5th (1967): “To See and Be Seen” 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 fifth 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 fifth edition of the festival in 1967.

0:00-12:42 – Opening
12:43-1:00:37 – Part One [The Battle of Algiers to Napoléon]
1:00:38-1:34:58 – Part Two [Funnyman to The Taking of Power by Louis XIV]
1:34:59-2:03:23 – Part Three [Barrier to The Other One]
2:03:24-2:38:47 – Part Four [Portrait of Jason to Far From Vietnam]
2:38:48-2:45:04 – Closing

Corrections/Clarifications

  • Elvira Madigan was Danish, while Sixten Sparre was Swedish.

Housekeeping

  • Hosted by Dan Molloy & Ryan Swen
  • 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 June 21, 2018
  • Released June 29, 2018
  • Music (in order of appearance):
    • The Battle of Algiers (opening night)
    • Le Départ (favorite soundtrack)
    • Napoléon (favorite of the first section)
    • The Taking of Power by Louis XIV (favorite of the second section)
    • Made in U.S.A (favorite of the third section)
    • Applause (favorite of the fourth section)
    • Far From Vietnam (closing night)

General

  • Selection Committee: Richard Roud (program director), Amos Vogel (festival director), Arthur Knight, Andrew Sarris, Susan Sontag
  • 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
  • Films seen for the podcast:
    • Ryan
      • Seen before podcast watching period: The Battle of Algiers
      • Seen for the podcast: All available; all rewatched
      • Favorite films: Napoléon, The Battle of Algiers, The Taking of Power by Louis XIV, Applause, Portrait of Jason
      • Least favorite films: Memorandum, Tonite Let’s All Make Love in London
      • Catch-up films: Raven’s End (3rd)
    • Dan
      • Seen before podcast watching period: The Battle of Algiers, Samurai Rebellion
      • Seen for the podcast: All available except Memorandum; none rewatched
      • Favorite films: Napoléon, Portrait of Jason, The Battle of Algiers, The Taking of Power by Louis XIV
      • Least favorite films: Young Törless, Le Départ, Barrier, Let’s All Make Love in London
      • Catch-up films: The Wedding March (3rd)
  • Discoveries of the festival: Far From Vietnam, Applause, Yesterday Girl
  • Unavailable films: Hot Years, Funnyman, Puss & Kram, The Benefit of the Doubt, The Other One, A Mother’s Heart

Main Slate

Opening Night: The Battle of Algiers [La battaglia di Algeri] (1966, Gillo Pontecorvo)
September 20, 9:00
Released 1967
Hot Years [Tople godine] (1966, Dragoslav Lazic)
September 21, 6:30
Never released
Yesterday Girl [Abschied von gestern] (1966, Alexander Kluge)
September 21, 9:30
Never released
Love Affair, or the Case of the Missing Switchboard Operator [Ljubavni slučaj ili tragedija službenice P.T.T.] (1967, Dusan Makavejev)
September 22, 6:30
Released 1968
Le Départ [The Departure] (1967, Jerzy Skolimowski)
September 22, 9:30
Released 1968
Retrospective: Napoléon (1927, Abel Gance)
September 23, 1:30
Released 1929
Funnyman (1967, John Korty)
September 23, 6:30
Released 1971
Hugs and Kisses [Puss och Kram] (1967, Jonas Cornell)
September 23, 9:30
Released 1968
Young Törless [Der junge Törless] (1966, Volker Schlöndorff)
September 24, 6:30
Released 1968
Samurai Rebellion [Jōi-uchi: Hairyō tsuma shimatsu] (1967, Masaki Kobayashi)
September 24, 9:30
Released 1968
The Lion Hunters [La chasse au lion à l’arc] (1965, Jean Rouch)
Also: Memorandum (1965, Donald Brittain & John Spotton)
September 25, 6:30
Never released/Never released
The Taking of Power by Louis XIV [La prise de pouvoir par Louis XIV] (1966, Roberto Rossellini)
September 25, 9:30
Released 1970
Barrier [Bariera] (1966, Jerzy Skolimowski)
September 26, 6:30
Never released
“The London Scene”
Tonite Let’s All Make Love in London (1967, Peter Whitehead)
The Benefit of the Doubt (1967, Peter Whitehead)
September 26, 9:30
Never released/Never released
Retrospective: Les Carabiniers [The Riflemen] (1963, Jean-Luc Godard)
September 27, 6:30
Released 1968
Made in U.S.A (1966, Jean-Luc Godard)
September 27, 9:30
Released 1981
Father [Apa] (1966, István Szabó)
September 28, 6:30
Released 1967
The Other One [L’une et l’autre] (1967, René Allio)
September 28, 9:30
Released 1967
Portrait of Jason (1967, Shirley Clarke)
September 29, 6:30
Released 1967
Elvira Madigan (1967, Bo Widerberg)
September 29, 9:30
Released 1967
Retrospective: Applause (1929, Rouben Mamoulian)
Also: Show People (1928, King Vidor)
September 30, 3:00
Released 1929/Released 1928
A Mother’s Heart [Serdtse materi] (1966, Mark Donskoy)
September 30, 6:30
Released 1967
“Closing Night”: Far From Vietnam [Loin du Vietnam] (1967, Jean-Luc Godard & Joris Ivens & William Klein & Claude Lelouch & Chris Marker & Alain Resnais & Agnès Varda)
September 30, 9:30
Released 1968

Ephemera

  • “A Tribute to Abel Gance”: 8 films presented in conjunction with the Cinémathèque Française, shown at the Library and Museum of Performing Arts in Lincoln Center, all free
  • “The Social Cinema in America”: 21 events investigating current trends in American documentary cinema, held 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: 2/3/7/11/1/4
  • Jerzy Skolimowski: 2/2/4/4/0/2
  • Peter Whitehead: 2/2/2/3/0/1†(2/8/8)
  • Alain Resnais: 1/1/3/3/1
  • Chris Marker: 1/1/3/3
  • René Allio: 1/1/2/2
  • Masaki Kobayashi: 1/1/2/2†(2/10/22)
  • Agnès Varda: 1/1/2/2
  • Bo Widerberg: 1/1/2/2
  • Joris Ivens: 1/1/1/2
  • Alexander Kluge: 1/1/1/1
  • Dusan Makavejev: 1/1/1/1
  • Roberto Rossellini: 1/1/1/1
  • Volker Schlöndorff: 1/1/1/1
  • István Szabó: 1/1/1/1
  • Abel Gance: 0/1/1/2
  • Rouben Mamoulian: 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: 5/7/27/32/4
  • Sweden: 2/2/4/4
  • UK: 2/2/6/7
  • West Germany: 2/2/3/3
  • Yugoslavia: 2/2/3/3
  • USA: 2/4/9/21
  • Italy: 1/1/11/15/1
  • Japan: 1/1/9/9/1
  • Poland: 1/1/6/6
  • Canada: 1/1/3/4
  • USSR: 1/1/3/3/1
  • Hungary: 1/1/3/3
  • Belgium: 1/1/2/2

One-Time Directors

  • Donald Brittain & John Spotton
  • Shirley Clarke
  • Jonas Cornell
  • Mark Donskoy
  • William Klein
  • John Korty
  • Dragoslav Lazic
  • Claude Lelouch
  • Gillo Pontecorvo (gala)
  • Jean Rouch
  • King Vidor (retrospective)

Feature Debuts

  • Jonas Cornell
  • Alexander Kluge
  • Dragoslav Lazic
  • Rouben Mamoulian (retrospective)
  • Volker Schlöndorff

