15th (1977): “A Real Smash” 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, Events/Shorts, Discussions By Length, Specifications

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Description
The fifteenth episode of the Catalyst and Witness podcast, devoted to exploring the films and format of the New York Film Festival, hosted by Ryan Swen. This covers the fifteenth edition of the festival in 1977, and features special guest Keith Uhlich.

0:00-18:22 – Opening
18:23-1:23:16 – Part One [One Sings, the Other Doesn’t to Tent of Miracles]
1:23:17-2:45:25 – Part Two [Men of Bronze to Le Camion]
2:45:26-3:48:38 – Part Three [Short Eyes to Citizens Band]
3:48:39-4:50:18 – Part Four [Salò, or the 120 Days of Sodom to The Man Who Loved Women]
4:50:19-5:39:23 – Part Five [Omar Gatlato to My Grandmother]
5:39:24-6:54:08 – Part Six [Women to That Obscure Object of Desire]
6:54:09-7:02:59 – Closing

Corrections/Clarifications

  • N/A

Housekeeping

  • Hosted by Ryan Swen
  • Special Guest Keith Uhlich
  • Conceived and Edited by Ryan Swen
  • Recorded in Los Angeles and New York City on Zoom H4N and Sennheiser Microphones, Edited in Audacity
  • Podcast photograph from Yi Yi, Logo designed by Dan Molloy
  • Poster by Jim Dine
  • Recorded January 3, 2020
  • Released February 22, 2020
  • Music (in order of appearance):
    • One Sings, the Other Doesn’t (opening night)
    • The American Friend (another favorite)
    • Tent of Miracles (favorite of the first section)
    • Padre Padrone (favorite of the second section)
    • The Devil, Probably (favorite of the third section)
    • Salò, or the 120 Days of Sodom (favorite of the fourth section)
    • Omar Gatlato (favorite of the fifth section)
    • 1900 (favorite of the sixth section)
    • That Obscure Object of Desire (closing night)

General

  • Selection Committee: Richard Roud (program director), Richard Corliss, Roger Greenspun, Charles Michener, Susan Sontag, Arthur Knight (West Coast consultant)
  • Location: Alice Tully Hall and Avery Fisher Hall
  • Prices: 2.50, 3, 4, 5.50; for opening and closing night 5, 7, 10
  • Films seen for the podcast:
    • Ryan
      • Seen before podcast watching period: The American Friend
      • Seen for the podcast: All available; The American Friend rewatched
      • Favorite films: The Devil Probably, Salò or the 120 Days of Sodom, That Obscure Object of Desire, The American Friend
      • Least favorite films: Pafnucio Santo, Heart of Glass, Hot Tomorrows, My Grandmother
    • Keith
      • Seen before podcast watching period: The American Friend, The Devil Probably, Citizens Band, Salò or the 120 Days of Sodom, Heart of Glass, That Obscure Object of Desire
      • Seen for the podcast: All available; The American Friend, The Devil Probably, Heart of Glass, That Obscure Object of Desire rewatched
      • Favorite films: Citizens Band, Heart of Glass, The Devil Probably, That Obscure Object of Desire, Padre Padrone, Omar Gatlato
      • Least favorite films: Roseland, Salò or the 120 Days of Sodom, Pafnucio Santo
  • Discoveries of the festival: Omar Gatlato, Tent of Miracles, The Lacemaker
  • Unavailable films: Men of Bronze, Children of Labor

Main Slate

Opening Night: One Sings, the Other Doesn’t [L’une chante, l’autre pas] (1977, Agnès Varda)
September 23, 9:00 {Avery Fisher Hall}
Released 1977
Retrospective: L’Enfant de Paris [The Child of Paris] (1913, Léonce Perret)
September 24, 1:00
Never released
Tent of Miracles [Tenda dos milagres] (1977, Nelson Pereira dos Santos)
September 24, 3:00
Released 1979
Men of Bronze (1977, Bill Miles)
And: Children of Labor (1977, Noel Buckner & Mary Dore & Richard Broadman & Al Gedicks)
September 24, 6:00
Never released/Never released
The American Friend [Der Amerikanische Freund] (1977, Wim Wenders)
September 24, 9:00
Released 1977
Padre Padrone [My Father, My Master] (1977, Paolo & Vittorio Taviani)
September 25, 1:00
Released 1977
Pafnucio Santo (1977, Rafael Corkiki)
September 27, 6:15
Never released
Le Camion [The Lorry] (1977, Marguerite Duras)
September 27, 9:30
Never released
Short Eyes (1977, Robert M. Young)
September 28, 9:30
Released 1977
The Devil, Probably [Le diable probablement] (1977, Robert Bresson)
September 29, 9:30
Released 1994
Citizens Band (1977, Jonathan Demme)
September 30, 9:30
Released 1977
Salò, or the 120 Days of Sodom [Salò o le 120 giornate di Sodoma] (1975, Pier Paolo Pasolini)
October 1, 1:00
Released 1977
Heart of Glass [Herz aus Glas] (1976, Werner Herzog)
Also: La Soufrière [La Soufrière – Warten auf eine unausweichliche Katastrophe/La Soufrière – Waiting for an Inevitable Disaster] (1977, Werner Herzog)
October 1, 6:00
Released 1977/Released 1978
The Man Who Loved Women [L’Homme qui aimait les femmes] (1977, François Truffaut)
October 1, 9:00
Released 1977
Omar Gatlato (1977, Merzak Allouache)
October 2, 2:00
Never released
Roseland (1977, James Ivory)
October 2, 9:00
Released 1977
Hot Tomorrows (1977, Martin Brest)
And/Retrospective: My Grandmother [Chemia bebia] (1929, Kote Mikaberidze)
October 4, 9:30
Never released/Never released
Women [Ok ketten/The Two of Them] (1977, Márta Mészarós)
October 6, 6:15
Released 1978
The Lacemaker [La Dentellière] (1977, Claude Goretta)
October 6, 9:30
Released 1977
1900 [Novecento/Twentieth Century] (1976, Bernardo Bertolucci)
October 8, 2:00
Released 1977
Closing Night: That Obscure Object of Desire [Cet obscur objet du désir] (1977, Luis Buñuel)
October 9, 8:30 {Avery Fisher Hall}
Released 1977

