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Maxim Chelak
with every end comes a new beginning. 2 years ago
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×åëàê Ìàêñèì
Russia, Moscow
Burthday: 01/01/1901
E-mail: hidden
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About
The Kino box includes some 20 titles, ranging in length from two minutes (Charles A. Ridley’s 1941 “Schichlegruber Doing the Lambeth Walk,” an early mash-up that makes Hitler and his troops groove to the rhythms of a popular dance craze), to 65 minutes (Marc’O’s 1953 “Closed Vision,” a first stab at a radically deconstructionist cinema, inspired by the French Lettrist movement). For just about any generalization you would care to make about avant-garde film, you can find its contradiction here: there are fully developed narratives, like Charles F. Klein’s expressionistic version of “The Tell-Tale Heart” from 1928; there are fairly straightforward documentaries (Dimitri Kirsanoff’s 1951 “La Mort du Cerf”); and there is at least one Hollywood star. (The matinee idol Rex Lease turns up in the 1925 “Episodes in the Life of a Gin Bottle,” playing a rather charming embodiment of the evils of drink.)