Festivals

  • Cannes
    • Young Törless (1966, FIPRESCI)
    • Elvira Madigan (Best Actress)
    • Love Affair, or the Case of the Missing Switchboard Operator (Critics’ Week)
  • Berlin
    • Le Départ (Golden Bear)
  • Venice
    • The Battle of Algiers (1966, Golden Lion, FIPRESCI)
    • Yesterday Girl (1966, Special Jury Prize)
    • Samurai Rebellion (FIPRESCI)
    • The Lion Hunters (?)
    • The Other One (?)
    • The Taking of Power by Louis XIV (?)
  • Other
    • A Mother’s Heart (San Sebastian)
    • Barrier (Bergamo, Grand Prize)
    • Far From Vietnam (Montreal)
    • Father (Moscow, Grand Prize)
    • Hot Years (Mannheim; Pesaro)
    • Hugs and Kisses (Pesaro)
    • Made in U.S.A (London)
    • Memorandum (San Francisco)
  • N/A
    • Applause
    • The Benefit of the Doubt
    • Les Carabiniers
    • Funnyman
    • Napoléon
    • Portrait of Jason
    • Show People
    • Tonite Let’s All Make Love in London

Oscar Nominees

  • The Battle of Algiers: 1966 Best Foreign Film, 1968 Best Director, 1968 Best Screenplay

Events/Shorts

events
shorts

Discussions By Length (Approximate)

  • 21:34 Napoléon (39:03-1:00:37)
  • 10:05 Far From Vietnam (2:28:42-2:38:47)
  • 9:14 The Taking of Power by Louis XIV (1:25:44-1:34:58)
  • 8:09 Portrait of Jason (2:04:21-2:12:30)
  • 7:54 The Battle of Algiers (13:41-21:35)
  • 6:50 “The London Scene” (1:40:02-1:46:52)
  • 6:30 The Lion Hunters (1:14:24-1:20:54)
  • 6:28 Made in U.S.A (1:52:03-1:58:31)
  • 5:51 Yesterday Girl (22:35-28:26)
  • 5:35 Le Départ (33:27-39:02)
  • 5:33 Applause (2:17:18-2:22:51)
  • 5:09 Les Carabiniers (1:46:53-1:52:02)
  • 4:59 Love Affair, or the Case of the Missing Switchboard Operator (28:27-33:26)
  • 4:55 Young Törless (1:04:41-1:09:36)
  • 4:48 Memorandum [One Person] (1:20:55-1:25:43)
  • 4:46 Samurai Rebellion (1:09:37-1:14:23)
  • 4:46 Elvira Madigan (2:12:31-2:17:17)
  • 4:18 Show People (2:22:52-2:27:10)
  • 4:06 Barrier (1:35:55-1:40:01)
  • 3:32 Father (1:58:32-2:02:04)
  • 1:47 Funnyman [Unavailable] (1:01:42-1:03:29)
  • 1:30 A Mother’s Heart [Unavailable] (2:27:11-2:28:41)
  • 1:18 The Other One [Unavailable] (2:02:05-2:03:23)
  • 1:00 Hugs and Kisses [Unavailable] (1:03:30-1:04:40)
  • 0:58 Hot Years [Unavailable] (21:36-22:34)

Specifications

  • Gillo Pontecorvo, La battaglia di Algeri, 1966, 35 mm, black-and-white, sound, 121 minutes, 1.85:1, Italy.
  • Dragoslav Lazic, Tople godine, 1966, 35 mm, black-and-white, sound, 85 minutes, 1.66:1, Yugoslavia. (?)
  • Alexander Kluge, Abschied von gestern, 1966, 35 mm, black-and-white, sound, 88 minutes, 1.37:1, West Germany.
  • Dusan Makavejev, Ljubavni slučaj ili tragedija službenice P.T.T., 1967, black-and-white, sound, 79 minutes, 1.66:1, Yugoslavia.
  • Jerzy Skolimowski, Le Départ, 1967, 35 mm, black-and-white, sound, 93 minutes, 1.66:1, Belgium.
  • Abel Gance, Napoléon, 1927, 35 mm, black-and-white, silent, 333 minutes, 1.33:1 and 4.00:1, France.
  • John Korty, Funnyman, 1967, 35 mm, black-and-white and color, sound, 102 minutes, 1.85:1, USA.
  • Jonas Cornell, Puss och Kram, 1967, 35 mm, black-and-white, sound, 94 minutes, 1.66:1, Sweden.
  • Volker Schlöndorff, Der junge Törless, 1966, 35 mm, black-and-white, sound, 87 minutes, 1.37:1, West Germany.
  • Masaki Kobayashi, Jōi-uchi: Hairyō tsuma shimatsu, 1967, 35 mm, black-and-white, sound, 128 minutes, 2.35:1, Japan.
  • Jean Rouch, La chasse au lion à l’arc, 1965, 16 mm, color, sound, 81 minutes, 1.37:1, France.
  • Donald Brittain & John Spotton, Memorandum, 1965, 16 mm, black-and-white, sound, 58 minutes, 1.37:1, Canada.
  • Roberto Rossellini, La prise de pouvoir par Louis XIV, 1966, 16 mm, color, sound, 100 minutes, 1.37:1, France.
  • Jerzy Skolimowski, Bariera, 1966, 35 mm, black-and-white, sound, 77 minutes, 1.66:1, Poland.
  • Peter Whitehead, Tonite Let’s All Make Love in London, 1967, 16 mm, color and black-and-white, sound, 57 minutes, 1.37:1, UK.
  • Peter Whitehead, The Benefit of the Doubt, 1967, 16 mm, black-and-white and color, sound, 70 minutes, 1.37:1, UK.
  • Jean-Luc Godard, Les Carabiniers, 1963, 35 mm, black-and-white, sound, 80 minutes, 1.37:1, France.
  • Jean-Luc Godard, Made in U.S.A, 1966, 35 mm, color, sound, 90 minutes, 2.35:1, France.
  • István Szabó, Apa, 1966, 35 mm, black-and-white, sound, 88 minutes, 1.37:1, Hungary.
  • René Allio, L’une et l’autre, 1967, 35 mm, color, sound, 90 minutes, 1.66:1, France. (?)
  • Shirley Clarke, Portrait of Jason, 1967, 35 mm, black-and-white, sound, 105 minutes, 1.37:1, USA.
  • Bo Widerberg, Elvira Madigan, 1967, 35 mm, color, sound, 91 minutes, 1.66:1, Sweden.
  • Rouben Mamoulian, Applause, 1929, 35 mm, black-and-white, sound, 80 minutes, 1.20:1, USA.
  • King Vidor, Show People, 1928, 35 mm, black-and-white, silent/sound, 83 minutes, 1.20:1, USA.
  • Mark Donskoy, Serdtse materi, 1966, 35 mm, black-and-white, sound, 100 minutes, 2.35:1, USSR.
  • Jean-Luc Godard & Joris Ivens & William Klein & Claude Lelouch & Chris Marker & Alain Resnais & Agnès Varda, Loin du Vietnam, 1967, 16 mm, color and black-and-white, sound, 115 minutes, 1.37:1, France.

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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Listen to the podcast here.
Subscribe to the podcast here.

