Rouben Mamoulian, Lost and Found (André S. Labarthe, 2016)

Rouben Mamoulian, Lost and Found

Free admission screening of the film at Il Cinema Ritrovato, on June 23, 14.30, Sala Scorsese.

When it comes to filmed interviews, Mamoulian is one of the well-documented giants of classical Hollywood. His eloquence and wisdom can be heard in interviews shot for documentaries about his friends (George Stevens: A Filmmaker's Journey, shown at Il Cinema Ritrovato 2021) or horror cinema (The Horror of It All by Gene Feldman and Suzette Winter, 1983). There are films exclusively about him such as Patrick Cazals's Rouben Mamoulian, l’âge d’or de Broadway et Hollywood (2007) which also features brief clips of interviews that Iranian director of Armenian origins, Arby Ovanessian (a guest of Il Cinema Ritrovato 2022) conducted with Mamoulian. Television networks, too, since the revival of his films in the 1960s, have interviewed him as in BBC's Film Extra (1973). However, this French television interview, by one of the fathering figures of television documentaries on cinema, André S. Labarthe, was lost for decades until retrieved and made into the Rouben Mamoulian, Lost and Found. This is the most detailed career interview Mamoulian ever gave on film.

Cherike-ye Tara [The Ballad of Tara] (Bahram Beyzaie, 1979)

The Ballad of Tara

 

Bahram Beyzaie's seamless blend of myth, symbolism, folklore and classical Persian literature in The Ballad of Tara is unparalleled in its complexity. Yet, apart from Downpour (1972), which was restored and revived a decade ago, the director with the most consistent body of work in the Iranian cinema of the 1970s is also, unjustly, one of the most invisible masters of the Iranian New Wave. Here, as well as directing, he has also produced, written, set-, costume-designed and edited a mesmerising tale that fuses the ceremonial legends of the past with contemporary life. Tara, a strong-willed widow encounters the fleeting ghost of an ancient warrior in the forest next to her village. The ghost's appearances become more frequent and finally he talks to her, claiming a sword that she has found among her father's effects. Without the sword, the dead warrior can't rest. But when the sword is restored to him, it's his love for Tara that prevents him from returning to the land of the dead.

Rouben Mamoulian: A Touch of Desire

Silk Stockings | publicity still

Rouben Mamoulian: A Touch of Desire (1926-1957)

Retrospective at Il Cinema Ritrovato, June 24-July 2, 2023

Known for his ability to encode his vision in light, movement, and later in colour, the Tbilisi-born Armenian Rouben Mamoulian had one of the most consistent bodies of work in American cinema. Rightly celebrated for his invaluable contribution to Hollywood's transition to sound, he both unchained the camera and used dialogue like a work of musical accompaniment. His mobile camera was envied and imitated, and his style is instantly recognisable for its sophistication, humour and erotic undertone. Mamoulian was equally efficient in more sombre types of cinema, serving as a pioneering figure in both gangster and horror genres. This career retrospective showcases Mamoulian's work from his only silent film, to the early sound period, to his final musical, in colour and CinemaScope. Aside from a new digital restoration of Dr. Jekyll and Mr. Hyde, everything else will be screened in 35mm.

Cry of Midnight (Samuel Khachikian, 1961)

Playing in Berlin (Sinema Transtopia) on May 11, 2023.

In 1961, the Iranian-Armenian Samuel Khachikian, a figure of enormous talent known for his strong female characters and the use of crime cinema motifs, the latter giving him the title of “Iranian Hitchcock”, was at the peak of his success. That year, both titles topping the Iranian box office were his. Indeed, other directors imitated his style and he became the first "name above the title" of Iranian cinema. Cry of Midnight [Faryade Nime Shab], internationally also known as Midnight Terror, was an unofficial remake of Charles Vidor's 1948 film, Gilda. It portrays one of the essential femme fatales of Iranian cinema, Parvin Ghaffari, appearing alongside the popular star Fardin as a young man who becomes entangled with a criminal gang but eventually finds his way back to the innocent girl that he's in love with. – EK

25 Fireman's Street (István Szabó, 1973)

25 Fireman's Street

István Szabó, 1973 | 98 mins

UK premiere of the new restoration at Close-Up Cinema (London) on May 28, 2023

István Szabó's agile camera is an uninvited guest peeking into the private and collective memories of the residents of an apartment building in Budapest that is due to be demolished the next day. In a Cocteauesque quest into the inner life of a house (which also bears trace of early surrealists in its splendid and puzzling juxtapositions) some 50 years is remembered overnight. The breath-taking long takes that have the fluidity of a dream reconstruct the recent history of nation through bricks, windows, walls and wooden panels. Like Jacques Tati's PlayTime, architecture is both the starting point and what frames every movement – it's a living organ. But here the building reflects people's desires and traumas more than similar voyeuristic investigations of architecture and film as it even bears the subtitle of a "Dream About a House".

