8th (1970): “The Deluge” 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 eighth 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 eighth edition of the festival in 1970.

0:00-17:13 – Opening
17:14-1:19:40 – Part One [The Wild Child to Othon]
1:19:41-2:19:33 – Part Two [Le Boucher to Je t’aime, je t’aime]
2:19:34-2:53:46 – Part Three [The Inheritors to The Garden of Delights]
2:53:47-3:56:36 – Part Four [The Conformist to Tristana]
3:56:37-4:04:55 – Closing

Corrections/Clarifications

  • N/A

Housekeeping

  • Hosted by Dan Molloy & Ryan Swen
  • Conceived and Edited by Ryan Swen
  • Recorded in Los Angeles on Zoom H4N and Sennheiser Microphones, Edited in Audacity
  • Podcast photograph from Yi Yi, Logo designed by Dan Molloy
  • Poster by James Rosenquist
  • Recorded September 24, 2018
  • Released September 30, 2018
  • Music (in order of appearance):
    • The Wild Child (opening night)
    • Le Boucher (another favorite)
    • Othon (favorite of the first section)
    • Je t’aime, je t’aime (favorite of the second section)
    • La Musica (favorite of the third section)
    • The Conformist (favorite of the fourth section)
    • Tristana (closing night)

General

  • Selection Committee: Richard Roud (program director), Arthur Knight, Andrew Sarris, Susan Sontag, Henri Langlois (retrospective consultant)
  • Location: Philharmonic Hall and Alice Tully Hall
  • Prices: 2.50 for terraces, 3.50 for orchestra, 4.50 for loge; ATH 2.50 and 3.50 for orchestra, 4.50 for loge; add 1.50 for opening night
  • Films seen for the podcast:
    • Ryan
      • Seen before podcast watching period: Five Easy Pieces
      • Seen for the podcast: All available; Five Easy Pieces rewatched
      • Favorite films: Othon, Je t’aime, je t’aime, Zorns Lemma, Le Boucher, The Crucified Lovers, The Conformist, Days and Nights in the Forest, The Wild Child
      • Least favorite films: Harry Munter, Comrades
      • Catch-Up Corner: One Fine Day (7th)
      • Seen after the podcast: Zorns Lemma rewatched (9th)
    • Dan
      • Seen before podcast watching period: The Wild Child, Five Easy Pieces, Le Boucher, The Crucified Lovers, The Conformist, Tristana
      • Seen for the podcast: All available except Une simple histoire, Even Dwarfs Started Small, The Spider’s Stratagem, The Cannibals; The Wild Child, Five Easy Pieces rewatched
      • Favorite films: Je t’aime, je t’aime, Othon, Wind From the East, Zorns Lemma, Days and Nights in the Forest
      • Least favorite films: Harry Munter, Comrades, The Scavengers
  • Discoveries of the festival: Days and Nights in the Forest, Wind From the East, Le Boucher
  • Unavailable films: Double Pisces, Scorpio Rising; Mistreatment; Street Scenes 1970; The Inheritors; From Lumiere to Langlois: The French Silent Cinema; Langlois; Praise Marx and Pass the Ammunition