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 [The Skinny Gossip] (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 [Balthazar, at Random] (1966, Robert Bresson)
September 15, 6:30
Released 1970
Les Créatures [The Creatures] (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 [The Bitch] (1931, Jean Renoir)
September 21, 6:30
Released 1976
Pierrot le fou [Pierrot the Madman] (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
  • Luis Buñuel: 1/1/4/4/1/1
  • Milos Forman: 1/1/2/2/1
  • Alain Resnais: 1/1/2/2/1
  • 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: 4/4/6/7/1
  • 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, Lásky jedné plavovlásky, 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, Sult, 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, El ojo de la cerradura, 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, Uccellacci e uccellini, 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, Máte doma lva?, 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, Appunti per un film sul 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, Biruma no tategoto, 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, La Vieille dame indigne, 1965, 35 mm, black-and-white, sound, 94 minutes, 1.66:1, France.
  • Ivan Passer, Intimní osvětlení, 1965, 35 mm, black-and-white, sound, 71 minutes, 1.37:1, Czechoslovakia.
  • Aleksandar Petrovic, Tri, 1965, 35 mm, black-and-white, sound, 80 minutes, 1.37:1, Yugoslavia.
  • Miklós Jancsó, Szegénylegények, 1966, 35 mm, black-and-white, sound, 95 minutes, 2.35:1, Hungary.
  • Jean-Luc Godard, Masculin féminin: 15 faits précis, 1966, 35 mm, black-and-white, sound, 103 minutes, 1.37:1, France.
  • Carlos Saura, La caza, 1966, 35 mm, black-and-white, sound, 91 minutes, 1.66:1, Spain.
  • Sergei Parajanov, Tini zabutykh predkiv, 1965, 35 mm, color, sound, 97 minutes, 1.37:1, USSR.
  • Jiri Menzel/Jan Nemec/Evald Schorm/Vera Chytilová/Jaromil Jires, Perličky na dně, 1966, 35 mm, black-and-white and color, sound, 105 minutes, 1.37:1, Czechoslovakia.
  • Luis Buñuel, Simón del desierto, 1965, 35 mm, black-and-white, sound, 45 minutes, 1.37:1, Mexico.
  • André Delvaux, De man die zijn haar kort liet knippen, 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, Un uomo a metà, 1966, 35 mm, black-and-white, sound, 93 minutes, 1.85:1, Italy.
  • Alain Resnais, La Guerre est Finie, 1966, 35 mm, black-and-white, sound, 121 minutes, 1.66:1, France.

3rd (1965): “Films: Fashion of the Fashionable” 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 third 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 third edition of the festival in 1965.

0:00-9:08 – Opening
9:09-54:11 – Part One [Alphaville to Charulata]
54:12-1:31:16 – Part Two [The Wedding March to Shakespeare Wallah]
1:31:17-2:18:36 – Part Three [Les Vampires to Le Petit Soldat]
2:18:37-3:10:38 – Part Four [Gertrud to Red Beard]
3:10:39-3:17:39 – Closing

Corrections/Clarifications

  • “Les Jeux Des Anges” was directed by Walerian Borowczyk.

Housekeeping

  • Hosted by Dan Molloy & Ryan Swen
  • 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 Bruce Conner
  • Recorded April 6, 2018
  • Released April 18, 2018
  • Music (in order of appearance):
    • Alphaville (opening night)
    • The Koumiko Mystery (another favorite)
    • Charulata (favorite of the first section)
    • Walkover (favorite of the second section)
    • Les Vampires (favorite of the third section)
    • Gertrud (favorite of the fourth section)
    • Red Beard (closing night)

General

  • Selection Committee: Richard Roud (program director), Amos Vogel (festival director)
  • Location: Philharmonic Hall
  • Prices: 2 for terrace, 2.50 or 3 for orchestra, 3.50 or 4 for loge; add 0.50 for Les Vampires; 12.50 and 17.50 for opening (ACLU benefit with champagne reception; rush tickets one dollar more than regular)
  • Films seen for the podcast:
    • Ryan
      • Seen before podcast watching period: Alphaville
      • Seen for the podcast: All available except Raven’s End, The Shop on Main Street, Thomas the Impostor, Of Human Bondage*; Alphaville rewatched
      • Favorite films: Gertrud, Les Vampires*, Seven Chances*, Charulata, Red Beard, The Koumiko Mystery, Alphaville
      • Least favorite films: Black Peter
      • Seen after the podcast: Raven’s End (5th)
      • Catch-up films: The Big City (2nd), Pasazerka (2nd), Before the Revolution (2nd)
    • Dan
      • Seen before podcast watching period: Alphaville, Seven Chances*, Gertrud, Red Beard
      • Seen for the podcast: All available except Knave of Hearts*, The Lady Without Camelias*, Les Vampires*, The Wedding March*; none rewatched
      • Favorite films: Seven Chances*, Gertrud, Charulata, Alphaville, Red Beard
      • Least favorite films: Black Peter, Sandra
      • Seen after the podcast: Les Vampires (4th)
  • Discoveries of the festival: Not Reconciled, The Koumiko Mystery, Raven’s End, Walkover, The Lady Without Camelias*
  • Unavailable films: Sweet Substitute, Twilight of Empire

Main Slate

Opening Night: Alphaville [Alphaville: une étrange aventure de Lemmy Caution] (1965, Jean-Luc Godard)
September 7, 9:00
Released 1965
Retrospective: Knave of Hearts [Monsieur Ripois] (1954, René Clément)
September 8, 6:30
Released 1954
Mickey One (1965, Arthur Penn)
September 8, 9:30
Released 1965
Raven’s End [Kvarteret Korpen] (1963, Bo Widerberg)
September 9, 6:30
Released 1970
The Shop on Main Street [Obchod na korze] (1965, Ján Kadár & Elmar Klos)
September 9, 9:30
Released 1966
Retrospective: The Lady Without Camelias [La signora senza camelie] (1953, Michelangelo Antonioni)
September 10, 6:30
Released 1981
Charulata [Cārulatā] (1965, Satyajit Ray)
September 10, 9:30
Released 1974
Retrospective: The Wedding March (1928, Erich von Stroheim)
September 11, 3:00
Released 1928
Black Peter [Černý Petr] (1964, Milos Forman)
September 11, 6:30
Released 1971
Thomas the Impostor [Thomas l’imposteur] (1964, Georges Franju)
September 11, 9:30
Never released
Identification Marks: None [Rysopis] (1964, Jerzy Skolimowski)
September 12, 3:00
Released 1968
Walkover [Walkower] (1965, Jerzy Skolimowski)
September 12, 6:30
Released 1969
Shakespeare Wallah (1965, James Ivory)
September 12, 9:30
Released 1966
Retrospective: Les Vampires (1915, Louis Feuillade)
September 13, 5:00
Never released
Retrospective: Buster and Beckett
The Railrodder (1965, Gerald Potterton)
Film (1965, Alan Schneider)
Seven Chances (1925, Buster Keaton)
September 14, 6:30
Never released/Released 1968/Released 1925
Retrospective: Tribute to Bette Davis
Of Human Bondage (1934, John Cromwell)
September 14, 9:30
Released 1934
Sweet Substitute (1964, Laurence L. Kent)
September 15, 6:30
Never released
Six in Paris [Paris vu par…] (1965, Omnibus: Jean Douchet, Jean Rouch, Jean-Daniel Pollet, Eric Rohmer, Jean-Luc Godard, Claude Chabrol)
September 15, 9:30
Released 1969
Retrospective: Le Petit Soldat [The Little Soldier] (1961, Jean-Luc Godard)
September 16, 6:30
Released 1967
Gertrud (1964, Carl Theodor Dreyer)
September 16, 9:30
Released 1966
Fists in the Pocket [I pugni in tasca] (1965, Marco Bellocchio)
September 17, 6:30
Released 1968
Sandra [Vaghe stelle dell’Orsa] (1965, Luchino Visconti)
September 17, 9:30
Released 1966
The Koumiko Mystery [Le Mystère Koumiko] (1965, Chris Marker)
And: Twilight of Empire (1964, Kevin Billington)
September 18, 3:00
Released 1967/Never released
Not Reconciled [Nicht versöhnt oder Es hilft nur Gewalt wo Gewalt herrscht] (1965, Jean-Marie Straub & Danièle Huillet)
September 18, 6:30
Released 1969
“Closing Night”: Red Beard [Akahige] (1965, Akira Kurosawa)
September 18, 8:40
Released 1968

Ephemera

  • “Film ’65”: Thirteen panel discussions coordinated by Arthur Knight at the Library and Museum of Performing Arts in Lincoln Center, all free
  • Excerpts from Dark Victory, All About Eve, and Jezebel shown after Of Human Bondage

