As the person charged with the task of seeking out prints for films screened in the Walker Cinema, I’ve found historically that 35mm prints from the 1980s are the hardest to find. Why this is is anyone’s guess; perhaps films from the 80s aren’t old enough to be considered “classic,” but aren’t recent enough to be still lying around archives. This black-hole-of-a-decade rule has certainly been true of the last several Walker film retrospectives: for the Mike Leigh Regis Dialogue and Retrospective, it was High Hopes (1988) that proved exceeding difficult to locate, and for Joel and Ethan Coen, Blood Simple (1984). For the current series The People’s Republic of Cinema: 60 Years of China on Film, it was the 1984 Chen Kaige film Yellow Earth.

By no means an obscure filmmaker, Chen Kaige is probably best known for his 1993 Oscar-nominated film Farewell My Concubine.  His earlier Yellow Earth announced the arrival of the so-called Fifth Generation Filmmakers in China, and is typically listed in the top five on “Best of” lists for Chinese films ever made. I did not predict that this major work by this well-known filmmaker would be so difficult to secure for the series—but it was.

To give a glimpse into the process by which film exhibitors can go through to screen films, and provide a sense of the rarity of the 35mm medium, I present to you my epic battle for Yellow Earth—in timeline form. My search began on July 1.

• 7/1: I always start with the Internet Movie Database (IMDB). The company credits section for Yellow Earth lists International Film Circuit as the distribution company for the film. I send an inquiry to them. A general Google search for “Yellow Earth” and “screening” lets me know that Harvard Film Archive screened it last spring, so I also email a colleague there and await a response.
• 7/2: International Film Circuit no longer holds the rights or prints of the film, and suggests I contact the British Film Institute (BFI).
• 7/7: BFI informs me that they only have a 16mm print of Yellow Earth.
• 7/14: I retrieve an archived file from the 1993 Regis Dialogue and Retrospective with Chen Kaige, for which we screened Yellow Earth. At that time, we dealt with an L.A-based company called China Film Import & Export Inc. for the print. I shoot off an email to them.
• 7/22: Second email to China Film Import & Export. No response. When I try to phone them, I find the number disconnected.
• 7/25: I email the China Film Archive (in Beijing), inquiring about several titles for the film series.
• 7/28: The China Film Archive indeed has a print! They will look into its availability.
• 7/30: The Harvard Film Archives replies to the Walker Associate Curator that they got the 35mm print from the China Film Archive, but have also heard of a print in Scotland and will inquire on our behalf.
• 7/31: Harvard reports that the Scotland venue is in the process of sending the print to an archive.
• 8/8: Still no word from the China Film Archive. I send a prodding email.
• 8/11: As was suggested by the BFI, I inquire with the Institute for Contemporary Arts (ICA)  in England. They ask for a written request.
• 8/17: Bad news. The China Film Archive finally gets back in touch to say that the film is already booked elsewhere–-with the 60th anniversary of the People’s Republic of China looming, many film series are planned around the world.
• I step up my efforts and send a follow up email to the ICA.
• 8/31: Another follow up email to the ICA.
• 9/2: ICA replies to say they no longer have the rights to the film. I call her directly and get a disgruntled response that in the past ICA has had to pay fees when other sites screened the film. I assure her that this would not be the case with us, and finally get her to agree to let me know who now holds the print so we can contact them directly.
• 9/8: More nudging and she sends me to Perivale.
• 9/9: The response: “We do not have a print at Perivale. The only copy on our system is out since Feb 2007 at Filmhouse Edinburgh!” At this point, I have forgotten that Harvard had referred us to Filmhouse Cinema in Edinburgh back in July. I call Edinburgh only to find out that the print had been sitting at their Cinema for a long time, and when Harvard called them on our behalf it made them think it really should be sent to a European archive for proper storage. It seems that our very inquiry may have made screening the film impossible, as the process of the new archive accepting it, inspecting it and sorting out rights issues will take more time than we have at this point.
• 9/11: Shot-in-the dark query to the Chinese Taipei Film Archive. No dice.
• 9/18: I’m starting to panic. I look up Chen Kaige’s agent on IMDB. The agency refers me to a Moonstone Entertainment, which produced Chen’s The Promise. They tell to contact the director of the company, “Etchie,” to whom I send a rambling email about Yellow Earth. No response.
• 9/24: It’s gut-check time. The brochure for the People’s Republic of Cinema program is due at the printers. We scramble for a screening backup, and the best we can find is a DVD with both English and Japanese subtitles. I cross my fingers, and optimistically keep the 35mm listing in the brochure’s Yellow Earth description.
• 10/8: Our University of Minnesota co-presentation partner Jason McGrath inquires on our behalf on several international listserves (Modern Chinese Literature and Culture and the Chinese Cinema List). A response comes in from someone who had previously worked at the USC School of Cinematic Arts archive, who says they had a print in the Hugh M. Hefner Moving Image Archive. A 35mm print inside the country??? Hurrah! But, this news proves too good to be true. Upon inspection it’s discovered that the print is in such bad shape it’s unscreenable.
• Another response to the listserve: “Have they tried the BFI and the National Film Archive in the UK, or its equivalent in Canberra, Australia?” Well, this was interesting. I looked up the Australian archive and found The National Film and Sound Archive of Australia. I send an email.
• 10/9: Success! The NFSA agreed to allow us to screen their print. Finding a print can be only half the battle, as rights must be cleared, and several more frantic emails to the China Film Archive to ascertain the rights holder ensued. In the midst of this, as our screening date creeped closer and closer, I receive a call that an overseas package has arrived…Yellow Earth.

