Jean-Luc Godard Gives a Dramatic Reading of Hannah Arendt’s “On the Nature of Totalitarianism”

If you have watched any movie by Jean-Luc Godard you know that he’s nev­er been one to hide behind the façade of film nar­ra­tive. His movies are per­son­al. Sure they are also intel­lec­tu­al­ly demand­ing, unabashed­ly polit­i­cal, and occa­sion­al­ly impen­e­tra­ble but they are def­i­nite­ly per­son­al. This is a guy, after all, who made Pier­rot le Fou, a film that is, among oth­er things, a painful­ly hon­est inves­ti­ga­tion of the break­down of his mar­riage with Anna Kari­na star­ring Anna Kari­na.

But you wouldn’t think of Godard as a film­mak­er who would read­i­ly step in front of the cam­era like Orson Welles or (regret­tably) Quentin Taran­ti­no. But if you’ve been itch­ing to see Godard per­form an extend­ed mono­logue then check out the video above.

The piece is from the 1997 movie We’re Still Here (Nous sommes tous encore ici), direct­ed Anne-Marie Miéville who is Godard’s long­time cre­ative and roman­tic part­ner, and it shows the rum­pled, unshaven direc­tor quot­ing from Han­nah Arendt’s essay “On the Nature of Total­i­tar­i­an­ism.” The solil­o­quy, pre­sent­ed on a bare stage to an emp­ty the­ater, is about tyran­ny, iso­la­tion and free will and is deliv­ered with a sur­pris­ing amount of skill and emo­tion. You can read along below:

If it were true that eter­nal laws exist­ed, rul­ing every­thing, human in an absolute way and which only required of each human being com­plete obe­di­ence, the free­dom would only be a farce. One man’s wis­dom would be enough. Human con­tacts would no longer have any impor­tance, pre­served per­fect activ­i­ty alone would mat­ter, oper­at­ing with­in the con­text set up by this wis­dom which rec­og­nizes the Law. This is not the con­tent of ide­olo­gies, but the same log­ic which total­i­tar­i­an lead­ers use which pro­duces this famil­iar ground and the cer­tain­ty of the Law with­out excep­tion.

Log­ic, that’s to say pure rea­son with­out regard for facts and expe­ri­ence, is the real vice of soli­tude. But the vices of soli­tude are caused unique­ly by the despair asso­ci­at­ed with iso­la­tion. And the iso­la­tion which exists in our world, where human con­tacts have been bro­ken by the col­lapse of our com­mon home, again fol­low­ing the dis­as­trous con­se­quences of rev­o­lu­tions, them­selves a result of pre­vi­ous col­lapse.

This iso­la­tion has stopped being a psy­cho­log­i­cal ques­tion to which we can do jus­tice with the help of nice expres­sions devoid of mean­ing, like ‘intro­vert­ed’ and ‘extravert­ed’. Iso­la­tion as a result of absence of friends and of alien­ation is, from the point of view of man, the sick­ness which our world is suf­fer­ing from, even if it is true, we can notice few­er and few­er peo­ple than before who cling on to each oth­er with­out the slight­est sup­port. Those peo­ple do not ben­e­fit from com­mu­ni­ca­tion meth­ods offered by a world with com­mon inter­ests. These help us escape togeth­er, from the curse of inhu­man­i­ty, in a soci­ety where every­one seems super­flu­ous and con­sid­ered as such by oth­ers.

Iso­la­tion is not soli­tude. In soli­tude, we are nev­er alone with our­selves. In soli­tude we are always two in one, and we become one, a com­plete indi­vid­ual with rich­ness and the lim­its of its exact fea­tures, only in rela­tion to the oth­ers and in their com­pa­ny. The big meta­phys­i­cal ques­tions, the search for God, lib­er­ty and immor­tal­i­ty, rela­tions between man and the world, being and noth­ing­ness or again between life and death, are always posed in soli­tude, when man is alone with him­self, there­fore, in the vir­tu­al com­pa­ny of all. The fact of being, even for a moment, divert­ed from one’s own indi­vid­u­al­i­ty allows it to for­mu­late mankind’s eter­nal ques­tions, which go beyond the ques­tions posed in dif­fer­ent ways by each indi­vid­ual.