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: 1/3/3/6/1/2
  • Jerzy Skolimowski: 2/2/2/2/0/1
  • Satyajit Ray: 1/1/2/2/1
  • Chris Marker: 1/1/2/2
  • Akira Kurosawa: 1/1/1/1/1
  • Marco Bellocchio: 1/1/1/1
  • Milos Forman: 1/1/1/1
  • James Ivory: 1/1/1/1
  • Jean-Marie Straub & Danièle Huillet: 1/1/1/1
  • Luchino Visconti: 1/1/1/1
  • Bo Widerberg: 1/1/1/1
  • Michelangelo Antonioni: 0/1/0/1
  • Claude Chabrol: 0/1/0/1
  • Louis Feuillade: 0/1/0/1
  • Eric Rohmer: 0/1/0/1
  • Jean Rouch: 0/1/0/1
  • Erich von Stroheim: 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: 4/7/16/19/2
  • USA: 2/6/7/13
  • Italy: 2/3/8/9
  • Poland: 2/2/5/5
  • Czechoslovakia: 2/2/2/3
  • Canada: 1/2/2/3
  • Japan: 1/1/8/8/1
  • UK: 1/1/3/3
  • India: 1/1/2/2/1
  • Sweden: 1/1/2/2
  • Denmark: 1/1/1/1
  • West Germany: 1/1/1/1

One-Time Directors

  • Kevin Billington (short)
  • René Clément (retrospective)
  • John Cromwell (retrospective)
  • Jean Douchet (omnibus)
  • Carl Theodor Dreyer
  • Georges Franju
  • Buster Keaton (retrospective)
  • Laurence L. Kent
  • Ján Kadár & Elmar Klos
  • Arthur Penn
  • Jean-Daniel Pollet (omnibus)
  • Gerald Potterton (short)
  • Alan Schneider (short)

Feature Debuts

  • Marco Bellocchio
  • Jerzy Skolimowski
  • Jean-Marie Straub & Danièle Huillet

Final Features

  • Carl Theodor Dreyer

Festivals

  • Cannes
    • Knave of Hearts (1954, Special Jury Prize)
    • Raven’s End (1964)
    • The Shop on Main Street (Special mention for actors)
    • Walkover (International Critics’ Week)
  • Berlin
    • Alphaville (Golden Bear)
    • Charulata (Silver Bear for Best Director, OCIC)
    • Shakespeare Wallah (Silver Bear for Best Actress)
    • Thomas the Impostor
    • Six in Paris (?)
    • Not Reconciled (?)
    • The Railrodder (Short Silver Bear)
  • Venice
    • Sandra (Golden Lion)
    • Red Beard (Volpi Cup for Best Actor, OCIC; also Moscow)
    • Mickey One
    • Gertrud (non-competition, FIPRESCI)
    • Film (short)
  • Other
    • Black Peter (Locarno, Golden Sail)
    • Fists in the Pocket (Locarno, Prize for Best Direction)
    • The Koumiko Mystery (Locarno)
    • Identification Marks: None (London)
    • Sweet Substitute (Montreal, Special Jury Prize)
  • N/A
    • The Lady Without Camelias
    • The Wedding March
    • Les Vampires
    • Of Human Bondage
    • Le Petit Soldat
    • Twilight of Empire

Oscar Nominees

  • The Shop on Main Street: Best Foreign Film (won), 1966 Best Actress
  • Raven’s End: 1964 Best Foreign Film
  • Of Human Bondage: 1934 Best Actress (unofficial)

Events/Shorts

events
shorts

Discussions By Length (Approximate)

  • 12:32 “Buster and Beckett” (1:40:20-1:52:52)
  • 11:01 Red Beard (2:59:37-3:10:38)
  • 11:01 Six in Paris [Omnibus] (2:00:05-2:11:06)
  • 10:23 Charulata (43:48-54:11)
  • 10:19 Gertrud (2:19:24-2:29:43)
  • 10:10 Not Reconciled (2:49:26-2:59:36)
  • 9:26 Identification Marks: None/Walkover (1:12:44-1:22:10)
  • 9:10 Alphaville (9:47-18:57)
  • 9:05 Shakespeare Wallah (1:22:11-1:31:16)
  • 8:17 Les Vampires [One Person] (1:32:02-1:40:19)
  • 7:29 Le Petit Soldat (2:11:07-2:18:36)
  • 7:20 The Koumiko Mystery (2:40:59-2:48:19)
  • 6:54 Black Peter (1:01:54-1:08:48)
  • 6:51 The Wedding March [One Person] (55:02-1:01:53)
  • 6:44 Mickey One (22:15-28:59)
  • 6:15 Of Human Bondage [One Person] (1:52:53-1:59:08)
  • 5:51 The Shop on Main Street [One Person] (32:41-38:32)
  • 5:42 Sandra (2:35:16-2:40:58)
  • 5:31 Fists in the Pocket (2:29:44-2:35:15)
  • 5:14 The Lady Without Camelias [One Person] (38:33-43:47)
  • 3:54 Thomas the Impostor [One Person] (1:08:49-1:12:43)
  • 3:40 Raven’s End [One Person] (29:00-32:40)
  • 3:16 Knave of Hearts [One Person] (18:58-22:14)
  • 1:05 Twilight of Empire [Unavailable] (2:48:20-2:49:25)
  • 0:55 Sweet Substitute [Unavailable] (1:59:09-2:00:04)

Specifications

  • Jean-Luc Godard, Alphaville: une étrange aventure de Lemmy Caution, 1965, 35 mm, black-and-white, sound, 99 minutes, 1.37:1, France.
  • René Clément, Monsieur Ripois, 1954, 35 mm, black-and-white, sound, 100 minutes, 1.37:1, France.
  • Arthur Penn, Mickey One, 1965, 35 mm, black-and-white, sound, 93 minutes, 1.85:1, USA.
  • Bo Widerberg, Kvarteret Korpen, 1963, 35 mm, black-and-white, sound, 101 minutes, 1.37:1, Sweden.
  • Ján Kadár & Elmar Kos, Obchod na korze, 1965, 35 mm, black-and-white, sound, 128 minutes, 1.37:1, Czechoslovakia.
  • Michelangelo Antonioni, La signora senza camelie, 1953, 35 mm, black-and-white, sound, 101 minutes, 1.37:1, Italy.
  • Satyajit Ray, Cārulatā, 1965, 35 mm, black-and-white, sound, 117 minutes, 1.37:1, India.
  • Erich von Stroheim, The Wedding March, 1928, 35 mm, black-and-white and color, silent, 113 minutes, 1.33:1, USA.
  • Milos Forman, Černý Petr, 1964, 35 mm, black-and-white, sound, 85 minutes, 1.37:1, Czechoslovakia.
  • Georges Franju, Thomas l’imposteur, 1964, 35 mm, black-and-white, sound, 94 minutes, 1.85:1, France.
  • Jerzy Skolimowski, Rysopis, 1964, 35 mm, black-and-white, sound, 73 minutes, 1.66:1, Poland.
  • Jerzy Skolimowski, Walkower, 1965, 35 mm, black-and-white, sound, 77 minutes, 1.66:1, Poland.
  • James Ivory, Shakespeare Wallah, 1965, 35 mm, black-and-white, sound, 120 minutes, 1.78:1, USA.
  • Louis Feullade, Les Vampires, 1915, 35 mm, black-and-white, silent, 417 minutes, 1.33:1, France.
  • Gerald Potterton, The Railrodder, 1965, 35 mm, color, sound, 24 minutes, 1.37:1, Canada.
  • Alan Schneider, Film, 1965, 35 mm, black-and-white, sound, 20 minutes, 1.37:1, USA.
  • Buster Keaton, Seven Chances, 1925, 35 mm, black-and-white and color, silent, 56 minutes, 1.33:1, USA.
  • John Cromwell, Of Human Bondage, 1934, 35 mm, black-and-white, sound, 83 minutes, 1.37:1, USA.
  • Laurence L. Kent, Sweet Substitute, 1964, 35 mm, black-and-white, sound, 90 minutes, 1.37:1, Canada. (?)
  • Jean Douchet/Jean Rouch/Jean-Daniel Pollet/Eric Rohmer/Jean-Luc Godard/Claude Chabrol, Paris vu par…, 1965, 16 mm, color, sound, 95 minutes, 1.37:1, France.
  • Jean-Luc Godard, Le Petit Soldat, 1960, 35 mm, black-and-white, sound, 88 minutes, 1.37:1, France.
  • Carl Theodor Dreyer, Gertrud, 1964, 35 mm, black-and-white, sound, 116 minutes, 1.66:1, Denmark.
  • Marco Bellocchio, I pugni in tasca, 1965, 35 mm, black-and-white, sound, 105 minutes, 1.85:1, Italy.
  • Luchino Visconti, Vaghe stelle dell’Orsa, 1965, 35 mm, black-and-white, sound, 105 minutes, 1.66:1, Italy.
  • Chris Marker, Le Mystère Koumiko, 1965, 16 mm, color, sound, 54 minutes, 1.37:1, France.
  • Kevin Billington, Twilight of Empire, 1964, 16 mm, black-and-white, sound, 21 minutes, 1.37:1, UK. (?)
  • Jean-Marie Straub & Danièle Huillet, Nicht versöhnt oder Es hilft nur Gewalt wo Gewalt herrscht, 1965, 35 mm, black-and-white, sound, 55 minutes, 1.37:1, West Germany.
  • Akira Kurosawa, Akahige, 1965, 35 mm, black-and-white, sound, 185 minutes, 2.35:1, Japan.

