4th (1966): “An Exceptionally Personalized Point of View” Show Notes

Table of Contents: Description, Corrections/Clarifications, Housekeeping, General, Main Slate, Ephemera, Recurring Directors, Recurring Countries, One-Time Directors, Debuts, Festivals/Oscar Nominees, Events/Shorts, Discussions By Length, Specifications

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Description
The fourth episode of the Catalyst and Witness podcast, devoted to exploring the films and format of the New York Film Festival, hosted by Ryan Swen and Dan Molloy. This covers the fourth edition of the festival in 1966, and features special guest Evan Morgan, critic and co-host of the Snakes & Funerals podcast.

0:00-12:09 – Opening
12:10-51:17 – Part One [Loves of a Blonde to Au hasard Balthazar]
51:18-1:33:20 – Part Two [Les Créatures to The Cheat]
1:33:21-2:16:45 – Part Three [The Shameless Old Lady to Shadows of Forgotten Ancestors]
2:16:46-3:08:35 – Part Four [Pearls of the Deep to The War Is Over]
3:08:36-3:15:54 – Closing

Corrections/Clarifications

  • N/A

Housekeeping

  • Hosted by Dan Molloy & Ryan Swen
  • Special Guest Evan Morgan (Snakes & Funerals)
  • Conceived and Edited by Ryan Swen
  • Recorded in Seattle and Portland on MacBook GarageBand, Edited in Audacity
  • Podcast photograph from Yi Yi, Logo designed by Dan Molloy
  • Poster by Roy Lichtenstein
  • Recorded May 6, 2018
  • Released May 20, 2018
  • Music (in order of appearance):
    • Loves of a Blonde (opening night)
    • Simon of the Desert (another favorite)
    • Au hasard Balthazar (favorite of the first section)
    • The Burmese Harp (favorite of the second section)
    • Shadows of Forgotten Ancestors (favorite of the third section)
    • Pierrot le fou (favorite of the fourth section)
    • The War Is Over (closing night)

General

  • Selection Committee: Richard Roud (program director), Amos Vogel (festival director), Arthur Knight, Andrew Sarris
  • Location: Philharmonic Hall
  • Prices: 2 for terrace, 2.50 or 3 for orchestra, 3.50 or 4 for loge, with 1 added to all seats for opening night; subtract 0.50 for Do You Keep a Lion at Home? (children’s matinee screening)
  • Films seen for the podcast:
    • Ryan
      • Seen before podcast watching period: The War Game, Au hasard Balthazar, Meet Marlon Brando, The Cheat, Masculin féminin, Pierrot le fou
      • Seen for the podcast: All available; all rewatched except The War Game
      • Favorite films: Pierrot le fou, The War Game, Simon of the Desert, Au hasard Balthazar, Shadows of Forgotten Ancestors, The War Is Over
      • Least favorite films: Almost a Man, Pearls of the Deep
    • Dan
      • Seen before podcast watching period: Loves of a Blonde, Au hasard Balthazar, Masculin féminin, La Chienne*
      • Seen for the podcast: All available except The Shameless Old Lady; none rewatched
      • Favorite films: Pierrot le fou, Shadows of Forgotten Ancestors, Au hasard Balthazar, Masculin féminin, The War Is Over
      • Least favorite films: Almost a Man, La commare secca, The Hunt, Pearls of the Deep
      • Catch-up films: Les Vampires (3rd)
    • Evan
      • Seen before podcast watching period: Au hasard Balthazar, The Burmese Harp, Masculin féminin, Simon of the Desert, La Chienne*, Pierrot le fou
      • Seen for the podcast: All available except Hunger, Accattone, La commare secca, Pearls of the Deep; none rewatched
      • Favorite films: Shadows of Forgotten Ancestors, Masculin féminin, The War Is Over
      • Least favorite films: Almost a Man, Intimate Lighting
  • Discoveries of the festival: Shadows of Forgotten Ancestors, The War Is Over, The Shameless Old Lady, Troublemakers, The Round-Up, Hunger
  • Unavailable films: The Eavesdropper, Do You Keep a Lion at Home?, Notes for a Film on Jazz, A Woman of Affairs

