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I'm a Bond enthusiast. I look forward to and see all the movies and, yes, even owned a white dinner jacket for a while when I was a younger version of myself. So, when I heard about the James Bond in Motion exhibit featuring 20+ movie cars, boats, planes, his Walther PPK gun, spy gadgets and other cool stuff, well, there I went! I liked it. Movie clips accompanied the cars in action in the movies which brought back memoirs. The original Rolls Royce and Aston Martin Db5 from Goldfinger (and again in Skyfall) were certainly my highlights. The Db5 is known to be the most famous car in the world. They have a cafe in the exhibition but I failed to enquire whether or not they were making martinis shaken, not stirred!
The London Film Museum is essentially the James Bond Museum, with the "Bond in Motion" exhibits occupying the vast majority of the space. It is a rather small museum though, and even if you take the time to look at every detail, one to two hours will be more than enough. The main exhibits are the hot cars that 007 gets to drive, as well as a few other cool surprises - remember the car that turned into a submarine when it hit the water (The Spy Who Loved Me)? Or the plane with folded wings that emerged from a trailer (Octopussy)? Many of those exhibits include detailed specifications as well as videos of the scenes that highlight the vehicles. Some exhibits also play the theme songs in the background. Other memorabilia that Bond fans would love include original costumes, props, photo of backstage scenes, theatrical posters, etc. Admission is GBP14.50 (about USD18), which is rather expensive for such a small place (hence only 4 stars). But Bond fans, don't you dare say it's too expensive so you'll never go. Never Say Never Again! You Only Live Twice! You can go tomorrow since Tomorrow Never Dies. Go see it with your own Golden Eye. After all, this museum is For Your Eyes Only...
Fantastic collections of James Bond's Cars. If you've seen any of the movies, must be cars for you to see.
The London Film Museum was founded in 2008 and it is dedicated to the British film industry. The museum opened in its current location in Covent Garden in 2012. Since 2014, the museum has been dedicated to the Bond in Motion. I am not a James Bond fanatic but I enjoy the movies and I was very impressed by the collection of cars, props, music, posters, videos, and other memorabilia which was displayed. I loved seeing the collection of over 100 original vehicles and other items on displayed spanning all 24 James Bond films. Both young and old enjoyed this museum. I loved seeing the videos and hearing the great music. The staff was super sweet. There is a gift shop and a small cafe. Tickets are also available at Ticketmaster.com. www.londonfilmmuseum.com
I am a James Bond fan. More the later films, rather than the 'tongue in cheek' earlier versions. At least in the later films it shows that Bond does get hurt and bleeds LOL. Anyway, I was bought tickets for this exhibition for a Birthday pressie and was really looking forward to it. I wasn't disappointed. Plenty of room to wander around those cars and other bric-a-brac from the films. Auric Goldfingers 1937 Rolls to the fantastic db10. Never understood why they deviated from Aston Martins to those other foreign cars, BMW. It was very easy, at my age, to forget the cars in the films but this was helped by screens showing the cars in the films and the stunts they performed. Loved every minute of this visit. Other reviewers have mentioned the cost. Luckily, as I have said, my entrance was a pressie but I suppose I can agree that the price is a little high.
A spectacular homage to the vehicles used by 007 throughout his 50 year onscreen history, Bond in Motion is what drew me into the London Film Museum, one Saturday morning, after randomly noticing it while walking back to my hotel after a performance of The Woman in Black at the nearby Fortune Theater. At least I think it's nearby - I get lost easily. In the lobby, you're greeted by favorite of the Bonds, Sir Sean Connery, & then you proceed upstairs to begin your tour of the largest collection of original Bond props & memorabilia ever assembled for an exhibition. It's really quite impressive. There are video & audio clips to support the exhibits & the gift shop has a range of Bond merchandise, a fair amount of which is specific to the exhibition, which is always appreciated. They've done an exceptional job here. Fans of Bond should definitely make a point of visiting. Though the focus is largely on cars, planes & other vehicles, it's still a fascinating glimpse into those films.
The Film Museum is literally now a Permanent "Bond in Motion" Museum. The only items on display in this museum are from the James Bond franchise. Which is a very good thing, if you are a James Bond fan or love cars. But, if you go in expecting to see anything from a film other than James Bond, well... there's nothing else. The cars are stunning and you can take as many pictures as you like. My car crazy brothers, loved the pictures that I sent them and the technology behind some of the cars made for very interesting reading. The kids in our group, loved the cars and the drawing contest that they could participate in (the cafe in the basement has forms and colours for drawing) They have a tiny cafe and a small gift shop. However, our friends who weren't interested in either James Bond or cars, headed out to Covent garden to relax at a cafe, until we were done. This is a quick visit museum - under 2 hours (and that's if you want a selfie in front of every car)
Big James Bond fan and seeing all the vehicles from the film was great. Not as much as I thought there would be but still good.
*Bond in Motion exhibition* As soon as I saw this exhibition was coming to London I got very excited. The 'actual' cars from the studios combined with one of my favourite film series 007 James Bond! We arrived on Saturday afternoon with a very happy and polite greeting from the security guard and front of house staff. We quickly checked in and began the tour. Upstairs they had some cool artefacts from the films (passports, clapper boards and really cool story boards from the movies) stuff that you really don't get to see anywhere else. Which are unique to each film, its interesting to see the designers interpretation of the vision they were trying to achieve in the bond films. As we head down stairs this is where the fun starts! Old meets new! Greeted by one of the first Rolls Royce cars from the movies. What a magnificent car. Followed by cars such as Aston Martins (smashed up from the film) nice touch to show these it brings reality to the exhibition. I remember the cars from 'Die another Day' because of the guns coming out of the front on the bonnet. (see photos) For me the real star of the show was the Jaguar which was specifically made for the 'Specture' Film. A beautiful mean looking firey hot orange car! They said on the screen descriptors, they used 7 cars to film the one scene in Specture. A great match for the new Aston Martin DB10. (scenes filmed in Rome) The Aston Martin DB10 was next to the Jaguar (for me a true car fan, love at first sight) I mean WOW ! To be honest just to see this car was worth the entire trip for me! They also had a photo opportunity at an extra cost for James Bond fans, where you can have a photo taken just like the Bond films shooting through the hole on the opening credits (This is at an extra cost starts at £8) They also give you dressing up tuxedos to wear! (Nice touch) At the end of the tour they had a shop where you could buy James Bond memorabilia and small replica cars you could buy. Well worth the money. I really enjoyed it! Its on till December 2016. Closest tube is Covent Garden. Prices are below:- TICKET PRICES Represents standard admission prices. Full price - £14.50 Child Ticket - [5-15years] £9.50 Concession Ticket - £9.50 [Students, 65 + and freedom pass holders] Family Ticket - £38 Under 5 - Free Group Bookings For group offers please contact email@example.com 0207 836 4913
I thought this museum was fantastic despite being hidden away almost in the heart of Covent Garden. You'd blink and miss/walk past it. The rating it gets is based on the James Bond exhibition. For me this was curated brilliantly especially since it seems to have loads of the proper gadgets, scripts and of course cars. I'm a huge James Bond fan so I was in heaven but I think anyone would be amazed at this great exhibition. Go if you get a chance. I think if you google it you might even be lucky to see doe online deals for 241 perhaps.