2nd (1964): “All Over the World” 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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Subscribe to the podcast here.

Description
The second 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 second edition of the festival in 1964.

0:00-9:58 – Opening
9:59-1:21:50 – Part One [Hamlet to Salvatore Giuliano]
1:21:51-2:21:44 – Part Two [A Woman Is a Woman to The Last Clean Shirt]
2:21:45-3:04:05 – Part Three [Pasazerka to Alone on the Pacific]
3:04:06-3:44:17 – Part Four [King & Country to The Big City]
3:44:18-3:50:37 – Closing

Corrections/Clarifications

  • The decision to withdraw the Museum of Modern Art from the New York Film Festival was made by the board of trustees, not the board of donors.
  • Though various New York Times articles claim that shorts were attached to the films at the 1st New York Film Festival, I was unable to find the titles of the shorts (aside from the Robert Drew short documentaries).
  • The song that plays in the scene from A Woman Is a Woman is sung by Charles Aznavour, not Maurice Chevalier.

Housekeeping

  • Hosted by Dan Molloy & Ryan Swen
  • 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 Saul Bass
  • Recorded March 5, 2018
  • Released March 12, 2018
  • Music (in order of appearance):
    • Hamlet (opening night)
    • A Woman Is a Woman (another favorite)
    • Woman in the Dunes (favorite of the first section)
    • Nothing But a Man (favorite of the second section)
    • Pasazerka (favorite of the third section)
    • King & Country (favorite of the fourth section)
    • The Big City (“closing night”)

General

  • Selection Committee: Richard Roud (program director), Amos Vogel (festival director)
  • 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
  • Pass for all programs: 42.50 vs. 50 for terrace, 55.00 vs. 62.50 and 67.50 vs. 75.00 for orchestra
  • Films seen for the podcast:
    • Ryan
      • Seen before podcast watching period: A Woman Is a Woman
      • Seen for the podcast: All available except Pasazerka, Before the Revolution, The Big City (partial); A Woman Is a Woman rewatched
      • Favorite films: Woman in the Dunes, The Brig, Nothing But a Man
      • Least favorite films: Salvatore Giuliano, Siberian Lady Macbeth, The Last Clean Shirt, Fail-Safe
      • Seen after the podcast: The Big City (3rd), Pasazerka (3rd), Before the Revolution (3rd)
    • Dan
      • Seen before podcast watching period: Salvatore Giuliano, A Woman Is a Woman, Band of Outsiders, Nothing But a Man
      • Seen for the podcast: All available; A Woman Is a Woman rewatched
      • Favorite films: Nothing But a Man, Woman in the Dunes, Band of Outsiders
      • Least favorite films: Siberian Lady Macbeth, Alone Across the Pacific, Fail-Safe
  • Discoveries of the festival: Hamlet, The Brig, Pasazerka, Life Upside Down
  • Unavailable films: The Inheritance, To Love, Cyrano and d’Artagnan

Main Slate

Opening Night: Hamlet [Gamlet] (1964, Grigori Kozintsev)
September 14, 9:00
Released 1966
The Inheritance [La Herencia] (1964, Ricardo Alventosa)
Also: Joseph Kilian [Postava k podpírání] (1963, Pavel Juracek & Jan Schmidt)
September 15, 6:30
Never released/Released 1966
Fail-Safe (1964, Sidney Lumet)
September 15, 9:15
Released 1964
Nobody Waved Good-bye (1964, Don Owen)
September 16, 6:30
Released 1965
Woman in the Dunes [Suna no Onna] (1964, Hiroshi Teshigahara)
September 16, 9:15
Released 1964
Hands Over the City [Le mani sulla città] (1963, Francesco Rosi)
September 17, 6:30
Never released
Salvatore Giuliano (1962, Francesco Rosi)
September 17, 9:15
Released 1964
A Woman Is a Woman [Une femme est une femme] (1961, Jean-Luc Godard)
September 18, 6:30
Released 1964
Band of Outsiders [Bande à part] (1964, Jean-Luc Godard)
September 18, 9:15
Released 1966
Nothing But a Man (1964, Michael Roemer)
September 19, 6:30
Released 1964
Lilith (1964, Robert Rossen)
September 19, 9:15
Released 1964
Shin Heike Monogatari [Taira Clan Saga] (1955, Kenji Mizoguchi)
September 20, 3:00
Never released
The Brig (1964, Jonas Mekas)
Also: The Last Clean Shirt (1964, Alfred Leslie)
September 20, 6:30
Released 1966/Never released
Pasazerka [Passenger] (1963, Andrzej Munk)
Also: …A Valparaiso [To Valparaiso] (1963, Joris Ivens)
September 20, 9:15
Released 1970/Released 1965
L’Age d’Or [The Golden Age] (1930, Luis Buñuel)
September 21, 6:30
Released 1980
Diary of a Chambermaid [Le journal d’une femme de chambre] (1964, Luis Buñuel)
September 21, 9:15
Released 1965
Enjo [Conflagration] (1958, Kon Ichikawa)
September 22, 6:30
Never released
To Love [Att älska] (1964, Jörn Donner)
September 22, 9:15
Released 1964
Alone Across the Pacific [Taiheiyo hitori-botchi] (1963, Kon Ichikawa)
September 23, 6:30
Released 1964
King & Country (1964, Joseph Losey)
September 23, 9:15
Released 1966
Life Upside Down [La vie à l’envers] (1964, Alain Jessua)
September 24, 6:30
Released 1965
Before the Revolution [Prima della rivoluzione] (1964, Bernardo Bertolucci)
September 24, 9:15
Released 1965
She and He [Kanojo to kare] (1963, Susumu Hani)
September 25, 6:30
Released 1967
Cyrano and d’Artagnan [Cyrano et d’Artagnan] (1964, Abel Gance)
September 25, 9:15
Never released
Ça ira – Il fiume della rivolta (1964, Tinto Brass)
Replaced With: Siberian Lady Macbeth [Sibirska Ledi Magbet] (1962, Andrzej Wajda)
September 26, 6:30
Never released/Never released
“Closing Night”: The Big City [Mahanagar] (1963, Satyajit Ray)
September 26, 9:15
Released 1967

Ephemera

  • Excerpts from quartet of Andy Warhol films shown on the Grand Promenade at Philharmonic Hall: Eat, Kiss, Haircut, Sleep