The risk in soli­tude is always of los­ing one­self. It could be said that this is a pro­fes­sion­al risk for the philoso­pher. Since he seeks out truth and pre­oc­cu­pies him­self with ques­tions, which we describe as meta­phys­i­cal but which are indeed the only ques­tions to pre­oc­cu­py every­one. The philosopher’s solu­tion has been to notice that there is appar­ent­ly in the human mind itself one ele­ment capa­ble of com­pelling the oth­er and thus cre­at­ing pow­er. Usu­al­ly we call this fac­ul­ty Log­ic, and it inter­venes each time that we declare that a prin­ci­ple or an utter­ance pos­sess­es in itself a con­vinc­ing force, that is to say a qual­i­ty which real­ly com­pels the per­son to sub­scribe to it.

Recent­ly we real­ized that the tyran­ny, not of rea­son but argu­men­ta­tion, like an immense com­pul­sive force exer­cised on the mind of men can serve specif­i­cal­ly polit­i­cal tyran­ny. But this truth also remains that every end in his­to­ry nec­es­sar­i­ly con­tains a new begin­ning. This begin­ning is the only promise, the only mes­sage which the end can ever give. St Augus­tine said that man was cre­at­ed so that there could be a begin­ning. This begin­ning is guar­an­teed by each new birth, it is, in truth, each man.

Relat­ed Con­tent:

Han­nah Arendt Dis­cuss­es Phi­los­o­phy, Pol­i­tics & Eich­mann in Rare 1964 TV Inter­view

Han­nah Arendt’s Orig­i­nal Arti­cles on “the Banal­i­ty of Evil” in the New York­er Archive

A Young Jean-Luc Godard Picks the 10 Best Amer­i­can Films Ever Made (1963)

Jean-Luc Godard’s After-Shave Com­mer­cial for Schick (1971)

Jonathan Crow is a Los Ange­les-based writer and film­mak­er whose work has appeared in Yahoo!, The Hol­ly­wood Reporter, and oth­er pub­li­ca­tions. You can fol­low him at @jonccrow.

Howard Johnson’s Presents a Children’s Menu Featuring Kubrick’s 2001: A Space Odyssey (1968)

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Rumor has it that promi­nent place­ment in a sci­ence-fic­tion movie can put a kind of “curse” on a brand: wit­ness the fates, for instance, of Atari, Bell, and Pan Amer­i­can World Air­ways, all of which went south after appear­ing in Rid­ley Scot­t’s Blade Run­ner in 1982. (Even the appar­ent­ly unstop­pable Coca-Cola, its logo flash­ing so bright­ly on the future Los Ange­les sky­line, sub­se­quent­ly put the infa­mous New Coke to mar­ket.) Pan Am, then less than a decade from dis­so­lu­tion, had pre­vi­ous­ly played a high-pro­file part in 2001: A Space Odyssey. Stan­ley Kubrick and Arthur C. Clarke’s vision of mono­liths, Jupiter mis­sions, and too-intel­li­gent arti­fi­cial intel­li­gence came out in 1968, the tail end of Amer­i­ca’s mid­cen­tu­ry Space Age of the imag­i­na­tion. At that time, Pan Am enjoyed a rep­u­ta­tion as the pre­ferred air­line of the new “jet-set” — the nat­ur­al trans­porta­tion provider, I sup­pose, for their seem­ing­ly inevitable (and inevitably glam­orous) hol­i­days in out­er space. But who would pro­vide the lodg­ing so far from Earth? Why, Howard John­son’s, of course.

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The hotel-restau­rant chain, Amer­i­ca’s largest in the 1960s and 70s, lent its name to the “earth­light room” built into 2001’s space sta­tion. It also offered a spe­cial chil­dren’s menu (pro­duced by the Amuse-a-Menu Com­pa­ny of Boston, Mass­a­chu­setts) fea­tur­ing a com­ic retelling not of the film itself, but of the expe­ri­ence of attend­ing the film’s pre­miere. Many of its pan­els man­age impres­sive recre­ations of 2001’s then-as-now-impres­sive visu­als, though I sus­pect the writer and artist had to work with few plot details — they make no men­tion at all, for instance, of the icon­i­cal­ly malev­o­lent super­com­put­er (and arguably 2001’s star) HAL 9000.