Main Slate

Opening Night: The Wild Child [L’Enfant sauvage] (1970, François Truffaut)
September 10, 9:00
Released 1970
Wind From the East [Le Vent d’est] (1970, Groupe Dziga Vertov and Jean-Luc Godard and Jean-Pierre Gorin)
September 11, 6:30 {Alice Tully Hall}
Never released
Five Easy Pieces (1970, Bob Rafelson)
September 11, 9:30
Released 1970
Zorns Lemma (1970, Hollis Frampton)
And: Double Pisces, Scorpio Rising (1970, Dick Fontaine)
September 12, 4:00
Never released/Never released
Othon [Les Yeux ne veulent pas en tout temps se fermer, ou Peut-être qu’un jour Rome se permettra de choisir à son tour] (1970, Jean-Marie Straub & Danièle Huillet)
September 12, 6:30 {Alice Tully Hall}
Released 1971
Le Boucher [The Butcher] (1970, Claude Chabrol)
September 12, 9:30
Released 1971
Comrades [Camarades] (1970, Marin Karmitz)
September 13, 1:30
Never released
Retrospective: The Crucified Lovers [Chikamatsu Monogatari] (1954, Kenji Mizoguchi)
September 13, 4:00 {Alice Tully Hall}
Released 1971
Mistreatment [Misshandlingen] (1969, Lars Lennart Forsberg)
September 13, 6:30 {Alice Tully Hall}
Never released
Kes (1969, Ken Loach)
September 13, 9:30
Released 1970
Street Scenes 1970 (1970, Martin Scorsese)
September 14, 6:30
Never released
Je t’aime, je t’aime [I Love You, I Love You] (1968, Alain Resnais)
September 14, 9:30
Released 1972
The Inheritors [Os Herdeiros] (1970, Carlos Diegues)
September 15, 6:30
Never released
La Musica [The Music] (1967, Marguerite Duras & Paul Seban)
September 15, 9:30
Never released
Une simple histoire [A Simple Story] (1959, Marcel Hanoun)
September 16, 6:30
Never released
Even Dwarfs Started Small [Auch Zwerge haben klein angefangen] (1970, Werner Herzog)
September 16, 9:30
Released 1971
The Spider’s Stratagem [Strategia del ragno] (1970, Bernardo Bertolucci)
September 17, 6:30
Released 1973
Harry Munter (1969, Kjell Grede)
September 17, 9:30
Never released
The Garden of Delights [El jardín de las delicias] (1970, Carlos Saura)
September 18, 6:30
Released 1971
The Conformist [Il conformista] (1970, Bernardo Bertolucci)
September 18, 9:30
Released 1971
From Lumiere to Langlois: The French Silent Cinema (1970, Henri Langlois)
Also: Langlois (1970, Elia Hershon & Roberto Guerra)
September 19, 2:00
Never released/Never released
Days and Nights in the Forest [Aranyēra Dinarātri] (1970, Satyajit Ray)
September 19, 6:30
Released 1973
The Cannibals [I cannibali] (1970, Liliana Cavani)
September 19, 9:30
Never released
Praise Marx and Pass the Ammunition (1970, Maurice Hatton)
September 20, 4:00
Never released
The Scavengers [I recuperanti] (1970, Ermanno Olmi)
September 20, 6:30
Never released
“Closing Night”: Tristana (1970, Luis Buñuel)
September 20, 9:30
Released 1970

Ephemera

  • “American Voices”: 12 programs of films by and about minority groups in the America of today, shown at the Library and Museum of Performing Arts in Lincoln Center, all free
  • “Cinema and Color: 12 programs of films, shown at the Library and Museum of Performing Arts in Lincoln Center, all free
  • 1927-1933: Medium Rare”: 10 programs of films, shown at Alice Tully Hall, all 2.25

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

  • Bernardo Bertolucci: 2/2/4/5/0/1
  • Jean-Luc Godard: 1/1/12/16/2/5
  • Luis Buñuel: 1/1/5/5/1/2
  • Alain Resnais: 1/1/4/4/2
  • Satyajit Ray: 1/1/3/3/1
  • Jean-Marie Straub & Danièle Huillet: 1/1/3/3
  • Claude Chabrol: 1/1/2/2
  • Marguerite Duras: 1/1/2/2
  • Werner Herzog: 1/1/2/2
  • Ermanno Olmi: 1/1/3/3
  • Carlos Saura: 1/1/2/2
  • François Truffaut: 1/1/1/1/1
  • Carlos Diegues: 1/1/1/1
  • Jean-Pierre Gorin: 1/1/1/1
  • Kjell Grede: 1/1/2/2†(2/8/8)
  • Ken Loach: 1/1/1/1
  • Bob Rafelson: 1/1/1/1
  • Martin Scorsese: 1/1/1/1
  • Kenji Mizoguchi: 0/1/1/2†(2/0/93)

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: 9/9/50/61/5
  • Italy: 5/5/21/25/1
  • USA: 3/3/19/30/1
  • UK: 3/3/11/13/1
  • Sweden: 2/2/10/10
  • Spain: 2/2/3/3/1
  • West Germany: 1/1/7/7
  • India: 1/1/3/3/1
  • Brazil: 1/1/2/2
  • Japan: 0/1/10/12/1

One-Time Directors

  • Liliana Cavani
  • Dick Fontaine
  • Lars Lennart Forsberg
  • Hollis Frampton
  • Groupe Dziga Vertov
  • Marcel Hanoun
  • Maurice Hatton
  • Elia Hershon & Roberto Guerra
  • Marin Karmitz
  • Henri Langlois
  • Paul Seban

Feature Debuts

  • Marguerite Duras
  • Lars Lennart Forsberg
  • Hollis Frampton
  • Jean-Pierre Gorin
  • Marcel Hanoun
  • Maurice Hatton
  • Elia Hershon & Roberto Guerra
  • Henri Langlois
  • Paul Seban