Great for Bond fans that like to get photos and see cars up close and personal. You can also take many photos at the event.
Went to check out the Bond exhibition. It was quite amazing to see so many the different vehicles used in 007, the story boards, miniature models, and clips all tell very interesting stories. I wonder what this museum is used for when it's not showing Bond, it doesn't appear to have a permanent collection.
I passed this on my way back to my place and being a Bond fan, I had to check it out. General admission is £14.50 They show case many different sketches from the making of some the movies and they even have cars on display. Definitely worth it.
I went for the Bond exhibition and couldn't have been more pleased. Great audioguide (don't go without it) and vehicles and stories from almost every Bond ever. Also has the Skyfall Aston Martin DB5. Looking forward to my next visit here and what they'll have for an exhibit then.
Great exhibit for James Bond and car enthusiasts. :) The "Bond in Motion" exhibit is scheduled to be on display through the end of the year. It's tagged as the largest collection of original James Bond vehicles. What makes it super interesting are the large movie screens behind each car/vehicle. The museum runs relevant movie clips continuously behind each car. I spent about an hour and a half here; you could hang out more or less depending on your level of absorption. After leaving the museum, I wanted to re-watch all the movies in a James Bond movie marathon. Photos allowed. Yay! Cafe downstairs if you need to refuel. Double Yay!
If you are s bond fan this this will be a treat for you, although you're not allowed to touch any of the cars or get really close as they are cordoned off. Look for deals on Amazon and grouping for cheap tickets as full price a tad expensive for what's there! Nice touch with the movie scenes rolling next to the vehicles so you can see them in action but gift store pricey!
Movie Magic Read All About It ! Read All About It ! Do You Love Films? Then you are going to go absolutely nuts for the London Film Museum. No not the one on the Southbank, I'm talking about a little slice of movie heaven I found in Covent Garden. I've been look for a movie paradise since they closed MOMI aka the Museum of Moving Image. Yes I am a total movie geekette and that was a super geek zone reference to a much lamented museum, for all of you who love movies,just as much as I do. Did I mention it also includes movie props too ? I mean you only have to read how nuts I was about the 'Designing Bond' exhibition at the Barbican, to work out the lengths I'd go to check out some grade A movie props :0) I visited the London Film Museum on Saturday and was greeted by their super friendly staff, who were cheerful and very knowledgable. I walked down the stairs to the main Museum and was thrilled to be greeted by a full size movie camera. You know the old style type, you've seen on those old movies. Out came my Iphone before you could say no pictures please (of course I took some because I always do :0 ) Capturing the Shadows - the first exhibition I weaved my way around, was a captivating journey through the evolution of cinema. Beginning with magic laterns and shadow theatre, the early rise of photography and ultimately film. The accompanying props were exquisite. Just when I thought things couldn't get any better, I stumbled across another exhbition - Magnum on Set - ends 2nd September 2012. You must go and see it !! Magnum Photos home of my favourite photographer of all time Eve Arnold, is a photographic collective which has distinguished itself since its formation in 1947 by David "Chim" Seymour and George Rodger fufilling its mission statement by : "Evoking powerful individual visions to chronicle the world and interpret its people, events, issues and personalities". Part of their rich history is to be found on movie sets and not just any movie sets. Iconic images from movies like Giant, the Seven Year Itch, Rebel Without A Cause, Moby Dick, Planet of the Apes, Suddenly Last Summer, Cat on A Hot Tin Roof, The Misfits to name but a few; burst out from the exhbiition walls at you. All these incredible images are complimented by props and tantalising artefacts from those same movies. By the time I'd been around Magnum on Set twice, two hours had slipped by like two minutes. My high points were the corner of the exhbition dedicated to Marilyn Monroe in the Seven Year Itch, which drew quite a crowd when I was there. Along with some gorgeous black and white photographs taken on the set of the Misfits. For the boys - there's a pretty cool, strangely compelling lifesize ape costume from the original Charlton Heston Planet of the Apes movie, shots of Charlie Chaplin's Limelight and James Dean brooding in Rebel Without A Cause. Before I forget , a special mention to all of you Ipad devotees, the London Film Museum has its own app.and it's a pretty cool one All you have to do is to hold the IPad against one of the many QR codes around the exhibit and it simultaneously loads up information, pictures and even clips onto your Ipad screen. How cool is it? Well you'll just have to go along and try it out won't you? Will I be visiting the London Film Museum again....absolutely. Did I mention how much I paid to get in ? Nothing. That's right it was free. Now that's what I call real value for money :0 )
I'm a Bond fan and I loved seeing this stunning collection of vehicles from the films. There's some of the gadgets, storyboards, the Spectre ring, the wooden croc Roger Moore hid in, the Bath-O-Sub, the car that turns into a submarine as well as others. Great buggy/ wheelchair accessible lift. The only problem is that the exhibition's very short and at £14.50 each I was expecting more.
