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Tuesday, November 2, 2010

Lindsay Anderson - Thursday's Children (1954)

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Monday's child is fair of face,
Tuesday's child is full of grace;
Wednesday's child is full of woe,
Thursday's child has far to go.
...

Quote:

Narrated by Richard Burton, Thursday's Children is a documentary about the Royal School for the Deaf in Margate, England. Filmed without sound and using narration sparingly, the documentary explores the silent world of these children (and their teachers) as they come to learn what sound is, even before they are able to articulate anything themselves. The narration explains that there can be no thought without words, only feelings, and that sounds must be taught visually, through pictures or example, or experienced through vibrations. The bulk of the film, however, concerns itself with the determination of the children and the joy they feel when their attempts at communication produce breakthroughs. ~ Craig Butler, All Movie Guide

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Sunday, June 13, 2010

Lindsay Anderson - Every Day Except Christmas (1957)

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quote:
1956 proved to be a crucial year in Lindsay Anderson's career. Not only did he initiate the first Free Cinema screening, but he also wrote one of his most passionate theoretical pieces, "Stand Up! Stand Up!" (Sight and Sound, Autumn 1956), and he started the production of his new film, Every Day Except Christmas.

The new project was made possible because his Free Cinema accomplice Karel Reisz was working for the Ford company. Reisz had accepted the job on condition that he would be allowed to produce a series of non-advertising documentaries. He invited Anderson to make the first film. They started looking for a subject, and when the idea of a film about Covent Garden came up, Anderson spent a few nights following workers around the market.

A very rough treatment was written, but most of the film was improvised on the spot. The material shot over 4 weeks - either through the night or from dawn to lunchtime - was so abundant that Anderson had to persuade the producers to expand the film from the planned 20 minutes to over 40.

Every Day was the centrepiece of the third Free Cinema programme at the National Film Theatre in May 1957. Reviews of the film were almost unanimous in their praise. It went on to win the Grand Prix at the Venice Festival of Shorts and Documentaries later that year. Yet it was Anderson's last direct contribution to the cinema until his first feature, This Sporting Life in 1963.

The film evokes what Anderson has called the 'poetry of everyday life' and has the best lyrical qualities of the wartime films of Anderson's idol Humphrey Jennings. After a rather cynical view of working-class leisure in O Dreamland, Anderson clearly celebrates the virtues and dignity of ordinary people at work. The film makes perfect use of Free Cinema's trademark features: virtuoso cinematography alternating highly poetic moments with candid camera shots, and an imaginative soundtrack using natural sounds, voices and added music. This time though, Anderson added a voice-over commentary as a concession to the sponsor.

Every Day Except Christmas was one of the most ambitious of all Free Cinema films, and remains probably the best representative of the movement in retrospectives around the world today.

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Lindsay Anderson - O Dreamland (1953)

Description: Lindsay Anderson goes to an extremely surreal carnival

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Lindsay Anderson - Wakefield Express (1952)

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Description: In the same way as he did with O Dreamland (1954) in the first Free Cinema programme, Lindsay Anderson took advantage of the Free Cinema 3 programme to show another of his short films which had been sitting on a shelf unseen for several years. Wakefield Express was commissioned in 1952 by the eponymous newspaper to celebrate its 100th anniversary. Originally intended to be a film showing how the paper was printed, in Anderson's hands it became a much more personal study of the communal life of a group of towns in the West Riding area of Yorkshire. It was the first time Anderson worked with Free Cinema mainstays John Fletcher and Walter Lassally.

The film follows the local reporters as they travel around the area in search of newsworthy events: the local rugby tea, a school concert, a constituency political meeting, the launching of a ship and the unveiling of a war memorial among others. Although it was made four years before the advent of Free Cinema, Wakefield Express can be seen as a transition between Anderson's early 'industrial films' like Meet the Pioneers (1948) and his Free Cinema contributions, especially in the way in which he shows his interest in ordinary life and people, and expresses his own point of view as a filmmaker. In the words of the programme note, "there is nothing of the impartiality of the 'general survey' about the film's approach. Its perceptive, humanist outlook brings enough concern to the communal activities to view them, in turn, with affection and irony, exasperation and respect."

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Lindsay Anderson - The White Bus (1967)

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From Time Out Film Guide
Originally designed to be part of a feature called Red, White and Zero, a planned reunion of three 'Free Cinema' directors. When Karel Reisz' Morgan, A Suitable Case for Treatment turned into a feature, Lindsay Anderson and Tony Richardson were joined by Peter Brook, but their three contributions were never released together, and only Anderson's has stood the test of time. Shelagh Delaney's script takes an impassive young girl (Healey) out of her suicidal London office back to her Northern home town, which she views as part of a bizarre bus tour. The film looks forward to Anderson's blurring of the fantastic and the naturalistic in If...., and benefits from the poetic eye of the same Czech cameraman, Miroslav Ondricek. Fitting no conventional genre, the offbeat humour often hits the mark as a non-specific satire on British moribundity.

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Lindsay Anderson - The Whales of August (1987)

Lindsay Anderson's The Whales of August stars silent film legend Lillian Gish, in her 95th year, and Bette Davis, 79, as widowed sisters, one warm and supportive, the other cold and cantankerous, who have been coming to a small cottage on the Maine seacoast for sixty years. Every August, they watch the journey of the whales passing in the nearby waters together but the sense is that this may be their last summer together. Knowing that their time is limited, the siblings attempt to resolve long-standing differences but face many obstacles. The Whales of August takes place during the course of a single day and the camera stays mostly inside the house except to follow the sisters on occasional walks to the ocean. It all sounds static but there is a great deal of emotion churning beneath the surface.

Lindsay Anderson - The Old Crowd (1979)

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George and Betty, a middle-class English couple, have just moved into a big Edwardian house in London and are throwing a party to celebrate. Unfortunately, after ten days none of their furniture has arrived, having been sent to Carlisle by mistake, three of the four toilets don't work and cracks are starting to appear in the ceiling. However, nothing can dent their determination to have a good time.

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Lindsay Anderson - O Lucky Man! (1973)

All Movie Guide
Lindsay Anderson's epic-scale satire of wealth, ambition, and class in Great Britain is so dry and played with such subtlety that some viewers may wonder at times if it's really intended to be a comedy, which of course is one of its great strengths. For a film whose messages and observations are dagger sharp, O Lucky Man! never overplays its hand, no matter how bizarre the circumstances Malcolm McDowell's Mick Travis is forced to confront; and from the torture session interrupted by the tea lady to casual suicides by lower-level office functionaries, O Lucky Man! keeps one foot in reality at all times, which makes its brutal absurdities all the more telling (and hilarious). McDowell's performance is one of his very best, managing to blend Mick's sometimes cartoonish get-up-and-go with a credible sense of puzzlement and anger at the surreal events which follow him, and Anderson's stock company -- including Ralph Richardson, Arthur Lowe, Rachel Roberts and Helen Mirren -- are equally engaging in their multiple roles. Alan Price's songs offer a perfect running commentary on the narrative, and Anderson's audacious device of periodically returning to Price and his band in the studio still stands as one of the most intelligent uses of pop music in film scoring. Engaging and compelling for every moment of its three-hour running time, O Lucky Man! is a bellowing cry of bitterness and a call for cultural revolution lurking just beneath the surface of a low-key comedy of errors; and it's all but impossible to imagine any director/actor team besides Anderson and McDowell making this work nearly so well.