I hope you have the opportunity to enjoy Yellow Earth in glorious 35mm….

Now, on to the next series!

Special thanks to the British Film Institute, Contemporary Films (London), Fortissimo Films (Amsterdam), Celluloid Dreams (Paris), XStream Pictures (Beijing), and filmmaker Ying Liang for providing the films in this series. Very, very special thanks to the National Film and Sound Archive of Australia.

As part of the celebration of the Walker’s 50^th Regis Dialogue and Retrospective event—Joel and Ethan Coen: Raising Cain—we asked local and national film critics (many of whom have been Regis Dialogue interviewers themselves) and film exhibition programmers to weigh in: In 25 words or less, what is your favorite Coen brothers’ film, and why? As you’ll see below, the question was so intriguing that several could not limit their answer to 25 words. Every person we asked chose a different film to laud—certainly a testament to the breadth and depth of the Coens’ work.

The 13-film retrospective kicks off on September 18^th with the directors’ cut of Blood Simple, for which we are pleased to be screening the Coens’ own personal print. Following the film, the entire audience is invited to a reception in the Bazinet lobby. I’m confident this question of favorite Coens film will arise many times that night!

I have a special dark place in my heart for Blood Simple. It’s a magnificent first movie, filled with tension and glorious, murderously flawed individuals. —Euan Kerr, Senior Editor, Minnesota Public Radio News

Miller’s Crossing: “Simply a great gangster movie.”—Florence Almozini, BAMcinématek Program Director

“Like the underdog protagonists in so much of their work, my favorite Coen Brothers’ film is an underdog black comedy with a less than appealing title—Barton Fink. It’s not the most entertaining of their films (Fargo, hands down) nor their most innovative (O Brother, Where Art Thou?), but it remains their only film to date situated in the belly of the beast—Hollywood. It features a Harold Lloyd-bespeckled John Turturro in the titled role as a successful dramatist lured by the promises of studio system only to end up saddled with writing a wrestling picture. Barton Fink is, in other words, an allegory of the treacherous artistic journey that the Brothers, themselves, must navigate each time they begin a new feature project.”—Bruce Jenkins, Professor, Department of Film, Video, and New Media School of the Art Institute of Chicago, former Curator of the Walker Film/Video Department. Regis Interviewer for The Brothers Quay: Alchemists of Animation, 1996 and Stan Brakhage: The Art of Seeing, 1999.