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

  • Luis Buñuel: 2/2/3/3/1/1
  • Jean-Luc Godard: 2/2/2/3/0/1
  • Kon Ichikawa: 2/2/2/2/0/1
  • Francesco Rosi: 2/2/2/2/0/1
  • Joseph Losey: 1/1/2/2
  • Grigori Kozintsev: 1/1/1/1/1
  • Satyajit Ray: 1/1/1/1/1
  • Bernardo Bertolucci: 1/1/1/1
  • Abel Gance: 1/1/1/1
  • Sidney Lumet: 1/1/1/1
  • Jonas Mekas: 1/1/1/1
  • Kenji Mizoguchi: 1/1/1/1
  • Michael Roemer: 1/1/1/1
  • Andrzej Wajda: 1/1/1/1
  • Joris Ivens: 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: 6/7/12/13/1
  • Japan: 5/5/7/7
  • USA: 3/5/5/7
  • Italy: 3/3/6/6
  • Poland: 2/2/3/3
  • India: 1/1/1/1/1
  • USSR: 1/1/1/1/1
  • Argentina: 1/1/2/2
  • UK: 1/1/2/2
  • Canada: 1/1/1/1
  • Sweden: 1/1/1/1
  • Czechoslovakia: 0/1/0/1

One-Time Directors

  • Richardo Alventosa
  • Tinto Brass (replaced)
  • Jörn Donner
  • Susumu Hani
  • Alain Jessua
  • Pavel Juracek & Jan Schmidt (short)
  • Alfred Leslie (short)
  • Andrzej Munk
  • Don Owen
  • Robert Rossen

Feature Debuts

  • Ricardo Alventosa
  • Luis Buñuel (retrospective)
  • Alain Jessua
  • Don Owen
  • Michael Roemer

Final Features

  • Andrzej Munk
  • Robert Rossen

Festivals

  • NYFF World Premiere
    • Fail-Safe
  • Cannes
    • Woman in the Dunes (Special Jury Prize; also Montreal)
    • Pasazerka (Special Mention, FIPRESCI)
    • Alone Across the Pacific (also San Francisco)
    • Before the Revolution (International Critics’ Week, Young Critics Prize)
    • The Inheritance (International Critics’ Week)
    • Joseph Kilian (International Critics’ Week)
  • Berlin
    • A Woman Is a Woman (1961, Silver Bear for Best Actress and Silver Bear Extraordinary Prize)
    • Salvatore Giuliano (1962, Silver Bear for Best Director; also 1963 Montreal)
    • The Big City (Silver Bear for Best Director)
    • She and He (Silver Bear for Best Actress, OCIC, Best Feature Film Suitable for Young People)
  • Venice
    • Hands Over the City (1963, Golden Lion)
    • Hamlet (Special Jury Prize)
    • To Love (Volpi Cup for Best Actress)
    • King & Country (Volpi Cup for Best Actor)
    • Life Upside Down (Best First Work; also Cannes International Critics’ Week)
    • Nothing But a Man (San Giorgio Prize)
    • The Brig (Documentary Festival, Grand Prize)
    • Lilith (withdrawn)
  • Other
    • Nobody Waved Good-bye (Montreal)
    • Diary of a Chambermaid (Karlovy Vary, Best Actress; also Venice?)
  • N/A
    • Band of Outsiders (Berlin and Locarno?)
    • Shin Heike Monogatari
    • The Last Clean Shirt
    • …A Valparaiso
    • L’Age d’Or
    • Enjo
    • Cyrano and d’Artagnan
    • Siberian Lady Macbeth

Oscar Nominees

  • Woman in the Dunes: Best Foreign Film, 1965 Best Director

Shorts

shorts

Discussions By Length (Approximate)

  • 15:35 Fail-Safe (30:55-46:30)
  • 14:24 The Brig (2:03:29-2:17:53)
  • 11:56 Hamlet (11:03-22:59)
  • 11:47 Woman in the Dunes (57:43-1:09:30)
  • 11:11 Nobody Waved Good-bye (46:31-57:42)
  • 10:44 Nothing But a Man (1:37:32-1:48:16)
  • 10:37 The Big City (3:33:40-3:44:17)
  • 8:44 Pasazerka (2:23:19-2:32:03)
  • 8:14 A Woman Is a Woman (1:23:02-1:31:16)
  • 7:47 Lilith (1:48:17-1:56:04)
  • 7:36 Diary of a Chambermaid (2:42:31-2:50:07)
  • 7:23 Shin Heike Monogatari (1:56:05-2:03:28)
  • 7:06 Joseph Kilian [Short] (23:48-30:54)
  • 7:03 Salvatore Giuliano (1:14:47-1:21:50)
  • 6:40 Alone Across the Pacific (2:57:25-3:04:05)
  • 6:26 King & Country (3:04:57-3:11:23)
  • 6:14 Band of Outsiders (1:31:17-1:37:31)
  • 5:42 Enjo (2:50:08-2:55:50)
  • 5:32 Life Upside Down (3:11:24-3:16:56)
  • 5:31 Before the Revolution [One Person] (3:16:57-3:22:28)
  • 5:29 L’Age d’Or (2:37:01-2:42:30)
  • 5:15 Hands Over the City (1:09:31-1:14:46)
  • 5:00 She and He (3:22:29-3:27:29)
  • 4:56 …A Valparaiso [Short] (2:32:04-2:37:00)
  • 4:17 Siberian Lady Macbeth (3:29:22-3:33:39)
  • 3:50 The Last Clean Shirt [Short] (2:17:54-2:21:44)
  • 1:51 Cyrano and d’Artagnan [Unavailable] (3:27:30-3:29:21)
  • 1:33 To Love [Unavailable] (2:55:51-2:57:24)
  • 0:47 The Inheritance [Unavailable] (23:00-23:47)

Specifications

  • Grigori Kozintsev, Gamlet, 1964, 35 mm, black-and-white, sound, 140 minutes, 2.35:1, USSR.
  • Ricardo Alventosa, La Herencia, 1964, 35 mm, black-and-white, sound, 78 minutes, 1.37:1, Argentina.
  • Pavel Juracek & Jan Schmidt, Postava k podpírání, 1963, 35 mm, black-and-white, sound, 38 minutes, 1.37:1, Czechoslovakia.
  • Sidney Lumet, Fail-Safe, 1964, 35 mm, black-and-white, sound, 112 minutes, 1.85:1, USA.
  • Don Owen, Nobody Waved Good-bye, 1964, 16 mm, black-and-white, sound, 80 minutes, 1.66:1, Canada.
  • Hiroshi Teshigahara, Suna no Onna, 1964, 35 mm, black-and-white, sound, 147 minutes, 1.37:1, Japan.
  • Francesco Rosi, Le mani sulla città, 1963, 35 mm, black-and-white, sound, 101 minutes, 1.85:1, Italy.
  • Francesco Rosi, Salvatore Giuliano, 1962, 35 mm, black-and-white, sound, 123 minutes, 1.85:1, Italy.
  • Jean-Luc Godard, Une femme est une femme, 1961, 35 mm, color, sound, 85 minutes, 2.35:1, France.
  • Jean-Luc Godard, Bande à part, 1964, 35 mm, black-and-white, sound, 97 minutes, 1.37:1, France.
  • Michael Roemer, Nothing But a Man, 1964, 35 mm, black-and-white, sound, 95 minutes, 1.37:1, USA.
  • Robert Rossen, Lilith, 1964, 35 mm, black-and-white, sound, 114 minutes, 1.85:1, USA.
  • Kenji Mizoguchi, Shin Heike Monogatari, 1955, 35 mm, color, sound, 108 minutes, 1.37:1, Japan.
  • Jonas Mekas, The Brig, 1964, 16 mm, black-and-white, sound, 68 minutes, 1.37:1, USA.
  • Alfred Leslie, The Last Clean Shirt, 1964, 16 mm, black-and-white, sound, 40 minutes, 1.37:1, USA.
  • Andrzej Munk, Pasazerka, 1963, 35 mm, black-and-white, sound, 62 minutes, 1.85:1, Poland.
  • Joris Ivens, …A Valparaiso, 1963, 16 mm, black-and-white and color, sound, 34 minutes, 1.37:1, France.
  • Luis Buñuel, L’Age d’Or, 1930, 35 mm, black-and-white, sound, 63 minutes, 1.19:1, France.
  • Luis Buñuel, Le journal d’une femme de chambre, 1964, 35 mm, black-and-white, sound, 97 minutes, 2.35:1, France.
  • Kon Ichikawa, Enjo, 1958, 35 mm, black-and-white, sound, 99 minutes, 2.35:1, Japan.
  • Jörn Donner, Att älska, 1964, 35 mm, black-and-white, sound, 90 minutes, 1.66:1, Sweden.
  • Kon Ichikawa, Taiheiyo hitori-botchi, 1963, 35 mm, color, sound, 104 minutes, 2.35:1, Japan.
  • Joseph Losey, King & Country, 1964, 35 mm, black-and-white, sound, 88 minutes, 1.66:1, UK.
  • Alain Jessua, La vie à l’envers, 1964, 35 mm, black-and-white, sound, 92 minutes, 1.85:1, France.
  • Bernardo Bertolucci, Prima della rivoluzione, 1964, 35 mm, black-and-white, sound, 115 minutes, 1.85:1, Italy.
  • Susumu Hani, Kanojo to kare, 1963, 35 mm, black-and-white, sound, 110 minutes, 1.37:1, Japan.
  • Abel Gance, Cyrano et d’Artagnan, 1964, 35 mm, color, sound, 145 minutes, 2.35:1, France.
  • Andrzej Wajda, Sibirska Ledi Magbet, 1962, 35 mm, black-and-white, sound, 93 minutes, 2.35:1, USSR.
  • Satyajit Ray, Mahanagar, 1963, 35 mm, black-and-white, sound, 136 minutes, 1.37:1, India.