The current exhibit is Bond In Motion. A tribute and exploration of vehicles used in the recent 22 Bond movies. Some range from BMW's and Aston Martins with rocket launchers and ejector seats to transformable aquatic Lotus' and flying cars. As a Bond fan this was a treat. All cars were on loan if I remember correctly. This means that the exhibit may not last long. Specifically, about the Museum, is (1) the location (Covent Garden), and (2) that they focused on one genre instead of scattering around multiple genres of movies. This enables someone like me to indulge in my Bond fandom. I'm anxious to see what they will do next. The building itself was interest, a piece of the past flower history of Covent Garden itself. As always, the old gift shop takes up a good portion of my time, especially when the content is appropriate, rather than filled with add-on items for the sake of revenue. As for staff, I had a nice discussion with Julie at the gift shop and she seemed to know quite a bit about movies and was very friendly and helpful. DT
Great, traveled all the way to see this museum. Even has banners up all around the building incl. in front of the london eye. But it disappeared, it's not there.
from our August 2013 issue
Le camera stylo? Dziga Vertov’s Man with a Movie Camera (1929)
I recently had a heated argument with a cinephile filmmaking friend about Chris Marker’s Sans soleil (1983). Having recently completed her first feature, and with such matters on her mind, my friend contended that the film’s power lay in its combinations of image and sound, irrespective of Marker’s inimitable voiceover narration. “Do you think that people who can’t understand English or French will get nothing out of the film?” she said; to which I – hot under the collar – replied that they might very well get something, but that something would not be the complete work.
The Sight & Sound Deep Focus season Thought in Action: The Art of the Essay Film runs at BFI Southbank 1-28 August 2013, with a keynote lecture by Kodwo Eshun on 1 August, a talk by writer and academic Laura Rascaroli on 27 August and a closing panel debate on 28 August.
To take this film-lovers’ tiff to a more elevated plane, what it suggests is that the essentialist conception of cinema is still present in cinephilic and critical culture, as are the difficulties of containing within it works that disrupt its very fabric. Ever since Vachel Lindsay published The Art of the Moving Picture in 1915 the quest to secure the autonomy of film as both medium and art – that ever-elusive ‘pure cinema’ – has been a preoccupation of film scholars, critics, cinephiles and filmmakers alike. My friend’s implicit derogation of the irreducible literary element of Sans soleil and her neo-Godardian invocation of ‘image and sound’ touch on that strain of this phenomenon which finds, in the technical-functional combination of those two elements, an alchemical, if not transubstantiational, result.
Mechanically created, cinema defies mechanism: it is poetic, transportive and, if not irrational, then a-rational. This mystically-minded view has a long and illustrious tradition in film history, stretching from the sense-deranging surrealists – who famously found accidental poetry in the juxtapositions created by randomly walking into and out of films; to the surrealist-influenced, scientifically trained and ontologically minded André Bazin, whose realist veneration of the long take centred on the very preternaturalness of nature as revealed by the unblinking gaze of the camera; to the trash-bin idolatry of the American underground, weaving new cinematic mythologies from Hollywood detritus; and to auteurism itself, which (in its more simplistic iterations) sees the essence of the filmmaker inscribed even upon the most compromised of works.
It isn’t going too far to claim that this tradition has constituted the foundation of cinephilic culture and helped to shape the cinematic canon itself. If Marker has now been welcomed into that canon and – thanks to the far greater availability of his work – into the mainstream of (primarily DVD-educated) cinephilia, it is rarely acknowledged how much of that work cheerfully undercuts many of the long-held assumptions and pieties upon which it is built.
In his review of Letter from Siberia (1957), Bazin placed Marker at right angles to cinema proper, describing the film’s “primary material” as intelligence – specifically a “verbal intelligence” – rather than image. He dubbed Marker’s method a “horizontal” montage, “as opposed to traditional montage that plays with the sense of duration through the relationship of shot to shot”.
Here, claimed Bazin, “a given image doesn’t refer to the one that preceded it or the one that will follow, but rather it refers laterally, in some way, to what is said.” Thus the very thing which makes Letter “extraordinary”, in Bazin’s estimation, is also what makes it not-cinema. Looking for a term to describe it, Bazin hit upon a prophetic turn of phrase, writing that Marker’s film is, “to borrow Jean Vigo’s formulation of À propos de Nice (‘a documentary point of view’), an essay documented by film. The important word is ‘essay’, understood in the same sense that it has in literature – an essay at once historical and political, written by a poet as well.”
Marker’s canonisation has proceeded apace with that of the form of which he has become the exemplar. Whether used as critical/curatorial shorthand in reviews and programme notes, employed as a model by filmmakers or examined in theoretical depth in major retrospectives (this summer’s BFI Southbank programme, for instance, follows upon Andréa Picard’s two-part series ‘The Way of the Termite’ at TIFF Cinémathèque in 2009-2010, which drew inspiration from Jean-Pierre Gorin’s groundbreaking programme of the same title at Vienna Filmmuseum in 2007), the ‘essay film’ has attained in recent years widespread recognition as a particular, if perennially porous, mode of film practice. An appealingly simple formulation, the term has proved both taxonomically useful and remarkably elastic, allowing one to define a field of previously unassimilable objects while ranging far and wide throughout film history to claim other previously identified objects for this invented tradition.
It is crucial to note that the ‘essay film’ is not only a post-facto appellation for a kind of film practice that had not bothered to mark itself with a moniker, but also an invention and an intervention. While it has acquired its own set of canonical ‘texts’ that include the collected works of Marker, much of Godard – from the missive (the 52-minute Letter to Jane, 1972) to the massive (Histoire(s) de cinéma, 1988-98) – Welles’s F for Fake (1973) and Thom Andersen’s Los Angeles Plays Itself (2003), it has also poached on the territory of other, ‘sovereign’ forms, expanding its purview in accordance with the whims of its missionaries.
From documentary especially, Vigo’s aforementioned À propos de Nice, Ivens’s Rain (1929), Buñuel’s sardonic Las Hurdes (1933), Resnais’s Night and Fog (1955), Rouch and Morin’s Chronicle of a Summer (1961); from the avant garde, Akerman’s Je, Tu, Il, Elle (1974), Straub/Huillet’s Trop tôt, trop tard (1982); from agitprop, Getino and Solanas’s The Hour of the Furnaces (1968), Portabella’s Informe general… (1976); and even from ‘pure’ fiction, for example Gorin’s provocative selection of Griffith’s A Corner in Wheat (1909).
Just as within itself the essay film presents, in the words of Gorin, “the meandering of an intelligence that tries to multiply the entries and the exits into the material it has elected (or by which it has been elected),” so, without, its scope expands exponentially through the industrious activity of its adherents, blithely cutting across definitional borders and – as per the Manny Farberian concept which gave Gorin’s ‘Termite’ series its name – creating meaning precisely by eating away at its own boundaries. In the scope of its application and its association more with an (amorphous) sensibility as opposed to fixed rules, the essay film bears similarities to the most famous of all fabricated genres: film noir, which has been located both in its natural habitat of the crime thriller as well as in such disparate climates as melodramas, westerns and science fiction.