The Hudsucker Proxy: “The Coens’ first big-budget effort is no studio picture compromise. It’s an unclassifiable, deliriously funny riff on 1950s workplace dramas, hula hoops, the clockwork machinations of fate, and karma, the great circle of life. You know, for kids!”—Colin Covert, film critic, Star Tribune

“I’m going with Fargo. I think it’s their most humanistic film, and those devastating final scenes with Marge feel like the perfect/bewildered response to the Reagan/Bush era.”—Chris Hewitt, film critic, Pioneer Press

The Big Lebowski: “Whether it’s because the Coen Brothers hail from these parts, the expression of true feelings has never been their characters’ strong suit—or their own. But as The Big Lebowski’s climactic bear hug signals direct communication more warmly than anything in their oeuvre, I’d say the Coens have finally looked into their heart.” —Rob Nelson, film critic, excertped from City Pages (publication date: 1998).

O Brother, Where Art Thou?: “The Coens’ decision to treat traditional American music as a living presence makes this eccentric, picaresque period comedy perhaps the warmest production in their entire repertoire. And the music is superb, which doesn’t hurt.”—Kenneth Turan, film critic, Los Angeles Times. Regis Interviewer for Alexander Payne: A Sideways Glance at America, 2005.

The Man Who Wasn’t There: “You will not soon forget Ed Crane (Billy Bob Thorton), the antihero and narrator of the Coen brothers’ unforgettable neo-noir, with its sharp black-and-white photography and nonjudgmental tone.”—Howard Feinstein, New York-based film critic and a selector for the Sarajevo Film Festival (excerpted from the 2001 Sarajevo Film Festival catalogue). Regis Interviewer for Bela Tarr: Mysterious Harmonies, 2007.

“Fargo is my absolute favorite, but Burn After Reading has grown on me the most. What seemed initially as silly and slapdash, a retro take on the ’60s Cold War spy movie, now feels like an entertainingly astute and up-to-date crafting of movie stars, genre storytelling, and satire that outshines most other recent attempts to re-invent the espionage film.”—Scott Macaulay, editor Filmmaker Magazine, co-editor FilminFocus.com. Regis Interviewer for Gus Van Sant: On the Road Again, 2003.

William Klein's MR. FREEDOM

The multifaceted artist William Klein is everything but a conformist. He is in fact its antithesis, making the most of each opportunity he has to question all conventions, be it in the world of photography or film. He craves the eccentric and out of the ordinary, he explores behind the scenes and brings to light the absurd, the forgotten and the rejected. He seeks not to please but rather to provoke; with wit and humor he reveals what others choose to ignore.

Just after World War II, Klein, the 18-year-old Jewish New Yorker was sent to Germany to do his military service. Two years later he went to Paris, where he met the love of his life and future collaborator, Jeanne Florin. He studied painting with Fernand Léger, but soon began his photographic career shooting fashion photos for Vogue (New York) magazine and then moving to street photography. His first book, New York (Life Is Good & Good for You in New York: Trance Witness Revels) changed the course of photography. His innovative choice of subject matter and use of wide-angle lenses, out-of-focus elements, and grainy film were criticized at the time but soon earned him international recognition.

In 1958, encouraged by his friends Chris Marker and Alain Resnais, Klein began his filmmaking adventure with the short Broadway by Light. With Times Square as the stage and the neon signs as ready-mades, Klein created an exquisite collage of words, lights, and abstract images that was considered to be the first Pop movie.

With the swinging sixties came Klein’s first feature film, the luscious Qui êtes-vous, Polly Maggoo? (1966), a satire on the extravagance and superficiality of the media and the fashion world. With a truly unique style, Klein cunningly cuts from one genre to another, from fiction to false documentary, passing through animation, musical comedy, and even a bit of cinéma verité.

As Klein approached his forties, the war in Vietnam was at its peak and he became overtly political. In 1967 he joined with Alain Resnais, Jean-Luc Godard, Agnès Varda, Claude Lelouch, Joris Ivens, and Chris Marker to make the film Loin du Vietnam, a direct attack on U.S. foreign policy.

Long before comic book characters became a trend in film, Klein created Mr. Freedom (1968), which features a superhero who incarnates the United States’ God-like attitude toward the world. This hilarious farce offers an unmerciful critique of the American government as well as other political doctrines such as Maoism and Stalinism. Initially banned in France, it presents a harmonious and yet disturbing explosion of color, violence, and humor.

