FEBRUARY 11 UN HOMME ET UNE FEMME (A MAN AND A WOMAN, FRANCE, 1966) “Never will I make a picture with more than a six-man crew. I don’t want all those people around my stage. I want to be alone with my actors. For A Man and A Woman, I paid 11 people just to stay home and do nothing, because the unions demanded it, and those I had left I kept hidden so as not to interfere. With too many people around, it becomes cinema, not life. Before each scene I would take each actor aside and tell him what he was supposed to say, but I wouldn’t tell him what the other person would say. Thus, it was like a real conver- sation. If we needed a second take, I would change the dialogue com- pletely.” Claude Lelouch - Direc- tor FEBRUARY 18 THE FILMS OF ARTHUR LIPSETT This filmmaker should convince you that Canadian film is neither boring, docile, nor polite. A totally uncompromising filmmaker, Lipsett sometimes had a hard time selling his films to the upper man- agement of the National Film Board. This man isa positive pillar of Canadian Culture the likes of which have been equalled perhaps by Glenn Gould, Norman McLaren, Stompin’ Tom Connors, Norman Bethune, or Mary Margaret O’ Hara whom every Canadian should should know about in order to un- derstand their culture more fully. ECCAD Film Society : ms MARCH 3 WEAR YOUR SHORTS TO SHORTS NIGHT Some fine short films to welcome spring with. (There is a spring in Vancouver, right?) Films include: BLOOD OF A_ POET (FRANCE, 1930), a collage of intensely personal poetic symbols which attempts to evoke the sacri- gags ficial nature of art, directed by poetand playwrightJean Cocteau. LA JETEE (FRANCE, 1962) a science fiction short composed al- most entirely of still photographs directed by Chris Marker. FILM (FRANCE, 1965) written by Samuel Beckett and starring Buster Keaton, an actor whom Beckett j admired tremendously. It’s said § that Becketthadhiminmindwhen § he wrote Waiting For Godot. UN CHIEN ANDALOU (FRANCE,1928) provides a seemingly incoherent stream of brutal, erotic images from the un- conscious which director Luis Bunuel called “a despairing, pas- sionate call to murder.” MARCH 10 FEBRUARY 25 THIRD MAN (ENGLAND, 1949, B&W) “Orson (Welles) suddenly turned up one morning just as we had set up our cameras in front.of the fa- mous sewers. He told me that he felt very ill, had just gotten over a bout of influenza, and could not possibly play the role...I entreated him, in any case, just to stay and play the scene we had prepared, where he is chased along the sewers...Reluctantly, he agreed. “Those sewers will give me pneu- monia!” he grumbled, as he de- scended the iron steps. We shot the scene. Then Orson asked us to shoot itagain, although I was satis- fied with the first “take.” He talked with the cameraman, made some suggestions, and did the chase again. Thenagain. The upshot was that Orson did that scene 10 times, became enthusiastic about the story - and stayed in Vienna to finish the picture.” Carol Reed - Director (1959, FRANCE) Director Alain Resnais’ first fea- MARCH 17 SPEND AN EVENING WITH VANCOUVER FILMMAKER OLIVER HOCKENHULL AS HE PRESENTS HIS WORK AND FIELDS QUESTIONS FROM THE AUDIENCE. Planet of the Arts Volume 7 Issue5 page 16 MARCH 31 HEAD (STARRING THE MONKEES,1968) The Monkees show ended in ’68. Micky, Davy, Mike, and Peter re- ally had nothing to lose by debunk- ing their image in this major-com- pany pseudo-underground plotless musical. Jack Nicholson, who hadn’t even been in Easy Rider yet, co-wrote and produced with new- comer Bob Rafelson. It’s spotty, but there are some inspired mo- ments, some great photography, really odd guest stars, and some of the Monkees’ best songs. It’s all very anti-establishment and drug- tinged. The irreverent group sprin- kle dandruff on Victor Mature’s head in one of the best scenes. Watch for Annete Funicello as Minnie, Frank Zappa (with a bull), Teri Garr, and Tor