Festivals

  • NYFF World Premiere
    • Five Easy Pieces
    • Street Scenes 1970
    • Zorns Lemma
  • Cannes
    • Je t’aime, je t’aime (1968; also San Sebastian)
    • Harry Munter
    • Comrades (Critics’ Week)
    • Kes (Critics’ Week; also Karlov Vary, Crystal Globe)
    • Mistreatment (Critics’ Week)
    • The Cannibals (Directors’ Fortnight)
    • Even Dwarfs Started Small (Directors’ Fortnight)
    • The Inheritors (Directors’ Fortnight)
    • Othon (Directors’ Fortnight)
    • Wind From the East (Directors’ Fortnight)
    • Tristana (Out of Competition)
  • Berlin
    • The Conformist
    • Days and Nights in the Forest
    • The Wild Child (?)
  • Other
    • Le Boucher (San Sebastian, Best Actress)
  • N/A
    • The Crucified Lovers
    • Double Pisces, Scorpio Rising
    • From Lumiere to Langlois: The French Silent Cinema
    • The Garden of Delights
    • Langlois
    • La Musica
    • Praise Marx and Pass the Ammunition
    • The Scavengers
    • Une simple histoire
    • The Spider’s Stratagem

Oscar Nominees

  • Five Easy Pieces: Best Picture, Best Actor, Best Supporting Actress, Best Original Screenplay
  • The Conformist: Best Adapted Screenplay
  • Tristana: Best Foreign Film

Events/Shorts

events
shorts

Discussions By Length (Approximate)

  • 16:38 The Conformist (2:54:44-3:11:22)
  • 14:59 Days and Nights in the Forest (3:14:13-3:29:12)
  • 14:17 Othon (1:05:23-1:19:40)
  • 13:35 Je t’aime, je t’aime (2:05:58-2:19:33)
  • 13:05 The Wild Child (18:11-31:16)
  • 12:16 Le Boucher (1:20:41-1:32:57)
  • 11:16 Wind From the East (31:17-42:33)
  • 11:09 Zorns Lemma (53:06-1:04:15)
  • 11:08 The Crucified Lovers (1:39:59-1:51:07)
  • 10:48 Kes (1:52:32-2:03:20)
  • 10:31 Five Easy Pieces (42:34-53:05)
  • 9:24 Tristana (3:47:12-3:56:36)
  • 9:03 The Cannibals [One Person] (3:29:13-3:38:16)
  • 7:57 La Musica (2:21:40-2:29:37)
  • 7:00 Comrades (1:32:58-1:39:58)
  • 6:52 The Scavengers (3:40:19-3:47:11)
  • 5:58 Harry Munter (2:44:22-2:50:20)
  • 5:28 Even Dwarfs Started Small [One Person] (2:33:25-2:38:53)
  • 5:27 The Spider’s Stratagem [One Person] (2:38:54-2:44:21)
  • 3:46 Une simple histoire [One Person] (2:29:38-2:33:24)
  • 3:25 The Garden of Delights (2:50:21-2:53:46)
  • 2:49 From Lumiere to Langlois: The French Silent Cinema [Unavailable] and Langlois [Unavailable] (3:11:23-3:14:12)
  • 2:36 Street Scenes 1970 [Unavailable] (2:03:21-2:05:57)
  • 2:01 Praise Marx and Pass the Ammunition [Unavailable] (3:38:17-3:40:18)
  • 1:23 Mistreatment [Unavailable] (1:51:08-1:52:31)
  • 1:06 The Inheritors [Unavailable] (2:20:33-2:21:39)
  • 1:06 Double Pisces, Scorpio Rising [Unavailable] (1:04:16-1:05:22)

