Some of the Palestinians

I landed in Beirut with my wife and young family on 19 April 1974 to take up my appointment as Head of Films Branch, UNRWA (United Nations Relief and Works Agency for Palestine Refugees). A leftist leader had been assassinated in South Lebanon the previous day and that event is regarded  as the start  of the civil war. A few days later I drove down to Nabatieh Palestinian refugee camp in South Lebanon to film the consequence of Israeli bombing. The camp had been obliterated. A few days later I filmed the effect of bombing in Rashidieh, a camp further down the coast near Tyre.

The brief was to document the services – Housing, Education, Health, Rations – that UNRWA offered the Palestinian refugees.  My immediate boss and chief of the AV division was the legendary Myrtle Winter Chaumeny (writer, photographer, sailor, dancer); the director of Information was John Defrates, the bravest man I have ever met, who was a Navy pilot in the icy waters near Vladivostock during WWll. I was given a fairly free hand but editorial control rested with UNRWA. What I saw in South Lebanon and elsewhere gave me the form of the film: the experience of life in the camps in Lebanon, Syria and Jordan  – but not the West Bank because Israel refused me entry. Myrtle filmed that sequence.

So the story is about war in Lebanon; life in one the oldest camps near Aleppo established in 1948; work in Baqa’a in Jordan which accommodated thousands of fleeing refugees after the 1967 war;  and education in Ramallah.

Since then everything has changed for the worse for the Palestinian people. The locations for the film are now war zones or something very similar.  The tragedy continues.

Mamoun

The film was invited to the London Film Festival and Teheran Film Festival. A copy is held by The National Film Archive.

Some of the Palestinians is being shown as part of the Refugee season at the BFI South Bank, London. NFT 2, 19th June 2014. Tickets from the BFI ticket office and website.

We would like to give special thanks to David Somerset of BFI education for his support, and including this film in the season.

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Ozu’s An Autumn Afternoon, Southbank 23 May

ImageI am presenting Yasujirô Ozu’s An Autumn Afternoon on Friday 23rd May at National Film Theatre 3, BFI Southbank, London 2 pm. There will be a Q&A after the screening.

An Autumn Afternoon is Ozu’s last work and one of his few colour films. It is Ozu at his most distilled. All the elements  and style of shooting combine to elicit total attention from us. And he gives us time, through the use of space –  empty corridors, rooms and exteriors –  to consider and reconsider, to think about what we have just seen. When normal service of cinema and television is resumed, you’d  think the world has gone mad, suffering from ADHD or under the influence.

Ozu’s films are not only journeys into his mind but also into our minds.

For more information and to book online visit the BFI website.

 

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Gabriel García Márquez’s unfinished novel

I was saddened to hear of the death of Gabriel García Márquez this week. I spent a memorable couple of hours in his company just over fifteen years ago in Havana.

I met Gabriel García Márquez in November 1998, when he was president of the International Film & Television School in Cuba (EICTV). I had recently been appointed Head of Editing by the new principal Alberto Garcia Ferrer, who had himself been headhunted by Márquez. I initiated some major changes in the department, which Alberto welcomed, but he suggested I visit Márquez to let him know what I was planning to do. As I was leaving the campus at San Antonio de Los Baños—one of the most enchanting campuses anywhere—with the interpreter Oriel Rodriguez I bumped into the Belgian editor/director Rogier van Eck. I asked him whether he would like to join us. He jumped at the chance.

Márquez had a residence in Havana, a grand building that also housed the Latin-American Foundation for New Cinema, of which he was the founder member. Everything about Gabriel García Márquez surprised me. I expected him to be tall, in fact he was short; the man with the distinctive, vivid and resonant authorial voice was softly spoken; and the firebrand of the left struck me as a courteous, graceful and charming patrician.

He knew that I was not full-time at the school and that I devised the courses, invited the tutors, and paid periodic visits to debrief the students, give masterclasses and organise workshops. He was struck by the fact that the tutor list included Bill Forsyth, Peter Kingsgate Smith, Jack Gold, Kerry Crabbe, Harry Hook etc. ‘Are you planning a British invasion?’ he asked. ‘I suppose I am,’ I said. ‘Well,’ he replied, ‘better than an American one.’ He asked me why there were so many directing workshops for editors. I told him that it was a standing joke at the British National Film & Television School (NFTS) that my editors had more directing workshops than the directors. Editors learnt how to work with directors by stepping into their shoes.

He asked about the current workshop, which was about the ‘eye line’. Now, the ‘eye line’ is helpful in telling the audience who is where in relation to whom on the screen, but it has also become a fetish—I suspect because it’s about the only thing that filmmakers can define easily and agree about, that is, if one imagines an invisible line between two characters the camera should stay consistently on one side of the line or the other and not cross it. Ozu and Ford, to name but two in the Pantheon, crossed the line repeatedly—and the sky did not fall. My workshop was a ‘three eye-line’ exercise, that is, with three characters. Challenging, but, once grasped, the students would be able to place the camera with confidence. How did it work, he asked. (Abstraction does not work well in movies. There is no equivalent to a five-finger exercise.) I told him that I had asked a young screenwriter at the NFTS to come up with two scenes based on a plot I had devised:  The story should be about a girl who is having an affair with two men, one her own age, the other twenty years older. The younger man does not realise the situation but the older man does and after a while tells the girl she must choose between them. She decides in his favour and promises to tell the younger man.