Johnson. Old film clips feature Reagan, Lugosi, Ann Miller, and Charles Laughton. It did nothing to help the Monkees’ quickly sinking career but is a gem to watch anyway. HIROSHIMA, MON AMOUR (@ ture film examines the relationship # between time and memory in the context of a terrible atrocity. With a brilliant script by the novelist Marguerite Duras (who was to be- come an important director herself in the seventies), the film concerns an affair between a French actress working in Hiroshima and a Japa- nese architect, in the course of which both recall their memories of the past war in Asia and Europe. Resnais maintains the counterpoint between present and past by con- tinuously shifting the narrative modes from objective to subjective and, in several extraordinary se- quences, by combining dramatic footage of the couple making love with documentary footage of the aftermath of the Hiroshima blast. Hiroshima, Mon Amour was a great commercial success and conferred worldwide prestige on the New Wave by winning the International Critics’ Prize at Cannes in 1/59. MARCH 24 LAST YEAR AT MIRIENBAD (FRANCE, 1961) Written by the modernist French novelist Alain Robbe-Grillet, a man, X, meets a woman, A, at a baroque chateau which seems to be a resort for the very rich and which may or may not be Mirienbad (a spa in Czechoslovakia). He claims to have met her, or a woman like her, with a man, M, who was per- haps her husband, “last year at Mirienbad.” She claims the con- trary, and their debate, which is a debate about the nature of reality itself, recurs endlessly through the film as labyrinthine images past, present, and future seem to merge into the same visual continuum of highly stylized tracking shots and frozen geometric compositions. COUWSU PICTURES sen BE: monkees and Victor Mature! and Sonny Liston! and Annette.Funicello! ang Carol Doda | ua “A movie fora ae audience!” a Suggested for GENERAL audiences, APRIL 7 UGETSU MONOGATARI (1953, JAPAN) This film, which won the Silver Lion at Venice in 1953, is set dur- ing the feudal wars of the sixteenth century. Two ambitious young men leave their wives to seek wealth and glory. In the course of a long and picaresque pilgrimage, they both come to realize that nothing they have gained on their journey is worth the love of the women they have cast away. Simultaneously realistic, allegorical, and supernatu- ral, Ugetsu is the most stylistically perfect of all Kenji Mizoguchi’s works, and many critics regard itas the greatest Japanese film ever made. mae VIASCOP's pm APRIL 14 AN EVENING WITH ANNE MARIE FLEMING. LOCAL FILM-MAKER WILL SHOW HER WORK AND TALK WITH THE AUDIENCE. DON’T MISS IT! APRIL 21 A BOUT DE SOUFFLE (BREATHLESS,1959, FRANCE) “A Bout de Souffle was the sort of film where anything goes: that was what it was all about. Anything people did could be integrated in the film. As a matter of fact, this was my Starting point. I said to myself: a certain kind of cinema has just drawn to a close, maybe ended, so let’s add the finishing touch, let’s show that anything goes. What I wanted was to take a con- ventional story and remake, but differently, everything the cinema had done. I also wanted to give the feeling that the techniques of filmmaking had just been discov- ered or experienced for the first time...If we used a hand-held cam- era, it was simply for speed. I couldn’t afford to use the unusual equipment, which would’ve added 3 weeks to the schedule. Although I felt ashamed of it at one time, I do like A Bout de Souffle very much, but now I see where it belongs - along with Alice in Wonderland.” - Jean-Luc Godard The ECCAD Film Society is run by Terrence Dawes, Justin Miles, Andrew Robulack, and Mohammad Salemy. It is not supported in any way, shape, or form by the ECCAD Student Society. If you believe that the Film Society is worthy of finan- cial support from the Student So- ciety, write a letter to