During the late 1960s, Klein continued to reveal the cracks in the American dream and focused on the general world disillusionment of that era through such films as Grand soirs et petits matins (1968-1978), Festival Panafricain d’Alger (1969), and Eldridge Cleaver, Black Panther (1970). In the latter, Klein portrayed the revolutionary and polemic Eldridge Cleaver who, wanted in the United States, had fled to Algeria in exile. Here we see two of Klein’s traits as a filmmaker: his talent for getting close to his subjects, and his ability to go where others have not. Klein has a special interest in turning his camera toward the outcasts of his time and adopting this challenging and provocative position from which to see the world.

In 1974 Klein completed the magnificent Muhammad Ali the Greatest (1964-74), his most renowned documentary. Intended to demonstrate “the polarization of good and evil in America around a heavyweight championship fight,” the film is much more than just a portrait of the controversial Ali; it also includes a valuable interview with Malcolm X only 10 days before he was assassinated. Unconventional in its narrative with masterful editing — quick and dynamic — the camera smooth and yet alert floats like a butterfly and stings like a bee.

Klein’s third narrative feature uses a stylistic approach influenced by Mondrian, with a minimalist setting, to tell its tale of Le Couple Témoin (1976), a movie ahead of its time about a model couple involved in a “Big Brother” government experiment. As we witness the ups and downs in the relationship between Claudine and Jean Michel, who remained caged and under constant surveillance, we are forced to wonder about government and state control masked under the promise of the ideal society.

His filmography continues with Hollywood, California: A Loser’s Opera (1977), The Little Richard Story (1980), The French (1981), In & Out of Fashion (1994), among others. At the turn of the century Klein filmed Messiah (2000). Somewhere between heaven and hell, Handel’s haunting music is performed by inmates in a Texan prison; a gay choir in Times Square; a group of policemen; a gospel choir; and the best soloists of the time. In Messiah we experience beauty and sadness as we witness the absurd and cruel contradictions of mankind.

Throughout his career Klein has remained an independent artist. He expresses his thoughts freely, and he does not put up with bullshit. In my opinion, William Klein is a true artist, one who creates out of need and not for recognition, an artist who sought his own voice far from the mainstream. Somewhat misunderstood and not to everyone’s liking, he has accomplished the Dadaist objective stated by Hugo Ball, “For us, art is not an end in itself … but it is an opportunity for the true perception and criticism of the times we live in.” The magic of his films is that they not only portrayed their time but also foresaw the truths of the future. Yes, indeed, Klein’s films are alive and kicking!

For a MOMA retrospective on Tarr, Van Sant wrote an essay about Tarr’s films, which I’ve reproduced below. When so many current filmmakers seem to eschew the past, I admire Van Sant for having the capacity to learn from a true master of cinema–and can’t wait to see Tarr’s influence manifest itself in Van Sant’s new work.

The Camera is a Machine

I have been influenced by Béla Tarr’s films and after reviewing the last three works Damnation, Satantango, and Werckmeister Harmonies, I find myself attempting to rethink film grammar and the effect industry has had on it. This is the way I see it. Cinema started as simple single-shot full-length proscenium compositions resembling theater, the only thing that it could find to reference to commercialize itself. By the next twenty years there was a new vocabulary. The close up, montage, and parallel storytelling fragmented the continuity of the previous proscenium-encased static-frame full-figure images. Separate fragments were now placed together to form meaning, the director could play with time and cinematic space. It was exciting. Was this an absolute inevitable direction or just one road cinema chose to take?

I believe these cinematic innovations complimented industry and created an Industrial Vocabulary. The director could tell you how to think about scenes by the way he played with separate pieces. He could control his characters, he could control time and story, and he could control you. Left behind were the proscenium and the static take, which were old-fashioned.

Things were modern, things were easier, like doing your laundry, there was a washing machine now that would do it for you. The modern cinema was an invention that could think for you, you didn’t have to do in anymore, like in the theater.

The Cinema of Industry has progressed into mega-industry and mega-cinema but remaining ideally the same? The cinematic vocabulary of a 2001 television show like Ally McBeal is virtually the same as Birth of a Nation’s. It is no surprise that Citizen Kane has been considered the greatest film of all time, a film about selling oneself down the river along with the copper, coal and timber while nostalgically longing for a lost Victorian era, and film vocabulary’s original beginnings, a Rosebud, that has been left behind in another century.