The essay film, however, has proved even more peripatetic: where noir was formulated from the films of a determinate historical period (no matter that the temporal goalposts are continually shifted), the essay film is resolutely unfixed in time; it has its choice of forebears. And while noir, despite its occasional shadings over into semi-documentary during the 1940s, remains bound to fictional narratives, the essay film moves blithely between the realms of fiction and non-fiction, complicating the terms of both.
“Here is a form that seems to accommodate the two sides of that divide at the same time, that can navigate from documentary to fiction and back, creating other polarities in the process between which it can operate,” writes Gorin. When Orson Welles, in the closing moments of his masterful meditation on authenticity and illusion F for Fake, chortles, “I did promise that for one hour, I’d tell you only the truth. For the past 17 minutes, I’ve been lying my head off,” he is expressing both the conjuror’s pleasure in a trick well played and the artist’s delight in a self-defined mode that is cheerfully impure in both form and, perhaps, intention.
Nevertheless, as the essay film merrily traipses through celluloid history it intersects with ‘pure cinema’ at many turns and its form as such owes much to one particularly prominent variety thereof.
The montage tradition
If the mystical strain described above represents the Dionysian side of pure cinema, Soviet montage was its Apollonian opposite: randomness, revelation and sensuous response countered by construction, forceful argumentation and didactic instruction.
No less than the mystics, however, the montagists were after essences. Eisenstein, Dziga Vertov and Pudovkin, along with their transnational associates and acolytes, sought to crystallise abstract concepts in the direct and purposeful juxtaposition of forceful, hard-edged images – the general made powerfully, viscerally immediate in the particular. Here, says Eisenstein, in the umbrella-wielding harpies who set upon the revolutionaries in October (1928), is bourgeois Reaction made manifest; here, in the serried ranks of soldiers proceeding as one down the Odessa Steps in Battleship Potemkin (1925), is Oppression undisguised; here, in the condemned Potemkin sailor who wins over his imminent executioners with a cry of “Brothers!” – a moment powerfully invoked by Marker at the beginning of his magnum opus A Grin Without a Cat (1977) – is Solidarity emergent and, from it, the seeds of Revolution.
The relentlessly unidirectional focus of classical Soviet montage puts it methodologically and temperamentally at odds with the ruminative, digressive and playful qualities we associate with the essay film. So, too, the former’s fierce ideological certainty and cadre spirit contrast with that free play of the mind, the Montaigne-inspired meanderings of individual intelligence, that so characterise our image of the latter.
Beyond Marker’s personal interest in and inheritance from the Soviet masters, classical montage laid the foundations of the essay film most pertinently in its foregrounding of the presence, within the fabric of the film, of a directing intelligence. Conducting their experiments in film not through ‘pure’ abstraction but through narrative, the montagists made manifest at least two operative levels within the film: the narrative itself and the arrangement of that narrative by which the deeper structures that move it are made legible. Against the seamless, immersive illusionism of commercial cinema, montage was a key for decrypting those social forces, both overt and hidden, that govern human society.
And as such it was method rather than material that was the pathway to truth. Fidelity to the authentic – whether the accurate representation of historical events or the documentary flavouring of Eisensteinian typage – was important only insomuch as it provided the filmmaker with another tool to reach a considerably higher plane of reality.
Dziga Vertov’s Enthusiasm (1931)
Midway on their Marxian mission to change the world rather than interpret it, the montagists actively made the world even as they revealed it. In doing so they powerfully expressed the dialectic between control and chaos that would come to be not only one of the chief motors of the essay film but the crux of modernity itself.
Vertov’s Man with a Movie Camera (1929), now claimed as the most venerable and venerated ancestor of the essay film (and this despite its prototypically purist claim to realise a ‘universal’ cinematic language “based on its complete separation from the language of literature and the theatre”) is the archetypal model of this high-modernist agon. While it is the turning of the movie projector itself and the penetrating gaze of Vertov’s kino-eye that sets the whirling dynamo of the city into motion, the recorder creating that which it records, that motion is also outside its control.
At the dawn of the cinematic century, the American writer Henry Adams saw in the dynamo both the expression of human mastery over nature and a conduit to mysterious, elemental powers beyond our comprehension. So, too, the modernist ambition expressed in literature, painting, architecture and cinema to capture a subject from all angles – to exhaust its wealth of surfaces, meanings, implications, resonances – collides with awe (or fear) before a plenitude that can never be encompassed.
Remove the high-modernist sense of mission and we can see this same dynamic as animating the essay film – recall that last, parenthetical term in Gorin’s formulation of the essay film, “multiply[ing] the entries and the exits into the material it has elected (or by which it has been elected)”. The nimble movements and multi-angled perspectives of the essay film are founded on this negotiation between active choice and passive possession; on the recognition that even the keenest insight pales in the face of an ultimate unknowability.
The other key inheritance the essay film received from the classical montage tradition, perhaps inevitably, was a progressive spirit, however variously defined. While Leni Riefenstahl’s Triumph of the Will (1935) and Olympia (1938) amply and chillingly demonstrated that montage, like any instrumental apparatus, has no inherent ideological nature, hers were more the exceptions that proved the rule. (Though why, apart from ideological repulsiveness, should Riefenstahl’s plentifully fabricated ‘documentaries’ not be considered as essay films in their own right?)
The overwhelming fact remains that the great majority of those who drew upon the Soviet montagists for explicitly ideological ends (as opposed to Hollywood’s opportunistic swipings) resided on the left of the spectrum – and, in the montagists’ most notable successor in the period immediately following, retained their alignment with and inextricability from the state.
Progressive vs radical
The Griersonian documentary movement in Britain neutered the political and aesthetic radicalism of its more dynamic model in favour of paternalistic progressivism founded on conformity, class complacency and snobbery towards its own medium. But if it offered a far paler antecedent to the essay film than the Soviet montage tradition, it nevertheless represents an important stage in the evolution of the essay-film form, for reasons not unrelated to some of those rather staid qualities.
The Soviet montagists had created a vision of modernity racing into the future at pace with the social and spiritual liberation of its proletarian pilot-passenger, an aggressively public ideology of group solidarity. The Grierson school, by contrast, offered a domesticated image of an efficient, rational and productive modern industrial society based on interconnected but separate public and private spheres, as per the ideological values of middle-class liberal individualism.