Si j'avais 4 dromadaires (Chris Marker, 1966)

Playing at Closeup Cinema in London on January 29, 2023. There'll be some surprise shorts screened before Marker's film. – EK

Marker's underseen masterpiece, Si j'avais 4 dromadaires [If I Had Four Camels], with its originality and sole reliance on still photographs stands next to his best known work, La Jetée (1962). The photographs incorporated into the film were taken between 1956 and 1966 in many different countries (Greece, Russia, Iran, Cuba, China, France, Japan) as Marker was working for the Petite Planète travel guides or taking snap shots of his favourite people.  Here, he offers his own travel guide to a changing word, a "Marker Planet" narrated by a mysterious, world-weary traveller who speaks like a poet and thinks like a philosopher. The narration evolves into three voices with contrasting opinions about the role of photography in constructing collective cultural memory. With an endless sense of irony and the quiet investigating of photographic image, this is one of the great works of the 60s. – Ehsan Khoshbakht

The Best Films of 2022

EO

My "top 10" of the year as submitted to and published on Sight & Sound. For the full list of the 97 voters and their picks go here. – EK

EO (Jerzy Skolimowski)

Compartment No. 6 (Juho Kuosmanen)

See You Friday, Robinson (Mitra Farahani)

The Eclipse (Nataša Urban)

The King of Laughter (Mario Martone)

Marx Can Wait (Marco Bellocchio)

Jacques Tati, tombé de la lune (Jean-Baptiste Péretié)

Maixabel (Icíar Bollaín)

I Am Trying to Remember (Pegah Ahangarani)

My Imaginary Country (Patricio Guzmán)

How to Make a Retrospective

My Six Convicts by Hugo Fregonese. Still (c) Cineteca di Bologna

The talk How to Make a Retrospective will be given at the BFI Southbank, London as part of the Archive Screening Days 2022 (organised by Independent Cinema Office) on December 8, 2022.

What are the challenges and methods needed to bring cinema history to life? How can we frame a body of work so it can be shared more widely? In this wide-ranging presentation, filmmaker, film curator and writer Ehsan Khoshbakht demonstrates the process of mounting a major retrospective. In 2022, Il Cinema Ritrovato in Bologna – the world’s largest archive film festival – delivered a retrospective of director Hugo Fregonese. A neglected figure in Hollywood but with a history spanning his home country of Argentina as well as UK, Spain, West Germany and Italy, Fregonese’s life and career contained multitudes, and the retrospective introduced his work to a new generation. This session offers an insider’s view on the curatorial framework for building a retrospective as well as the practical challenges of sharing work outside regular circulation.

Earthly Songs: Ebrahim Golestan at 100 – A Viennale retrospective

 
This retrospective took place in Vienna, as part of the Viennale. RIP Ebrahim Golestan (1922-2023) – EK

Session#1: Fires of Forough

Fire-Fight at Ahvaz (1958) / A Fire (1961) / Courtship (1961) / The House Is Black (1962)

Total running time: 88 mins

A look at Golestan's oil documentaries, as well as examining his collaboration with poet and filmmaker Forough Farrokhzad. In 1958, an oil well in southwest Iran caught fire. Abolghassem Rezaie, the son of one of the pioneers of Iranian cinema, made Fire-Fight at Ahwaz about the disaster. When Golestan saw the black-and-white footage, for which he wrote the narration, he saw that the story held even greater potential and decided to produce his own version of the events – this time in colour. Golestan's version, A Fire, proved to be his first major international success. It was edited by Farrokhzad, who combined her poetic sensibilities with Golestan's more symbolic approach. Farrokhzad also acted in Courtship, a short made for Canadian television, in which Golestan demonstrates a marvellous ability with mise-en-scène, especially in his assured use of the camera. In the same year, Farrokhzad made The House Is Black, set in a leper colony in northwest Iran. Celebrated as one of the greatest films ever made, it is a dialogue between the passions of the poet (Farrokhzad) and the voice of reason (Golestan).

Chess of the Wind: The Glorious Miniature of an Upheaval

Chess of the Wind

When Chess of the Wind premiered in November 1976, at the fifth Tehran International Film Festival, nobody knew what to make of it. A mix-up in the order of the reels at the first of three screenings—either a technical issue or a deliberate act of sabotage—made the plot almost unintelligible, while faulty projector lamps meant that the interior scenes, certain of which are artfully lit using candlelight, appeared so dark that viewers became angry. Moreover, despite the film’s historical setting—the drama unfolds in a feudal mansion, following the death of a matriarch—this tale of deceit and intrigue was a little too close to the bone for a society that had become increasingly polarized since the beginning of the seventies. Complete with breaks in the fourth wall, a delicately handled lesbian scene (the first of its kind in Iranian cinema), and an ending in which a working-class woman overthrows a male-dominated household and liberates herself, this enigmatic work was both perplexing and reflective of a changing Iran...

Read the full essay on Criterion website

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