Main Slate

Opening Night: Loves of a Blonde [Lásky jedné plavovlásky] (1965, Milos Forman)
September 12, 9:00
Released 1966
The War Game (1965, Peter Watkins)
Also: Wholly Communion (1965, Peter Whitehead)
September 13, 6:30
Released 1967/Released 1967
Hunger [Sult] (1966, Henning Carlsen)
September 13, 9:30
Released 1968
Retrospective: La commare secca (1962, Bernardo Bertolucci)
September 14, 6:30
Released 1982
The Eavesdropper [El ojo de la cerradura] (1966, Leopoldo Torre Nilsson)
September 14, 9:30
Never released
Au hasard Balthazar (1966, Robert Bresson)
September 15, 6:30
Released 1970
Les Créatures (1966, Agnès Varda)
September 15, 9:30
Released 1969
The Hawks and the Sparrows [Uccellacci e uccellini] (1966, Pier Paolo Pasolini)
September 16, 6:30
Released 1967
Retrospective: Accattone (1961, Pier Paolo Pasolini)
September 16, 9:30
Released 1968
Children’s Show: Do You Keep a Lion at Home? [Máte doma lva?] (1963, Pavel Hobl)
September 17, 11:00
Released 1966
“The Scene”
Meet Marlon Brando (1966, Albert & David Maysles)
Notes for a Film on Jazz [Appunti per un film sul jazz] (1965, Gianni Amico)
Troublemakers (1966, Norman Fruchter & Robert Machover)
September 17, 1:30
Never released/Never released/Never released
Retrospective: The Burmese Harp [Biruma no tategoto] (1956, Kon Ichikawa)
September 17, 4:00
Released 1967
Retrospective: A Woman of Affairs (1928, Clarence Brown)
Also: The Cheat (1915, Cecil B. DeMille)
September 17, 6:30
Released 1928/Released 1919
The Shameless Old Lady [La Vieille dame indigne] (1965, René Allio)
September 17, 9:30
Released 1966
Intimate Lighting [Intimní osvětlení] (1965, Ivan Passer)
Also: Three [Tri] (1965, Aleksandar Petrovic)
September 18, 2:00
Released 1969/Released 1967
The Round-Up [Szegénylegények] (1966, Miklós Jancsó)
September 18, 6:30
Released 1969
Masculin féminin [Masculin féminin: 15 faits précis] (1966, Jean-Luc Godard)
September 18, 9:30
Released 1966
The Hunt [La caza] (1966, Carlos Saura)
September 19, 6:30
Released 1967
Shadows of Forgotten Ancestors [Tini zabutykh predkiv] (1965, Sergei Parajanov)
September 19, 9:30
Never released
Pearls of the Deep [Perličky na dně] (1966, Omnibus: Jiri Menzel, Jan Nemec, Evald Schorm, Vera Chytilová, Jaromil Jires)
September 20, 6:30
Never released
Simon of the Desert [Simón del desierto] (1965, Luis Buñuel)
Also: The Man Who Had His Hair Cut Short [De man die zijn haar kort liet knippen] (1966, André Delvaux)
September 20, 9:30
Released 1969/Released 1974
Canceled: La Chienne (1931, Jean Renoir)
September 21, 6:30
Released 1976
Pierrot le fou (1965, Jean-Luc Godard)
September 21, 9:30
Released 1969
Almost a Man [Un uomo a metà] (1966, Vittorio De Seta)
September 22, 6:30
Never released
“Closing Night”: The War Is Over [La Guerre est Finie] (1966, Alain Resnais)
September 18, 8:40
Released 1967