Béla’s stuff seems to be a successful and authentic departure, a wholly other cinema beginning over again. A cinema that needed to come from outside our Western Culture, a lost Rosebud, one of the many directions cinema might have before we sold ourselves down the river.

Béla’s creations use static full figure landscapes, as if referencing the 1800’s steam engine pulling into a station that would force audience members standing in the gallery to run for the exit so they wouldn’t get hit by the train. Somehow Béla has gotten himself back there psychically and learned things all over again as if modern cinema had never happened. An angry crowd marches down a street to burn down the hospital in Werckmeister Harmonies, a shot that lasts about five minutes. When asked after a screening why the shot of the crowd lasted for so long, Béla answered, “ because it was a long way.” The question was an honest one, why would the audience weaned on post modern industrial cinema sit and watch an angry mob for so long when they have been used to a shot that lasts only a couple of seconds, even a shot ten or fifteen seconds would be too long. But the answer, although funny, is also an honest one, it was a long enough way that to show it for five minutes it affects the way we think about the event, the mob, the march, the hospital. Not shorthanded, not as clipped as in Industrial Vocabulary, but played out lyrically and poetically, letting us in on the thoughts rather than just saying one thing like, the mob walked, rather; the mob walked, and grimaced and raised their torches, and walked in synchronized and unsynchronized steps, advanced, fell back, and when they arrived it had been a long way.

Hitchcock said in response to a question by Franois Truffaut that major stylistic film changes could happen through character, perhaps, but here is a very major change through ideas.

Béla’s works are organic and contemplative in their intentions rather than shortened and contemporary. They find themselves contemplating life in a way that is almost impossible watching an ordinary modern film. They get so much closer to the real rhythms of life that it is like seeing the birth of a new cinema. He is one of the few genuinely visionary filmmakers.

–Gus Van Sant, MoMA Bela Tarr Retrospective Catalogue, 2001.

With films characterized as remarkable, mesmerizing, and devastating–not to mention, in the case of Satantango, a bona-fide masterpiece–Béla Tarr’s upcoming Regis Dialogue and Retrospective (September 14–October 21) is sure to be an extraordinary experience. For a sneak peek into the mind of the master, here is film critic Howard Feinstein’s Regis essay on Béla Tarr. Feinstein will be interviewing Tarr on-stage at the Walker Cinema on September 14.

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Critics have generally divided the famously uncompromising Hungarian director Béla Tarr’s films into two distinct stylistic periods, with a truncated TV version of Macbeth (1982) marking a transitional point. Under the influence of the “ documentary fiction” movement led by Istvan Darday (a politicized socialist realism), under whom he had been an assistant director, as well as John Cassavetes, cinema vérité, and possibly even the British “ kitchen sink” school, he shot his first three features, known as the “ proletarian trilogy:” Family Nest (1979), The Outsider (1981), and The Prefab People (1982). Here we have in urban settings handheld camera, nonprofessional actors, some improvised dialogue, multiple closeups, and conventional editing rhythms as Tarr explores the social and economic conditions– especially a major housing shortage–that play havoc with the personal lives of his perpetually frustrated characters. (The seeds of his obsession with cinematic time can be seen, for example, in the meaningful ellipses.) In these claustrophobic environments, people become aggressive and communication is impossible. Men are mostly irresponsible and either actively or passively oppressive toward women, who may be victims but are decent and sensitive to one another’s plights.

Besides a concern with working-class people and the social circumstances of their private lives, these early low-budget features have other elements in common with the better known works of the later Tarr: whether unconscious or not, the striking compositions of his mise-en-scène, not to mention powerful ambient sound, reveal an aesthete’s eye and ear. He has always been acutely aware of the process of seeing, which he will later take to a degree that undermines the conventions of cinema as we know it. A tiger doesn’t change its stripes.

In the one-hour Macbeth, which has the feel of live television, gritty realism has been replaced by a spare stylization. He doesn’t edit so much as follow his actors up and down, left and right, in real time. It comprises only two takes, but the second is 55 minutes long. Tarr is developing a logic of film time that is based on the action (or non-action) of his characters and the landscape in which they function–even if here it is within the confines of a theatrical proscenium. (The 1984 Almanac of Fall, shot almost entirely in interiors in which he uses architecture and objects to block his more bourgeois characters and comment on their nasty behavior, can also be thought of as a transitional work.)