them to that effect and drop it in their office in the cafeteria. P.S- anyone wish- ing to become involved in the Film Society should contact the Planet of the Arts. FEBRUARY 11 UNHOMME ET UNE FEMME (A MAN AND A WOMAN, FRANCE, 196) “Never will I make a picture with ‘more than a six-man crew. I don't ‘want all those people around my stage. I want to be alone with my actors. For A Man and A Woman, I paid 11 people just to stay home and do nothing, because the unions ‘demanded it, and those I had lft 1 kept hidden so as not to interfere. With too many people around, it becomes cinema, not life. Before cach scene I would take each actor aside and tell him what he was supposed to say, but I wouldn’ttell hhim what the other person would say. Thus itwas likeareal conver- sation. Ifwe needed asecond take, would change the dialogue com pletely.” Claude Lelouch - Direc tor FEBRUARY 18 THE FILMS OF ARTHUR LIPSETT This filmmaker should convince ‘you that Canadian film is neither boring, docile,nor polite. A totally uncompromising filmmaker, Lipsett sometimes had a hard time selling his films to the upper man- agement of the National Film Board. Thismanisa positive pillar of Canadian Culture the likes of which have been equalled perhaps byGlenn Gould, Norman McLaren, ‘Stompin’ Tom Connors, Norman Bethune,or Mary Margaret O’Hara whom every Canadian should should know about in order to un- derstand their culture more fully FEBRUARY 25 ‘THIRDMAN (ENGLAND, 1949, B&W) “Orson (Welles) suddenly turned ‘up one morning just as we had set ‘up our cameras in front of the fa- ‘mous sewers. He told me that he felt very ill, had just gotten over a bout of influenza, and could not possibly play the roe..1 entreated him, in any case, just to stay and play the scene we had prepared, where he is chased along the sewers...Reluctantly, he agreed. “Those sewers will give me pneu- ‘monia!” he grumbled, as he de- scended the iron steps. We shot the scene. Then Orson asked us 10 shoot itagain, although Iwas satis- fied withthe first “take.” He talked with the cameraman, made some suggestions, and did the chase ‘again, Thenagain. The upshotwas that Orson did that scene 10 times, became enthusiasticaboutthe story ~ and stayed in Vienna o finish the picture.” Carol Reed - Director MARCH 3 WEAR YOUR SHORTS TO SHORTS NIGHT Some fine short films to welcome spring with. (Theres a spring in Vancouver right?) Films include: BLOOD OF A POET (FRANCE, 1930), a collage of imensely personal poetic symbols ‘which attempts to evoke the sacri ficial nature of ar, directed by poetandplaywrightJeanCocteau. LA JETBE (FRANCE, 1962) a science fiction short composed al- most entirely of still photographs directed by Chris Marker. FILM (FRANCE, 1965) written by Samuel Beckettand starring Buster Keaton, an actor whom Beckett admired uemendously. Is said thatBeckett had him in mind when hhe wrote Waiting For Godot. UN CHIEN ANDALOU (FRANCE,1928) provides @ seemingly incoherent stream of brut, erotic images from the un- conscious which director Luis ‘Bunuel called “a despairing, pas sionate call to murder.” MARCH 10. HIROSHIMA, MON AMOUR (1959, FRANCE) Director Alain Resnais’ first fea ture film examines the relationship between time and memory in the context ofa terrible atrocity. With a brilliant script by the novelist Marguerite Duras (who was 10 be- ‘come an important director herself inthe seventies), the film concerns an affair between a French actress working in Hiroshima and a Japa- nese architect, in the course of which both recall their memories of the past war in Asia and Europe. Resnais maintains the counterpoint between present and past by con- tinuously shifting the narrative ‘modes from objectiveto subjective and, in several extraordinary se- ‘quences, by combining dramatic footage of the couple making love with documentary footage of the aftermath of the Hiroshima blast. Hiroshima, Mon Amour wasagreat