Along with Martin Scorsese, Roman Polanski, Brian DePalma, Arthur Penn, Francis Ford Coppola, John Frankenhiemer and Woody Allen, Sidney Lumet was one of the filmmakers from the period roughly beginning in the late 1950’s through the late 1970’s that shaped and formed my love of cinema. With the imminent demise of the studio system, that period was a significant turning point in American film. Overblown, over budgeted Hollywood productions and television would help end the Hollywood Studios stranglehold. A new order was on the horizon as were a new legion of filmmakers and Sidney Lumet was right in the mix. Continue reading
When Jimi Hendrix arrived back in the states from England, he along with his new backup musicians, Noel Redding and Mitch Mitchell, came back as rock stars. In Britain, The Jimi Hendrix Experience recorded a series of singles including, Hey Joe and Purple Haze. In 1967, the Experience came to America and really hit it big at the Monterey Pop Festival with Hendrix famously setting his guitar on fire. After the festival, the band went on tour with the headlining teen pop group, The Monkees, which Hendrix nicknamed, the Plastic Beatles. It was an odd pairing to say the least. The crowds were mostly fans of The Monkees, young teenybopper girls and their mothers. The site of the psychedelic rock threesome with their wild clothes, permed hair and hard rock music must have shocked the mothers in the audience out of this house dresses. They must of thought the group ranked to the left of obscene. Continue reading
It takes a certain quality to be street photographer. You need to get close enough to your subject in order to capture that decisive moment, yet manage to remain elusive, almost invisible to all. You always take the chance of offending someone for invading what may be considered a private moment. It’s a balancing act.
An unassuming woman, Vivian Maier, roamed the streets taking, and compiling, street scenes totaling more than 150,000 negatives and rolls of film. What may have helped Maier shoot her photographs without making eye contact was the type of camera she used. She always carried a Rolliflex which unlike a single lens reflex camera was the kind of camera you held at waist level, looked down at and thru the viewfinder. This meant, unlike with SLR’s you, the photographer, did not directly engage in eye (lens) to eye contact with the subject. It’s possible many of Maier’s subjects were not even aware they were being photographed. Continue reading
Photographer Bill Cunningham admits he is no artist. He is neither a commercial photographer like Bert Stern nor a documentarian such as Dorothea Lange. But what he does, he does well. Cunningham is a well-known photographer in the world of fashion but don’t pin that label him either. That’s not what he does. He emphatically says so himself. He says this though he has worked for Vogue, the original Details and currently works for The New York Times. Continue reading
Tomorrow night on the PBS American Masters series at 9PM (check local listing for exact time and date in your area), the premiere of a full length feature documentary on photographer Dorothea Lange. According to press releases “Dorothea Lange: Grab a Hunk of Lightening” will feature “newly discovered interviews and vérité scenes with Lange from her Bay Area home studio, circa 1962-1965, including work on her unprecedented, one-woman career retrospective at New York’s Museum of Modern Art (MoMA.” The film is produced, written and directed by Emmy award winning Dyanna Taylor, the granddaughter of Lange and her second husband Paul Schuster Taylor. Continue reading
Being Italian-American, and more importantly that my grandparents, parents, and other relatives lived in the same neighborhood, and in fact, some on the same street the Scorsese family lived on, Elizabeth Street, I had a curiosity about this film than others may not. Did anyone in my family know the Scorsese family back in those days, I wondered? Living in such a close congested area and only a few buildings away, anything was possible, I thought. Well, the answer was no, the name Scorsese was not familiar to anyone I knew. Still, much of what was discussed in the film was so similar to my own family’s experiences that I felt a kind of correlation; here was my own family’s story being told.
In “Italianamerican,” a 1974 documentary Scorsese made after “Alice Doesn’t Live Here Anymore,” Marty explores his heritage through his parents’ homespun stories. The setting is casual, right in his parent’s apartment on Elizabeth Street in Little Italy. The attention is strictly on his folk’s tales of their early life and that of their immigrant parents. Continue reading