The Soviet montagists had looked to forge a universal, ‘pure’ cinematic language, at least before the oppressive dictates of Stalinist socialist realism shackled them. The Grierson school, evincing a middle-class disdain for the popular and ‘low’ arts, sought instead to purify the sullied medium of cinema by importing extra-cinematic prestige: most notably Night Mail (1936), with its Auden-penned, Britten-scored ode to the magic of the mail, or Humphrey Jennings’s salute to wartime solidarity A Diary for Timothy (1945), with its mildly sententious E.M. Forster narration.
What this domesticated dynamism and retrograde pursuit of high-cultural bona fides achieved, however, was to mingle a newfound cinematic language (montage) with a traditionally literary one (narration); and, despite the salutes to state-oriented communality, to re-introduce the individual, idiosyncratic voice as the vehicle of meaning – as the mediating intelligence that connects the viewer to the images viewed.
In Night Mail especially there is, in the whimsy of the Auden text and the film’s synchronisation of private time and public history, an intimation of the essay film’s musing, reflective voice as the chugging rhythm of the narration timed to the speeding wheels of the train gives way to a nocturnal vision of solitary dreamers bedevilled by spectral monsters, awakening in expectation of the postman’s knock with a “quickening of the heart/for who can bear to be forgot?”
It’s a curiously disquieting conclusion: this unsettling, anxious vision of disappearance that takes on an even darker shade with the looming spectre of war – one that rhymes, five decades on, with the wistful search of Marker’s narrator in Sans soleil, seeking those fleeting images which “quicken the heart” in a world where wars both past and present have been forgotten, subsumed in a modern society built upon the systematic banishment of memory.
It is, of course, with the seminal post-war collaborations between Marker and Alain Resnais that the essay film proper emerges. In contrast to the striving culture-snobbery of the Griersonian documentary, the Resnais-Marker collaborations (and the Resnais solo documentary shorts that preceded them) inaugurate a blithe, seemingly effortless dialogue between cinema and the other arts in both their subjects (painting, sculpture) and their assorted creative personnel (writers Paul Éluard, Jean Cayrol, Raymond Queneau, composers Darius Milhaud and Hanns Eisler). This also marks the point where the revolutionary line of the Soviets and the soft, statist liberalism of the British documentarians give way to a more free-floating but staunchly oppositional leftism, one derived as much from a spirit of humanistic inquiry as from ideological affiliation.
Related to this was the form’s problems with official patronage. Originally conceived as commissions by various French government or government-affiliated bodies, the Resnais-Marker films famously ran into trouble from French censors: Les statues meurent aussi (1953) for its condemnation of French colonialism, Night and Fog for its shots of Vichy policemen guarding deportation camps; the former film would have its second half lopped off before being cleared for screening, the latter its offending shots removed.
Appropriately, it is at this moment that the emphasis of the essay film begins to shift away from tactile presence – the whirl of the city, the rhythm of the rain, the workings of industry – to felt absence. The montagists had marvelled at the workings of human creations which raced ahead irrespective of human efforts; here, the systems created by humanity to master the world write, in their very functioning, an epitaph for those things extinguished in the act of mastering them. The African masks preserved in the Musée de l’Homme in Les statues meurent aussi speak of a bloody legacy of vanquished and conquered civilisations; the labyrinthine archival complex of the Bibliothèque Nationale in the sardonically titled Toute la mémoire du monde (1956) sparks a disquisition on all that is forgotten in the act of cataloguing knowledge; the miracle of modern plastics saluted in the witty, industrially commissioned Le Chant du styrène (1958) regresses backwards to its homely beginnings; in Night and Fog an unprecedentedly enormous effort of human organisation marshals itself to actively produce a dreadful, previously unimaginable nullity.
To overstate the case, loss is the primary motor of the modern essay film: loss of belief in the image’s ability to faithfully reflect reality; loss of faith in the cinema’s ability to capture life as it is lived; loss of illusions about cinema’s ‘purity’, its autonomy from the other arts or, for that matter, the world.
“You never know what you may be filming,” notes one of Marker’s narrating surrogates in A Grin Without a Cat, as footage of the Chilean equestrian team at the 1952 Helsinki Olympics offers a glimpse of a future member of the Pinochet junta. The image and sound captured at the time of filming offer one facet of reality; it is only with this lateral move outside that reality that the future reality it conceals can speak.
What will distinguish the essay film, as Bazin noted, is not only its ability to make the image but also its ability to interrogate it, to dispel the illusion of its sovereignty and see it as part of a matrix of meaning that extends beyond the screen. No less than were the montagists, the film-essayists seek the motive forces of modern society not by crystallising eternal verities in powerful images but by investigating that ever-shifting, kaleidoscopic relationship between our regime of images and the realities it both reveals and occludes.
— Andrew Tracy
1.À propos de Nice
Jean Vigo, 1930
Few documentaries have achieved the cult status of the 22-minute A propos de Nice, co-directed by Jean Vigo and cameraman Boris Kaufman at the beginning of their careers. The film retains a spontaneous, apparently haphazard, quality yet its careful montage combines a strong realist drive, lyrical dashes – helped by Marc Perrone’s accordion music – and a clear political agenda.
In today’s era, in which the Côte d’Azur has become a byword for hedonistic consumption, it’s refreshing to see a film that systematically undermines its glossy surface. Using images sometimes ‘stolen’ with hidden cameras, A propos de Nice moves between the city’s main sites of pleasure: the Casino, the Promenade des Anglais, the Hotel Negresco and the carnival. Occasionally the filmmakers remind us of the sea, the birds, the wind in the trees but mostly they contrast people: the rich play tennis, the poor boules; the rich have tea, the poor gamble in the (then) squalid streets of the Old Town.
As often, women bear the brunt of any critique of bourgeois consumption: a rich old woman’s head is compared to an ostrich, others grin as they gaze up at phallic factory chimneys; young women dance frenetically, their crotch to the camera. In the film’s most famous image, an elegant woman is ‘stripped’ by the camera to reveal her naked body – not quite matched by a man’s shoes vanishing to display his naked feet to the shoe-shine.
An essay film avant la lettre, A propos de Nice ends on Soviet-style workers’ faces and burning furnaces. The message is clear, even if it has not been heeded by history.
