I went to the NFT in London tonight to see a programme of 4 shorts.
2 Norman McLaren films including Pas de deux; the excellent, unknown to me, Black Tower by John Smith (directed, written, featuring) and ...
Film. Buster Keaton's silent, b/w collaboration with Samuel Beckett from 1965. I knew of it but went without information or expectation.
Has anyone else seen this? It is an astonishing short film - 21 minutes - of almost divine, small comedy and strange terror; with about half of it seeming to be a welter of circulations by the camera of the same, near bare room, Keaton's face only shown in the final frames.
It's the 'story' of a man with cataracts who scuttles through a derelict city, clinging to the walls, hiding his face. It becomes apparant that he is literally hiding from sight, from being seen. Everywhere are eyes - in passers-by, a neighbour, his cat and dog, the window, a mirror, a caged bird, goldfish, painting, even two drilled slots in the back of his rocking chair and a pair of circular tags on a folder of photographs.
Keaton's performance - all but the final moments shown from behind - is perfection but some of the camera motion as it haunts him in his room is sublime.
This is a masterpiece, gripping and lovely in its rhythms as jazz.
2 Norman McLaren films including Pas de deux; the excellent, unknown to me, Black Tower by John Smith (directed, written, featuring) and ...
Film. Buster Keaton's silent, b/w collaboration with Samuel Beckett from 1965. I knew of it but went without information or expectation.
Has anyone else seen this? It is an astonishing short film - 21 minutes - of almost divine, small comedy and strange terror; with about half of it seeming to be a welter of circulations by the camera of the same, near bare room, Keaton's face only shown in the final frames.
It's the 'story' of a man with cataracts who scuttles through a derelict city, clinging to the walls, hiding his face. It becomes apparant that he is literally hiding from sight, from being seen. Everywhere are eyes - in passers-by, a neighbour, his cat and dog, the window, a mirror, a caged bird, goldfish, painting, even two drilled slots in the back of his rocking chair and a pair of circular tags on a folder of photographs.
Keaton's performance - all but the final moments shown from behind - is perfection but some of the camera motion as it haunts him in his room is sublime.
This is a masterpiece, gripping and lovely in its rhythms as jazz.
). It documents the relationship between Alfred Brendel and the young pianist he decided he 'had to make time for' and to tutor him.
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