Thursday, August 03, 2006

Arthur Lipsett

"Ah, yes, Arthur, it's been a long time since we spoke, you been dead, since 1986, and they say you killed yourself. I know, I was at the funeral. There was only six of us there. Not many. Buried way down in the East end of the City, not far from the river, not many like you buried on down there . Among those people you didn't know, who cared not a bit for what you would have been doing. Those weird amazing movies, jerky as a jagged girl walking down the street to make my love."

-- Clifford Duffy

"He's (Lipsett's) trying a choreography of emotional expression... He did not just use footage, he shot some of his own footage. First of all, his audio collage. I think he is more in the world of documentary, producing a kind of essay through a kind of a verite, observational cinema and then finding links between the shots and not necessarily going out there with an a priori idea, but opening himself up to the events of the street over the course of many months and then finding connections in the process. His films are more sophisticated because he would create some of the material in the first place and then make a collage out of it. It was more of a polymorphous thing. It was an essay. In my case there is more of an argument that is more literary based in the sound facts. In his case it has that same what I call extroversion, it moves out, not towards the centre, but decentred. There is a series of ideas that come that resonate with another bunch of ideas, not necessarily in a linear way, opening up a field, a space, there are certain themes that ring through it, but the way he makes the points is through audio visual gesture, not by dialogue or script writing, not the kind of things that come from drama."
-- Craig Baldwin

Arthur Lipsett began his career at the National Film Board of Canada in 1958 at the age of 21, working in the Animation Department around the time when Norman McLaren had acquired legendary status there. His separate interests in acquiring and splicing together sound recorded off discarded footage in the NFB's editing room, and pieces of disposed film - predominantly documentary outtakes and archival footage (all black-and-white images), led to his first and most famous/well-received film, Very Nice, Very Nice (1961). Nominated for an Academy Award and admired by Stanley Kubrick (who, as legend has it, invited Lipsett to provide the trailer for Dr. Strangelove - he declined the offer), the rhythmic, seven-minute collage is composed of photographs taken in Paris, London, and New York by Lipsett himself, along with photographic shots from documentaries, magazines, and stock footage, set to an independent, fragmentary soundtrack of anonymous voices. The unnerving disruption between image and sound (serving a consistently Lipsettian obsession with the contrapuntal relationship between the lost man of the twentieth century and his mercilessly restrictive/consumptive environment composed of nature and the self, politics and religion, science and technology, even, to an extent, art and philosophy) that informs his body of work exists here in a lot more digestible form than in his later, more personal films like N-Zone (1970), the poor reception and apparent incomprehensibility of which led to his reportedly-forced resignation from the NFB in 1970.

The films which immediately followed this unusually successful debut (for an outright experimental film at that time and place, that is) ranged from the rather straightforward yet interesting documentary on experimental film in the early sixties, simply titled Experimental Film (1963), with heated debates (and precious featured clips) on the works of Robert Breer, Walerian Borowczyk, George Dunning, Norman McLaren, and Lipsett himself, to the Artavazd Peleshyan-esque (whom Lipsett's cinema has a deep affinity with, moreso than his often-compared-to contemporaneous counterpart, Bruce Conner) Free Fall (1964), which features some of Lipsett's most frenetic juxtapositions (this time, of repetitive, banal human behaviour with imagery of nature and captive animals) and the disturbing and hypnotic 21-87 (1964), an apocalyptic circus of insanity, suffering, and disorder. Free Fall and 21-87 together form, in my mind, Lipsett's best work of the sixties, when traces of the artist begin to reflect on the movement and tone of what we're seeing, without ever fully revealing a persona - only fragments of a mind that is in the process of an acute unravelling. A Trip Down Memory Lane (1965) is an eccentric time capsule of the post-war years (his only 'pure' collage film?): documentary footage is segued to form an essay film of sorts, a wry commentary on the scientific, political and religious disparities in the early years of the Cold War. This disparity morphs into the pure, palpable despair of Fluxes (1968) when "the military motif, religious rhetoric and newsreel footage of the trial of 'final solution' architect Adolf Eichmann, accompanied by dialogue from a trashy 1950s science fiction film, collides history and popular culture into… 'a phantasmagoria of nothing.' " (Andrew Munger). At 24 minutes, Fluxes is a longer film, its imagery is more disseminated and in many ways, it's a more mysterious film than Lipsett's previous work (and from what I've read, this film marks the beginning of Lipsett's progressively disintegrating mental state). I need to see it a few more times before I can touch its surface.

