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LIZ WOLFE » Work Work Green Birds and Faux Blossoms Sugar Hills Under-rated Film Archive: Lilith (1964) Genre HoundFilm Opinion In celebration of the success of recent films that explore themes related to madness and distorted reality (Shutter Island, Alice in Wonderland), I’d like to recommend a vintage “undiscovered” gem titled Lilith from 1964. The film features a brilliant, haunting performance by Jean Seberg and a strange, subdued turn by a very young Warren Beatty. Fantastic Contraption: A fun online physics puzzle game com - Bored Things Are You Bored? Try These Things: Act like a spy / secret agent for the day Act like you just met your friend for the first time Act profound Ad lib Add some strawberries to your ice cream Adopt strange mannerisms Alphabetize the food in your fridge Announce your candidacy for President. Annoy total strangers Apply for a unicorn hunting license Appreciate everything Archive the Internet to 3.5" floppy disks (low density of course) Arrest yourself Ask a question nobody can answer Ask embarrassing questions Ask for seconds Ask people how to pronounce their name Ask people if they want to see your “belly button treasure” Ask people if they’ve seen your head Ask stupid questions.

LILITH (1964) Jean Seberg loved her part, (even if Beatty didn’t), but the film failed at the box office: “Lilith was for me the chance to try, in America, something in which i believed deeply, with someone whom i esteemed very much; this film allowed me at last to leave my usual character, to do something other than what people usually proposed to me. That is to say in what degree the financial failure of the film affected us, Robert Rossen, who was already very ill, as well as me. We had truly given the best of ourselves, and that, for an empty theatre. So Lilith was for me at once the most exciting of my experiences as an actress, and something rather sad.” Reading David Thomson now, he rates it more highly than did Sarris, for Seberg’s performance, the casting, screenplay, sets and Eugen Shufftan.

Good Performances in Subpar films In Lilith, Beatty’s character and Fonda’s character are after the same girl, it would be illogical for their characters to have chemistry. I don’t understand what you mean in regard to “Beatty couldn’t keep up with Peter Fonda’s dialogue.” I was sincere in writing “Lilith,” as his best performance, which is a rather bold statement considering his work in: Mickey One, The Only Game in Town, The Parallax View, McCabe & Mrs. Miller, All Fall Down, Bonnie and Clyde, Shampoo, and Splendor in the Grass. Hunter was good in Matter of Life and Death, but in no way is her performance in Lilith a “nothing performance.”

GREAT FEMALE PERFORMANCES Aaron G. 9May12 Great list. How about Anna Magnani in Mamma Roma? Sharmila Tagore in Devi (among others)? The Forgotten: Never Explain a Mystery, Never Wake a Sleepwalker on Notebook At around the time that the Vicomte de Noailles was dabbling in film finance with Cocteau's The Blood of a Poet and Buñuel's L'Age d'Or, another aristocrat, the Belgian duke Henri D'Ursel, adopted a pseudonym to direct and star in La perle (1929), a short surrealist fantasia owing much to the twin influences of Murnau's Nosferatu and Feuillade's Les vampires. It's a charming and elegant (and slightly sinister) piece. We're told that the surrealists admired Feuillade partly because they saw his serials without the intertitles, which had been lost, so the plotlines, already oneiric and chancy, became even more opaque, transforming from linear thrillers into a random series of outrages.

The Forgotten: The Last Trick on Notebook Pierre Etaix is much on my mind, you could say, since I've just written about 9,000 words on him (to be trimmed down considerably, I assure you) for the forthcoming Criterion Collection box set of his cinematic works. Though his last film for the cinema (as director: he has continued to act in films such as Micmacs and Le Havre), Etaix had a brief burst of activity directing for TV in the 1980s, which included one feature, L'âge de Monsieur est avancé, a filmed play which bursts its bounds and includes the audience and stagehand in the drama. It looks delightful, but as my French is at the level of your average two-year-old (and not even a French two-year-old), I can't really write about it. Like Méliès, Etaix is a magician and actor as well as a filmmaker (he used his prestidigitatory skills swiping wallets in Bresson's Pickpocket).

What is the 21st Century?: Revising the Dictionary on Notebook Above: A shot from David Fincher's The Girl with the Dragon Tattoo (2011) being re-framed in Adobe After Effects. Once little more than a tech buzzword, "workflow" has become an integral concept of contemporary filmmaking. Nuts-and-bolts film forums are thick with workflow tips, charts, and discussions. Industry sites run in-depth interviews with workflow gurus. The Forgotten: Mysterioso on Notebook Louis Feuillade's great serials of the nineteen-teens (Fantomas, Les Vampires etc) inspired numerous imitations, sequels and parodies: they still lurk behind the makeshift digital scenery of the modern action film, making threatening shadows and cackling mutely. I've long been fascinated by the followers of Fantomas—and how I long to see Zigomar (a.k.a. Zigomar the Eelskin, 1911), directed by somebody rejoicing in the name of Victorin-Hippolyte Jasset, which actually predates the screen adaptation of Allain & Souvestre's master-criminal.

The Forgotten: The Fantomas Menace on Notebook "Fantômas." "What did you say?" "I said: Fantômas." "And what does that mean?" "Nothing. . . .