Ephemera

  • “The Independent Cinema”: 27 lectures, interviews, discussions with filmmakers and critics, screenings, covering various aspects of independent filmmaking in US coordinated by John Brockman at the Library and Museum of Performing Arts in Lincoln Center, all free

Recurring Directors
Key: films in this iteration excluding shorts/omnibus/retrospectives, films in this iteration including, films in the festival up to this point excluding, films up to this point including, number of gala spots (when applicable), number of festivals with more than one film shown (when applicable); † indicates their last appearance, fraction in parentheses indicates number of features shown from oeuvre, features released in the eligible timeframe, features in oeuvre

  • Jean-Luc Godard: 2/2/5/8/1/3
  • Pier Paolo Pasolini: 1/2/1/3/0/1
  • Milos Forman: 1/1/2/2/1
  • Alain Resnais: 1/1/2/2/1
  • Luis Buñuel: 1/1/4/4/1/1
  • Robert Bresson: 1/1/2/2
  • René Allio: 1/1/1/1
  • Miklós Jancsó: 1/1/1/1
  • Sergei Paradjanov: 1/1/1/1
  • Ivan Passer: 1/1/1/1
  • Aleksandar Petrovic: 1/1/1/1
  • Carlos Saura: 1/1/1/1
  • Leopoldo Torre Nilsson: 1/1/1/1 †(2/13/28)
  • Agnès Varda: 1/1/1/1
  • Peter Watkins: 1/1/1/1
  • Kon Ichikawa: 0/1/2/3/0/1
  • Bernardo Bertolucci: 0/1/1/2
  • Gianni Amico: 0/1/0/1
  • Vera Chytilová: 0/1/0/1
  • Cecil B. DeMille: 0/1/0/1
  • Albert & David Maysles: 0/1/0/1
  • Jirí Menzel: 0/1/0/1
  • Jan Nemec: 0/1/0/1
  • Peter Whitehead: 0/1/0/1

Recurring Countries
Key: films in this iteration excluding shorts/retrospectives, films in this iteration including, films in the festival up to this point excluding, films up to this point including, number of gala spots (when applicable)

  • France: 6/6/22/25/3
  • Czechoslovakia: 4/4/6/7
  • Italy: 2/5/10/14
  • UK: 1/2/4/5
  • Argentina: 1/1/3/3
  • Mexico: 1/1/2/2/1
  • USSR: 1/1/2/2/1
  • Denmark: 1/1/2/2
  • Hungary: 1/1/2/2
  • Belgium: 1/1/1/1
  • Spain: 1/1/1/1
  • Yugoslavia: 1/1/1/1
  • USA: 0/4/7/17
  • Japan: 0/1/8/9/1

One-Time Directors

  • Clarence Brown (retrospective)
  • Henning Carlsen
  • Vittorio De Seta
  • André Delvaux
  • Norman Fruchter & Robert Machover
  • Pavel Hobl
  • Jaromil Jires (omnibus)
  • Evald Schorm (omnibus)

Feature Debuts

  • René Allio
  • Bernardo Bertolucci (retrospective)
  • André Delvaux (?)
  • Norman Fruchter & Robert Machover
  • Pavel Hobl
  • Ivan Passer
  • Pier Paolo Pasolini (retrospective)
  • Peter Whitehead (short)*

