The Explanation
(for those who require one)

And, of course, that is what all of this is -- all of this: the one song, ever changing, ever reincarnated, that speaks somehow from and to and for that which is ineffable within us and without us, that is both prayer and deliverance, folly and wisdom, that inspires us to dance or smile or simply to go on, senselessly, incomprehensibly, beatifically, in the face of mortality and the truth that our lives are more ill-writ, ill-rhymed and fleeting than any song, except perhaps those songs -- that song, endlesly reincarnated -- born of that truth, be it the moon and June of that truth, or the wordless blue moan, or the rotgut or the elegant poetry of it. That nameless black-hulled ship of Ulysses, that long black train, that Terraplane, that mystery train, that Rocket '88', that Buick 6 -- same journey, same miracle, same end and endlessness."
-- Nick Tosches, Where Dead Voices Gather

Visionary Film #1

Photobucket Image Hosting
The Hard Way
(Vincent Sherman; 1943)


swac said...

Heh...I was pondering this very type of series. I was going to call it The Enduring Gaze or some such nonsense. I like this better.

Tom Sutpen said...

Well, with 'Signs and Meaning' I used the title of one esteemed Cinema tome; ripping off another (in this case, P. Adams Sitney's history of American avant-garde gumbo) was a snap.

Kevin said...

Errol Morris used an image VERY much like this in his documentary "The Thin Blue Line"--to dramatize the claim of a false witness (Emily Miller) that she was focusing intently on a killing as it was happening. By the way, he has a great web site (, and I bet he'd love your site.--KK

swac said...

Aside from all the films he's made, I'll forever love Errol Morris for the piece he did for the Village Voice on the 50th anniversary of Citizen Kane, arguing that CK was NOT in fact The Great American Movie.

His pick was Detour, and he made a pretty compelling case for it too.