13th (1975): “Celluloid Guerillas” Show Notes

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

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Description
The thirteenth 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 thirteenth edition of the festival in 1975, and features special guest Alyssa Heflin, George Eastman Museum film preservation graduate student and cinephile.

0:00-23:22 – Opening
23:23-1:30:07 – Part One [Conversation Piece to F for Fake]
1:30:08-2:20:05 – Part Two [The Enigma of Kaspar Hauser to Xala]
2:20:06-3:03:28 – Part Three [The Lost Honor of Katharina Blum to Compañero: Victor Jara of Chile]
3:03:29-3:49:41 – Part Four [Exhibition to The Story of Adèle H.]
3:49:42-3:57:22 – Closing

Corrections/Clarifications

  • N/A

Housekeeping

  • Hosted by Dan Molloy & Ryan Swen
  • Special Guest Alyssa Heflin
  • Conceived and Edited by Ryan Swen
  • Recorded in Los Angeles and Rochester on Zoom H4N and Sennheiser Microphones and MacBook GarageBand, Edited in Audacity
  • Podcast photograph from Yi Yi, Logo designed by Dan Molloy
  • Poster by Carol Summers
  • Recorded April 7, 2019
  • Released April 30, 2019
  • Music (in order of appearance):
    • Conversation Piece (opening night)
    • Fox and His Friends (another favorite)
    • F for Fake (favorite of the first section)
    • Xala (favorite of the second section)
    • Moses und Aron (favorite of the third section)
    • India Song (favorite of the fourth section)
    • The Story of Adlèle H. (closing night)

General

  • Selection Committee: Richard Roud (program director), Richard Corliss, Roger Greenspun, Arthur Knight, Arthur L. Mayer, Charles Michener, Susan Sontag, Henri Langlois (retrospective consultant)
  • Location: Alice Tully Hall and Avery Fisher Hall
  • Prices: 2, 2.50, 3.50, 5; for opening and closing night 4, 5, 7, 10
  • Films seen for the podcast:
    • Ryan
      • Seen before podcast watching period: F for Fake, Xala
      • Seen for the podcast: All available except Milestones; all rewatched
      • Favorite films: India Song, Moses und Aron, F for Fake, La Chienne, Fox and His Friends
      • Least favorite films: Black Moon, Compañero, Autobiography of a Princess
      • Rewatch Round-Up: Muriel, or the Time of Return (1st)
    • Dan
      • Seen before podcast watching period: La Chienne, Grey Gardens, F for Fake, The Enigma of Kaspar Hauser, Xala
      • Seen for the podcast: All available except Autobiography of a Princess, Compañero; F for Fake rewatched
      • Favorite films: F for Fake, India Song, Fox and His Friends, Moses und Aron, La Chienne, The Enigma of Kaspar Hauser, The Story of Adèle H.
      • Least favorite films: Black Moon, Conversation Piece, Hearts of the West
      • Catch-Up Corner: Even Dwarfs Started Small (8th)
    • Alyssa
      • Seen before podcast watching period: Fox and His Friends, F for Fake
      • Seen for the podcast: All available except Compañero; F for Fake rewatched
      • Favorite films: F for Fake, Fox and His Friends, India Song, Xala, The Story of Adele H.
      • Least favorite films: Black Moon, Hearts of the West, Autobiography of a Princess
  • Discoveries of the festival: India Song, Smile
  • Unavailable films: Exhibition, French Provincial