Ephemera

  • Animation Festival: five programs of animated films of all types at Alice Tully Hall; $2 for each program, $7.50 for full series
  • Saved!: a retrospective of ten important American films from the preservation vaults of the American Film Institute, George Eastman House, the Museum of Modern Art, and UCLA at Alice Tully Hall; $2 for each film, $15 for full series

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

  • Werner Herzog: 1/2/6/7/0/1
  • Luis Buñuel: 1/1/8/12/2/3†(9/10/32)
  • Robert Bresson: 1/1/7/7
  • Bernardo Bertolucci: 1/1/6/7/1/1
  • François Truffaut: 1/1/6/6/4
  • Pier Paolo Pasolini: 1/1/4/6/0/1†(5/16/17)
  • Marguerite Duras: 1/1/5/5†(5/16/16)
  • Agnès Varda: 1/1/4/4/2
  • James Ivory: 1/1/3/3
  • Wim Wenders: 1/1/3/3
  • Claude Goretta: 1/1/2/2†(2/23/24)
  • Merzak Allouache: 1/1/1/1
  • Jonathan Demme: 1/1/1/1
  • Márta Mészáros: 1/1/1/1
  • Nelson Pereira dos Santos: 1/1/1/1
  • Paolo & Vittorio Taviani: 1/1/1/1

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: 6/7/89/107/14
  • USA: 6/6/49/64/2
  • Italy: 3/3/34/39/3
  • West Germany: 2/3/25/27/1
  • Hungary: 1/1/9/9
  • Brazil: 1/1/4/4
  • Mexico: 1/1/3/4/1
  • Algeria: 1/1/1/1
  • USSR: 0/1/6/7/2

One-Time Directors

  • Martin Brest
  • Noel Buckner & Mary Dore & Richard Broadman & Al Gedicks
  • Rafael Corkidi
  • Kote Mikaberidze (retrospective)
  • Bill Miles
  • Léonce Perret (retrospective)
  • Robert M. Young

Feature Debuts

  • Merzak Allouache
  • Martin Brest
  • Noel Buckner & Mary Dore & Richard Broadman & Al Gedicks
  • Kote Mikaberidze (retrospective)
  • Bill Miles

Final Features

  • Luis Buñuel
  • Al Gedicks
  • Pier Paolo Pasolini

Festivals

  • NYFF World Premiere
    • Hot Tomorrows
    • Roseland
    • Short Eyes
    • Women
  • Cannes
    • 1900 (1976 Out of Competition)
    • Padre Padrone (Palme d’Or, FIPRESCI)
    • The Lacemaker (Prize of the Ecumenical Jury)
    • The American Friend
    • Le Camion
    • Omar Gatlato (Critics’ Week)
  • Berlin
    • The Devil, Probably (Special Jury Prize)
    • The Man Who Loved Women
    • Tent of Miracles
  • Other
    • One Sings, the Other Doesn’t (Taormina, Grand Prize)
    • Salò, or the 120 Days of Sodom (1975 Paris)
    • That Obscure Object of Desire (San Sebastian)
  • N/A
    • Children of Labor
    • Citizens Band
    • L’Enfant de Paris
    • Heart of Glass
    • Men of Bronze
    • My Grandmother
    • Pafnucio Santo
    • La Soufrière

Oscar Nominees

  • That Obscure Object of Desire: Best Adapted Screenplay, Best Foreign Film

Events/Shorts

events
events
shorts

Discussions By Length (Approximate)