In the first workshop scene, the girl arrives at a café to meet the younger man and, to her horror, the older man is sitting at a table watching them. It’s an L-shaped exercise with two people sitting close to and one far away. Throughout, her attention is constantly divided between the two men.

The second scene shows the girl and the older man a year later at the same café—but totally unexpectedly the young man joins them at the table. This is the A-shaped exercise of three characters close to each other. The scene ends with her telling the men that she hopes they will be happy together—and leaves them to it.

Márquez’s reaction took us all by surprise. He became quite animated and his voice became firmer. He said that he had been working on an unfinished novel with a similar plot. His story was about impecunious young lovers and a rich man who comes into their neighbourhood. The rich man is attracted by the girl and the young man suggests she has an affair with him, makes him fall in love and later fleeces him and takes him for all he’s got. Of course the plan goes awry, the young woman falls in love with the older man and the young man plans to murder him—a very different world from my two-dimensional story. But Márquez was nudged by the workshop story and muttered something about a ‘series of betrayals’. Very Márquez, you might think. He said he was going to return to his unfinished novel, but I don’t know if he ever did.

Márquez gave screenwriting courses at the Foundation and students were thrilled to be taught by him and totally charmed by his straight forwardness, as indeed I was. There was no side to him and he did not play the Grand Maître. At no point during the couple of hours that we spent with him did he bring the conversation round to himself. I spent most of the time answering his questions. His curiosity seemed limitless.

Referring to our encounter, Rogier said ‘You are not impressed by anyone, are you?’ ‘Was I rude or too familiar?’ I asked. ‘No,’ he said, ‘you treated him as an ordinary man.’ ‘He is an ordinary man,’ I said, ‘an ordinary man who happens to be one of the greatest writers of the twentieth century.’

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Introduction to Antonioni’s L’Avventura

EFClogo

Mamoun made one of his regular visits to the European Film College in Ebeltoft, Denmark, to deliver masterclasses and his now well known movie introductions. One of the introductions was to Antonioni’s classic L’Avventura.

Many thanks to Georgi Yordanov who filmed the event, and the staff and students of the European Film College.

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Introduction to Antonioni’s ‘L’Eclisse’

Dominic Power, Head of Screen Arts at the National Film and Television School, invited me to provide an introduction to Antonioni’s L’Eclisse on 3rd March as  part of NFTS/NFT’s Passport to Cinema.

I would like to thank David Somerset of the BFI for making the record of the event, and for his continued support.

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We’re on a journey to Italy: two Italian films at the BFI

Join me in March at the National Film Theatre, London to see two outstanding Italian films which knock the stuffing out of most of modern cinema.

Introduction

leclisse

L’Eclisse
3 March 2014: 18.10
National Film Theatre, BFI Southbank London:
Passport to Cinema Programme

Dominic Power, Head of Screen Arts at the National Film and Television School, has invited me to provide an introduction to Antonioni’s L’Eclisse as  part of NFTS/NFT’s Passport to Cinema.  The film is often seen as part of a trilogy of L’Avventura (which won a Special Prize at the Cannes 1960 ‘For a new movie language and the beauty of its images‘); followed by La Notte(1961) and culminating in L’Eclisse (1962). All three starred Monica Vitti, who was Antonioni’s inspiration, muse and, for a while, his companion.  These films are more than fifty years old  so qualify as antiques. But apart from the cars and clothes (fashion photography cannibalised L’Avventura and unconsciously feeds off it still) the films feel mint new.

rome

Masterclass

ROME OPEN CITY
8 March 2014 13.00 – 17.00 (with breaks)
The Studio, National Film Theatre
BFI,  Southbank London

I am pleased to be invited by David Somerset, BFI Education Programmer/ Curator to hold a  masterclass on Rossellini’s ROME OPEN CITY .

A towering work which heralded Italian Neorealism. After nearly seventy years, Neorealism still inspires filmmakers. It is a strong seed that continues to find suitable soil somewhere in the world.

Tickets for both shows are available online from the BFI.

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Introduction to Pather Panchali

On 17 August 2013, I presented the long-awaited Masterclass on Satyajit Ray’s Pather Panchali at the British Film Institute (BFI) Southbank’s National Film Theatre.

As I explain in the introduction, I’ve never presented a Masterclass on Pather Panchali before. Maybe because the film is just too ‘big’ and too rich to digest in so short a time as four hours.

You can view the 10 minute introduction to the film here. We hope to have the opportunity to broadcast the full Masterclass to the wider public at some point in the near future.

The film and Masterclass were presented as part of the BFI’s continuing education programme curated by David Somerset, the Education Programmer and Curator at BFI Southbank (who also shot the introduction).

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