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November 13, 2006
On Sátántangó
Initial thoughts:
- A frequent phenomenon of juxtaposition is that the faster the cutting, the longer a scene (or entire film) will seem, since the audience's eyes will have to do more work, traversing the plastic geography of the various compositions. The inverse is just as true, and so it is that Sátántangó, with its 150 shots spread out over seven and a half hours, never feels as long as it actually is; rarely feels that long at all, actually.
- Just as the infrequency of cuts keeps the film moving, so does a reduction in characters accelerate things up even more. From its second hour to its fourth and again for its last, the film hones in on individual characters: an obese old doctor and Estike, a disturbed little girl. I found these sequences the most mesmerizing in the film, and the most immediately accessible. I'm tempted to say that they signify a temporary transition from the political to (most specifically in Estike's case) the romantic, but I don't think the lines are as clearly delineated as that.
- The film is, of course, a technical marvel; the choreography of every shot is breathtaking - or rather, it should be breathtaking, if its duration didn't create a sort of technical amnesia. The shots go on for so long that, after a while, you forget about how astounding it is that the magazine hasn't run out of film, that the focus puller hasn't missed his endless number of marks, that the dolly hasn't hit a bump. One might argue that paying attention to the shots on an individual basis is detrimental to the film as a whole, but I don't think that's correct, because a.) there are only a few instances where shots overtly work in conjucnction with each other, react to each other and b.) Tarr has said that he considers time and location to be characters in his films, on the same level of importance as his human actors.
- I was impressed to see that Tarr credited his editor, Agnes Hranitzky, as 'co-auteur' (something that, as an editor, certainly appeals to my ego!) This morning, I read that they've actually shared both a professional and personal relationship for two decades, and that they plan their films out together in advance on a shot by shot basis, collaborating on the pacing and structure - a process which results in a very expediated post production process.
- I'm sure more than a few people who've seen the film would agree with me when I say that, after sitting through it, the prospect of turning around and watching it again is not only not very daunting, but rather inviting (well, maybe not right away; but Sontag's quote about being perfectly happy to see it every year for the rest of her life certainly makes sense). And while I certainly enjoyed the film, there were parts of it that I know I missed, dots I failed to connect; I want to grasp it fully (particularly the last third) before I let myself enjoy it completely.
- After seeing the film last year, Zach Campbell wrote a piece entitled Circumnavigating Cinema, in which he bemoaned the reduction that would occur when Sátántangó became available on DVD. I agreed with him then, and still do now; I couldn't imagine seeing this film on a television screen, in multiple installments (I still feel guilty about seeing it over two days, as if I cheated). It demands the cinematic, 35mm experience in a way that few films do - at least the first time. I'd add the additional qualification that such a DVD's value as a study guide, a way to examine the film in piecemeal, would supersede its relegation to a piece of consumerist media.
- More to the point: I don't feel the fact that I traveled almost 1000 miles to see the film on the big screen is any way diminished by the fact that Facets is indeed going to release it on DVD next week. I'll probably even buy it at some point.
Posted by David Lowery at November 13, 2006 5:30 PM
Comments
thanks for sharing!
i've already resigned myself to watching it on dvd. it will be ok. hopefully someday i can catch it on the big screen though.
Posted by: brad at November 14, 2006 10:33 AM
The chances of my ever getting to see Satantango properly projected are slim, so I'm also resigned to seeing it on DVD. In my defense, I will be watching it on my obnoxious home theater (the screen is nearly seven feet wide), and my plan is to watch it all one day over Christmas break. Can't wait.
Posted by: Darren at November 14, 2006 1:22 PM
Seven feet wide?!? Is that a TV, or do you have a video projector? I'm sure you'll have a great experience, as long you close all the blinds and turn of the telephone and computer. Actually, that sounds pretty awesome.
My own TV is 27 inches and close to ten years old, and when I watch black and white movies, there's a little pink spot in the corner. I really should invest in a replacement at some point. Maybe I should just be multi-purpose and buy one of those giant Apple cinema displays.
Posted by: Ghostboy at November 14, 2006 3:36 PM
Holy crap! I spoke too soon! It looks like I'll get to see it in December, and doing so will only require a 3-hour drive and a hotel room.
Posted by: Darren at November 16, 2006 2:49 PM
Wonderful news! And let me assure you, it's totally worth the three hour drive and hotel room!
Posted by: Ghostboy at November 16, 2006 2:55 PM
Rather than buy the Facets DVD, if you have no option but to see the film on DVD, you might like to try the Artificial Eye release, which is likely to be considerably better in quality than the Facets' one.
Posted by: WS at November 17, 2006 4:21 AM