In most of the films of Tarr’s so-called second period, characters (and viewers) stare out of windows for prolonged periods–just as his camera, no longer handheld and frequently panning ever so slowly, surveys the minutiae of their lives and the (generally rural) landscapes that they inhabit with a bare minimum of cuts, and with a remarkably sharp depth of field. (He has frequently referred to location as a character in his work, and he and longtime partner, editor, and sometime coscreenwriter gnes Hranitzky spend a great deal of time finding the perfect locales in which to shoot.) Damnation (1988), Satantango (1994), and Werckmeister Harmonies (2000) were all done in collaboration with novelist Lszl Krasznahorkai, Hranitzky, cinematographer Gbor Medvigy, and composer Mihly Vg. (There is never any doubt as to who is boss.) On one level, the extremely long takes are a visual correlative to Krasznahorkai’s famously long sentences. Someone, or a group, may walk for 10 minutes or longer, but the camera travels with them. Even if a section is, as in his seven-and-one-half hour magnum opus Satantango, an observation of the ordinary activity of an inebriated doctor in his home, Tarr has come as close as any filmmaker to finding a parallel to a gifted writer’s detailed descriptions of life’s banalities. What is truly astounding, especially in Satantango, is that long sequences are not necessarily successive but concurrent–“ meanwhile, back at the ranch,” without the crosscutting that D. W. Griffith made into convention. Redundancy is a recurring trope. No wonder Susan Sontag referred to Tarr among those directors whose films are “ heroic violations of the norms.”

In these last three films, Tarr has elaborated upon the fog machine that graced the Macbeth stage for texture and commentary. We still find fog, but also endless rain, mud, pigs, the peeling paint of rundown buildings, and large empty spaces. Through simple, generally unsympathetic characters, mostly peasants, he builds a visual and aural world–natural sounds have never sounded so dramatic–in which people are nasty, often drunk, criminal, and either susceptible to authoritarian leadership or authoritarians themselves. Incredibly quiet sequences alternate with boisterous pub scenes. The films are in black and white, but in a wide variety of subtle, calculated shades–including the variations on gray praised by Lotte Eisner when she described the German Expressionists of the silent era–to fit the situation at hand. (Tarr has said he despises the falseness of Kodak color stock.)

Some call these movies bleak, but I think of them as lying somewhere between anthropology and allegory. This is the landscape of a country beaten down by Communism, by false hopes, by the elements themselves. Tarr claims that these works are not at all political, although he acknowledges that he hopes they reveal a “ social sensibility.” Many critics call them metaphysical, cosmic, cousins to Tarkovsky (whom Tarr finds “ soft”). Tarr will have none of that: for him, they are concrete and one should not think too much about such lofty things. (It’s ironic that he originally studied philosophy.) No matter: these latter films ooze from their groundedness a strong sense of spirituality.

What is rarely mentioned is the humor of the films and the director himself, whose attitude toward life does not appear otherworldly. When asked recently whether things were improving in his homeland, the 51-year-old Tarr told Time Out New York, “ We Hungarians were always too lazy–too lazy for Fascism, too lazy for Communism. We are eating too much, drinking too much, making love too much.”

His most recent film is The Man From London, which premiered in competition at this year’s Cannes Film Festival. It was adapted by Krasznahorkai from a Georges Simenon novel. Shot in Sardinia with an international cast, it is set in a small seaside town. The film is a perfect marriage of Tarr’s aesthetic sensibility and the policier. Complementing the trench coats and bright bulbs that suit the genre are the dark blackand- white stock (Fred Kelemen’s cinematography is mesmerizing) and the director’s propensity for shadows, fog, unbelievably slow pans and tracking shots, and somber, held accordion chords. Tarr nevertheless adds some signature touches from outside the genre, like the sequence of drunken eccentrics in a hotel bar. The basic plotline: Maloin (Czech actor Miroslav Krobot) is a signalman at a dockside railway who witnesses a robbery and murder, then steals the loot. Stalked by the man he has burned, he wrestles with his conscience about how to keep the money.

