Montparnasse et Levallois and 1PM are screening in the cinema for $15/$7 reduced (suggested donation at the door) on Friday 11/18 at 7:30pm.
Maysles Cinema Presents A Direct Cinema Tribute to Jean-Luc Godard, honoring the late director’s passing with a screening of Godard collaborations by Albert Maysles and D.A. Pennebaker— both of whom began their careers as Drew Associates filmmakers, working on Primary and other progenitors of the direct cinema movement before striking out on their own.
Montparnasse et Levallois
Jean-Luc Godard, 1965, 15 min.
In the mid-sixties Barbet Schroeder invited Albert Maysles to collaborate with Jean-Luc Godard on the latter’s segment of a Paris omnibus film called Paris vu Par. “I got there with my camera and the idea was,” Al later recounted, “that this piece of fiction would be shot in such a way where the actors would all know exactly what they were to do and the scene would be lit, all set, and I would walk in at that time and film it the way I would a documentary.” The resulting short, titled Montparnasse et Levallois, serves as a loose sequel to A Woman is a Woman and remains a fascinating product of its time.
1 PM
D.A. Pennebaker, Jean-Luc Godard, Richard Leacock, 1971, 90 min.
Projected from a 16mm print
“It was in the early ‘60s at the Cinémathèque in Paris that I met Jean-Luc Godard and we talked about doing a film together. His idea was to set up a town somewhere, and my partner Ricky Leacock and I would arrive and shoot whatever we found there, with no script or preparation on our part, like a newsreel. That film never happened, but a few years later Godard decided he wanted to make a film with us. PBL, forerunner of Public Television, agreed to produce it. The film was to be called 1 AM (One American Movie), and it was to be about the rising resistance to the Vietnam War and the impending revolution that Godard was convinced was about to happen in the U.S.
After shooting the film, Godard and Leacock both decided to leave town, Godard going off with Gorin to start a new leftist cinema and Leacock to teach at MIT. I was left to deliver something to Public Television or face severe contractual coercion. Thus, 1 AM became 1 PM (One Parallel Movie – or One Pennebaker Movie, as Jean-Luc has called it.)
Ricky had filmed pretty much what Godard wanted, but I was the extra camera that nobody noticed, and I filmed whatever looked interesting. So when I began putting the sequences together as Godard had suggested, I saw a lot of stuff I’d shot that hadn’t been planned, and I was soon making a film of my own. I doubt it was the film Godard had in mind when we started, but then, it seldom works out that way anyhow. I found what happened entertaining and filled with surprises. It’s some sort of history. I’m grateful to Jean-Luc, Ricky and everyone who showed up to see what would come of this crazy idea, and I am continually amazed that such a film would ever get made.” -DA Pennebaker
