform at the NFSA, Ms Trainor is leading the organisation towards an enhanced profile, especially online. Her reappointment will deliver ongoing stability for the organisation in a period of significant change.”

Mr Wayne Denning has been appointed Deputy Chair to the NFSA board. “He has been an active and engaged member of the board since 2011 and has a strong knowledge of the NFSA’s strategic priorities and operational requirements. His appointment as deputy chair will provide continuity for the board.”

A quick (cinephile) visit to Milan’s Pinacotheca Brera

A quick cinephile visit to Milan’s Pinacotheca Brera involves making some judicious links. There is first, probably the best known painting in the collection, Mantegna’s     “Body of Christ”. Situated in a darkened area at the end of Gallery Six, the painting is fixed to wall low down, somewhere between waist and knee level. It’s behind glass. The effect is intended, I assume, to emphasise the foreshortening that Mantegna has attempted to convey by his choice of angle. Whether he captures it, masters it is problematic but the effect is still stunning and the choice was revolutionary in its day and beyond. That beyond stretches all the way to Pier Paolo Pasolini’s Accattone  which frames the Accattone (Franco Citti) character in ways which reference the painting. I looked all over the net for a picture to compare but came up blank.

Mantegna's The Death of Christ

The one Caravaggio in the Brera, a masterly work, “Christ’s Dinner at Emaus”, doesn’t link to anything more than the movies devoted to the painter over quite some time.

La Fiumana

But then there is Giuseppe Pellizza da Volpedo’s “La Fiumana”, the painting which sits behind, and is slowly revealed during,  the credits of Bernardo Bertolucci’s Novecento (1976). Bertolucci’s film, deemed by some to be a grandiose potboiler whipped up to support the Italian Communist Party in what was thought might be the Party’s forthcoming crucial first electoral victory in Western Europe. It was not to be and the film was sent around the world shredded, something like the CP’s hopes. Only when later released on DVD in a version that seems to have slipped past the censors notwithstanding some quite daring sexual elements did the full four hour show, which many do now deem one of Bertolucci’s great works, get back before the public.

Finally a surprise. I first saw the paintings of Vittore Carpaccio at Venice’s Accademia Gallery maybe a decade or so ago. Painting around the beginning of the sixteenth century, he was a master in representing the lives of his fellow Venetians. In Venice today, as well as the paintings in the Accademia there is one building where nine of Carpaccio’s works can still be seen. Forgive a quick dip into Wikipedia at this point: From 1502-1507 Carpaccio executed another notable series of panels for the primarily immigrant Scuola di San Giorgio degli Schiavoni, (Schiavoni meaning "Slavs" in Venetian dialect). Unlike the slightly old-fashioned use of a continuous narrative sequence found in the St. Ursula series, wherein the main characters appear multiple times within each canvas, each work in the Schiavoni series concentrates on a single episode in the lives of the Dalmatian's three patron Saints: St. Jerome, St. George and St. Trifon. These works are thought of as "orientalist" because they offer evidence of a new fascination with the Levant: a distinctly middle-eastern looking landscape takes an increasing role in the images as the backdrop to the religious scenes. Moreover, several of the scenes deal directly with cross-cultural issues, such as translation and conversion.

At the Brera there are two more Carpaccios and one of them contains a surprise. The figure of a bald white haired and bearded man on the left side of the picture is a dead ringer for John Flaus! See for yourself insofar as a tiny reproduction allows. Believe me, in the flesh it’s an uncanny resemblance. Flaus however is just not that old, I think.

Vittore Carpaccio's The Presentation of the Virgin. John Flaus at left

Now, to complete the circle. One other thing is clear, whomever did the design work on MGM’s Kiss Me Kate (George Sidney, USA, 1953) had clearly seen and henceforth drew much inspiration from Carpaccio’s Venetian paintings. The film has been restored and new 3-D copies are now circulating including one that filled up the small cinemas at the Cineteca. You can get it on DVD and Blu-ray as well to see just how good Hollywood was at borrowing from the masters.