Main Slate

Opening Night: Conversation Piece [Gruppo di famiglia in un interno/Family Group in an Interior] (1974, Luchino Visconti)
September 26, 9:00 {Avery Fisher Hall}
Released 1977
Retrospective: La Chienne [The Bitch] (1931, Jean Renoir)
September 27, 3:00
Released 1976
Fox and His Friends [Faustrecht der Freiheit/Fist-Right of Freedom] (1975, Rainer Werner Fassbinder)
September 27, 6:00
Released 1976
Grey Gardens (1975, Albert Maysles & David Maysles & Ellen Hovde & Muffie Meyer)
September 28, 3:00
Released 1976
F for Fake (1973, Orson Welles)
September 28, 6:00
Released 1977
The Enigma of Kaspar Hauser [Jeder für sich und Gott gegen alle/Every Man for Himself and God Against All] (1974, Werner Herzog)
September 28, 9:00
Released 1975
Electra, My Love [Szerelmem, Elektra] (1974, Miklós Jancsó)
September 30, 6:15
Never released
Black Moon (1975, Louis Malle)
September 30, 9:30
Released 1975
The Wonderful Crook [Pas si méchant que ça/Not So Bad] (1975, Claude Goretta)
October 1, 6:15
Released 1977
Xala [Impotence] (1975, Ousmane Sembène)
October 1, 9:30
Released 1975
The Lost Honor of Katharina Blum [Die Verlorene Ehre der Katharina Blum oder: Wie Gewalt entstehen und wohin sie führen kann/The Lost Honour of Katharina Blum, or: How Violence Develops and Where It Can Lead] (1975, Volker Schlöndorff & Margarethe von Trotta)
October 3, 6:15
Released 1975
Hearts of the West (1975, Howard Zieff)
October 4, 9:00
Released 1975
Moses und Aron [Moses and Aaron] (1975, Jean-Marie Straub & Danièle Huillet)
October 5, 3:00
Released 1975
Autobiography of a Princess (1975, James Ivory)
And: Compañero: Victor Jara of Chile (1975, Stanley Forman & Martin Smith)
October 5, 6:00
Never released/Never released
Exhibition (1975, Jean-François Davy)
October 5, 9:00
Released 1975
India Song (1975, Marguerite Duras)
October 8, 6:15
Released 1981
Milestones (1975, Robert Kramer & John Douglas)
October 8, 9:30
Released 1975
Smile (1975, Michael Ritchie)
October 9, 6:15
Released 1975
French Provincial [Souvenirs d’en France/Memories of France] (1975, André Téchiné)
October 9, 9:30
Released 1976
Closing Night: The Story of Adèle H. [L’Histoire d’Adèle H.] (1975, François Truffaut)
October 12, 8:30 {Avery Fisher Hall}
Released 1975

Ephemera

  • A series of directors’ symposia (unscheduled)

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-Marie Straub & Danièle Huillet: 1/1/5/6/0/1
  • Rainer Werner Fassbinder: 1/1/5/5
  • Werner Herzog: 1/1/5/5
  • Miklós Jancsó: 1/1/5/5
  • François Truffaut: 1/1/4/4/3
  • Marguerite Duras: 1/1/4/4
  • Louis Malle: 1/1/3/3/1
  • Luchino Visconti: 1/1/2/2/1
  • James Ivory: 1/1/2/2
  • Volker Schlöndorff: 1/1/2/2†(2/22/22)
  • Ousmane Sembène: 1/1/2/2
  • Orson Welles: 1/1/2/2†(2/5/14)
  • Albert Maysles: 1/1/1/2
  • David Maysles: 1/1/1/2†(2/8/8)
  • Claude Goretta: 1/1/1/1
  • André Téchiné: 1/1/1/1
  • Jean Renoir: 0/1/0/3

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: 6/7/81/97/11
  • USA: 4/4/39/52/2
  • West Germany: 4/4/19/20
  • UK: 2/2/19/21/1
  • Italy: 1/1/30/34/3
  • Hungary: 1/1/8/8
  • Switzerland: 1/1/3/3
  • Senegal: 1/1/2/2

One-Time Directors

  • Jean-François Davy
  • Stanley Forman & Martin Smith
  • Ellen Hovde & Muffie Meyer
  • Robert Kramer & John Douglas
  • Michael Ritchie
  • Margarethe von Trotta
  • Howard Zieff

Feature Debuts

  • Stanley Forman & Martin Smith
  • Ellen Hovde & Muffie Meyer
  • Margarethe von Trotta

Final Features

  • John Douglas
  • Stanley Forman & Martin Smith

Festivals

  • NYFF World Premiere
    • Autobiography of a Princess (?)
    • Compañero: Victor Jara of Chile (?)
    • Grey Gardens
    • Hearts of the West
    • The Lost Honor of Katharina Blum
  • Cannes
    • The Enigma of Kaspar Hauser (Grand Prix, FIPRESCI, Prize of the Ecumenical Jury)
    • Electra, My Love
    • India Song (Out of Competition)
    • Fox and His Friends (Directors’ Fortnight)
    • French Provincial (Directors’ Fortnight)
    • Milestones (Directors’ Fortnight)
  • Other
    • F for Fake (San Sebastian)
    • Moses and Aaron (Rotterdam)
    • The Wonderful Crook (Locarno)
    • Xala (Moscow)
  • N/A
    • Black Moon
    • La Chienne
    • Conversation Piece
    • Exhibition
    • Smile
    • The Story of Adèle H.

