Richie Powell, George Morrow, Clifford Brown, Harold Land, and Max Roach in NYC, 1954. Photo by Herman Leonard.
What movies are in the picturer of the "kind of aesthetic"? Just the ones from the pictures.
Row 1: Cries and Whispers, Death in Venice, The Sacrifice. Row 2: Color of Pomegrantes, Three Colors: Blue, Fellini’s Roma. Row 3: Senso, Le Bonheur, Edvard Munch.
These are some of my favorites:
Tale of Tales, Hedgehog in the Fog, The Battle of Kerzhenets, The Fox and The Hare, Howl’s Moving Castle, Only Yesterday, Spirited Away, Kiki’s Delivery Service, Princess Mononoke, The Tales of Prince Achmed, 10-minute Mozart, The Three Wishes, Cybernetic Grandma, The Hand, Perfect Blue, A Country Doctor, Angel’s Egg, Asparragus, Fehérlófia, The Tale of the Princess Kaguya, The Man Who Planted Trees, Jumping, Fantasia, The Hunchback of Notre Dame, Beauty and the Beast, Alice in Wonderland, Watership Down, Cages, The Dream of a Ridiculous Man, Rusalka (Petrov), When the Wind Blows, The Flying House, Labyrinth, Composition in Blue, Comet in Moominland, A Charlie Brown Christmas, It’s the Great Pumpkin, Charlie Brown, Inspirace, Institute Benjamenta, The Snow Queen, Windy Day, The Snow Maiden, The Tale of Tsar Saltan, Polygon, Sirene, Legends of Peruvian Indians, Roman de Renard, Le Poulette, The Monkey King, Tyll the Giant, Hell, A Night on Bald Mountain, The Seasons of the Year (Ivan Ivanov-Vano), Toptyzhka, Rooty Toot Toot, Dead Time, The Pied Piper (Barta), Sirene, Laughter and Grief by the White Sea, The Wind in the Willows (1995), The Mighty River, Ballerina on the Boat, Briar-Rose or the Sleeping Beauty, Feelings from Mountain and Water, Castle in the Sky…
On Dangerous Ground, dir. Nicholas Ray, 1951.
Marguerite Duras, No More (trans. Richard Howard).
Сталкер (Stalker) , dir. Andrei Tarkovsky, 1979.
Marguerite Duras in 1955 by Robert Doisneau.
Сталкер (Stalker) , dir. Andrei Tarkovsky, 1979.
Anatoli Solonitsyn, Margarita Terekhova, Andrei Tarkovsky, and Oleg Yankovsky during rehearsals for Tarkovsky’s Hamlet at the Lenkom Theatre, 1976.
Maisons au bord de la rivière, Maurice de Vlaminck, 1908.
Mifune had a kind of talent I had never encountered before in the Japanese film world. It was, above all, the speed with which he expressed himself that was astounding. The ordinary Japanese actor might need ten feet of film to get across an impression; Mifune needed only three feet. The speed of his movements was such that he said in a single action what took ordinary actors three separate movements to express. He put forth everything directly and boldly, and his sense of timing was the keenest I had ever seen in a Japanese actor. And yet with all his quickness he also had surprisingly fine sensibilities. I know it sounds as if I am overpraising Mifune, but everything I am saying is true. […] Anyway, I’m a person who is rarely impressed by actors, but in the case of Mifune, I was completely overwhelmed.
— Akira Kurosawa on Toshirō Mifune, Something Like an Autobiography (trans. Audie E. Bock).
Autograph manuscript of the chorus of Part II of Rachmaninoff’s Kolokola (The Bells), Op. 35, c. 1936.
Toshiro Mifune at home, 1950s.
Mikhail Belov’s statue of Nikolai Gogol on Malaya Konyushennaya street in St. Petersburg.
Nikolai Kremnev, Alexandre Benois, Boris Grigoriev, Tamara Karsavina, Sergei Diaghilev, Vaslav Nijinsky and Serge Lifar at the Paris Opera, 1920s
Original title page and opening chorus of Bach’s Johannes-Passion, BWV 245 (1749 version).
I will always be in awe of your ability to combine being so well read and cultured and yet so modest and gentle. A rare soul
Thank you, ever so much 🖤
Stendhal, The Life of Haydn, in a Series of Letters Written at Vienna: Letter XX (trans. L. A. C. Bombet)
Hour of the Wolf (Vargtimmen), dir. Ingmar Bergman, 1968.
“Dreams of reason produce monsters”, prophesied this brilliant artist [Goya], who during the day painted portraits of the women of the court, and then locked himself up to make his drawings, which unmasked the blind positivism of the Illustration.
We have finally reached the “broken world” which Gabriel Marcel told us about, and while reality breaks itself into pieces, man fails, psychically and spiritually divided.
We will probably never completely understand what Kafka meant to tell us, who expressed, in one of the most profound and revealing works of the twentieth century, the uncertainty and neglect of contemporary man in a harsh and enigmatic universe. The fall of man in a reality in which bureaucracy and power have replaced metaphysics and the gods. Lost in a world of tunnels and hallways, shortcuts and junctions, between cloudy passages and dark corners, man shivers before the impossibility of any goal and the failure of any encounter.
Catherine Deneuve and Françoise Dorléac during the filming of Les Demoiselles de Rochefort, 1967.
Detail from Charles III as a boy in his study, Jean Ranc, ca. 1724.
Georg Trakl in a letter to Gustav Streicher (from Poems and Prose: A Bilingual Edition, trans. Alexander Stillmark).
One Week, dir. Buster Keaton & Eddie Cline, 1920.
Krzysztof Penderecki working at home, c. late 1960s.
Chantal Akerman at home.