The AFTRS news and more

We have it now from George Brandis. He has finally pulled his finger out and made some decisions. Here are the highlights:

Mr Neil Peplow has been appointed as the Chief Executive Officer for the Australian Film, Television and Radio School (AFTRS). and Mr Michael Loebenstein will continue as the Chief Executive Officer of the National Film and Sound Archive (NFSA) for another three years.

Mr Neil Peplow has been appointed as the new CEO of AFTRS. Mr Peplow is currently chief operating officer of the Met Film School in London and Berlin, and was the director of screen at AFTRS from 2011 to 2014. With his strong skills and experience in screen educational institutions, as well as proven screen production expertise, Mr Peplow will be an invaluable addition to the team at AFTRS.

Ms Ann Browne, current Director Corporate Services and Chief Financial Officer of AFTRS, will act in the position of CEO until Mr Peplow starts in his role.

Mr Loebenstein was appointed as CEO of the NFSA in 2011. As CEO, he has raised the profile of the NFSA nationally and internationally, and developed a number of important collaborations. Mr Loebenstein has provided high quality leadership and delivered a wide ranging modernisation and restructure of the institution. His reappointment will ensure that the current renewal of the organisation is seen through to completion. .

I would like to acknowledge the outstanding work of Sandra Levy who completed her eight-year term as CEO of AFTRS in June 2015. Ms Levy oversaw significant developments during her tenure and has left the school in a very strong position, which I am sure will be enhanced by the international experience Mr Peplow brings.

AFTRS and After Sandra Levy number 8 or so

Bob Ellis has this thing on his blog whereby he notes the time that has elapsed since the last act of political terrorism lead to  a death. Here’s how he puts it each day: It is a hundred years and one hundred and ninety-nine days since an Australian was killed by terrorist attack in Australia. When, at last, another death occurs in this way it will be noted here.

Taking this simple but useful model, I’ll make the following assertions: It is at least sixty days since the AFTRS Council sent the name of the School’s proposed new CEO to the Minister for the Arts for him to submit to the Governor-General for appointment. It is at least 14 days since the term of the previous CEO Sandra Levy expired.

George Brandis, every day and in every way, revealed further as an arrogant buffoon, has much to answer for and no one is asking him any questions as to why he has behaved in this manner.

I shall keep you informed on a daily basis from now until George gives in and does what the AFTRS legislation requires him to do.

Bologna Diary Eight - Leo McCarey and Secret Men's Business

I am told by a reliable source that if you are a member of a certain informal secret society, and to date at least I am not, you can access a copy of a version of Leo McCarey's Good Sam (USA, 1948). This version is 20 minutes longer, uses alternate takes and has some significant differences to the 115 minute version on show in Bologna as part of a very popular McCarey retrospective that offered the intriguing prospects of parallel views of themes and subjects from the director's early and later career. Thus Part Time Wife (1930) was set up to play into The Awful Truth (1937). It's a neat idea but not one that can be taken that far. And it's not one that makes much sense beyond massive crowd pleasing when you program three McCarey supervised Laurel and Hardy shorts in Bologna's Piazza Maggiore with a Timothy Brock led whip-smart live orchestra and eight thousand people turn up.

But back to Good Sam.  Whatever may be hidden away in that 20 minute longer version that Paramount refuses to allow out, the movie on show really does resonate. Neighbours, friends, customers, the poor, the rich, the halt and the lame prey upon Sam (Gary Cooper) and his wife (Ann Sheridan) and the comedy zings. Just when you think it's going to turn in Sam's favour, McCarey hits him with another improbable zinger, right down to the woman who takes him back to her hotel room and mugs him. Maybe a masterpiece and certainly a movie which when combined with the earlier Woman on the Run (Norman Foster, USA, 1950) makes you think that there's a case to be made to put on an Ann Sheridan retro somewhere....

The 115 minute version of Good Sam  is available on DVD from the US.