A slice of Lewis Klahr’s life
“Cake equaled love in my family,” said filmmaker Lewis Klahr following a cinematic magical mystery tour of his childhood memory bank. I understand this statement. I also get the intense spewing of fetishized objects — artfully collected, cut and pasted, and then animated — in Klahr’s amazing films. Critic J. Hoberman in the Village Voice ...
Before Hollywood came Edendale 2
This rustic boulevard, photographed at the turn of the twentieth century, occupied a Los Angeles neighborhood with the aspirational name of Edendale. One hundred years later, it’s called Echo Park. The street was then Allesandro. Now it’s Glendale Boulevard, or more accurately, a two-mile suction tube for automobiles hurtling toward downtown Los Angeles. On this ...
Red hair, red shoes 2
I recently attended a screening of The Red Shoes, the 1948 Michael Powell/Emeric Pressburger classic lovingly restored by UCLA Film and Television Archive, Martin Scorsese’s Film Foundation, British Film Institute, and others. This film’s huge blast of technicolor transforms red-headed Moira Shearer into an unspeakably firey, unearthly creature … her neat figure, fair complexion, and carrot top ...
Bill Stern’s keen eye for California design
Oct
11
2009
For about half a century starting in the 1890s, California orange and lemon growers branded their wares using vivid and outstanding graphic design. The fancifully imagined, richly colored paper labels adhered to wooden packing crates. When (pre-printed) cardboard boxes replaced the crates, labels fell into disuse. Warehouses were full of them by the early 1950s. Now they are valued art objects. ...
Ballerina’s beautiful beach birthday bash 1
Last year I wrote an article about former New York City Ballet ballerina Yvonne Mounsey coaching a young dancer, Melissa Barak, in the lead role of George Balanchine’s “Prodigal Son.” Mounsey danced the role in the early 1950s. By all accounts, she was an amazing, full-blooded dancer. She went on to become a great ballet ...
Yvonne Rainer, filmmaker 1
As a dance writer, I approached Yvonne Rainer, filmmaker, with trepidation. But she is as highly regarded in the experimental film world as she is in dance. My apprehension was for naught having attended the first of an eight-part retrospective of Rainer’s film work at the L.A. Filmforum at the Egyptian Theater. The films are marvelous, even ...
Monty Python’s dead parrot sketch
Sep
25
2009
It’s not pining… It’s bleeding demised. It’s passed on. This parrot is no more. It has ceased to be. It’s expired and gone to meet its maker. This is a late parrot. It’s a stiff! Bereft of life, it rests in peace! If you hadn’t nailed him to the perch, it would be pushing up the daisies! Its metabolic processes are now ...
Saving the village: our struggle to save LACMA’s film program
Sep
7
2009
On 28 July, 2009 the Los Angeles County Museum of Art (LACMA) announced that CEO Michael Govan’s vision for more comprehensive treatment of cinema at the museum required the axing of a superb 40-year-running film program. That kind of logic reminded me of the Vietnam War general explaining that the U.S. army had to “destroy the village in order to save the village.” But our little hamlet of Los Angeles ...
Getting out of Dodge …
Aug
13
2009
Michael Govan spotted this morning heading to Hamptons vacation. artist: Benoit Le Pennec
Marilyn dances . . . 1
The first man to impersonate Marilyn Monroe may well have been her dance coach, Jack Cole. Anticipating the iconic Marilyn, he brought out her exceptional femininity through dance. Monroe copied him in return. A star was born. Monroe’s six-movie collaboration with Cole began with 1953’s “Gentlemen Prefer Blondes,” the breakthrough film that made her a ...