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The full menu, which you can browse at Dreams of Space, offers the kids of 1968 an activ­i­ty page, an oppor­tu­ni­ty to pur­chase a 50-cent birth­day-themed 45-RPM record, and a host of bland dish­es. Born well after 2001’s pre­miere — and indeed after Blade Run­ner’s, though I did hear when Pan Am went under — I nev­er­the­less remem­ber eat­ing all these stan­dards from chil­dren’s menus every­where: spaghet­ti, hot dogs, peanut-but­ter-and-jel­ly sand­wich­es. While I rarely dream of a future where we’ve devel­oped a space­far­ing jet set, I often dream of the even less plau­si­ble one where we’ve come up with appe­tiz­ing food for the under-ten set.

hojokubrick

Relat­ed Con­tent:

1966 Doc­u­men­tary Explores the Mak­ing of Kubrick’s 2001: A Space Odyssey (and Our High-Tech Future)

In 1968, Stan­ley Kubrick Makes Pre­dic­tions for 2001: Human­i­ty Will Con­quer Old Age, Watch 3D TV & Learn Ger­man in 20 Min­utes

Isaac Asi­mov Pre­dicts in 1964 What the World Will Look Like Today — in 2014

Arthur C. Clarke Pre­dicts the Future in 1964 … And Kind of Nails It

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Watch a Restored Version of Un Chien Andalou: Luis Buñuel & Salvador Dalí’s Surreal Film (1929)


When we talk about exper­i­men­tal film, we talk, soon­er or lat­er, about Un Chien Andalou. One can hard­ly over­state the for­ma­tive impact that Luis Buñuel and Sal­vador Dalí’s short film had on all cin­e­ma, whether “alter­na­tive,” “artis­tic,” or oth­er­wise askew. Loosed upon the unsus­pect­ing film­go­ing world back in 1929, it’s 16 to 21 min­utes (depend­ing on the ver­sion) of pure sur­re­al­i­ty have been viewed by many, even those of us with no patience for the avant-garde. For the most part, we’ve seen ver­sions of bad­ly infe­ri­or qual­i­ty. Infe­ri­or to what, you might ask, and I would direct you to the supe­ri­or ver­sion at the top of the post, a 21st-cen­tu­ry restora­tion by the Fil­mote­ca Españo­la, which offers an Un Chien Andalou not quite like those you’ve seen before, whether in a film stud­ies class, on late-night tele­vi­sion, or in some cor­ner or anoth­er of the inter­net.

Video artist and blog­ging cinephile Blake Williams had that impres­sion, find­ing what he calls “a marked­ly dif­fer­ent ver­sion of this clas­sic than what I came to know on Youtube.” The film “plays in ‘actu­al time’, slow­ing down the hyper, 16 min­utes cut to a more delib­er­ate­ly paced 21+ min­utes” with visu­als “less con­trast-blown than any ver­sion I have seen, not to men­tion that it is no longer heav­i­ly cropped. The score, too, is dif­fer­ent, drop­ping the now icon­ic tan­go back-and-forth with Wag­n­er.” If you’ve long since grown used to all the images in Un Chien Andalou’s once-shock­ing pro­ces­sion — the drag­ging piano, the ants in the palm, the rot­ting don­keys, the immor­tal eye­ball slice — pre­pare to feel at least sur­prised by them once again. Though they have become much clean­er, they’ve also become no less trou­bling for it.

For more clas­sic films, please see our col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

(H/T: Israel Nava, who worked on the restora­tion.)

Relat­ed Con­tent:

Two Vin­tage Films by Sal­vador Dalí and Luis Buñuel: Un Chien Andalou and L’Age d’Or

The Seashell and the Cler­gy­man: The World’s First Sur­re­al­ist Film

David Lynch Presents the His­to­ry of Sur­re­al­ist Film (1987)

A Tour Inside Sal­vador Dalí’s Labyrinthine Span­ish Home

Watch the Great­est Silent Films Ever Made in Our Col­lec­tion of 101 Free Silent Films Online

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Metafilter Highlights a Trove of Werner Herzog Films Online