— Ginette Vincendeau
2.A Diary for Timothy
Humphrey Jennings, 1945
A Diary for Timothy takes the form of a journal addressed to the eponymous Timothy James Jenkins, born on 3 September 1944, exactly five years after Britain’s entry into World War II. The narrator, Michael Redgrave, a benevolent offscreen presence, informs young Timothy about the momentous events since his birth and later advises that, even when the war is over, there will be “everyday danger”.
The subjectivity and speculative approach maintained throughout are more akin to the essay tradition than traditional propaganda in their rejection of mere glib conveyance of information or thunderous hectoring. Instead Jennings invites us quietly to observe the nuances of everyday life as Britain enters the final chapter of the war. Against the momentous political backdrop, otherwise routine, everyday activities are ascribed new profundity as the Welsh miner Geronwy, Alan the farmer, Bill the railway engineer and Peter the convalescent fighter pilot go about their daily business.
Within the confines of the Ministry of Information’s remit – to lift the spirits of a battle-weary nation – and the loose narrative framework of Timothy’s first six months, Jennings finds ample expression for the kind of formal experiment that sets his work apart from that of other contemporary documentarians. He worked across film, painting, photography, theatrical design, journalism and poetry; in Diary his protean spirit finds expression in a manner that transgresses the conventional parameters of wartime propaganda, stretching into film poem, philosophical reflection, social document, surrealistic ethnographic observation and impressionistic symphony. Managing to keep to the right side of sentimentality, it still makes for potent viewing.
— Catherine McGahan
3.Toute la mémoire du monde
Alain Resnais, 1956
In the opening credits of Toute la mémoire du monde, alongside the director’s name and that of producer Pierre Braunberger, one reads the mysterious designation “Groupe des XXX”. This Group of Thirty was an assembly of filmmakers who mobilised in the early 1950s to defend the “style, quality and ambitious subject matter” of short films in post-war France; the signatories of its 1953 ‘Declaration’ included Resnais, Chris Marker and Agnès Varda. The success of the campaign contributed to a golden age of short filmmaking that would last a decade and form the crucible of the French essay film.
A 22-minute poetic documentary about the old French Bibliothèque Nationale, Toute la mémoire du monde is a key work in this strand of filmmaking and one which can also be seen as part of a loose ‘trilogy of memory’ in Resnais’s early documentaries. Les statues meurent aussi (co-directed with Chris Marker) explored cultural memory as embodied in African art and the depredations of colonialism; Night and Fog was a seminal reckoning with the historical memory of the Nazi death camps. While less politically controversial than these earlier works, Toute la mémoire du monde’s depiction of the Bibliothèque Nationale is still oddly suggestive of a prison, with its uniformed guards and endless corridors. In W.G. Sebald’s 2001 novel Austerlitz, directly after a passage dedicated to Resnais’s film, the protagonist describes his uncertainty over whether, when using the library, he “was on the Islands of the Blest, or, on the contrary, in a penal colony”.
Resnais explores the workings of the library through the effective device of following a book from arrival and cataloguing to its delivery to a reader (the book itself being something of an in-joke: a mocked-up travel guide to Mars in the Petite Planète series Marker was then editing for Editions du Seuil). With Resnais’s probing, mobile camerawork and a commentary by French writer Remo Forlani, Toute la mémoire du monde transforms the library into a mysterious labyrinth, something between an edifice and an organism: part brain and part tomb.
— Chris Darke
4.The House is Black
(Khaneh siah ast) Forough Farrokhzad, 1963
Before the House of Makhmalbaf there was The House is Black. Called “the greatest of all Iranian films” by critic Jonathan Rosenbaum, who helped translate the subtitles from Farsi into English, this 20-minute black-and-white essay film by feminist poet Farrokhzad was shot in a leper colony near Tabriz in northern Iran and has been heralded as the touchstone of the Iranian New Wave.
The buildings of the Baba Baghi colony are brick and peeling whitewash but a student asked to write a sentence using the word ‘house’ offers Khaneh siah ast: the house is black. His hand, seen in close-up, is one of many in the film; rather than objects of medical curiosity, these hands – some fingerless, many distorted by the disease – are agents, always in movement, doing, making, exercising, praying. In putting white words on the blackboard, the student makes part of the film; in the next shots, the film’s credits appear, similarly handwritten on the same blackboard.
As they negotiate the camera’s gaze and provide the soundtrack by singing, stamping and wheeling a barrow, the lepers are co-authors of the film. Farrokhzad echoes their prayers, heard and seen on screen, with her voiceover, which collages religious texts, beginning with the passage from Psalm 55 famously set to music by Mendelssohn (“O for the wings of a dove”).
In the conjunctions between Farrokhzad’s poetic narration and diegetic sound, including tanbur-playing, an intense assonance arises. Its beat is provided by uniquely lyrical associative editing that would influence Abbas Kiarostami, who quotes Farrokhzad’s poem ‘The Wind Will Carry Us’ in his eponymous film. Repeated shots of familiar bodily movement, made musical, move the film insistently into the viewer’s body: it is infectious. Posing a question of aesthetics, The House Is Black uses the contagious gaze of cinema to dissolve the screen between Us and Them.
— Sophie Mayer
5.Letter to Jane: An Investigation About a Still
Jean-Luc Godard & Jean-Pierre Gorin, 1972
With its invocation of Brecht (“Uncle Bertolt”), rejection of visual pleasure (for 52 minutes we’re mostly looking at a single black-and-white still) and discussion of the role of intellectuals in “the revolution”, Letter to Jane is so much of its time as to appear untranslatable to the present except as a curio from a distant era of radical cinema. Between 1969 and 1971, Godard and Gorin made films collectively as part of the Dziga Vertov Group before they returned, in 1972, to the mainstream with Tout va bien, a big-budget film about the aftermath of May 1968 featuring leftist stars Yves Montand and Jane Fonda. It was to the latter that Godard and Gorin directed their Letter after seeing a news photograph of her on a solidarity visit to North Vietnam in August 1972.
Intended to accompany the US release of Tout va bien, Letter to Jane is ‘a letter’ only in as much as it is fairly conversational in tone, with Godard and Gorin delivering their voiceovers in English. It’s stylistically more akin to the ‘blackboard films’ of the time, with their combination of pedagogical instruction and stern auto-critique.
