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Ray Pride

By Ray Pride Pride@moviecitynews.com

Milestone Films Posters Shirley Clarke’s THE CONNECTION















































The Connection opens May 4 at the IFC Center. Writes Milestone Films, “Set to the propulsive music of jazz greats Freddie Redd and Jackie McLean (who appear in the film), THE CONNECTION is one of the most vital and fascinating of all American independent films. Created by a woman director working outside the Hollywood tradition, the film fearlessly shattered stereotypes and even questioned the filmmaking process itself. Yet for many years, it was virtually unseen.

“A dynamic member of the postwar independent film movement, Clarke was one of the first filmmakers — and the only woman — to sign the New American Cinema manifesto in 1961. For her debut feature, she decided to take on a controversial off-Broadway play by Jack Gelber. “The Connection” was a complicated and challenging theater piece — a play within a play, within a jazz session. It featured a group of heroin addicts (some of them musicians) waiting around in a grungy New York loft for their drug connection to arrive. Meanwhile, a theatrical producer and writer intent on putting on an “authentic” play, are hanging out with and studying the strung-out junkies. Throughout the play, brilliant Beat dialogue alternated with cool jazz.

“Clarke changed the character of the playwright into a preppy young filmmaker out to make a name for himself by documenting the “scene.” Clarke, who was friends with many of the new cinéma vérité documentarians, added a level of humor by satirizing the earnestness and professed purity of that genre. Keeping the play’s one-set location (re-created in grungy and brilliant detail by future five-time Oscar®-nominated art director Albert Brenner), Clarke set her camera free to swirl, swoop and move to the rhythms of the film’s cool jazz score. When it premiered at the Cannes International Film Festival in 1961, the edgy, exciting and kinetic film was acclaimed a masterpiece.

“Although Clarke had fully embraced the avant-garde nature of Gelber’s play, she was unprepared for the furor her film version would raise. In Hollywood films, addicts were usually “good men gone bad” or crazed “dope fiends.” In contrast, the junkies in THE CONNECTION are vulgar, funny, erudite, talented and unapologetic. They speak about heroin with enthusiasm, and refer to it as “shit.” And it was this four-letter word that helped put the film on the censors’ radar.

“Cinephiles encountering UCLA Film & Television Archive’s sparkling restoration will be astonished by the image and sound quality. Arthur Ornitz’s black-and-white cinematography lushly glows and the great jazz of pianist Redd and saxophone legend McLean grooves, making THE CONNECTION’s rediscovery one of the cinema events of the year!

“THE CONNECTION is the first release in Milestone’s ambitious four-years-in-the-making PROJECT SHIRLEY — to acquire and bring out the films of Shirley Clarke. Although there are more than 100 monographs, books and DVDs devoted to the works of contemporaries like John Cassavetes, Stan Brakhage and Andy Warhol; there is not one entirely dedicated to the life or works of Clarke. Milestone has acquired the rights to four of Clarke’s features and more than a dozen of her short films and will be working with the archives to bring out restored versions over the course of the next year. Next on the list, ORNETTE: MADE IN AMERICA, will be premiering this August at the IFC Center.”

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“We don’t defy the laws of physics: There are no flying men or cars in this movie. So it made sense to do it old-school: real vehicles and real human beings in the desert. We shot the movie more or less in continuity, because the cars and the characters get really banged up along the way. The biggest benefit of digital technology for me was that the cameras were smaller and much more agile, so you could put them anywhere. We also spent a huge amount of time on spatial awareness—making sure the viewer could follow the action and understand what was happening. There has to be a strong causal connection from one shot to the next, just the same way that in music, there has to be a connection from one note to the next. Otherwise it’s just noise. Too often, if you just cram a lot of stuff into the frame, you get the illusion of a fast pace. But there’s no coherence. It doesn’t flow. It comes off as headbanging music, and it can be exhausting. We storyboarded the movie before we had a script: We had 3,500 boards, which helps the cast and crew understand how everything is going to fit together. Movies are getting faster and faster. The Road Warrior had 1,200 cuts. This one has 2,700 cuts. You have to treat it like a symphony.”
~ George Miller

“I was having issues with my script for It’s All About Love, so I called Ingmar Bergman and we ended up talking about everything but the script. He said, “Well, Festen is a masterpiece, so what are you going to do now?” At that point, I had not decided if I was going to make It’s All About Love, so I answered, “Hmmm, I don’t know. Maybe this, maybe that.” There was just a long pause, and then he said, “You’re fucked.” I said, “Well, how can you know?” “Well, Thomas, you always have to decide your next movie before the movie you’re doing presently opens.” And I said, “Why is that?” “Well, two things can happen. One thing is that you fail, and then you’ll feel scared and humiliated. It’ll get into your head. Second, and even worse, you have success, and then you’ll want more of it, or you’ll want to maintain it. But if you decide on your next film while you’re in the middle of editing, it becomes a very nonchalant choice. And then it’s shorter from the heart to the hand.”
~ Thomas Vinterberg

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