We are far from the plains of landlocked Hungary.

–Howard Feinstein, adapted from his essay in the 2006 Sarajevo Film Festival catalogue. New York–based Howard Feinstein has written on film for such publications as the Guardian, Vanity Fair, Time Out, the Times of London, Sight & Sound, Filmmaker, Premiere, Indiewire, and Out. He has curated exhibitions on ethnic conflict in ex-Yugoslavia and since 1999 has been a selector for the Sarajevo Film Festival, where he also programs Panorama (fiction), Panorama Documentaries, and Tribute to, the annual directors’ retrospectives (Béla Tarr received a tribute in 2006).

Sheryl Mousley of the Walker Art Center (left), actor Bud Cort, and Al Milgrom of Minnesota Film Arts, at the Karlovy Vary film festival on July 4. Bud Cort was there for a screening of the 1971 film Harold and Maude, directed by 70s great Hal Ashby. At the Variety post-screening party, Cort approached Mousley and Milgrom to acknowledge the Minneapolis film audience that sustained Harold and Maude’s three-year run at Edina’s now-defunct Morningside Movie Theater. Cort reported that this long run made the film’s reputation and helped “change his career.”

While best known for his turn in Harold and Maude, Bud Cort’s film career actually kicked off when he was “ discovered” by director Robert Altman, who cast him in both M*A*S*H and Brewster McCloud. Brewster McCloud, one of Altman’s lesser-known films, stars Cort as a boy living in a fallout shelter who dreams to fly in the Houston Astrodome. A must-see for both Cort and Altman fans, the fantastical farce also features an incredibly long-lashed Shelley Duvall, who too had just been discovered by Altman–at a Houston cosmetics counter, no less.

Here’s a link to the Karlovy Vary festival’s website story about Bud Cort and his time living with Groucho Marx.

To view each, click on the individual artist and then on the “ introduction” link.

This program is made possible by generous support from Regis Foundation. Many thanks to Ben Wiggins for his help on this project.

I’m sorry if I sound trite in my grief over his death, but there it is.

I must start by saying that Mitchell always told it like it was. I remember him meeting Elliott Gould with a loud, cringe-inducing yet apropos: “You’re much BIGGER than I expected!”

He was a multifaceted, complex man. I only knew one small part of him: a great film lover in our community. He was an instigator and a provocative force behind the late, great repertory theater the Oak Street Cinema. Few knew of his behind-the-scenes impact on Twin Cities culture (which was significant indeed) although many experienced him holding court under the lights of the marquee and at other film venues such as the Walker, discussing cinema, poetry, psychology, life. The Oak Street was infused with his spirit: brash yet graceful; smart yet inclusive; and above all, humane. He had an acerbic, dead-on wit, but always followed it with his singular laugh – a boisterously loud bellow that embraced you in its sheer joy.

Mitchell, you will be missed.

“As Parks sifts through the cache of memories his Promethean talents have created, he refuses to be bitter about the denials, limits and indignities that have been, at one time or another, imposed upon his work. His trials have made him widely empathetic toward victims of any prejudice and skeptical about the privileges of race, class, or nation to establish the proper basis for human interaction. Through the power of his words, this intelligent and sensitive interpreter of human experience has now turned the mirror toward us, as well as himself; we, like Parks, must be judged by the integrity of our response to what we hear and see. Let us hope that we are half as successful as he has been.”–Michael Eric Dyson, in his essay “Gordon Parks: Prometheus in Motion”, written for Gordon Parks in Retrospect, a 1996 Regis Dialogue and Retrospective at Walker Art Center.

MNStories also put up a nice obituary post with a video clip of Mr. Parks as well. Take a look.

Ang Lee won Best Achievement in Directing at the Academy Awards last night for his work on Brokeback Mountain. His acceptance speech acknowledged the Brokeback characters, Ennis and Jack, who “taught all of us…so much about not just all the gay men and women whose love is denied by society, but just as important, the greatness of love itself.”

To glean an insight into Lee’s career, check out the fascinating Regis Dialogue he did with his writer/producer James Schamus at Walker prior to the film’s release–before Brokeback Mountain became a household name.