Word: film
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Dates: during 1970-1970
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...Harold Scott, director of The Blacks and recipient of the Obie Award for an off-Broadway performance in Genet's Deathwatch, has resolved the latent tensions in Genct's material in the direction of naturalism-obviating some of the ludicrous pitfalls which plagued Joseph Strick in his attempt to film The Balcony...
WHAT happened to that land and the peoples who belonged to it forms the last section of the film. Stills of the treaty ceremonies are intercut with very fast shots of factories while some important voice of the period urges the Indians to "accept the spirit of the American people." His speech is drowned out by machine sounds and there follow superimpositions of factories and barbed wire, of the trains that shuttled plains tribes to marshland, over close-ups of aged Indian faces. One man appears to be dying, or trying to sleep, turning his head back and forth over...
FILMWAYS, the company that brought us Ice Station Zebra, has gone into the student-film business, complete with high-powered promo and the kind of program notes Ernest Borgnine might write: Genesis ? is their first contribution to what they lucidly term "an evolving art." Programs of shorts, no less student films usually make for pretty uneven viewing, and this collection is no exception: taken as a program it's astoundingly mediocre despite the money and care that has obviously been lavished on some of these productions. Further in an economy move, or perhaps in a calculated effort to prevent your...
...conventional liberal sentiment; there is the same failure to differentiate between various Indian peoples, the tired old noble savage myth, et al. More appallingly characteristic, there is no thought for the million or so Indians still alive; no disturbance to break his carefully wrought mood. Only grad students in film school can afford the luxury of this kind of sentimentality. Yet Gershfield gives the appearance at least of being aware of his position; his work is shot through with a sense of failure, and the lament seems to be as much for his inability to know the American Indian...
Like Bruce Baillie's Mass for the Sious Dead Gershfield borrows freely from our collective mythology, a mythology composed, like his film from a series of inadequate images. The Indian on the nickel pervades the first two minutes, documentary footage of Indians cooking, eating, smoking a pipe in full headdress. All the color footage seems to have been solarized; the effect is to remove most of the colors and warp the remaining two or three primaries, giving every frame an hallucinatory quality. Purple warriors move out to hunt against an ocher...