PHOTOGRAPHER MOVIEMAKERS
Legendary people photographer Bruce Weber’s new film is an ode to his dog True. Here are five other great films made by famous photographers.
Emak-Bakia (1926) Man Ray's QOrge0us Silent short is a surrealist masterpiece. Made up of a series of unrelated images of flowers. nails, legs, fish and a little girl Wllll garisth painted eyelids. it was a major influence on Maya Deren and DaVid Lynch.
Patty Smith: Still Moving (1978) One of Robert Mapplethorpe's very few forays into film. Shot in black and white. it’s a correlation of still and moViiig images of Smith rolling around in a huge Curtain under the influence of MDMA. A documentary of personal experience and discovery that is as disturbing and inspired as anything Mapplethorpe ever did.
PuII My Daisy (1958) Robert Frank was the beat poets' favourite photographer and this joyous piece of flummery sets out the beat agenda through the sweet little story of Milo (Larry Rivers). a railroad brakeman, his painter wife (Delphine Seyrig) and their beat poet mates (Allen Ginsberg, Gregory Corso). Written and narrated by Jack Kerouac. this is a major work. daddyo.
Bully (2001) Larry Clark is now better known as a controversial filmmaker but once upon a time he was an incredibly well respected photographer. Bully. based on a true story of murder amongst young friends. is easin the most fascinating. eprOitative and brilliant of his films.
Le Retour (1945) Henri Cartier Bresson’s documentary about prisoners of war is so chocker with powerful images it Virtually set a template for every POW film that was to follow. from Cold/t2 to Merry Christmas Mr Lawrence. (Paul Date)
I A Letter to True. Fi/mhouse I. 623 8030. Thu 79 Aug 7. 75pm.
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56 THE LIST FESTIVAL MAGAZINE ‘.
GOING UNDERGROUND, GOING UNDERGROUND . . . Tony McKibbin on why the Hungarian film CONTROL is part of a very honourable cinematic lineage.
There‘s something so fascinating about the notion of a subterranean world of the underground that it's surprising more films haven't tapped into its potential. Nimrod Antal‘s new film Control does exactly that — setting itself exclusively in the Budapest metro. It may lead us to think back on other films that have used this too rarely utilised location for either fact or fiction. Indeed the documentary Dark Days went so far down it dropped a level or two below the New York subway as it ferreted out the lives of the deeply destitute, with director Marc Singer living amongst them. In Extreme Measures Hugh Grant finds himself investigating underground living as a doctor who discovers that poverty-stricken people are being used for medical
experiments.
Not that despair would be the only reason for living underground. ln Luc Besson’s chic Parisian film Subway, for some it’s a lifestyle choice, as people invent for themselves various personalities in escaping from the ‘real‘ world. In Jean-Jacques Beineix‘s Diva, there's a great chase sequence using the metro. Other films have used the metro as a place that‘s ethically problematic: maybe most especially Michael Haneke‘s Code Unknown, which has one long scene in which Juliette Binoche gets hassled by some young thugs with onlookers not sure if and when to get involved.
If New York and Paris have been used on a few occasions, what about surely the world’s other famous underground: London? Some would say it‘s never been better served than in Gary Sherman‘s cult classic. Death Line, where cannibals have lived out for generations in the tunnel since its construction in 1892. Any location that offers itself up for use as social critique, conspiracy thriller, cool romanticism, a great chase
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