Festivals

  • Cannes
    • Hunger (Best Actor)
    • The Hawks and the Sparrows (Special Mention for Totò)
    • The Round-Up
  • Berlin
    • The Hunt (Silver Bear for Best Director)
    • Masculin féminin (Silver Bear for Best Actor, Youth Film Award, Interfilm Honorable Mention)
  • Venice
    • The Burmese Harp (1956, Special Mention)
    • Simon of the Desert (1965, Special Jury Prize)
    • Loves of a Blonde (1965)
    • Pierrot le fou (1965)
    • Au hasard Balthazar (OCIC)
    • Almost a Man (Volpi Cup for Best Actor)
    • The War Game (Special Prize, San Giorgio, OCIC Honorable Mention)
    • The Shameless Old Lady (Best First Film Prize) (?)
    • Les Créatures
  • Other
    • The Eavesdropper (Mar del Plata)
    • Intimate Lighting (San Sebastian)
    • Three (Karlovy Vary)
    • Pearls of the Deep (Locarno)
    • Shadows of Forgotten Ancestors (Mar del Plata, Grand Prix)
    • The Man Who Had His Hair Cut Short (Pesaro)
  • N/A
    • Wholly Communion
    • La commare secca
    • Accattone
    • Do You Keep a Lion at Home?
    • Meet Marlon Brando
    • Notes for a Film on Jazz
    • Troublemakers
    • A Woman of Affairs
    • The Cheat
    • The War Is Over

Oscar Nominees

  • The War Game: Best Documentary Feature (won)
  • The Burmese Harp: 1956 Best Foreign Film
  • Loves of a Blonde: Best Foreign Film
  • Three: Best Foreign Film
  • The War Is Over: 1967 Best Original Screenplay

Events/Shorts

events
shorts

Discussions By Length (Approximate)

  • 11:59 The War Is Over (2:56:36-3:08:35)
  • 10:35 Pearls of the Deep [Omnibus] (2:17:42-2:28:17)
  • 9:55 “The Scene” (1:12:23-1:22:18)
  • 8:51 Pierrot le fou (2:41:45-2:50:36)
  • 8:32 Les Créatures (52:07-1:00:39)
  • 8:09 The War Game (20:23-28:32)
  • 7:17 Loves of a Blonde (13:05-20:22)
  • 7:10 Shadows of Forgotten Ancestors (2:09:35-2:16:45)
  • 7:05 Masculin féminin (1:57:52-2:04:57)
  • 6:51 Au hasard Balthazar (44:26-51:17)
  • 6:50 The Round-Up (1:51:01-1:57:51)
  • 6:32 The Man Who Had His Hair Cut Short (2:34:36-2:41:08)
  • 6:17 Simon of the Desert (2:28:18-2:34:35)
  • 6:15 The Shameless Old Lady [Two People] (1:34:17-1:40:32)
  • 5:58 Almost a Man (2:50:37-2:56:35)
  • 5:54 Hunger [Two People] (33:23-39:17)
  • 5:39 The Hawks and the Sparrows (1:00:40-1:06:19)
  • 5:32 The Cheat (1:27:48-1:33:20)
  • 5:31 Three (1:45:29-1:51:00)
  • 4:55 Intimate Lighting (1:40:33-1:45:28)
  • 4:52 Accattone [Two People] (1:06:20-1:11:12)
  • 4:50 The Burmese Harp(1:22:19-1:27:09)
  • 4:49 Wholly Communion (28:33-33:22)
  • 4:36 The Hunt (2:04:58-2:09:34)
  • 3:46 La commare secca [Two People] (39:18-43:04)
  • 1:20 The Eavesdropper [Unavailable] (43:05-44:25)
  • 1:09 Do You Keep a Lion at Home? [Unavailable] (1:11:13-1:12:22)
  • 0:37 A Woman of Affairs [Unavailable] (1:27:10-1:27:47)
  • 0:35 La Chienne [Canceled] (2:41:09-2:41:44)