1st (1963): “The Film As Art” 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, Discussions By Length, Specifications

poster

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Subscribe to the podcast on iTunes here.

Description
The first 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 first edition of the festival in 1963, and includes an introduction to the mission of the podcast as a whole.

0:00-16:07 – Introduction to the Podcast
16:08-26:27 – Opening
26:28-1:09:45 – Part One [The Exterminating Angel to Elektra at Epidaurus]
1:09:46-1:48:11 – Part Two [Hallelujah the Hills to Ro.Go.Pa.G.]
1:48:12-2:39:48 – Part Three [The Servant to Sweet and Sour]
2:39:49-2:48:06 – Closing

Corrections/Clarifications

  • The editorial with the title “The Film As Art” was not written by Amos Vogel, likely written by the editorial team in collaboration with the publisher, Arthur Ochs Sulzberger.
  • Avery Fisher Hall was renamed as David Geffen Hall in 2015.
  • The Terrace is an Argentinian film, not an Italian movie.
  • Harakiri played in the 1963 Cannes Film Festival.
  • Barravento was released in New York City in 1987.
  • The last film to play at the festival was Sweet and Sour.
  • The whole festival was sold out.
  • Ted Zarpas directed Elektra at Epidaurus, not Takis Mouzenidis.

Housekeeping

  • Hosted by Dan Molloy & Ryan Swen
  • 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 Larry Rivers
  • Recorded January 28, 2018
  • Released February 1, 2018
  • Music (in order of appearance):
    • Sansho the Bailiff (first film to play at the New York Film Festival)
    • The Exterminating Angel (opening night)
    • Harakiri (second favorite of the first section)
    • An Autumn Afternoon (favorite of the first section)
    • The Trial of Joan of Arc (favorite of the second section)
    • Muriel, or the Time of Return (favorite of the third section)
    • Sweet and Sour (closing night)

General

  • Selection Committee: Richard Roud (program director)
  • Location: Philharmonic Hall
  • Prices: 1.50 for terrace, 2.25 for orchestra, 3.50 for loge
  • Films seen for the podcast:
    • Ryan
      • Seen before podcast watching period: An Autumn Afternoon
      • Seen for the podcast: All available; none rewatched
      • Favorite films: Muriel or the Time of Return, An Autumn Afternoon, The Servant
      • Least favorite films: Magnet of Doom, All the Way Home
    • Dan
      • Seen before podcast watching period: The Exterminating Angel, Harakiri, An Autumn Afternoon, The Trial of Joan of Arc
      • Seen for the podcast: All available except Ro.Go.Pa.G.; An Autumn Afternoon rewatched
      • Favorite films: An Autumn Afternoon, Muriel or the Time of Return, Le Joli Mai
      • Least favorite films: All the Way Home, Magnet of Doom
  • Discoveries of the festival: Il Mare, Glory Sky, In the Midst of Life
  • Unavailable films: A Cozy Cottage, The Terrace, Elektra at Epidaurus, Sweet and Sour

Main Slate

“Opening Night”: The Exterminating Angel [El ángel exterminador] (1962, Luis Buñuel)
September 10, 9:15
Released 1967
In the Midst of Life [Au cœur de la vie] (1963, Robert Enrico)
September 11, 6:30
Never released
Knife in the Water [Nóż w wodzie] (1962, Roman Polanski)
September 11, 9:15
Released 1963
A Cozy Cottage [Kertes házak utcája] (1963, Tamás Fejér)
September 12, 6:30
Never released
Harakiri [Seppuku] (1962, Masaki Kobayashi)
September 12, 9:15
Released 1964
An Autumn Afternoon [Sanma no aji] (1962, Yasujiro Ozu)
September 13, 6:30
Released 1973
The Terrace [La terraza] (1963, Leopoldo Torre Nilsson)
September 13, 9:15
Released 1964
Elektra at Epidaurus [Ilektra] (1962, Ted Zarpas)
September 14, 3:00
Never released
Hallelujah the Hills (1963, Adolfas Mekas)
September 14, 6:30
Released 1963
All the Way Home (1963, Alex Segal)
September 14, 9:15
Released 1963
Glory Sky [Ouranos] (1962, Takis Kanellopoulos)
September 15, 3:00
Released 1963
The Trial of Joan of Arc [Procès de Jeanne d’Arc] (1962, Robert Bresson)
September 15, 6:30
Released 1965
I fidanzati [The Fiances] (1963, Ermanno Olmi)
September 15, 9:15
Released 1964
Ro.Go.Pa.G. (1963, Omnibus: Roberto Rossellini, Jean-Luc Godard, Pier Paolo Pasolini, Ugo Gregoretti)
September 16, 6:30
Never released
The Servant (1963, Joseph Losey)
September 16, 9:15
Released 1964
Il Mare [The Sea] (1963, Giuseppe Patroni Griffi)
September 17, 6:30
Never released
Magnet of Doom [L’Aîné des Ferchaux] (1963, Jean-Pierre Melville)
September 17, 9:15
Never released
Le Joli Mai [The Lovely Month of May] (1963, Chris Marker)
September 18, 6:30
Released 1966
Muriel, or the Time of Return [Muriel ou le Temps d’un retour] (1963, Alain Resnais)
September 18, 9:15
Released 1963
Barravento [The Turning Wind] (1962, Glauber Rocha)
September 19, 6:30
Released 1987
“Closing Night”: Sweet and Sour [Dragées au Poivre] (1963, Jacques Baratier)
September 19, 9:15
Released 1964

Ephemera

  • Crisis (Robert Drew) [shown with The Trial of Joan of Arc]
  • 
The Chair (Robert Drew) [shown with The Fiancés]
  • O.K. End Here (Robert Frank) [shown with Hallelujah the Hills]
  • 
Museum of Modern Art side-bar:

    • Sansho the Bailiff (Kenji Mizoguchi)

    • The Exiles (Kent MacKenzie)

