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Positively Bergmanian

March 15th, 2014 § Leave a Comment

Okay, I haven’t seen much Bergman. But all the Scandinavian Americans speaking their native tongue and the quiet drama portrayed in rich black and white certainly drew parallels for me. It must’ve been striking high art chords with its 1979 Cannes audience as well, winning the Camera D’Or.

We do this a lot at the GI, have a string of similarly themed films in a row. Not talking about just director or actor retrospectives; here we have two weeks in a row films about rural life, filmed in the 70s and critical darlings. Both relatively forgotten till just recently, and both with real life subjects and real history. And both absolutely worthy of rediscovery!

And yes, of course the overt socialism drew the inevitable Sawant references from Seattle’s two weeklies. This film deserves much more than name dropping local politicians, and true cinephiles will see its place as a great contemporary piece to Malick’s DAYS OF HEAVEN. I wish I had thought of that first, but the great, late Roger Ebert beat me to it! Proves great minds think alike.

Nice cine. Anagram.

Nice cine. Anagram.

See you cats Saturday! I’ll be slinging film for the 7:00 NORTHERN LIGHTS and following that up with a lil’ anime! That’s right! The GI is still the best place in town to see anime on the relatively big screen! TIGER & BUNNY!

—northern by pacific northwestern, dan

What a Jule of a Film

March 7th, 2014 § Leave a Comment

You know I’m not going to resist a titular pun, but maybe you didn’t see that one coming? I’m back, after letting you loose with Woody Allen for a while. You certainly didn’t need me to tell you to go see films from his most verdant and broadest ranging decade. And in 35mm no less!

I really want to talk to you about COUSIN JULES. What an absolutely exquisite gem of a film. A day in the life of a French backsmith and his wife. While watching the film, I was reminded of the children’s story of City Mouse and Country Mouse. The film doesn’t hit you over the head with the thematic virtues of the quiet peasant’s life like that old fable. Instead, it gives you a quiet ode to rural living, filmed in the aftermath of the French New Wave and the anti-materialist late 60s films of Jean-Luc Goddard.

This film is so exquisitely shot, it furthers my belief that whatever they were doing with the photochemical process in the 70s still makes it the greatest decade for cinema. This pastoral poem has all the fly-on-the-wall, day-in-the-life authenticity of the best cinema verite. With hardly a word uttered the whole film, to make a clumsy analogue to today’s post-modern filmmaking, this is OG mumblecore. There is no conflict or plot, besides the most rudimentary theme of man vs. nature, or going about your daily business to survive.

What's buzzin', cousin?

What’s buzzin’, cousin?

From the title, I was expecting something along the lines of the 70s Quebecois gem MON ONCLE ANTOINE, which just so happens to have come out the same year (1971). I don’t think that Cousin Jules from the title is meant to be someone specific’s cousin diagetic to the film, but an everyman. He’s your Cousin Jules too, and somewhere in the French countryside he’s still pulling away at his billows and carving another slice of bread.

Thank you, Cinema Guild, for distributing this missing treasure at last.

—cousin jules, he’s no fool, dan

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