Specifications

  • Milos Forman, Loves of a Blonde, 1965, 35 mm, black-and-white, sound, 88 minutes, 1.37:1, Czechoslovakia.
  • Peter Watkins, The War Game, 1965, 16 mm, black-and-white, sound, 48 minutes, 1.37:1, UK.
  • Peter Whitehead, Wholly Communion, 1965, 16 mm, black-and-white, sound, 33 minutes, 1.37:1, UK.
  • Henning Carlsen, Hunger, 1966, 35 mm, black-and-white, sound, 112 minutes, 1.66:1, Denmark.
  • Bernardo Bertolucci, La commare secca, 1962, 35 mm, black-and-white, sound, 93 minutes, 1.66:1, Italy.
  • Leopoldo Torre Nilsson, The Eavesdropper, 1966, 35 mm, black-and-white, sound, 102 minutes, 1.37:1, Argentina. (?)
  • Robert Bresson, Au hasard Balthazar, 1966, 35 mm, black-and-white, sound, 95 minutes, 1.66:1, France.
  • Agnès Varda, Les Créatures, 1966, 35 mm, black-and-white, sound, 92 minutes, 2.35:1, France.
  • Pier Paolo Pasolini, The Hawks and the Sparrows, 1966, 35 mm, black-and-white, sound, 89 minutes, 1.85:1, Italy.
  • Pier Paolo Pasolini, Accattone, 1961, 35 mm, black-and-white, sound, 117 minutes, 1.37:1, Italy.
  • Pavel Hobl, Do You Keep a Lion at Home?, 1964, 35 mm, color and black-and-white, sound, 81 minutes, 1.37:1, Czechoslovakia. (?)
  • Albert & David Maysles, Meet Marlon Brando, 1966, 16 mm, black-and-white, sound, 28 minutes, 1.37:1, USA.
  • Gianni Amico, Notes for a Film on Jazz, 1965, 16 mm, black-and-white, sound, 35 minutes, 1.37:1, Italy.
  • Norman Fruchter & Robert Machover, Troublemakers, 1966, 16 mm, black-and-white, sound, 54 minutes, 1.37:1, USA.
  • Kon Ichikawa, The Burmese Harp, 1956, 35 mm, black-and-white, sound, 116 minutes, 1.37:1, Japan.
  • Clarence Brown, A Woman of Affairs, 1928, 35 mm, black-and-white, silent, 92 minutes, 1.33:1, USA.
  • Cecil B. DeMille, The Cheat, 1915, 35 mm, black-and-white, silent, 59 minutes, 1.33:1, USA.
  • René Allio, The Shameless Old Lady, 1965, 35 mm, black-and-white, sound, 94 minutes, 1.66:1, France.
  • Ivan Passer, Intimate Lighting, 1965, 35 mm, black-and-white, sound, 71 minutes, 1.37:1, Czechoslovakia.
  • Aleksandar Petrovic, Three, 1965, 35 mm, black-and-white, sound, 80 minutes, 1.37:1, Yugoslavia.
  • Miklós Jancsó, The Round-Up, 1966, 35 mm, black-and-white, sound, 95 minutes, 2.35:1, Hungary.
  • Jean-Luc Godard, Masculin féminin, 1966, 35 mm, black-and-white, sound, 103 minutes, 1.37:1, France.
  • Carlos Saura, The Hunt, 1966, 35 mm, black-and-white, sound, 91 minutes, 1.66:1, Spain.
  • Sergei Parajanov, Shadows of Forgotten Ancestors, 1965, 35 mm, color, sound, 97 minutes, 1.37:1, USSR.
  • Jiri Menzel/Jan Nemec/Evald Schorm/Vera Chytilová/Jaromil Jires, Pearls of the Deep, 1966, 35 mm, black-and-white and color, sound, 105 minutes, 1.37:1, Czechoslovakia.
  • Luis Buñuel, Simon of the Desert, 1965, 35 mm, black-and-white, sound, 45 minutes, 1.37:1, Mexico.
  • André Delvaux, The Man Who Had His Hair Cut Short, 1966, 35 mm, black-and-white, sound, 94 minutes, 1.66:1, Belgium.
  • Jean-Luc Godard, Pierrot le fou, 1965, 35 mm, color, sound, 110 minutes, 2.35:1, France.
  • Vittorio De Seta, Almost a Man, 1966, 35 mm, black-and-white, sound, 93 minutes, 1.85:1, Italy.
  • Alain Resnais, The War Is Over, 1966, 35 mm, black-and-white, sound, 121 minutes, 1.66:1, France.

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