Street Corner Confessions

Man-on-the-street interviews can often be unexpectedly hilarious, insightful or surprising if the interviewer is a prankster like Triumph The Insult Comic Dog or a non-traditional reporter such as an anthropologist, professional prostitute or ….a pair of nuns. The latter, in fact, are showcased in the 1968 documentary, Inquiring Nuns, which is not an oddball stunt but a sincere attempt to capture some honest responses about the human condition via two unlikely interviewers. It was produced by Kartemquin Films, the non-profit documentary collective that was founded in 1966 in Chicago by Gordon Quinn, Jerry Temaner and Stan Karter and has produced such acclaimed work as Hoop Dreams (1995), Vietnam, Long Time Coming (1998), the PBS miniseries The New Americans (2004) and The Interrupters (2011). Continue reading

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Embryonic Journey

A young Japanese butterfly collector sees a rare species in his part of Japan in Silence Has No Wings (aka Tobenai Chinmoku, 1966), directed by Kazuo Kuroki.

What happens when you take an idea for a nature documentary short about a specific type of butterfly like the Nagasaki Swallowtail (papilla memnon) and expand it into an experimental narrative feature incorporating stylistic influences of the French New Wave with allegorical and sociological overtones? The result is Silence Has No Wings (aka Tobenai Chinmoku, 1966), a visually astonishing and rarely seen film by Japanese director Kazuo Kuroki, who began his career as an assistant director before helming several public relations and documentary shorts like Electric Rolling Stock of Toshiba (aka Toshiba Sharyo, 1958) and The Seawall (aka Kaiheki, 1959). Continue reading

Fade to White

Charles Denner retreats from the world in Life Upside Down (1964), directed by Alain Jessua

Charles Denner retreats from the world in Life Upside Down (1964), directed by Alain Jessua

Films that explore mental illness, especially Hollywood productions such as The Snake Pit, The Three Faces of Eve and A Brilliant Mind, usually tend to be heavy on the histrionics providing highly dramatic showcases and Oscar award opportunities for actors. But a descent into madness isn’t always signaled by wildly disruptive or overwrought behavior from the afflicted. Sometimes the illness can creep up slowly by degrees and pass for something more fleeting and subtle that avoids detection during the early stages. Life Upside Down (La vie à l’envers), directed by Alain Jessua, is a remarkable example of this, presenting a man who goes quietly mad while interpreting his erratic behavior as a profound new self-awareness.     Continue reading