I like all the Lipsett films I've seen, but N-Zone (1970), his free-associative, psychodramatic, intimately personal masterpiece - his last while at the NFB (I'm amazed he got this far, to be honest) - might be his best. For the first time, Lipsett extensively incorporates footage of himself and his friends, talking about nothing in particular, along with repeating footage of animals (such as the camel and the 'domesticated' elephant, a central creature in Lipsett's late films) and fish, masks and skeletons (both recur in his late films as well). His montage has become less dense but the footage is more erratic, the behaviour depicted significantly more mind-boggling. It's a completely overwhelming film about... many things possibly, but mostly Death. Lipsett's films complement each other so as to form some kind of an asynchronous but lucid anthropological document from an unravelling, deeply pessimistic perspective, and this comes to a kind of full circle in N-Zone. A quasi-evolutionary pattern is established by its random images of dinosaur fossils, insects, amphibians, and mammals such as the elephant and the human being. Disconnection is stressed ("your connections to other people are rotten. They are based on deception. Lies. LIES, I SAY!"). He juxtaposes a shot of his talking friend with the squealing of a pig on the soundtrack. Empty spaces. Folks staring into the camera. Two mice in a cage going round in circles, chasing their tails. Water vapour swirling hypnotically over a cup of black coffee. Lipsett lies on his bed, dressed in black. His profile suddenly cuts to a white screen. He lets his fascination with Buddhist rituals reign free in the film - from shots of rituals and statues, to the soundtrack which for a long stretch is an undisturbed chanting/humming, occasionally breaking into tribal drums. The final shot is, naturally, upside down.

Strange Codes, his final completed film wherein Lipsett films himself alone within the confines of his apartment, will come two years later, but he was already preparing for his early death in N-Zone. Through his films (especially his late films), I get the impression that I'm seeing secrets and private abstractions that are never completely revealed, but are definitely felt, sometimes overwhelmingly so. Perhaps a source of this worldview is the fact that Lipsett witnessed the suicide of his mother at the age of ten? In any case, he was diagnosed with chronic paranoid schizophrenia in 1982, and (reportedly after several attempts) committed suicide in 1986, making this the twentieth year since his death. His first biographical documentary, Remembering Arthur, will be premiering at the Toronto Film Festival in September (preceded by Very Nice, Very Nice) and dedicated Lipsett-ophile, writer/filmmaker Amelia Does (who I thank for making it possible for me to see these films), is working on a book and another documentary on Lipsett, so perhaps Lipsett's time has finally come.

(This is a very late addition to the Avant-Garde Blog-A-Thon. A full list of participants is to be found at Girish's.)


Blogger msic said...

This comment has been removed by a blog administrator.

7:31 PM  
Blogger msic said...

[Sorry, the deleted comment was mine, since it had typos. The corrected version is as follows.]

Wonderful post, Mubarak. I've been hearing about Lipsett for years and the only one I've ever seen is VERY NICE, VERY NICE, which I admired but didn't quite "get." Hopefully I'll get to see the other films sometime soon, because I think the framework you've provided will really open them up for me. (In fact, I notice resonances between your discussion of Lipsett's project and Zach Campbell's sharp observations on Christopher Maclaine -- two complex, alienated artists who died too soon and left us with way too little.) Anyhow, the Lipsett doc is now a must-see for me at TIFF.

Great stuff. Thanks.

7:33 PM  
Blogger girish said...

Loved this post, Mubarak.

My friend Doug visited the NFB Mediatheque in Toronto (right across the street from the Paramount, for all you TIFF regulars), and wrote about the viewing facilities (and Lipsett) they have available. I'm definitely going to spend some time there during TIFF this year, and like Michael, this post makes me want to see the new Lipsett doc playing there.

5:00 PM  
Blogger Mubarak Ali said...

Thanks for reading and commenting, guys.

Michael, I'm not sure how much I 'get' Lipsett and his films myself, but despite a certain clouding caused by the seemingly random and at times vague footage (not all which is his own to start off with, but become Lipsettian by the nature/function of their inclusion, I guess), there is certainly a strong presence of a wounded persona that is hard to shake off, esp. when a number of his films are seen in close succession.

Like I mentioned on Zach's blog, I haven't seen anything by Maclaine yet but did come across him when reading on Lipsett (Fred Camper seems to group them together at times). You're right - their life/career trajectories are very similar.

And as always, I'll be keeping a close eye on your TIFF column - hopefully the documentary is half-decent.

2:00 AM  
Blogger Mubarak Ali said...

Girish, I'd be very interested to know what you think of his films if you do catch any at NFB. 21-87, which Doug caught, is one of his best, but anything of his would be worth watching really (and they're all of short to medium length, so all you TIFF-ers can sneak them in somewhere in your daily schedules!).

2:04 AM  
Anonymous Anonymous said...

Hi All

I like the posts! Let me introduce myself, I'm the producer of the documentary, Remembering Arthur. It's been an exciting year for me working on this unique project. The director, Martin Lavut, was one of Arthur's closest friends and now a very close one of mine, like a lot of Arthur's former friends. (Martin's the fellow with the popping eyes, the man chewing the rubber rat, etc). I think the doc is a really interesting approach to understanding Lipsett from a very personal approach. We decided to interview only the people who were the closest to him on a personal level. I think there will be more films, examinations, and other projects related to Lipsett, but I am glad to have captured what we set out to accomplish for posteriety. I hope you like the film. For more info. I've posted a temporary splash-page:

Dennis Mohr

4:12 PM  
Blogger Mubarak Ali said...