It’s also an inspired semiological reading of a media image and a reckoning with the contradictions of celebrity activism. Godard and Gorin examine the image’s framing and camera angle and ask why Fonda is the ‘star’ of the photograph while the Vietnamese themselves remain faceless or out of focus? And what of her expression of compassionate concern? This “expression of an expression” they trace back, via an elaboration of the Kuleshov effect, through other famous faces – Henry Fonda, John Wayne, Lillian Gish and Falconetti – concluding that it allows for “no reverse shot” and serves only to bolster Western “good conscience”.
Letter to Jane is ultimately concerned with the same question that troubled philosophers such as Levinas and Derrida: what’s at stake ethically when one claims to speak “in place of the other”? Any contemporary critique of celebrity activism – from Bono and Geldof to Angelina Jolie – should start here, with a pair of gauchiste trolls muttering darkly beneath a press shot of ‘Hanoi Jane’.
— Chris Darke
6. F for Fake
Orson Welles, 1973
Those who insist it was all downhill for Orson Welles after Citizen Kane would do well to take a close look at this film made more than three decades later, in its own idiosyncratic way a masterpiece just as innovative as his better-known feature debut.
Perhaps the film’s comparative and undeserved critical neglect is due to its predominantly playful tone, or perhaps it’s because it is a low-budget, hard-to-categorise, deeply personal work that mixes original material with plenty of footage filmed by others – most extensively taken from a documentary by François Reichenbach about Clifford Irving and his bogus biography of his friend Elmyr de Hory, an art forger who claimed to have painted pictures attributed to famous names and hung in the world’s most prestigious galleries.
If the film had simply offered an account of the hoaxes perpetrated by that disreputable duo, it would have been entertaining enough but, by means of some extremely inventive, innovative and inspired editing, Welles broadens his study of fakery to take in his own history as a ‘charlatan’ – not merely his lifelong penchant for magician’s tricks but also the 1938 radio broadcast of his news-report adaptation of H.G. Wells’ The War of the Worlds – as well as observations on Howard Hughes, Pablo Picasso and the anonymous builders of Chartres cathedral. So it is that Welles contrives to conjure up, behind a colourful cloak of consistently entertaining mischief, a rueful meditation on truth and falsehood, art and authorship – a subject presumably dear to his heart following Pauline Kael’s then recent attempts to persuade the world that Herman J. Mankiewicz had been the real creative force behind Kane.
As a riposte to that thesis (albeit never framed as such), F for Fake is subtle, robust, supremely erudite and never once bitter; the darkest moment – as Welles contemplates the serene magnificence of Chartres – is at once an uncharacteristic but touchingly heartfelt display of humility and a poignant memento mori. And it is in this delicate balancing of the autobiographical with the universal, as well as in the dazzling deployment of cinematic form to illustrate and mirror content, that the film works its once unique, now highly influential magic.
— Geoff Andrew
7.How to Live in the German Federal Republic
(Leben – BRD) Harun Farocki, 1990
Harun Farocki’s portrait of West Germany in 32 simulations from training sessions has no commentary, just the actions themselves in all their surreal beauty, one after the other. The Bundesrepublik Deutschland is shown as a nation of people who can deal with everything because they have been prepared – taught how to react properly in every possible situation.
We know how birth works; how to behave in kindergarten; how to chat up girls, boys or whatever we fancy (for we’re liberal-minded, if only in principle); how to look for a job and maybe live without finding one; how to wiggle our arses in the hottest way possible when we pole-dance, or manage a hostage crisis without things getting (too) bloody. Whatever job we do, we know it by heart; we also know how to manage whatever kind of psychological breakdown we experience; and we are also prepared for the end, and even have an idea about how our burial will go. This is the nation: one of fearful people in dire need of control over their one chance of getting it right.
Viewed from the present, How to Live in the German Federal Republic is revealed as the archetype of many a Farocki film in the decades to follow, for example Die Umschulung (1994), Der Auftritt (1996) or Nicht ohne Risiko (2004), all of which document as dispassionately as possible different – not necessarily simulated – scenarios of social interactions related to labour and capital. For all their enlightening beauty, none of these ever came close to How to Live in the German Federal Republic which, depending on one’s mood, can play like an absurd comedy or the most gut-wrenching drama. Yet one disquieting thing is certain: How to Live in the German Federal Republic didn’t age – our lives still look the same.
— Olaf Möller
8.One Man’s War
(La Guerre d’un seul homme) Edgardo Cozarinsky, 1982
One Man’s War proves that an auteur film can be made without writing a line, recording a sound or shooting a single frame. It’s easy to point to the ‘extraordinary’ character of the film, given its combination of materials that were not made to cohabit; there couldn’t be a less plausible dialogue than the one Cozarinsky establishes between the newsreels shot during the Nazi occupation of Paris and the Parisian diaries of novelist and Nazi officer Ernst Jünger. There’s some truth to Pascal Bonitzer’s assertion in Cahiers du cinéma in 1982 that the principle of the documentary was inverted here, since it is the images that provide a commentary for the voice.
But that observation still doesn’t pin down the uniqueness of a work that forces history through a series of registers, styles and dimensions, wiping out the distance between reality and subjectivity, propaganda and literature, cinema and journalism, daily life and dream, and establishing the idea not so much of communicating vessels as of contaminating vessels.
To enquire about the essayistic dimension of One Man’s War is to submit it to a test of purity against which the film itself is rebelling. This is no ars combinatoria but systems of collision and harmony; organic in their temporal development and experimental in their procedural eagerness. It’s like a machine created to die instantly; neither Cozarinsky nor anyone else could repeat the trick, as is the case with all great avant-garde works.
By blurring the genre of his literary essays, his fictional films, his archival documentaries, his literary fictions, Cozarinsky showed he knew how to reinvent the erasure of borders. One Man’s War is not a film about the Occupation but a meditation on the different forms in which that Occupation can be represented.
—Sergio Wolf. Translated by Mar Diestro-Dópido
Chris Marker, 1982
There are many moments to quicken the heart in Sans soleil but one in particular demonstrates the method at work in Marker’s peerless film. An unseen female narrator reads from letters sent to her by a globetrotting cameraman named Sandor Krasna (Marker’s nom de voyage), one of which muses on the 11th-century Japanese writer Sei Shōnagon.