Oscar Nominees

  • The Story of Adèle H.: Best Actress

Shorts

shorts

Discussions By Length (Approximate)

  • 16:10 F for Fake (1:13:57-1:30:07)
  • 14:42 India Song (3:06:30-3:21:12)
  • 14:39 Fox and His Friends (48:07-1:02:46)
  • 13:27 Moses und Aron (2:39:45-2:53:12)
  • 13:13 Black Moon (1:48:51-2:02:04)
  • 12:21 Conversation Piece (24:21-36:42)
  • 11:23 La Chienne (36:43-48:06)
  • 11:09 Grey Gardens (1:02:47-1:13:56)
  • 10:43 Smile (3:28:05-3:38:48)
  • 10:13 The Enigma of Kaspar Hauser (1:31:06-1:41:19)
  • 10:01 The Lost Honor of Katharina Blum (2:21:06-2:31:07)
  • 9:48 The Story of Adèle H. (3:39:53-3:49:41)
  • 9:37 Xala (2:10:28-2:20:05)
  • 8:36 Hearts of the West (2:31:08-2:39:44)
  • 8:22 The Wonderful Crook (2:02:05-2:10:27)
  • 7:30 Electra, My Love (1:41:20-1:48:50)
  • 6:51 Milestones (3:21:13-3:28:04)
  • 6:03 Autobiography of a Princess (2:53:13-2:59:16)
  • 4:11 Compañero: Victor Jara of Chile [One Person] (2:59:17-3:03:28)
  • 1:53 Exhibition [Unavailable] (3:04:36-3:06:29)
  • 1:03 French Provincial [Unavailable] (3:38:49-3:39:52)

Specifications

  • Luchino Visconti, Gruppo di famiglia in un interno, 1974, 35 mm, color, mono sound, 121 minutes, 2.35:1, Italian, Italy.
  • Jean Renoir, La Chienne, 1931, 35 mm, black-and-white, mono sound, 91 minutes, 1.20:1, French, France.
  • Rainer Werner Fassbinder, Faustrecht der Freiheit, 1975, 35 mm, color, mono sound, 124 minutes, 1.37:1, German, West Germany.
  • Albert Maysles & David Maysles & Ellen Hovde & Muffie Meyer, Grey Gardens, 1975, 16 mm, color, mono sound, 94 minutes, 1.37:1, English, USA.
  • Orson Welles, F for Fake, 1973, 35 mm and 16 mm, color, mono sound, 88 minutes, 1.66:1, English, France.
  • Werner Herzog, Jeder für sich und Gott gegen alle, 1974, 35 mm and 8 mm, color, mono sound, 110 minutes, 1.66:1, German, West Germany.
  • Miklós Jancsó, Szerelmem, Elektra, 1974, 35 mm, color, mono sound, 70 minutes, 1.66:1, Hungarian, Hungary.
  • Louis Malle, Black Moon, 1975, 35 mm, color, mono sound, 100 minutes, 1.66:1, English, France.
  • Claude Goretta, Pas si méchant que ça, 1975, 35 mm, color, mono sound, 112 minutes, 1.66:1, French, France.
  • Ousmane Sembène, Xala, 1975, 35 mm, color, mono sound, 123 minutes, 1.66:1, Wolof and French, Senegal.
  • Volker Schlöndorff & Margarethe von Trotta, Die Verlorene Ehre der Katharina Blum oder: Wie Gewalt entstehen und wohin sie führen kann, 1975, 35 mm, color and black-and-white, mono sound, 106 minutes, 1.66:1, German, West Germany.
  • Howard Zieff, Hearts of the West, 1975, 35 mm, color, mono sound, 102 minutes, 1.85:1, English, USA.
  • Jean-Marie Straub & Danièle Huillet, Moses und Aron, 1975, 35 mm and 16 mm, color, mono sound, 107 minutes, 1.37:1, German, West Germany.
  • James Ivory, Autobiography of a Princess, 1975, 16 mm, color, mono sound, 59 minutes, 1.37:1, English, UK.
  • Stanley Forman & Martin Smith, Compañero: Victor Jara of Chile, 1975, 16 mm, color, mono sound, 58 minutes, 1.37:1, English, UK.
  • Jean-François Davy, Exhibition, 1975, 16 mm, color, mono sound, 110 minutes, 1.37:1, French, France.
  • Marguerite Duras, India Song, 1975, 16 mm, color, mono sound, 120 minutes, 1.37:1, French, France.
  • Robert Kramer & John Douglas, Milestones, 1975, 16 mm, color, mono sound, 195 minutes, 1.37:1, English, USA.
  • Michael Ritchie, Smile, 1975, 35 mm, color, mono sound, 113 minutes, 1.85:1, English, USA.
  • André Téchiné, Souvenirs d’en France, 1975, 35 mm, color, mono sound, 90 minutes, 1.66:1, French, France.
  • François Truffaut, L’Histoire d’Adèle H., 1975, 35 mm, color and black-and-white, mono sound, 96 minutes, 1.66:1, French and English, France.

