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• W1567425574 abstract "New York Film Festival 2001 Stark reality mixed with interpretative memory dominated this year's festival. The most striking was Claude Lanzman's exceptional Sobibor October 14, 1943 4 p.m., an outtake of Shoah, his 1979 nine hour Holocaust documentary. Sobibor was a Polish extermination camp where, on October 14, 1943, at exactly 4 o'clock the guards were killed in a planned uprising and the inmates escaped. As in Shoah, Lanzman avoids dramatics, leaving the story to the polemic of memory. The interview, virtually all in close-up, is with Yehuada Lemer who as a teenager axed a Sobibor guard. Lemer is riveting in his directness and almost uncanny ease, though his joie de vivre is offset by a persistent facial tick. But Sobibor s cinematic frame of Lemer's words imparts the film's overall power. The sole interview is one of four sections: first, an opening photograph of Nazis saluting the murdered guards' graves; second, modern Warsaw and the countryside as the film follows the train's course to what is now camp ruins; third, Lemer interviewed in his home; fourth, a final black screen scrolling white letters enumerating Sobibor's death toll-some 250,000 people-and their origin towns-Polish, Soviet and Dutch. Read aloud by Lanzman in heavily French-accented English, he stated that its inclusion underscored the dead's reality. These devices-voice, close-up, landscape-create a human context for Sobiborby mixing these basics into something complex. Through this structural simplicity, Lanzman evokes, as almost no other documentarist has, a flesh and blood feel to what is an unimaginable experience. Because there is nothing else but landscape, voice and close-up, they parallel-metaphorically and literally-the realness of 'experience' as a live earthly thing. Placing Lemer's story within living transience-earth, trees, rocks, sounds, ruins, buildings, home-holds his words about unnatural atrocity within a natural world, humanizing the potentially cold documentary form while retaining its status as 'documentary.' The past's 'storyness' remains 'told' but the film organically presents it as continually real. Eric Rohmer's The Lady And The Duke recounts memoirs of Grace Dalrymple Elliott (expertly played by Lucy Russell), a divorced Scottish aristocrat and of close friend and ex-lover the Due d'Orleans' (Jean-Claude Dreyfus). Remaining in France during the Revolution, she is drawn into its espionage. At the age of 81, Rohmer brings delightful ingenuity to his film by employing digital video to create exteriors from eighteenth century paintings through which his characters walk. The viewer also enters their removed yet accessible space suitable to 'period drama.' The device makes an atmosphere so appropriate to historical distance that it seems without artifice. Equally it highlights 'artifice' as the film's present. On the downside, the characters have a sameness-cartoons of good or bad-that dilutes the film's impact. Martin Scorsese's four hour plus Il Mio Viaggio In ltalia, about Italian Neo-Realism, also a memoir, is rooted in recollections of watching these films on late 1940s television. Beginning with his grandparents' tears over Rossellini's Rome Open City, he takes the viewer from a nascent cinema of supreme silent director Allesandro Blasetti through that of Roberto Rossellini, Luchino Visconti, Federico Fellini, Michelangelo Antonioni and Vittorio de Sica. But his approach-strict recall-considerably weakens the film's potential to entice. Beginning with Scorsese's talking head narration in various New York City locales, gradually Il Mio Viaggio In Italia intercuts longer portions of some twelve films with Scorsese's pointed 'explanations' that display the films' beginning, middle and end. His desire to show Neo-Realism to a new public is deeply felt, as he states, but he does what no teacher should do: reveals everything, leaving nothing to questions or exploration. Tasters of each film with ambiguities posed or their influence on Scorsese as a director would have been more effective. …" @default.
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• W1567425574 date "2002-04-01" @default.
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• W1567425574 title "New York Film Festival 2001" @default.
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