Specifications

  • François Truffaut, L’Enfant sauvage, 1970, 35 mm, black-and-white, sound, 83 minutes, 1.66:1, France.
  • Groupe Dziga Vertov and Jean-Luc Godard and Jean-Pierre Gorin, Le Vent d’est, 1970, 16 mm, color, sound, 95 minutes, 1.33:1, France.
  • Bob Rafelson, Five Easy Pieces, 1970, 35 mm, color, sound, 98 minutes, 1.85:1, USA.
  • Hollis Frampton, Zorns Lemma, 1970, 16 mm, color, sound, 60 minutes, 1.33:1, USA.
  • Dick Fontaine, Double Pisces, Scorpio Rising, 1970, 16 mm, color, sound, 58 minutes, 1.33:1, UK.
  • Jean-Marie Straub & Danièle Huillet, Les Yeux ne veulent pas en tout temps se fermer, ou Peut-être qu’un jour Rome se permettra de choisir à son tour, 1970, 16 mm, color, sound, 88 minutes, 1.33:1, Italy.
  • Claude Chabrol, Le Boucher, 1970, 35 mm, color, sound, 93 minutes, 1.85:1, France.
  • Marin Karmitz, Camarades, 1970, 16 mm, color, sound, 85 minutes, 1.66:1, France.
  • Kenji Mizoguchi, Chikamatsu Monogatari, 1954, 35 mm, black-and-white, sound, 102 minutes, 1.37:1, Japan.
  • Lars Lennart Forsberg, Misshandlingen, 1969, 35 mm, black-and-white, sound, 104 minutes, 1.37:1, Sweden. (?)
  • Ken Loach, Kes, 1969, 35 mm, color, sound, 111 minutes, 1.66:1, UK.
  • Martin Scorsese, Street Scenes 1970, 1970, 16 mm, black-and-white, sound, 75 minutes, 1.33:1, USA. (?)
  • Alain Resnais, Je t’aime, je t’aime, 1968, 35 mm, color, sound, 94 minutes, 1.66:1, France.
  • Carlos Diegues, Os Herdeiros, 1970, 35 mm, color, sound, 110 minutes, 1.37:1, Brazil. (?)
  • Marguerite Duras & Paul Seban, La Musica, 1967, 35 mm, black-and-white, sound, 80 minutes, 1.66:1, France.
  • Marcel Hanoun, Une simple histoire, 1959, 16 mm, black-and-white, sound, 68 minutes, 1.33:1, France.
  • Werner Herzog, Auch Zwerge haben klein angefangen, 1970, 35 mm, black-and-white, sound, 96 minutes, 1.37:1, West Germany.
  • Bernardo Bertolucci, Strategia del ragno, 1970, 35 mm, color, sound, 100 minutes, 1.37:1, Italy.
  • Kjell Grede, Harry Munter, 1969, 35 mm, color, sound, 101 minutes, 1.66:1, Sweden.
  • Carlos Saura, El jardín de las delicias, 1970, 35 mm, color, sound, 95 minutes, 1.85:1, Spain.
  • Bernardo Bertolucci, Il conformista, 1970, 35 mm, color, sound, 113 minutes, 1.66:1, Italy.
  • Henri Langlois, From Lumiere to Langlois: The French Silent Cinema, 1970, 35 mm, black-and-white, silent, 60 minutes, 1.33:1, France. (?)
  • Elia Hershon & Roberto Guerra, Langlois, 1970, 16 mm, color, sound, 52 minutes, 1.33:1, France. (?)
  • Satyajit Ray, Aranyēra Dinarātri, 1970, 35 mm, black-and-white, sound, 115 minutes, 1.37:1, India.
  • Liliana Cavani, I cannibali, 1970, 35 mm, color, sound, 88 minutes, 2.35:1, Italy.
  • Maurice Hatton, Praise Marx and Pass the Ammunition, 1970, 35 mm, color, sound, 90 minutes, 1.66:1, UK. (?)
  • Ermanno Olmi, I recuperanti, 1970, 35 mm, color, sound, 101 minutes, 1.37:1, Italy.
  • Luis Buñuel, Tristana, 1970, 35 mm, color, sound, 105 minutes, 1.66:1, Spain.

September 2018 Capsules

Hahaha
I can’t say if this technique is totally unprecedented in film, but Hong’s decision to render Hahaha‘s present-day scenes exclusively in black-and-white stills – à la the “previously ons” in Out 1, interestingly enough – and voiceover is at once a remarkably and counterintuitively lovely choice and so indicative of the general playfulness that marks his entire work. Though Moon-kyung says that he and Joong-sik stick to the pleasant parts of their scattered recollections, the film frequently goes down the thornier and more melancholic avenues that characterize Hong’s work, often within the same scene. In this light, and given the connotation that black-and-white and voiceover often have in more conventional films, the present almost function as the memories in this film, fragmented and constructed more out of sensations and glances than anything else. Though it will likely be the last time these friends meet for some time, it feels as if it is already passing into the recesses of their minds; what matters more is the small city of Tongyeong, and the people and places that inhabit it. A faintly ridiculous dream with a long gone admiral-hero, a piano piece, numerous scraps of poetry, the sensation of holding someone close: these are the good things in life.