Arrival in the Bronx is shown with a view from an elevated train as it enters the city. Then follows a montage of sights from the Bronx. Many typical neighborhood activities are shown, along with scenes from many local businesses.
A dance of shapes. A title card tells us this is an experiment in conveying the mental images of music in a visual form. Liszt's "Second Hungarian Rhapsody" is the music. The shapes, all ... See full summary »
Close up we see pistons move up and down or side to side. Pendulums sway, the small parts of machinery move. Gears drive larger wheels. Gears within gears spin. Shafts turn some mechanism ... See full summary »
Trixie Thompson concludes that the only way she could save her sister from dying of the "white plague" is by preventing the autumn leaves from falling. Little Trixie knows all this because ... See full summary »
The inherent kinetic qualities are brought into actuality in GYROMORPHOSIS, as seen in the construction-sculpture of Constant Nieuwenhuys of Amsterdam. To realize this aim I have put into ... See full summary »
Poems narrate four afternoon vignettes; each protagonist is older than the one in the previous sketch. As a girl skips rope in "Game Little Gladys," she sings a jingle about who she might ... See full summary »
A woman returning home falls asleep and has vivid dreams that may or may not be happening in reality. Through repetitive images and complete mismatching of the objective view of time and space, her dark inner desires play out on-screen.
Moving spheres, such as balloons and bubbles, are superimposed on static backgrounds to suggest travel and discovery. There are perils: a boy falls, a lion roars. The lyric flights of ... See full summary »
Dream-journey of Anais Nin (she narrates her "House of incest")
Anais Nin is best known for her diaries depicting her psychological and artistic growth, published House of Incest in 1958. This dream-journey features Nin reading an extract from her novella House of Incest, in particularly the line "I remember my first birth in water," Bells of Atlantis evokes the watery depths of the lost continent of ourselves, and the images suggest the aqueous beauty of that lost world. It is a lyrical journey into another time, an imaginative film exploration of a poet's world. Her episodic text recites a narrative of the agonizing birth of consciousness from the indistinct fluid realms of Atlantis, the film's metaphor for the subconscious. The visual track of the camera sways gently in contrasting directions over each of the three layers of superimposed images that are usually present.
Born Hugh Parker Guiler in Boston, Ian Hugo lived his childhood in Puerto Rico (a "tropical paradise" the memory of which stayed with him and surfaces in both his engravings and his films). Parker then spent his school years in Scotland and at Columbia University where he studied economics and literature. He was working with the National City Bank when he met and married Anais Nin in 1923; they moved to Paris the next year, and in that city Nin's diary and Parker's artistic aspirations flowered. Parker feared his business associates would not understand his interests in art and music, let alone those of his wife, so he began a second life, as Ian Hugo. In 1940 he took up engraving and etching, studying under S.W. Hayter of Atelier 17, producing surreal images that often accompanied Nin's books. For Nin his unwavering love and financial support were indispensable, he was "the fixed center, core...my home, my refuge" (Sept. 16, 1937, Nearer the Moon, The Unexpurgated Diary of Anais Nin, 1937-1939).
A fictionalized portrait of him appears in Philip Kaufman's 1990 Henry & June. Responding to comments that viewers saw motion in his engravings, Hugo chose to take up film-making. He asked Sasha Hammid for instruction, but was told "Use the camera yourself, make your own mistakes, make your own style."
What Ian Hugo did was to delve into his dreams, his unconscious, his memories. With no specific plan when he began a film, Hugo would collect images, then reorder or superimpose them, finding poetic meaning in these juxtapositions. These spontaneous inventions greatly resembled his engravings which he described in 1946 as "hieroglyphs of a language in which our unconscious is trying to convey important, urgent messages."
In the underwater world of Bells of Atlantis all of the light in the film is from the world above the surface - it is otherworldly, out of place yet necessary. In Jazz of Lights, the street lights of Times Square become, in Nin's words, "an ephemeral flow of sensations"; this flow that she also calls "phantasmagorical" had a crucial impact on Stan Brakhage who now says that without Jazz of Lights (in 1954) "there would have been no Anticipation of the Night" (in 1958). Hugo lived the last two decades of his life in a New York apartment high above street level; in the evening, surrounded by an electrically illuminated landscape, he dictated his memoirs into tape recorders and would from time to time polish the large copper panels that had been used to print his engravings from the worlds of the unconscious and the dream.
Louis and Bebe Barron show their pioneering strength with one of the earliest use of electronic music ever used in a film. They also composed the infamous Hollywood film Forbidden Planet (1956), and worked with John Cage, Frank Zappa, Karlheinz Stockhausen and Pierre Boulez.
11 of 13 people found this review helpful.
Was this review helpful to you?
| Report this