As we hear of Shōnagon’s “list of elegant things, distressing things, even of things not worth doing”, we watch images of a missile being launched and a hovering bomber. What’s the connection? There is none. Nothing here fixes word and image in illustrative lockstep; it’s in the space between them that Sans soleil makes room for the spectator to drift, dream and think – to inimitable effect.
Sans soleil was Marker’s return to a personal mode of filmmaking after more than a decade in militant cinema. His reprise of the epistolary form looks back to earlier films such as Letter from Siberia (1958) but the ‘voice’ here is both intimate and removed. The narrator’s reading of Krasna’s letters flips the first person to the third, using ‘he’ instead of ‘I’. Distance and proximity in the words mirror, multiply and magnify both the distances travelled and the time spanned in the images, especially those of the 1960s and its lost dreams of revolutionary social change.
While it’s handy to define Sans soleil as an ‘essay film’, there’s something about the dry term that doesn’t do justice to the experience of watching it. After Marker’s death last year, when writing programme notes on the film, I came up with a line that captures something of what it’s like to watch Sans soleil: “a mesmerising, lucid and lovely river of film, which, like the river of the ancients, is never the same when one steps into it a second time”.
— Chris Darke
Black Audio Film Collective, 1986
Made at the time of civil unrest in Birmingham, this key example of the essay film at its most complex remains relevant both formally and thematically. Handsworth Songs is no straightforward attempt to provide answers as to why the riots happened; instead, using archive film spliced with made and found footage of the events and the media and popular reaction to them, it creates a poetic sense of context.
The film is an example of counter-media in that it slows down the demand for either immediate explanation or blanket condemnation. Its stillness allows the history of immigration and the subsequent hostility of the media and the police to the black and Asian population to be told in careful detail.
One repeated scene shows a young black man running through a group of white policemen who surround him on all sides. He manages to break free several times before being wrestled to the ground; if only for one brief, utopian moment, an entirely different history of race in the UK is opened up.
The waves of post-war immigration are charted in the stories told both by a dominant (and frequently repressive) televisual narrative and, importantly, by migrants themselves. Interviews mingle with voiceover, music accompanies the machines that the Windrush generation work at. But there are no definitive answers here, only, as the Black Audio Film Collective memorably suggests, “the ghosts of songs”.
— Nina Power
11.Los Angeles Plays Itself
Thom Andersen, 2003
One of the attractions that drew early film pioneers out west, besides the sunlight and the industrial freedom, was the versatility of the southern Californian landscape: with sea, snowy mountains, desert, fruit groves, Spanish missions, an urban downtown and suburban boulevards all within a 100-mile radius, the Los Angeles basin quickly and famously became a kind of giant open-air film studio, available and pliant.
Of course, some people actually live there too. “Sometimes I think that gives me the right to criticise,” growls native Angeleno Andersen in his forensic three-hour prosecution of moving images of the movie city, whose mounting litany of complaints – couched in Encke King’s gravelly, near-parodically irritated voiceover, and sometimes organised, as Stuart Klawans wrote in The Nation, “in the manner of a saloon orator” – belies a sly humour leavening a radically serious intent.
Inspired in part by Mark Rappaport’s factual essay appropriations of screen fictions (Rock Hudson’s Home Movies, 1993; From the Journals of Jean Seberg, 1995), as well as Godard’s Histoire(s) de cinéma, this “city symphony in reverse” asserts public rights to our screen discourse through its magpie method as well as its argument. (Today you could rebrand it ‘Occupy Hollywood’.) Tinseltown malfeasance is evidenced across some 200 different film clips, from offences against geography and slurs against architecture to the overt historical mythologies of Chinatown (1974), Who Framed Roger Rabbit (1988) and L.A. Confidential (1997), in which the city’s class and cultural fault-lines are repainted “in crocodile tears” as doleful tragedies of conspiracy, promoting hopelessness in the face of injustice.
Andersen’s film by contrast spurs us to independent activism, starting with the reclamation of our gaze: “What if we watch with our voluntary attention, instead of letting the movies direct us?” he asks, peering beyond the foregrounding of character and story. And what if more movies were better and more useful, helping us see our world for what it is? Los Angeles Plays Itself grows most moving – and useful – extolling the Los Angeles neorealism Andersen has in mind: stories of “so many men unneeded, unwanted”, as he says over a scene from Billy Woodberry’s Bless Their Little Hearts (1983), “in a world in which there is so much to be done”.
— Nick Bradshaw
12.La Morte Rouge
Víctor Erice, 2006
The famously unprolific Spanish director Víctor Erice may remain best known for his full-length fiction feature The Spirit of the Beehive (1973), but his other films are no less rewarding. Having made a brilliant foray into the fertile territory located somewhere between ‘documentary’ and ‘fiction’ with The Quince Tree Sun (1992), in this half-hour film made for the ‘Correspondences’ exhibition exploring resemblances in the oeuvres of Erice and Kiarostami, the relationship between reality and artifice becomes his very subject.
A ‘small’ work, it comprises stills, archive footage, clips from an old Sherlock Holmes movie, a few brief new scenes – mostly without actors – and music by Mompou and (for once, superbly used) Arvo Pärt. If its tone – it’s introduced as a “soliloquy” – and scale are modest, its thematic range and philosophical sophistication are considerable.
The title is the name of the Québécois village that is the setting for The Scarlet Claw (1944), a wartime Holmes mystery starring Basil Rathbone and Nigel Bruce which was the first movie Erice ever saw, taken by his sister to the Kursaal cinema in San Sebastian.
For the five-year-old, the experience was a revelation: unable to distinguish the ‘reality’ of the newsreel from that of the nightmare world of Roy William Neill’s film, he not only learned that death and murder existed but noted that the adults in the audience, presumably privy to some secret knowledge denied him, were unaffected by the corpses on screen. Had this something to do with war? Why was La Morte Rouge not on any map? And what did it signify that postman Potts was not, in fact, Potts but the killer – and an actor (whatever that was) to boot?
From such personal reminiscences – evoked with wondrous intimacy in the immaculate Castillian of the writer-director’s own wry narration – Erice fashions a lyrical meditation on themes that have underpinned his work from Beehive to Broken Windows (2012): time and change, memory and identity, innocence and experience, war and death. And because he understands, intellectually and emotionally, that the time-based medium he himself works in can reveal unforgettably vivid realities that belong wholly to the realm of the imaginary, La Morte Rouge is a great film not only about the power of cinema but about life itself.
— Geoff Andrew