A cinema of patience

Recently, spawned by my increasing disdain for Criterion releases of "important classic and contemporary films on dvd," I find it necessary to propagate information regarding the many film works forgotten or neglected by so many. While Criterion is more than happy to commit the Beastie Boys anthology to their presses, it is unfathomable that they skip over some truly landmark and avant garde filmmaking.

Sergei Eisenstein changed the face of film. His theory of montage and juxtaposition of images laid the groundwork for filmmakers since. His theorizing laid the groundwork to make film-making and directing an artform via manipulation and control over the process. However, aside from this Eisensteinian hegemony, there is a legacy of rebels who have rejected this style and approach.

André Bazin's theory of film stands diametrically opposed to Eisenstein. Stressing the continuity of film, Bazin posited the use of deep focus, wide framing, and long takes caused the director to relinquish his/her prominence to allow the viewer's attention and interpretation to take over. Somewhere between Eisenstein and Bazin, film-makers have found a niche worthy of their exploits.

The most noteworthy proponent of this innovative style is the Russian director Andrei Tarkovsky. Tarkovsky's entire corpus of work is considered notable and in due course, he is by some deemed among the greatest directors in film history. (He, for one, does have Criterion releases, however it is instrumental that I start by referencing his work to make my point.) His films often used extremely long camera takes along with particularly novel uses of color and black and white imagery (-it is a digression, but he viewed color film as a "commercial gimmick" and arbitrary if not a distraction when it wasn't used with particular intent). Film, for Tarkovsky, is an interface with an imaginary world wherein he aimed at taking advantage of the markings of spatio-temporalality. As a medium by which we can manipulate a representation of the world, he utilized long takes to convey time passing and panning (often in 360 degrees) to display spatial relations.

One of Tarkovsky's contemporary's from Hungary, Miklós Jancsó, also brought a great deal to cinema in his work of the 1970s. I would submit Szerelmem, Elektra ("Electra, my love") as exemplar of this film style. From 1974, it is an impressionistic film about Electra, daughter of Agammemnon, of Greek mythos, the subject of Sophoclean/Euripidean Greek tragedies. Its heavy stylization brings the choreography to such prominence, the film could pass as a bizarre ballet. Not only are the actors choreographed, but elaborate camera movements are as well (tracking and craning galore) in which he used only 12 shots to complete the 70 minute feature.

Alexander Sokurov received a great amount of critical acclaim in 2002 with Russian Ark a 90 minute feature filmed with a single uncut steadicam take. To some this could be an easy feat with one actor and a stationary camera, but it might be noted that the film ventures through 33 rooms of the Winter Palace in Saint Petersburg and has a cast of over 2,000.

In addition to Sokurov, the films of the extant Hungarian director Béla Tarr are quintessential works of this variety. His mature style began with the release of Kárhozat ("Damnation") in 1988 and he is continuing the tradition. Inside the Facets Video release of his dvds there is a booklet entitled Bela Tarr: a cinema of patience, so it is clear that his work isn't for everyone. If you have the patience, you'll be rewarded by some amazing feats of film. Some of his shots clock in at over ten minutes and purportedly can take over a month to perfect. Considered to be his masterwork, Sátántangó, runs 450 minutes (7 1/2 hours) and took him 7 years to realize. He's mastered the mood of a harrowing despondence, in spite of which brought him some critical acclaim with Werckmeister harmóniák ("Werckmeister Harmonies") released in 2000. His films aren't the most accessible and I wouldn't recommend him for the feel good flick of the Fall, so take note this is for one who fancies himself/herself a true cinéaste.

Anyhow, Tarr has a new film completed last year and supposedly released worldwide this year, but being the recluse I am, I haven't been able to track down The man from London.