“To steal a char­ac­ter or a sto­ry isn’t real theft. But to steal a land­scape, that is a very, very seri­ous crime.” There we have one of the propo­si­tions agreed upon by film­mak­ers Wern­er Her­zog and Errol Mor­ris in a con­ver­sa­tion they had for the Believ­er. Though their fil­mo­gra­phies may not look ter­ri­bly sim­i­lar — Mor­ris with his inter­view-based doc­u­men­taries on pet ceme­ter­ies, emer­gent sys­tems, and old Sec­re­taries of Defense, Her­zog with his bare­ly defin­able, dis­tinc­tion-between-fact-and-fic­tion-repu­di­at­ing stud­ies of aggres­sive dwarfs, doomed nat­u­ral­ists, death row inmates, and con­quis­ta­dors and rub­ber barons aggran­diz­ing them­selves in the jun­gle — their work has much in com­mon under the sur­face. Don’t believe me? First watch through the list we pre­vi­ous­ly fea­tured of 30 Errol Mor­ris movies stream­able online, assem­bled on Metafil­ter by a mem­ber known as “Going to Maine.”  Then watch Going to Maine’s new list of 43 Wern­er Her­zog movies stream­able online, com­pare, and con­trast.

At the top of the post, you can spend nine min­utes watch­ing Her­ak­les, Her­zog’s very first cin­e­mat­ic effort, a mash-up (if it does­n’t stretch the def­i­n­i­tion too far to apply the word to some­thing made in 1962) of mus­cle men and rac­ing-car wrecks. Just above, we have 1969’s Pre­cau­tions Against Fanat­ics, anoth­er ear­ly exer­cise in Her­zo­gian form-bend­ing which repur­pos­es footage of real peo­ple, real places, and real ani­mals to absurd ends — in this case, to envi­sion a real­i­ty in which hired men work tire­less­ly to pro­tect hors­es from “horse fanat­ics.” The list also rounds up a few shorts that even true Her­zog fanat­ics may nev­er have had the chance to see, includ­ing 1976’s No One Will Play With Me (part one, part two) below, the sto­ry of a preschool social out­cast based upon expe­ri­ences relat­ed by the real chil­dren them­selves — the sort of thing we’d all have grown up watch­ing on tele­vi­sion, in oth­er words, if Wern­er Her­zog had made after-school spe­cials. If works like these don’t give you quite enough insight into the mind of this inim­itable, uncom­pro­mis­ing, and seem­ing­ly tire­less, Bavar­i­an film­mak­er, don’t for­get to check out his own favorite films as well.

Relat­ed Con­tent:

Por­trait Wern­er Her­zog: The Director’s Auto­bi­o­graph­i­cal Short Film from 1986

Errol Mor­ris and Wern­er Her­zog in Con­ver­sa­tion

Wern­er Her­zog Picks His 5 Favorite Films

30 Errol Mor­ris Movies That Can Be Streamed Online

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

James Franco Reads 6 Short Poems from His New Collection

James Fran­co, like Ethan Hawke before him, is one of those movie stars who gets bashed left and right for dar­ing to behave like any oth­er arty young man. How dare he think he can write a nov­el, or paint, or make short films? What a pre­ten­tious idiot, right?!

I would counter that these activ­i­ties out him as a pas­sion­ate read­er who cares deeply about art and movies.

His celebri­ty opens doors that are barred to your aver­age arty young men, but it also ensures that he’ll be scape­goat­ed with­out mer­cy. (An arty young man of my acquain­tance earned some nice pub­lic­i­ty for him­self per­form­ing a one-man show titled “Bring Me the Head of James Fran­co, That I May Pre­pare a Savory Goulash in the Nar­row and Mis­shapen Pot of His Skull.” )

I rarely feel sor­ry for celebs who tweet their wound­ed feel­ings, but I was rather moved by Franco’s poet­ic take on what it’s like to be on the receiv­ing end of all this vit­ri­ol. It’s the first of six poems he reads in the video above, when he shared the stage with his 74-year-old men­tor Frank Bidart, who no doubt enjoyed per­form­ing to a sold out crowd of 800. Franco’s debut poet­ry collection’s title, Direct­ing Her­bert White owes some­thing to Bidart. His poem, “Her­bert White,” is the inspi­ra­tion for a short film direct­ed by Fran­co.

Those who would con­sid­er all that just more evi­dence of Franco’s insup­port­able pre­ten­tious­ness should con­sid­er the oppos­ing view­point, cour­tesy of non-movie star poet Bidart, who told the Chica­go Tri­bune:

 “I’m almost 75. At some point you know the para­me­ters of your life. The ter­ri­fy­ing thing about get­ting old­er is the feel­ing that every­thing that hap­pens from now on will be a species of some­thing that has already hap­pened. Becom­ing friends with James changed that: I no longer feel I can antic­i­pate the future. Which is lib­er­at­ing.”

Per­haps all that fran­tic, cross-media cre­ative expres­sion can result in some­thing more than a snarky one-man show.