2019 Reading Log

1. Augustus (1972, John Williams): 12/23/18-4/21/19 (on-off)
In a certain sense I don’t know if I’m entirely fit to form any coherent thoughts on this monumental work, considering my prolonged and very scattered engagement with it. But it seems fitting, in a certain way: it is a book of transience, looking backwards at memories only mostly remembered, even as those who bear witness to history pass before their time. The years pass, only highlighted truly by the denotations in the headings, and the voices thin one by one until the subject himself speaks, and his own voice is as distinguished yet as fundamentally poetic as the rest. A fitting final work, then, encompassing a life and a nation with unimaginable grace.

2. The Savage Detectives (1998, Roberto Bolaño): 4/22/19-6/23/19
It’s an understatement to say that this permeated and swirled around in my consciousness for the two months I read it, and probably will for a good long while after. Finishing it at around the same time as my experience with La Flor, a work of comparable scope and artistic lineage, if not ultimate intention, does certainly color it, but in many ways this colossal work seems even more mysterious than when I first started it. The structure certainly points to a fundamental aimlessness, when a person becomes further unmoored from an already rootless existence, as the regimented structure of the days disappear and a testimony can be split into many parts and take place over the course of a single night or decades. In a sense, this almost combines the intentions of the previous two books I’ve read (Invisible Cities and Augustus) and transforms them, anchoring itself in a time, space, and movement simultaneously real and imaginary. But the anxieties, the raucousness, the desperation are all too real; what truly punctures is not just the two (or three) lost souls at its center, but the fates of so many characters that feel just as key as the rest. Whether ending up dead or cocooned within a life far less radical (for good or ill), no one can escape the progression of time, the march of the decades. When your goal is unexpectedly fulfilled with little fanfare, where can you go, what can you do?

3. Three to Kill (1976, Jean-Patrick Manchette: 6/23/19-6/24/19
Didn’t necessarily expect the political edge to this, which becomes an inflection through the course of the narrative but rears its head at unexpected moments, but it pairs perfectly with the ruthless cool of this, the loving detail given to the process by which men engage in vicious exchanges. Like many of the great artists, and like his central character, Manchette’s facility with time is extremely adaptable, and his chapter structure bears this out: the longest chapters both feature spans of long months and the course of a night, and sometimes they last less than two pages, all the better to convey the clipped yet melodic nature of his prose. Calling this bloodless wouldn’t be correct, but a steeliness emanates off of every sentence, a total confidence that thrills.

A Top 100 Films of All-Time

The original incarnation of this list, which is now updated regularly, can be found here.

A text-only version of this list can be found here.

100. The 400 Blows (1959, François Truffaut)

99. Moses und Aron (1975, Jean-Marie Straub & Danièle Huillet)

98. Meek’s Cutoff (2010, Kelly Reichardt)

97. Outer Space (1999, Peter Tscherkassky)

96. Blackhat (2015, Michael Mann)

95. That Day, on the Beach (1983, Edward Yang)

94. The Birds (1963, Alfred Hitchcock)

93. Fort Apache (1948, John Ford)

92. The Day He Arrives (2011, Hong Sang-soo)

91. The Tree of Life (2011, Terrence Malick)

90. Weekend (1967, Jean-Luc Godard)

89. The Battle of Algiers (1966, Gillo Pontecorvo)

88. Long Day’s Journey Into Night (2018, Bi Gan)

87. Breathless (1960, Jean-Luc Godard)

86. Do the Right Thing (1989, Spike Lee)

85. Crouching Tiger, Hidden Dragon (2000, Ang Lee)

84. Manhunter (1986, Michael Mann)

83. Zorns Lemma (1970, Hollis Frampton)

82. My Neighbor Totoro (1988, Hayao Miyazaki)

81. Night and Fog (1956, Alain Resnais)

80. Before Sunset (2004, Richard Linklater)

79. India Song (1975, Marguerite Duras)

78. Lost in Translation (2003, Sofia Coppola)

77. Carol (2015, Todd Haynes)

76. Nashville (1975, Robert Altman)

75. The 36th Chamber of Shaolin (1978, Lau Kar-leung)

74. Yourself and Yours (2016, Hong Sang-soo)

73. Stop Making Sense (1984, Jonathan Demme)

72. Cure (1997, Kiyoshi Kurosawa)

71. Silence (2016, Martin Scorsese)

70. Taipei Story (1985, Edward Yang)

69. Persona (1966, Ingmar Bergman)

68. Blade Runner (1982, Ridley Scott)

67. Notorious (1946, Alfred Hitchcock)

66. 2046 (2004, Wong Kar-wai)