Great to hear from you, Dennis! Ah yes, I recognise Martin Lavut now from his appearances in Free Fall and N-Zone (and possibly others). I just looked up your site and Amelia Does is listed as 'Consulting Producer' for Remembering Arthur, so my assumption of her working on a separate project seems to be completely incorrect. A close, personal reflection on this enigmatic filmmaker's art, life and death would make for genuinely fascinating viewing. I just wish I get to see it at some point. Thanks for dropping by and all the best with Remembering Arthur at Toronto!

5:28 PM  
Blogger Brian said...

Anyone who can be usefully compared to Conner and Peleshyan, who I also adore, has me extremely intrigued. Thanks for this, Mubarak.

I just looked at this trailer for Remembering Arthur. Interesting that George Lucas is one of the interviewees. His student film Look at Life bears some superficial resemblence to a Conner film, but it seems Lipsett is probably the greater influence.

12:21 AM  
Blogger HarryTuttle said...

Great description Mubarak. First time I've heard about Lipsett was thanks to Doug Cummings, unfortunately I haven't been able to watch one of his film since.

Don't you think the impersonal title of this documentary is bad publicity for Lipsett? "Remembering Arthur"... Arthur who? In a line up of 350 titles at Toronto, that's the kind of film I would overlook easily if I don't read carefully every single description.

8:32 PM  
Blogger Mubarak Ali said...

Brian - Good to hear from another admirer of Peleshyan. I (reluctantly) mentioned his name just in passing because the similarities between Lipsett and his works are probably worthy of closer study in a separate post.

As for George Lucas - he's apparently a big fan of 21-87, which was an inspiration for his THX-1138. Here's some trivia!

Harry - You have a good question, for which I don't have the answer. It would be easy for any small, made-for-TV documentary to get lost in an expansive film festival like Toronto, irrespective of what it's titled, but I think just being there suggests a step in the right direction, regardless of the intentions of the makers. Just by being produced/presented/broadcasted, the film already has an audience (target or incidental), which is better than no exposure at all.

8:30 AM  
Blogger Zach Campbell said...

This post left me grumbling about how much I wish Anthology would just program an Arthur Lipsett series like, right now. Reading your appreciation, and furthermore noting the apparent similarities between Lipsett and Maclaine that have been suggested, just makes it all the more intriguing ...

9:55 PM  
Blogger Squish said...

After the success of this Blog-A-Thon, I decided to host one of my own. Drop by and see if you;d like to be a part of it:

3:42 AM  
Anonymous Anonymous said...


7:34 AM  
Anonymous viagra online said...

Wonderful post, Mubarak. I've been hearing about Lipsett for years and the only one I've ever seen is VERY NICE, VERY NICE, which I admired but didn't quite "get."

4:17 PM  
Blogger 每当遇见你 said...

Here’s a list of tools you will need to start: Jewelers’ pandora jewellery wire cutters - If you can only afford one pair, get memory wire shears. pandora charms These are designed to make clean cuts on tough memory wire, so can also be used for pandora charms uk softer wires. Chain-nose pliers sometimes called cheap pandora charms needle-nose pliers – Very versatile for picking up and grasping small items, pandora charms sale bending eye pins, closing jumps rings, even closing crimp beads. discount pandora charms Round-nose pliers – Used for creating loops on beaded head and eye pins. Can also be used for winding your own jump rings and as the second pliers you’cheap pandora ll need for closing jump rings. Optional pliers – Wire-looping pliers which have several graduated circumferences to allow you to form perfectly uniform jump rings and loops in place of the pandora discount uk round-nose pliers mentioned above. Crimping pliers which have little notches to allow you to both flatten a crimp bead and then bend it to form a rounded finished look instead of the flat crimp you pandora uk get using the chain-nose pliers. As for materials, I recommend some assortment packs of beads in coordinating colors, some decorative metal spacers, seed beads in both silver and gold These can serve as spacers and beautifully set off pandora sale your other beads., tube-shaped crimp beads Buy the best you can find – these are what hold it all together!, head and eye pins. Other than that, let your choice of project be your guide. You might want some silver or pewter charms.

8:05 AM  
Anonymous extreme bondage video said...

Useful information ..I am very happy to read this article..thanks for giving us this useful information. Fantastic walk-through. I appreciate this post.

4:49 PM  
Anonymous extreme lesbian bondage said...

Great website, looks very clean and organized. Keep up the good work!

1:15 PM  
Anonymous Viagra Online without prescription said...

One of the reasons why I like visiting your blog so much is because it has become a daily reference I can use in order to learn new nice stuff. It's like a curiosities box that surprises you over and over again.

6:53 PM  

Post a Comment

<< Home

Subscribe to Posts [Atom]