Because

Because I played a knight,
And I was on a screen,
Because I made a mil­lion dol­lars,
Because I was hand­some,
Because I had a nice car,
A bunch of girls seemed to like me.

But I nev­er met those girls,
I only heard about them.
The only peo­ple I saw were the ones who hat­ed me,
And there were so many of those peo­ple.
It was easy to for­get about the peo­ple who I heard
Like me, and shit, they were all fuck­ing four­teen-year-olds.

And I holed up in my place and read my life away,
I watched a mil­lion movies, twice,
And I didn’t under­stand them any bet­ter.

But because I played a knight,
Because I was hand­some,

This was the life I made for myself.

Years lat­er, I decid­ed to look at what I had made,
And I watched myself in all the old movies, and I hat­ed that guy I saw.

But he’s the one who stayed after I died.

You can see James Fran­co and Frank Bidart’s Chica­go Human­i­ties Fes­ti­val appear­ance in its entire­ty here. Find more poet­ry read­ings in the poet­ry sec­tion of our col­lec­tion of Free Audio Books.

Relat­ed Con­tent:

James Fran­co Reads a Dream­i­ly Ani­mat­ed Ver­sion of Allen Ginsberg’s Epic Poem ‘Howl’

James Fran­co Reads Short Sto­ry in Bed for The Paris Review

Lis­ten to James Fran­co Read from Jack Kerouac’s Influ­en­tial Beat Nov­el, On the Road

Ayun Hal­l­i­day is a  Freaks and Geek diehard who gets all her Lohan-relat­ed intel from the poet­ry of James Fran­co and  d‑listed. Fol­low her@AyunHalliday

Vintage Footage of Leo Tolstoy: Video Captures the Great Novelist During His Final Days

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“My life came to a stand­still,” wrote Leo Tol­stoy in his 1882 con­ver­sion mem­oir A Con­fes­sion, “I could not breathe, eat, drink, and sleep, and I could not help doing these things.” So Tolstoy’s described his “arrest of life,” a peri­od of severe depres­sion that led to a very deep, per­son­al brand of faith in his late mid­dle age. The tow­er­ing Russ­ian nov­el­ist renounced world­ly desires and came to iden­ti­fy with the poor, the for­mer serfs of his aris­to­crat­ic class. Tolstoy’s rad­i­cal reli­gious anar­chism in his final years spread his fame far among the peas­antry just as his lit­er­ary achieve­ments had brought him world­wide renown among the read­ing pub­lic. So famous was Tol­stoy, William Nick­ell tells us, that Russ­ian crit­ic Vasi­ly Rozanov wrote that “to be a Russ­ian and not have [seen] Tol­stoy was like being Swiss and not hav­ing seen the Alps.”

Nick­ell describes the occa­sions that Tol­stoy appeared on film, the new medi­um that allowed the author’s mil­lions of ador­ing fans to get a glimpse of him. Just as his life was punc­tu­at­ed by a rad­i­cal depar­ture from his ear­li­er atti­tudes, his medi­um was in for a shock as film for­ev­er changed the way sto­ries were told.

In those ear­ly days, how­ev­er, it was very often sim­ply a means of record­ing his­to­ry, and we should be glad of that. It means we too can see Tol­stoy, at the top on his 80th birth­day. We see him vig­or­ous­ly saw­ing logs and pious­ly giv­ing alms to the poor. Also includ­ed in the ini­tial footage are Tolstoy’s wife Sofya, his daugh­ter Alek­san­dra, and aide and edi­tor Vladimir Chertkov. Then, at 1:04, the scene shifts to Tolstoy’s deathbed and scenes of his funer­al. The remain­ing 11 min­utes give us some uniden­ti­fied footage of the author. (If you’re able to read the title cards in Russ­ian, please let us know!).

Just above, see a more com­plete film of Tolstoy’s death and funer­al pro­ces­sion. The author died at age 82 after he abrupt­ly decid­ed to leave his wife, tak­ing only a few pos­ses­sions and his doc­tor. Read the dra­mat­ic sto­ry of Tolstoy’s last ten days in this trans­lat­ed excerpt from Pavel Basinsky’s award win­ning Leo Tol­stoy: Escape from Par­adise.