65. Neon Genesis Evangelion: Do you love me? (1996, Hideaki Anno)

64. (nostalgia) (1971, Hollis Frampton)

63. Paris, Texas (1984, Wim Wenders)

62. The Terrorizers (1986, Edward Yang)

61. The Hole (1998, Tsai Ming-liang)

60. Wavelength (1967, Michael Snow)

59. Ashes of Time (1994, Wong Kar-wai)

58. A New Leaf (1971, Elaine May)

57. Rio Bravo (1959, Howard Hawks)

56. A Star Is Born (1954, George Cukor)

55. Miami Vice (2006, Michael Mann)

54. Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles (1975, Chantal Akerman)

53. Out 1: Spectre (1972, Jacques Rivette)

52. Inland Empire (2006, David Lynch)

51. Syndromes and a Century (2006, Apichatpong Weerasethakul)

50. Napoléon (1927, Abel Gance)

49. The End of Evangelion (1997, Hideaki Anno)

48. Trust (1990, Hal Hartley)

47. Gertrud (1964, Carl Theodor Dreyer)

46. Pierrot le fou (1965, Jean-Luc Godard)

45. Rear Window (1954, Alfred Hitchcock)

44. The Umbrellas of Cherbourg (1964, Jacques Demy)

43. Close-Up (1990, Abbas Kiarostami)

42. Tokyo Story (1953, Yasujiro Ozu)

41. Sansho the Bailiff (1954, Kenji Mizoguchi)

40. A.I. Artificial Intelligence (2001, Steven Spielberg)

39. The Passion of Joan of Arc (1928, Carl Theodor Dreyer)

38. Twin Peaks: Fire Walk With Me (1992, David Lynch)

37. The Mother and the Whore (1973, Jean Eustache)

36. The Rules of the Game (1939, Jean Renoir)

35. Blue Velvet (1986, David Lynch)

34. Les Vampires (1915, Louis Feuillade)

33. Neon Genesis Evangelion: Take care of yourself. (1996, Hideaki Anno)

32. Sunrise (1927, F.W. Murnau)

31. Twin Peaks: The Return (2017, David Lynch)

30. Muriel, or the Time of Return (1963, Alain Resnais)

29. Late Spring (1949, Yasujiro Ozu)

28. Eraserhead (1977, David Lynch)

27. Heat (1995, Michael Mann)

26. M (1931, Fritz Lang)

25. The Awful Truth (1937, Leo McCarey)

24. Duck Amuck (1953, Chuck Jones)

23. Platform (2000, Jia Zhangke)

22. Goodbye, Dragon Inn (2003, Tsai Ming-liang)

21. Chungking Express (1994, Wong Kar-wai)

20. Dragon Inn (1966, King Hu)

19. Citizen Kane (1941, Orson Welles)

18. Last Year at Marienbad (1961, Alain Resnais)

17. La Flor (2018, Mariano Llinás)

16. A Brighter Summer Day (1991, Edward Yang)

15. La jetée (1962, Chris Marker)

14. Out 1: Noli me tangere (1971, Jacques Rivette)

13. Only Angels Have Wings (1939, Howard Hawks)

12. Seven Samurai (1954, Akira Kurosawa)

11. Meet Me in St. Louis (1944, Vincente Minnelli)

10. Céline and Julie Go Boating (1974, Jacques Rivette)

9. Vertigo (1958, Alfred Hitchcock)

8. The Young Girls of Rochefort (1967, Jacques Demy)

7. The Night of the Hunter (1954, Charles Laughton)

6. In the Mood for Love (2000, Wong Kar-wai)

5. A Touch of Zen (1971, King Hu)

4. The Magnificent Ambersons (1942, Orson Welles)

3. Sans soleil (1983, Chris Marker)

2. Yi Yi (2000, Edward Yang)

1. Mulholland Dr. (2001, David Lynch)