Posted by Pablo Kjolseth on June 29, 2014
Unlike Chris Marker (1921 – 2012), I am not an editor, poet, videographer, novelist, digital multimedia artist, or filmmaker. Even on a strictly personal level we are worlds apart, him having been a Salinger-like enigma who famously avoided interviews and photographs, me being a “nothing close to Salinger-like on any level” kind of guy who just last week photo-bombed his own shot of John Waters in a manner that would make even the paparazzi cringe. And yet, despite our many differences, there is something about Chris Marker that always elicits in me a feeling of deep kinship – and not just because we both love cats. The answer, I think, lies in one word: Vertigo.
Two years ago Vertigo (Alfred Hitchcock, 1958) toppled Citizen Kane (Orson Welles, 1941) from a perch it held for 50 years as “greatest film of all time” at the British Film Institute’s Sight and Sound poll. Personally, I find the idea of naming a “best film of all time” utter nonsense, which is not the same as saying I don’t enjoy the controversies and skirmishes that ensue whenever any such awards or lists inflame public opinion. Quite the opposite, and despite the nonsense of it, I’m a happy proponent of anything that gets people talking passionately about their favorite films.
These conversations, or debates, or arguments, whatever form they may take, they keep the idea of what great cinema should be alive and well. They provide me with the seeds of hope as we enter a strange new age where plummeting theatrical attendance numbers provide one, of many, ominous signs of the possible decline for one of the most promising art forms of the 20th century. A look at the current crop of blockbusters, be it spectacle, be it sequel, be it a blatant excuse to only sell merchandise or a brand, well, it’s kind of depressing, isn’t it? It makes the Transformers byline of Age of Extinction seem a bit too apt. Will great cinema endure well into the 21st century, or will it be overtaken by video games and a rising endemic of fractured attention spans?
As an old-school analog guy who loves his truth (or lies) at 24-frames-a-second I think there’s hope. The digital revolution has even rekindled great cinema in unexpected ways. One example that comes to mind are the endless theories now populating the web thanks in part to screen-grabs easily marked, annotated and shared on the web as they relate to The Shining (Stanley Kubrick, 1980). Scoff if you must, but a crowd-sourced frame-by-frame analysis of that particular film has revealed all kinds of hidden treasures. This is tip-of-the-iceberg stuff that used to lurk in bookshelves shared amidst a select few within ivory towers or the the halls of video rental stores, but now it’s everywhere. And that’s a good thing. Young people are paying attention, they are making their own discoveries, and this means passion for a well-crafted feature film is being kept alive for a new generation.
Long before Room 237 (Rodney Ascher, 2012) and the myriad of websites dedicated to all thinks Kubrick, there was Vertigo. Vertigo is a film with mirror-like symmetry, doublings, and Doppelgängers (like The Shining) that deals specifically with obsession, time, madness, death, and questions of free-will and predetermination (again, all issues found in The Shining). The similarities between Hitchcock and Kubrick are many, but there are also enough differences that I’m not interested in making a case for the idea that they reflect each other. They don’t. All I’m suggesting right now is that these two monstrous talents both deserve ongoing incisive analysis by creative obsessives who will joyfully go off the beaten track to make new discoveries about their films.
Chris Marker’s Sans Soleil (1983) expands on the possibilities of Vertigo in a completely different way than how Room 237 expands on The Shining, because Marker’s travelogue and video essay format is so uniquely personal, and the way he assembles his ruminations are broader meditations on what time does to us. Marker’s video essays often feel like they are looking at the human condition from the perspective of a compassionate, poetic, time-traveling border-hopper. The Criterion Collection (which released Sans Soleil on Blu-ray alongside La Jetee) sums it up elegantly:
Here’s where we get back to Chris Marker and Vertigo. Marker was a bit of an obsessive himself and Sandor Krasna is his stand-in. Vertigo consumed Marker in much the way it consumed others, such as me. A visit to San Francisco to people like us was unimaginable without a trip to the Muir Woods or other filming locations that might have been graced by Kim Novak and James Stewart. Our visits to San Francisco were a pilgrimage of sorts. Not just to honor a great film, but because it was a Mecca to one of the greatest films about memory and identity ever made. Are there other great films about memory and identity? Sure. But a trip to the Travel Inn in Tujunga, L.A., where Memento (Christopher Nolan, 2000) was shot just wouldn’t be the same.
Sans Soleil screens on TCM as part of its daytime theme for Classic Documentaries on July 10th.
For further reading:
Also related to the subject of memory and forgetting:
MovieMorlocks.com is the official blog for TCM. No topic is too obscure or niche to be excluded from our film discussions. And we welcome your comments on our blogs and bloggers.
See more: facebook.com/tcmtv
See more: twitter.com/tcm
3-D Academy Awards Action Films Actors Actors' Endorsements Actresses animal stars Animation Anime Anthology Films Art Direction Art in Movies Asians in Hollywood Australian CInema Autobiography Avant-Garde Aviation Awards B-movies Beer in Film Behind the Scenes Best of the Year lists Biography Biopics Black Film Blu-Ray Books on Film Boxing films British Cinema Canadian Cinema Character Actors Chicago Film History Cinematography Classic Films College Life on Film Comedy Comic Book Movies Crime Czech Film Dance on Film Digital Cinema Directors Disaster Films Documentary Drama DVD Early Talkies Editing Educational Films European Influence on American Cinema Experimental Exploitation Fairy Tales on Film Faith or Christian-based Films Family Films Film Composers Film Criticism Film Festival 2015 film festivals Film History in Florida Film Noir Film Scholars Film titles Filmmaking Techniques Films About Gambling Films of the 1930s Films of the 1960s Films of the 1970s Films of the 1980s Food in Film Foreign Film French Film Gangster films Genre Genre spoofs HD & Blu-Ray Holiday Movies Hollywood history Hollywood lifestyles Horror Horror Movies Icons independent film Italian Film Japanese Film Korean Film Literary Adaptations Martial Arts Melodramas Memorabilia Method Acting Mexican Cinema Moguls Monster Movies Movie Books Movie Costumes movie flops Movie locations Movie lovers Movie Magazines Movie Reviewers Movie settings Movie Stars Movie titles Movies about movies Music in Film Musicals New Releases Outdoor Cinema Paranoid Thrillers Parenting on film Pirate movies Polish film industry political thrillers Politics in Film Pornography Pre-Code Producers Race in American Film Remakes Revenge Road Movies Romance Romantic Comedies Russian Film Industry Satire Scandals Science Fiction Screenwriters Semi-documentaries Serials Set design/production design Short Films Silent Film silent films Social Problem Film Spaghetti Westerns Sports Sports on Film Stereotypes Straight-to-DVD Studio Politics Stunts and stuntmen Suspense thriller Swashbucklers TCM Classic Film Festival TCM Underground Television The British in Hollywood The Germans in Hollywood The Hungarians in Hollywood The Irish in Hollywood Theaters Thriller Trains in movies U.S.S. Indianapolis Underground Cinema VOD War film Westerns Women in the Film Industry Women's Weepies