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

Seminal Image Friday #7: Middle Shots, I

The following images were extracted from the middle three minutes of the films they each represent.

Truth and Illusion: An Introduction to Metaphysics
(King Vidor; 1964)

(David Mamet; 2008)

Il Bidone
(The Swindle)
(Federico Fellini; 1955)

(Frank Tashlin; 1960)

La classe operaia va in paradiso
(The Working Class Go to Heaven)
(Elio Petri; 1971)

Joan of Arc
(Victor Fleming; 1948)

(Dorothy Arzner; 1934)

Wholly Communion
(Peter Whitehead; 1965)

The Wishing Ring: An Idyll of Old England
(Maurice Tourneur; 1914)

Liberi armati pericolosi
(Young, Violent, Dangerous)
(Romolo Guerrieri; 1976)

Toute la mémoire du monde
(Alain Resnais; 1956)

Double Nickels
(Jack Vacek; 1977)

Satan's Bed
(Michael Findlay; 1965)

(Max Ophuls; 1948)

British Sounds
(Jean-Luc Godard and Jean-Henri Roger; 1970)

George Dumpson's Place
(Ed Emshwiller; 1965)

Leo the Last
(John Boorman; 1970)

A Modern Musketeer
(Allan Dwan; 1917)

Day of the Outlaw
(André De Toth; 1959)

Tôkyô nagaremono
(Tokyo Drifter)
(Seijun Suzuki; 1966)

Doctor X (B&W version)
(Michael Curtiz; 1932)

Kiss the Blood Off My Hands
(Norman Foster; 1948)

La Révolution n'est qu'un début. Continuons.
(The Revolution Begins. Let Us Continue)
(Pierre Clementi; 1968)

Young America
(Frank Borzage; 1932)

The Sandpiper
(Vincente Minnelli; 1965)


H. P. L. said...

Oblique, subtle and mesmerizing concept, Tom!
BTW, it reminded me that I still have to finish Tokyo Drifter. Never could get to the end of that one.
Now that I've confessed this, I will probably be kicked out of this blog or something.

Christopher said...

..some fine images in there..and a tasty shot of stacks o comics..

swac said...

I didn't know a young Charles Hawtrey worked for Borzage.

r said...

i didn´t know the king vidor´s films. which film is it?

as always, thanks for this awesome generosous blog