Relat­ed Con­tent:

Rare Record­ing: Leo Tol­stoy Reads From His Last Major Work in Four Lan­guages, 1909

The Com­plete Works of Leo Tol­stoy Online: New Archive Will Present 90 Vol­umes for Free (in Russ­ian)

Study Finds That Read­ing Tol­stoy & Oth­er Great Nov­el­ists Can Increase Your Emo­tion­al Intel­li­gence

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness.

Werner Herzog Picks His 5 Top Films

If one can char­ac­ter­ize Stan­ley Kubrick by his com­plete con­trol over the medi­um and his dogged insis­tence on stay­ing with­in 30 miles of his house when shoot­ing a movie, even if it means dress­ing up a Lon­don fac­to­ry to look like Hue, Viet­nam as he did for Full Met­al Jack­et, then Wern­er Her­zog can be char­ac­ter­ized as his oppo­site.

Herzog’s movies are strange, messy and ecsta­t­ic, a far cry from the chilly aloof­ness of Kubrick. In both his fea­ture films and his doc­u­men­taries, Her­zog uses his cam­era to uncov­er new lay­ers of nature, expe­ri­ence and the human psy­che. And there have been few film­mak­ers more will­ing to shoot films in rugged, exot­ic places as Her­zog — from Antarc­ti­ca to the Ama­zon­ian rain­for­est. In fact, a num­ber of his most noto­ri­ous shoots seem more designed to test the endurance of the cast and crew than to pro­duce a movie.

WERNER HERZOG TEACHES FILMMAKING. LEARN MORE.

His film Fitz­car­ral­do, for exam­ple, is about a guy who has the vision­ary idea to haul a river­boat over a moun­tain in the Ama­zon rain­for­est. Her­zog decid­ed, for the pur­pos­es of real­ism, that he would actu­al­ly drag a river­boat over a moun­tain. The pro­duc­tion, which is in the run­ning for the most mis­er­able film shoot ever, is the sub­ject of the absolute­ly riv­et­ing doc­u­men­tary The Bur­den of Dreams. At point one in the doc, Her­zog quips, “I should­n’t make movies any­more. I should go to a lunatic asy­lum.” And by the end of the movie, you think that he’s prob­a­bly right.

Of course, that crazed bravu­ra has always been at the cen­ter of Herzog’s mys­tique. After all, this is the guy who actu­al­ly ate a shoe after los­ing a bet with doc­u­men­tary film­mak­er Errol Mor­ris (find 30 of his films online).

In 2009, when Her­zog released Bad Lieu­tenant: Port of Call New Orleans, he was asked by the folks over at Rot­ten Toma­toes to list his top 5 movies. This is a direc­tor who once said, “I believe the com­mon denom­i­na­tor of the Uni­verse is not har­mo­ny, but chaos, hos­til­i­ty and mur­der.” So it’s a pret­ty safe bet that The Lion King didn’t make the cut.

The list starts with Nos­fer­atu from 1922 (up top). Her­zog liked this movie so much that he shot his own ver­sion in 1979.

In my opin­ion, the great­est of great films is Nos­fer­atu by [F.W.] Mur­nau, which I should include in the great­est five films of all time.

Intol­er­ance (1916)

D.W. Grif­fith’s epic was his response to the pub­lic out­cry fol­low­ing his epi­cal­ly racist Birth of a Nation. The movie also hap­pened to rev­o­lu­tion­ize film­mak­ing.

Every­thing that [D.W.] Grif­fith made: Bro­ken Blos­soms, Intol­er­ance, Birth of a Nation, you just name it. Every­thing. He’s the Shake­speare of cin­e­ma. Peri­od. Watch his films and you’ll know instant­ly.

 

Next is Freaks, Tod Brown­ing’s 1932 cult mas­ter­piece that fea­tured actu­al cir­cus per­form­ers and dwarves. No doubt the movie was an influ­ence on Her­zog’s 1970 film Even Dwarves Start­ed Out Small. “It’s just for­mi­da­ble, it’s phe­nom­e­nal,” says Her­zog. “You’ve got­ta see it. It would take me an hour to explain.”

