Professional Documents
Culture Documents
JLG's Criterion: Kent Jones
JLG's Criterion: Kent Jones
by Kent Jones
CREATED 09/08/13 21 comments 31
"The observer and the universe are part of the same universe. It's what science discovered at the beginning of this century, when they say you can't tell where an atomic particle is. You know where they are, but not their speed; or you know their speed but not their place, because it depends on you. The one who describes is part of the description." - Jean Luc Godard in conversation with Gavin Smith, Film Comment, March-April 1996
Underworld
Josef von Sternberg
"For me, the film called UNDERWORLD by Ben Hecht and Josef von Sternberg is the greatest gangster movie. But no one ever heard of it. They all talk about SCARFACE, but UNDERWORLD is betterIn my opinion, Ben Hecht was a genius. He invented 80 percent of what is used in Hollywood movies today." (Panel discussion moderated by Gene Youngblood at the University of Southern California, 1968; published in Los Angeles Free Press, March 8, 15, 22 and 29, 1968)
Orpheus
Jean Cocteau
"Contraband poetry, therefore, yes, and consequently the most precious, for it is true, the German Novalis tells us, that if the world becomes a dream, the dream in its turn becomes a world. It is Cocteaus humility and also his glory that he neither could nor wanted to distinguish the legend of Orphe from his own to distinguish, in other words, between cinma-vrit and cinema-lie. If this makes fools laugh todayit is not everyone who can follow in the path of a poet such as this." (ORPHEE, Cahiers du Cinma, February 1964)
Le plaisir
Max Ophuls
"your father started to find his grand style [with LE PLAISIR]. I know his films much less well than you do and there are some I havent seen, but I think he found something there that he took to its peak in MADAME DE and then in LOLA MONTES, which is to say: something profound made from stories that are nothing, something very oriental, arabesques and camera movements, people running and skipping up and down stairs over and over again. Theres a side to it that makes me think of German expressionism befo re it got too heavy, of Kandinsky at the start. And I, who am such a pessimist, will always remember that exclamation at the end of 'The Model' - 'Happiness is not cheerful' (DIALOGUES SUR LE CINEMA, Jean-Luc Godard and Marcel Ophuls, Editions Le Bord de leau, 2011; original conversation, 2002)
Ugetsu
Kenji Mizoguchi
"Genjuro is bathing with the fatal enchantress who has caught him in her net; the camera leaves the rock pool where they are disporting themselves, pans along the overflow which becomes a stream disappearing into the fields; at this point there is a swift dissolve to the furrows, other furrows seem to take their place, the camera continues tranquilly on its way, rises, and discovers a vast plain, then a garden in which we discover the two lovers again, a few months later, enjoying a picnic. Only masters of the cinema can make use of a dissolve to create a feeling which is here the very Proustian one of pleasure and regrets." (Arts, February 5, 1958)
Orson Welles
"[The investigator] was added [to HELAS POUR MOI] after half of the editing because the film didnt hold together. It is a good film but it could have been It is not the intention of the movie. In MR. ARKADIN it was the intention. Thats why I say it was a better picture, because Orson We lles, even if it was only 80 percent his way of doing things that time, in the end it was part of the picture." (Interview with Gavin Smith, Film Comment, March-April 1996) "theres a sequence of shots [in MR. ARKADIN] where theres a sort of rhythm that isnt just shot/reverse shot, or from cutting either, but theres a certain rhythm in the dialogue thats just there, thats both a very brilliant effect and something like a trail leading towards what all filmmakers are after, which is really montage to tell stories in a different way." (CINEMA: THE ARCHEOLOGY OF FILM AND THE MEMORY OF A CENTURY, Jean-Luc Godard and Youssef Ishaghpour, Talking Images Series, published by Berg, 2005)
Academicians wing." (ORPHEE, Cahiers du Cinma, February 1964) "THE 400 BLOWS will be a film signed Frankness. Rapidity. Art. Novelty. Cinematograph. Originality. Impertinence. Seriousness. Tragedy. Renovation. Ubu-Roi. Fantasy. Ferocity. Affection. Universality. Tenderness." (LES QUATRE CENTS COUPS, Cahiers du Cinma, February 1959)
Red Desert
Michelangelo Antonioni
"When I first made CONTEMPT I had a certain movie in mind and I tried to make it. But CONTEMPT came out completely different than Id intended, and I forgot the kind of film I had wanted to make in the first place. Then when I saw RED DESERT at the Venice Film Festival, I said to myself: this is the kind of movie I wanted to make of CONTEMPT." (Panel discussion moderated by Gene Youngblood at the University of Southern California, 1968; published in Los Angeles Free Press, March 8, 15, 22 and 29, 1968)