    • I Live in Fear (Akira Kurosawa)
    • 
The Olive Trees of Justice (James Blue)
    • Point of Order (Emile de Antonio)
    • 
La Terra Trema (Luchino Visconti) [replaced with Peace to Him Who Enters (Aleksandr Alov & Vladimir Naumov)]

    • Fin de Fiesta (Leopoldo Torre Nilsson)
    • 
Bread of Our Former Years (Herbert Vesely)

    • The New Angels (Ugo Gregoretti)

    • Lola Montés (Max Ophuls)

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

  • Luis Buñuel: 1/1/1/1/1
  • Robert Bresson: 1/1/1/1
  • Masaki Kobayashi: 1/1/1/1
  • Joseph Losey: 1/1/1/1
  • Chris Marker: 1/1/1/1
  • Adolfas Mekas: 1/1/1/1
  • Jean-Pierre Melville: 1/1/1/1
  • Ermanno Olmi: 1/1/1/1
  • Roman Polanski: 1/1/1/1
  • Alain Resnais: 1/1/1/1
  • Glauber Rocha: 1/1/1/1
  • Leopoldo Torre Nilsson: 1/1/1/1
  • Jean-Luc Godard: 0/1/0/1
  • Pier Paolo Pasolini: 0/1/0/1
  • Roberto Rossellini: 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: 6/6/6/6/1
  • Italy: 3/3/3/3
  • Greece: 2/2/2/2
  • Japan: 2/2/2/2
  • USA: 2/2/2/2
  • Mexico: 1/1/1/1/1
  • Argentina: 1/1/1/1
  • Brazil: 1/1/1/1
  • Hungary: 1/1/1/1
  • Poland: 1/1/1/1
  • UK: 1/1/1/1

One-Time Directors

  • Jacques Baratier (gala)
  • Robert Enrico
  • Tamás Féjér
  • Ugo Gregoretti (omnibus)
  • Giuseppe Patroni Griffi
  • Takis Kanellopoulos
  • Adolfas Mekas
  • Alex Segal
  • Ted Zarpas

Feature Debuts

  • Giuseppe Patroni Griffi
  • Takis Kanellopoulos
  • Adolfas Mekas
  • Roman Polanski
  • Glauber Rocha

Final Features

  • Yasujiro Ozu

Festivals

  • NYFF World Premiere
    • All the Way Home
  • Cannes
    • The Trial of Joan of Arc (1962, Special Jury Prize)
    • The Exterminating Angel (1962, FIPRESCI)
    • Harakiri (Special Jury Prize)
    • I fidanzati (OCIC)
    • A Cozy Cottage
    • Glory Sky
    • Hallelujah the Hills (International Critics’ Week; also Locarno, Silver Sail)
    • Le Joli Mai (International Critics’ Week)
  • Berlin
    • The Terrace
  • Venice
    • Muriel, or the Time of Return (Best Actress)
    • The Servant
    • Sweet and Sour
    • Elektra at Epidaurus (1962 Information Section)
    • Knife in the Water (1962 Information Section)
    • Il Mare (1962 Information Section)
  • Other
    • An Autumn Afternoon (Montreal)
    • Barravento (Sestri Levante)
    • In the Midst of Life (San Sebastian, Best Director and FIPRESCI)
  • N/A
    • Magnet of Doom
    • Ro.Go.Pa.G.

Discussions By Length (Approximate)

  • 11:33 The Servant (1:49:09-2:00:41)
  • 10:44 Ro.Go.Pa.G. [Omnibus] (1:37:27-1:48:11)
  • 10:22 The Exterminating Angel (26:43-35:05)
  • 9:49 Muriel, or the Time of Return (2:24:23-2:34:12)
  • 9:10 An Autumn Afternoon (59:02-1:08:12)
  • 8:43 In the Midst of Life (35:06-43:49)
  • 8:34 Harakiri (50:27-59:01)
  • 8:32 Le Joli Mai (2:15:50-2:24:22)
  • 8:23 Il Mare (2:00:42-2:09:05)
  • 6:43 Magnet of Doom (2:09:06-2:15:49)
  • 6:23 Hallelujah the Hills (1:10:42-1:17:05)
  • 6:01 All the Way Home (1:17:06-1:23:07)
  • 5:41 Knife in the Water (43:50-49:31)
  • 5:16 The Trial of Joan of Arc (1:26:57-1:32:12)
  • 5:13 I fidanzati (1:32:13-1:37:26)
  • 3:49 Barravento (2:34:13-2:38:02)
  • 3:48 Glory Sky (1:23:08-1:26:56)
  • 1:45 Sweet and Sour [Unavailable] (2:38:03-2:39:48)
  • 0:55 Elektra at Epidaurus [Unavailable] (1:08:50-1:09:45)
  • 0:54 A Cozy Cottage [Unavailable] (49:32-50:26)
  • 0:36 The Terrace [Unavailable] (1:08:13-1:08:49)

Specifications

  • Luis Buñuel, El ángel exterminador, 1962, 35 mm, black-and-white, sound, 95 minutes, 1.37:1, Mexico.
  • Robert Enrico, Au cœur de la vie, 1963, 35 mm, black-and-white, sound, 95 minutes, 1.37:1, France.
  • Roman Polanski, Nóż w wodzie, 1962, 35 mm, black-and-white, sound, 94 minutes, 1.37:1, Poland.
  • Tamás Fejér, Kertes házak utcája, 1963, 35 mm, black-and-white, sound, 80 minutes, 1.37:1, Hungary.
  • Masaki Kobayashi, Seppuku, 1962, 35 mm, black-and-white, sound, 133 minutes, 2.35:1, Japan.
  • Yasujiro Ozu, Sanma no aji, 1962, 35 mm, color, sound, 113 minutes, 1.37:1, Japan.
  • Leopoldo Torre Nilsson, La terraza, 1963, 35 mm, black-and-white, sound, 90 minutes, 1.37:1, Argentina. (?)
  • Ted Zarpas, Ilektra, 1962, 35 mm, black-and-white, sound, 82 minutes, 1.37:1, Greece. (?)
  • Adolfas Mekas, Hallelujah the Hills, 1963, 16 mm, black-and-white, sound, 88 minutes, 1.37:1, USA.
  • Alex Segal, All the Way Home, 1963, 35 mm, black-and-white, sound, 97 minutes, 1.66:1, USA.
  • Takis Kanellopoulos, Ouranos, 1962, 35 mm, black-and-white, sound, 87 minutes, 1.37:1, Greece.
  • Robert Bresson, Procès de Jeanne d’Arc, 1962, 35 mm, black-and-white, sound, 65 minutes, 1.66:1, France.
  • Ermanno Olmi, I fidanzati, 1963, 35 mm, black-and-white, sound, 77 minutes, 1.85:1, Italy.
  • Roberto Rossellini/Jean-Luc Godard/Pier Paolo Pasolini/Ugo Gregoretti, Ro.Go.Pa.G., 1963, 35 mm, black-and-white and color, sound, 122 minutes, 1.85:1, Italy.
  • Joseph Losey, The Servant, 1963, 35 mm, black-and-white, sound, 116 minutes, 1.66:1, UK.
  • Giuseppe Patroni Griffi, Il Mare, 1963, 35 mm, black-and-white, sound, 110 minutes, 1.85:1, Italy.
  • Jean-Pierre Melville, L’Aîné des Ferchaux, 1963, 35 mm, color, sound, 102 minutes, 2.35:1, France.
  • Chris Marker, Le Joli Mai, 1963, 16 mm, black-and-white, sound, 145 minutes, 1.66:1, France.
  • Alain Resnais, Muriel ou le Temps d’un retour 1963, 35 mm, color, sound, 117 minutes, 1.66:1, France.
  • Glauber Rocha, Barravento, 1962, 35 mm, black-and-white, sound, 78 minutes, 1.37:1, Brazil.
  • Jacques Baratier, Dragées au Poivre, 1963, 35 mm, black-and-white, sound, 93 minutes, 1.37:1, France.