commercial success and conferred ‘worldwide prestige on the New ‘Wave by winning the International Cities” Prize at Cannes in 1159. ECCAD Film Society Schedule w MARCH 17 SPEND AN EVENING WITH AND FIELDS QUESTIONS FROM THE AUDIENCE MARCH 24 LAST YEAR AT MIRIENBAD (FRANCE, 1961) Writven by the modernist French novelist Alain Robbe-Grillet, man, X, meets a woman, A, at a baroque.chatcau which seems tbe resort for the very richand which may or may not be Mirienbad (a spain Czechoslovakia). Heclai to have met her, or a woman like her, with a man, M, who was per haps her husband, “last year at Mirienbad.” She claims the con- trary, and their debate, which is a debate about the nature of reality itself, recurs endlessly through the film as labyrinthine images past, present, and future seem to merge imo the same visual continuum of highly stylized tracking shots and frozen geometric compositions. Planet of the Arts Volume 7 ssue5 page 16 MARCH 31 HEAD (STARRIN' MONKEES,1968) ‘The Monkees show ended in "68. Micky, Davy, Mike, and Peter re- ally had nothing wo lose by debunk- ing their image in this major-com- ‘pany pseudo-underground plotless ‘musical, Jack Nicholson, who hhadn’teven been in Easy Rider yet, ‘co-wrote and produced with new- ‘comer Bob Rafelson. t's spotty, but there are some inspired mo- ‘ments, some great photography, really odd guest stars, and some of the Monkees’ best songs. It’s all very anti-establishment and drug. tinged. The irreverent group sprin- kkle dandruff on. Victor Mature’ hhead in one of the best scenes Watch for Annete Funicello as Minnie, Frank Zappa (with a bull) fri Garr, and Tor Johnson, Old film clips feature Reagan, Lugosi, ‘Ann Miller,andCharles Laughton, did nothing tohelp the Monkees quickly sinking career but isa gem 10 watch anyway. Sony sto! Furicell wg Care Dada APRIL7 UGETSU MONOGATARI (1953, JAPAN) This film, which won the Silver Lion at Venice in 1953, is st dur- ing the feudal wars ofthe sixteenth century. Twoambitiousyoungmen leave their wives to seek wealth ‘and glory. In the course of a long ‘and picaresque pilgrimage, they both come to realize that nothing they have gainedon theirjoumey is ‘worth the love of the women they have cast away. Simultaneously realistic, allegorical, and superna: ral, Ugetsu is the most stylistically perfect of all Kenji Mizoguchi’s ‘works, and many criticsregarditas, the greatest Japanese film ever made, APRIL 14 AN EVENING WITH ANNE. MARIE FLEMING. LOCAL FILM-MAKER WILL SHOW HER WORK ANDTALK WITH ‘THE AUDIENCE. DON’T MISS i! APRIL 21 A BOUT DE (BREATHL FRANCE) “A Bout de Souffle was the sort of film where anything goes: what it was all about. Anything people did could be integrated in. | the film, As a matter of fact, this was my starting point. 1 said to myself: a certain kind of cinema hhas just drawn to a close, maybe ended, so let's add the finishing touch, et'sshow that anything goes. What I wanted was 10 take a con- | ventional story and remake, but differently, everything the cinema had done. Ialso wanted to give the | feeling that the techniques of filmmaking had just been discov- cred or experienced for the first time.,.If we used a hand-held cam- cera, it was simply for speed. I couldn't afford to use the unustal ‘equipment, which would've added 3 weeks tothe schedule. Although elt ashamed of tat one time, Ido like A Bout de Souffle very much, but now I see where it belongs along with Alice in Wonderland.” Jean-Luc Godard The ECCAD Film Society is run by Terrence Dawes, Justin Miles, Andrew Robulack, and Mohammad Salemy. It is not supported in any way, shape, or form by the ECCAD Student Society. If you believe that the Film Society is worthy of finan- I support from the Student So- ciety, writea letter ro them to that effect and drop itin thei office in the cafeteria. P.S- anyone wish- ing to become involved in the lm Society should contact the Planer of the Arts.