  • 30:07 1900 (6:06:06-6:36:13)
  • 26:22 The Devil, Probably (3:03:40-3:30:02)
  • 23:26 The Man Who Loved Women (4:26:52-4:50:18)
  • 23:25 Le Camion (2:22:00-2:45:25)
  • 21:53 Tent of Miracles (1:01:23-1:23:16)
  • 21:29 One Sings, the Other Doesn’t (19:22-40:51)
  • 20:30 L’Enfant de Paris (40:52-1:01:22)
  • 20:25 Salò, or the 120 Days of Sodom (3:49:35-4:10:00)
  • 20:13 Padre Padrone (1:44:07-2:04:20)
  • 19:25 Hot Tomorrows/My Grandmother (5:19:58-5:39:23)
  • 18:35 Citizens Band (3:30:03-3:48:38)
  • 17:54 That Obscure Object of Desire (6:36:14-6:54:08)
  • 17:38 Pafnucio Santo (2:04:21-2:21:59)
  • 17:16 Short Eyes (2:46:23-3:03:39)
  • 16:50 Heart of Glass/La Soufrière (4:10:01-4:26:51)
  • 16:50 The American Friend (1:27:16-1:44:06)
  • 15:41 Omar Gatlato (4:51:16-5:06:57)
  • 13:01 Women (5:40:21-5:53:22)
  • 12:59 Roseland (5:06:58-5:19:57)
  • 12:42 The Lacemaker (5:53:23-6:06:05)
  • 3:00 Men of Bronze/Children of Labor [Unavailable] (1:24:15-1:27:15)

Specifications

  • Agnès Varda, L’une chante, l’autre pas, 1977, 35 mm, color and black-and-white, mono sound, 120 minutes, 1.66:1, French, France.
  • Léonce Perret, L’Enfant de Paris, 1913, 35 mm, black-and-white, silent, 124 minutes, 1.33:1, French, France.
  • Nelson Pereira dos Santos, Tenda dos milagres, 1977, 35 mm, color, mono sound, 132 minutes, 1.66:1, Portuguese and English and French, Brazil.
  • Bill Miles, Men of Bronze, 1977, 16 mm, color and black-and-white, mono sound, 60 minutes, 1.37:1, English, USA.
  • Noel Buckner & Mary Dore & Richard Broadman & Al Gedicks, Children of Labor, 1977, 16 mm, black-and-white, mono sound, 55 minutes, 1.37:1, English, USA.
  • Wim Wenders, Der Amerikanische Freund, 1977, 35 mm, color, mono sound, 127 minutes, 1.66:1, English and German and French, West Germany.
  • Paolo & Vittorio Taviani, Padre Padrone, 1977, 16 mm, color, mono sound, 113 minutes, 1.66:1, Italian and Sardinian and Latin, Italy.
  • Rafael Corkidi, Pafnucio Santo, 1977, 35 mm, color, stereo sound, 100 minutes, 1.37:1, Spanish and French and German, Mexico.
  • Marguerite Duras, Le Camion, 1977, 35 mm, color, mono sound, 79 minutes, 1.66:1, French, France.
  • Robert M. Young, Short Eyes, 1977, 35 mm, color, mono sound, 100 minutes, 1.85:1, English, USA.
  • Robert Bresson, Le diable probablement, 1977, 35 mm, color, mono sound, 92 minutes, 1.37:1, French, France.
  • Jonathan Demme, Citizens Band, 1977, 35 mm, color, mono sound, 98 minutes, 1.85:1, English, USA.
  • Pier Paolo Pasolini, Salò o le 120 giornate di Sodoma, 1975, 35 mm, color, mono sound, 117 minutes, 1.85:1, Italian and French and German, Italy.
  • Werner Herzog, Herz aus Glas, 1976, 35 mm, color, mono sound, 94 minutes, 1.66:1, German, West Germany.
  • Werner Herzog, La Soufrière – Warten auf eine unausweichliche Katastrophe, 1977, 16 mm, color, mono sound, 30 minutes, 1.37:1, English, West Germany.
  • François Truffaut, L’Homme qui aimait les femmes, 1977, 35 mm, color and black-and-white, mono sound, 120 minutes, 1.66:1 and 1.37:1, French, France.
  • Merzak Allouache, Omar Gatlato, 1977, 35 mm, color, mono sound, 90 minutes, 1.66:1, Arabic and French, Algeria.
  • James Ivory, Roseland, 1977, 35 mm, color, mono sound, 104 minutes, 1.85:1, English, USA.
  • Martin Brest, Hot Tomorrows, 1977, 35 mm, black-and-white, mono sound, 73 minutes, 1.37:1, English, USA.
  • Kote Mikaberidze, Chemia bebia, 1929, 35 mm, black-and-white, silent, 73 minutes, 1.33:1, Russian, USSR.
  • Márta Mészarós, Ok ketten, 1977, 35 mm, color, mono sound, 100 minutes, 1.37:1, Hungarian, Hungary.
  • Claude Goretta, La Dentellière, 1977, 35 mm, color, mono sound, 107 minutes, 1.66:1, French, France.
  • Bernardo Bertolucci, Novecento, 1976, 35 mm, color, mono sound, 317 minutes, 1.85:1, Italian, Italy.
  • Luis Buñuel, Cet obscur objet du désir, 1977, 35 mm, color, mono sound, 103 minutes, 1.66:1, French and Spanish, France.