When Legends Gather #98


Angela Davis and Jean Genet

Tricky: Scenes from a Life #26


Tricky points an accusing finger. (1959)

The Golden Age of Prurience #31


Shocking World
(vol. 1, #2; 1965)

Cine Francaise #7


Les Loups entre eux
(Léon Mathot; 1936)

Sex Education #54


Grace Kelly

They Were Collaborators #126


The Raymond Scott Quintette

Seminal Image #394


Faccia a faccia
(Face to Face)
(Sergio Sollima; 1968)

Fun at Bohemian Grove #4


Another day, another pageant (1925)

The Present Day Composer #22


Hector Berlioz (1803-1869)

Artists in Action #46


Ann-Margret raises a glass.

They Were Collaborators #125


Giancarlo Giannini and Lina Wertmuller

The Art of Jazz #21


Chet Baker & Crew
(Pacific Jazz; 1956)

The Art of The Spook Racket #6

Seminal Image #393


The River
(Pare Lorentz; 1938)

Relevant Quote #70


"I should say that I was a visual person. I experience with my eyes and never, or rarely, with my ears . . . to my constant regret"
-- Fritz Lang

Before and After #22:
Dave Brubeck

Before

After

Sex Education #53


Diana Rigg

Seminal Image #392


The Squaw Man
(Cecil B. DeMille; 1914)

They Were Collaborators #124


Myron McAdoo's Georgia Minstrels

When Legends Gather #97


Norman Mailer and Muhammad Ali

Kael in Concert: Circles and Squares


Let me take you down, 'cause we're going to have a glimpse of an interesting moment in our cultural history; a time when that under-developed region of the literary world known as film criticism was just starting to elevate its profile, catching the fancy of cinephiles throughout the western world in a way it never had previously. The great epochal dispute that single-handedly transformed movie reviewing into a spectator sport for intellectuals was over a specific critical construct, popularly known then and now as the Auteur Theory. For the non-cinephile contingent visiting us today, it was a mode of criticism where movie reviewers would mine even the most compromised productions for the signature or the voice or the presence or the shadow or the whatever of their (what else) auteurs, who always tended to sit in the Director's Chair. The rationale behind this has always been elusive; in fact, no one back then or even today has really advanced a coherent explanation as to why this specific system of evaluation should rise above all others. Like Topsy, it just growed.

Conceptually, the roots of the auteur model (I won't use the 'T' word here as it tends to confuse matters) go all the way back to the earliest days of systematized motion picture production. Its adherents then were almost exclusively movie directors, however; covering themselves in a lurid glory that looked suspiciously like mainstream American narcissism on close inspection. Critics didn't join the party in significant numbers until the 1940s, and that was mostly in France. All they did was take the megalomaniacal ravings of directors who each thought they were God's favorite nephew and depersonalize them; filter them and give them slightly more dignified linguistic form. The rise of auteurism in France through the 1950s is a long story, an ugly one, and I won't retell it here; suffice it to say that by the time its French proponents had . . . moved on to other careers, American and British film critics were ready to take up the standard and recast its light magically anew. They found it, in a word, enchanting.

But not everyone perceived its very real wonders . . . my own belief in the construct is, um, complicated: I basically have faith in its applicability, but my level of committment? Let's just say it recedes and surges like the tide . . . and that brings us to today's offering:

As an assault on the auteur model in general and Andrew Sarris's Notes on the Auteur Theory in 1962 specifically, this recording of Pauline Kael delivering a talk at (get this) San Fernando Valley State College sometime in 1963 does closely follow her essay Circles and Squares (the Squares being hero-worshipping auteurists, for those of you playing along at home). But even if you're familiar with the work in question, her tone of voice and formal delivery . . . hovering in some demilitarized zone betweeen Edna May Oliver and Victoria Regina . . . make these 55-minutes a genuinely nasty, invective-laden eye-opener.

The World of Jacob Riis #8


Minding Baby (1890)

Artists in Action #45


Woody Allen blows.

When Legends Gather #96


Siegfried & Roy and Leni Riefenstahl

The Art of Labor #5

The Cool Hall of Fame #34


Kwami Ture (aka, Stokely Carmichael)

Robert Altman: Still Alive at 81


Whether the result of an iron constitution, a testament to the preservative qualities of recreational herbs or an act of sheer spite towards an industry that never found succor in his vision, we here at If Charlie Parker Was a Gunslinger . . . are pleased to be able to wish Robert Altman, the director of Nightmare in Chicago, Quintet and O.C. & Stiggs, all our best as he celebrates this, his 81st birthday.

Adventures in American Filmmaking #52


Today's Adventure: William A. Wellman points, while everyone on the set of
Across the Wide Missouri
tries, really tries, to see what he can see (1951)

American Mouthpieces #4


Roy M. Cohn

Artists in Action #44


Robert Breer (right) stares into space on WCVB's one-of-a-kind, late and lamented series, Screening Room.

They Were Collaborators #123


Vincente Minnelli and Daughter

Seminal Image #391


Yoidore tenshi
(Drunken Angel)
(Akira Kurosawa; 1948)

The Art of War #13

They Were Collaborators #122


Ronald and Reginald Kray

Seminal Image #390


Human Desire
(Fritz Lang; 1954)

The Art of Civil War #6


Campesinos (1936)

Great Con Artists of the 20th Century #10


Aimee Semple McPherson

Artists in Action #43


Errol Flynn gets busy.

Faces From the Past #11


Robert, Michael, John and Denise Cooke (and friend)

Sorry for my absence from these environs for the past couple of weeks, I was away in Montreal and then off to see Sigur Ros in Portland, ME (amazing show, if you ever get the chance to see them, GO...I swear, I was thinking "This must be what it was like to see Velvet Underground back in the day...").

When I returned, I learned my Uncle Mike (seen above in cowboy gear in Yarmouth, N.S. in the early '50s) had been admitted to hospital with pneumonia while battling lung cancer. He's my last uncle on my father Robert's side (John died over a decade ago) and I've always been extremely fond of him, and it was heartbreaking to see him go down like that. Needless to say, it's been an emotional couple of weeks.

You can read my tribute to Mike on my LiveJournal, and you'll see me back on Charlie Parker... very soon.

The Art of Public Performance #1


On June 1, 1968, two days before the attempted assassination of Andy Warhol in New York, five days before the successful assassination of Sen. Robert F. Kennedy in Los Angeles, The Fugs took to the stage at the Fillmore East . . . site of more live recordings than half the joints in America combined . . . and delivered of themselves this performance, released more than a year later as an LP on the Reprise label as Golden Filth.

1. Slum Goddess
2. Coca-Cola Douche
3. How Sweet I Roamed
4. I Couldn't Get High
5. Saran Wrap
6. I Want to Know
7. Home Made
8. Nothing
9. Supergirl

Before and After #21:
Walter Winchell

Before

After

When Legends Gather #95


Luis Buñuel and Alfred Hitchcock

The Art of the WPA #3

Seminal Image #389


Whatever Happened to Baby Jane?
(Robert Aldrich; 1962)

The Art of Science Fiction #2


Planet Stories
(Summer, 1948)

Seminal Image #388


La Seine a rencontré Paris
(The Seine Meets Paris)
(Joris Ivens; 1957)

Before and After #20:
F. Scott Fitzgerald

Before

After