The last two films on Her­zog’s list? Where Is The Friend’s Home? (1987), Abbas Kiarostami’s qui­et tale of a kid who is just look­ing to return a note­book to his friend. And Rashomon (1950), Aki­ra Kuro­sawa’s first true mas­ter­piece, the film that intro­duced Japan­ese film to the west­ern world after it won a Gold­en Lion at the 1951 Venice Film Fes­ti­val. The movie also clear­ly impressed Her­zog:

It is prob­a­bly the only film that I’ve ever seen which has some­thing like a per­fect bal­ance, which does not occur in film­mak­ing very often. You sense it some­times in great music, but I haven’t expe­ri­enced it in cin­e­ma, and it’s mind bog­gling. I don’t know how [Aki­ra] Kuro­sawa did it. It’s still a mys­tery to me. That’s great­ness.

Relat­ed Con­tent:

Por­trait Wern­er Her­zog: The Director’s Auto­bi­o­graph­i­cal Short Film from 1986

Errol Mor­ris and Wern­er Her­zog in Con­ver­sa­tion

Wern­er Her­zog Has a Beef With Chick­ens

Wern­er Herzog’s Eye-Open­ing New Film Reveals the Dan­gers of Tex­ting While Dri­ving

Jonathan Crow is a Los Ange­les-based writer and film­mak­er whose work has appeared in Yahoo!, The Hol­ly­wood Reporter, and oth­er pub­li­ca­tions. You can fol­low him at @jonccrow.

Cigarette Commercials from David Lynch, the Coen Brothers and Jean Luc Godard

Even the great­est film­mak­ers out there some­times need to pay the bills.

In the 1990s, Swiss tobac­co com­pa­ny F. J. Bur­rus hired name brand art house direc­tors to make com­mer­cials for their Parisi­enne brand of cig­a­rettes. The com­pa­ny gave free rein to the film­mak­ers both in terms of con­tent and approach. And the tal­ent they man­aged to attract is aston­ish­ing: David Lynch, the Coen Broth­ers, Emir Kus­turi­ca, Roman Polan­s­ki and, most puz­zling­ly, Jean-Luc Godard.

Wait a sec­ond, you might say. Wasn’t Godard an avowed Maoist at one point in his life? Wasn’t he one of the most con­sis­tent­ly anti-bour­geois, anti-cap­i­tal­ist fig­ures in film­dom? Yes. And he also did cig­a­rette com­mer­cials. He did a few for Nike too.

You can see his ad for Parisi­enne above. Typ­i­cal with late peri­od Godard, the com­mer­cial is both lit­er­ary, polit­i­cal and will­ful­ly dif­fi­cult. Cred­it­ed to both Godard and his long time cre­ative and roman­tic part­ner Anne-Marie Miéville, the com­mer­cial fea­tures a skate­board­er slalom­ing between large box­es of cig­a­rettes, some guy in bare feet shuf­fling through a floor lit­tered with Parisi­enne pack­ages and a well-to-do woman read­ing a nov­el called Parisi­enne Peo­ple. On the sound­track, Godard reads a quote from Racine. It’s prob­a­bly noth­ing that Don Drap­er would have been hap­py with, but Bur­rus was pleased.

Ads by oth­er film­mak­ers sim­i­lar­ly show off their quirks and obses­sions. The Coen broth­ers’ com­mer­cial, for instance, looks less like an advert than a scene from one of their movies. A dandy smok­ing a cig from a hold­er is deeply moved by a sweaty vaude­ville per­for­mance. When it ends, he whis­pers, “Again.” It’s a res­o­lu­tion that rais­es as many ques­tions as it answers. It’s a whole short sto­ry in 30 sec­onds.

Emir Kusturica’s ad is packed with magi­cians, acro­bats, Balkan pas­tiche and gor­geous ingénues in black. Just like his movies. Side note: Kus­turi­ca has a suc­cess­ful side career play­ing in a band called The No Smok­ing Orches­tra.

Roman Polanski’s com­mer­cial is a jokey tale about a vam­pire that has an unset­tling­ly under­cur­rent of men­ace and sex­u­al vio­lence. Just like his movies.

And David Lynch’s ad plays out like a night­mare from some­one who fell asleep read­ing a Wal­ter Mosley nov­el.

Relat­ed Con­tent:

Ing­mar Bergman’s Soap Com­mer­cials Wash Away the Exis­ten­tial Despair

Fellini’s Fan­tas­tic TV Com­mer­cials

Wes Anderson’s New Com­mer­cials Sell the Hyundai Azera

Jonathan Crow is a Los Ange­les-based writer and film­mak­er whose work has appeared in Yahoo!, The Hol­ly­wood Reporter, and oth­er pub­li­ca­tions. You can fol­low him at @jonccrow.

 

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