Are you well versed in Greek mythology? You’ll need to be if you take a deep dive into Pier Paolo Pasolini’s 1969 version of Medea starring the world’s most famous opera diva Maria “La Divina” Callas in her only feature film role (and she doesn’t sing). Freely adapting narrative elements from the original Greek myth as well as Euripides’ play, which was first performed in 431 BC, Pasolini presents the tragic tale in the manner of a social anthropologist crossed with an experimental filmmaker dissecting an ancient case history of a marriage gone wrong. If you aren’t familiar with the story of Jason and Medea, this interpretation can be confusing, mysterious and inaccessible at times but it is also one of the most visually and aurally dazzling of the many versions produced on stage, TV or film over the years.
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The Naked Lens of Philippe Garrel
In 1974 very few people outside of France knew anything about Philippe Garrel, an experimental filmmaker who had first attracted attention in Parisian film circles with his 1964 fifteen minute short, Les Enfants Desaccordes (1964). Decidedly non-commercial, Garrel’s abstract, often autobiographical ruminations on disenfranchised youth and the vagaries of romantic love appealed to a fringe group of European cinephiles. But Les Hautes Solitudes, which was first screened in Paris in December 1974, raised Garrel’s profile considerably due to the film’s cast which included model/actress/singer Nico (formerly of The Velvet Underground) and current companion of Garrel, French stage and screen star Laurent Terzieff, the stunning Tina Aumont (daughter of Maria Montez and Jean-Pierre Aumont and, most notably, American actress Jean Seberg, who had reinvented her screen career in France with Jean-Luc Godard’s Breathless (1960). Continue reading
Faded Delusions of Grandeur: The Desert of the Tartars
Each year hundreds of international films never get picked up for distribution in the U.S. and the select few that do are either high profile film festival prize winners like Michael Haneke’s Amour (2012) or popular commercial hits like March of the Penguins (2005) from France and Life is Beautiful (1997) from Italy. So when you come across an austere and haunting cinematic work like Valerio Zurlini’s The Desert of the Tartars (Il Deserto Dei Tartari), you have to wonder how many great films from other lands are out there that you are not going to see…and probably never will. Continue reading

