20,000 Americans Hold a Pro-Nazi Rally in Madison Square Garden in 1939: Chilling Video Re-Captures a Lost Chapter in US History

Our country’s bipar­ti­san sys­tem ensures that every elec­tion will give rise to a win­ning side and a los­ing side—and depress­ing­ly, a siz­able group who refrained from cast­ing a vote either way.

There are times when the divide between the fac­tions does not seem insur­mount­able, when lead­ers in the high­est posi­tions of author­i­ty seem sin­cere­ly com­mit­ted to reach­ing across the divide….

And then there are oth­er times.

Ear­li­er in the year, the Women’s March on Wash­ing­ton and its hun­dreds of sis­ter march­es gave many of us rea­son to hope. The num­bers alone were inspir­ing.

But his­to­ry shows how great num­bers can go the oth­er way too.

With many Amer­i­can high school his­to­ry cur­ricu­lums whizzing through World War II in a week, if that, it’s dou­bly impor­tant to slow down long enough to watch the 7 minute doc­u­men­tary above.

What you’re look­ing at is the 1939 “Pro-Amer­i­can Ral­ly” (aka Pro-Nazi Ral­ly) spon­sored by the Ger­man Amer­i­can Bund at Madi­son Square Gar­den on George Washington’s 207th Birth­day. Ban­ners embla­zoned with such slo­gans as “Stop Jew­ish Dom­i­na­tion of Chris­t­ian Amer­i­cans,” “Wake Up Amer­i­ca. Smash Jew­ish Com­mu­nism,” and “1,000,000 Bund Mem­bers by 1940” dec­o­rat­ed the great hall.

New York City May­or Fiorel­lo LaGuardia—an Epis­co­palian with a Jew­ish mother—considered can­cel­ing the event, but ulti­mate­ly he, along with the Amer­i­can Jew­ish Com­mit­tee and the Amer­i­can Civ­il Lib­er­ties Com­mit­tee decreed that the Bund was exer­cis­ing its right to free speech and free assem­bly.

A crowd of 20,000 filled the famous sports venue in mid-town Man­hat­tan to capac­i­ty. 1,500 police offi­cers were present to ren­der the Gar­den “a fortress impreg­nable to anti-Nazis.” An esti­mat­ed 100,000 counter-demon­stra­tors were gath­er­ing out­side.

Police Com­mis­sion­er Lewis J. Valen­tine bragged to the press that “we have enough police here to stop a rev­o­lu­tion.”

The most dis­turb­ing moment in the short film comes at the 3:50 mark, when anoth­er secu­ri­ty force—the Bund’s Ord­nungs­di­enst or “Order Ser­vice” pile on Isidore Green­baum, a 26-year-old Jew­ish work­er who rushed the podi­um where bun­des­führer Fritz Julius Kuhn was fan­ning the flames of hatred. Valentine’s men even­tu­al­ly pulled them off, just bare­ly man­ag­ing to save the “anti-Nazi” from the vicious beat­ing he was under­go­ing.

Report­ed­ly he was beat­en again, as the crowd inside the Gar­den howled for his blood.

The uni­formed youth per­form­ing a spon­ta­neous horn­pipe in the row behind the Bund’s drum and bugle corps is a chill­ing sight to see.

Direc­tor Mar­shall Cur­ry was spurred to bring the his­toric footage to Field of Vision, a film­mak­er-dri­ven doc­u­men­tary unit that com­mis­sions short films as a rapid response to devel­op­ing sto­ries around the globe. In this case, the devel­op­ing sto­ry was the “Unite the Right” white nation­al­ist ral­ly in Char­lottesville, which had occurred a mere two days before.

“The footage is so pow­er­ful,” Cur­ry told an inter­view­er, “it seems amaz­ing that it isn’t a stock part of every high school his­to­ry class. But I think the ral­ly has slipped out of our col­lec­tive mem­o­ry in part because it’s scary and embar­rass­ing. It tells a sto­ry about our coun­try that we’d pre­fer to for­get. We’d like to think that when Nazism rose up, all Amer­i­cans were instant­ly appalled. But while the vast major­i­ty of Amer­i­cans were appalled by the Nazis, there was also a sig­nif­i­cant group of Amer­i­cans who were sym­pa­thet­ic to their white suprema­cist, anti-Semit­ic mes­sage. When you see 20,000 Amer­i­cans gath­er­ing in Madi­son Square Gar­den you can be sure that many times that were pas­sive­ly sup­port­ive.”

Field of Vision co-founder Lau­ra Poitras recalled how after meet­ing with Cur­ry, “my first thought was, ‘we need to put this film in cin­e­mas,’ and release it like a news­reel.”’  The Alamo Draft­house cin­e­ma chain screened it before fea­tures on Sep­tem­ber 26 of this year.

The Atlantic has pho­tos of the “Pro-Amer­i­can Ral­ly” and oth­er Ger­man Amer­i­can Bund-spon­sored events in the days lead­ing up to WWII here. Also read an account that appeared in a 1939 edi­tion of The New York Times here.

The Inter­na­tion­al Social­ist Review cov­ers the counter-demon­stra­tions in many eye­wit­ness quotes.

via Pale­o­Fu­ture

Relat­ed Con­tent:

Edu­ca­tion for Death: The Mak­ing of Nazi–Walt Disney’s 1943 Pro­pa­gan­da Film Shows How Fas­cists Are Made

Philoso­phers (Includ­ing Slavoj Žižek) and Ethi­cists Answer the Ques­tion: Is It OK to Punch Nazis?

Helen Keller Writes a Let­ter to Nazi Stu­dents Before They Burn Her Book: “His­to­ry Has Taught You Noth­ing If You Think You Can Kill Ideas” (1933)

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Fol­low her @AyunHalliday.

New Documentary on a Weird & Wonderful Dutch Library Now Free to Stream on Amazon Prime

Boing­Bo­ing recent­ly ran a short pro­file on a new doc­u­men­tary that takes you inside the intrigu­ing Rit­man Library. Locat­ed in Ams­ter­dam, the library hous­es 23,000 rare books from hermetic/esoteric/occult traditions–Alchemy, Her­met­i­ca, Cabala, Mag­ic, Rosi­cru­cian­ism, Mys­tic, Theos­o­phy, Freema­son­ry, Pan­s­o­phy and much more.

You can watch the trail­er for the doc­u­men­tary above. But, even bet­ter, you can now stream the com­plete 90-minute film on Ama­zon Prime for free. If you have an Ama­zon Prime account, just click here to start watch­ing. If you don’t, you can sign up for a 30-day free tri­al, watch the doc, and then decide whether to remain a sub­scriber or not. It’s your call. (Note: they also offer a sim­i­lar arrange­ment for audio­books from Audi­ble.)

The same deal applies to oth­er films we’ve fea­tured dur­ing the past year. Jim Jar­musch’s new doc­u­men­tary Gimme Dan­ger–his “love let­ter” to punk icons Iggy Pop and The Stooges. And also Long Strange Trip, the new 4‑hour doc­u­men­tary on the Grate­ful Dead.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

Dis­cov­er the Jacobean Trav­el­ing Library: The 17th Cen­tu­ry Pre­cur­sor to the Kin­dle

The Art of Mak­ing Old-Fash­ioned, Hand-Print­ed Books

Won­der­ful­ly Weird & Inge­nious Medieval Books

Wear­able Books: In Medieval Times, They Took Old Man­u­scripts & Turned Them into Clothes

Free Online Lit­er­a­ture Cours­es

by | Permalink | Make a Comment ( 1 ) |

The Smithsonian Presents a Gallery of 6,000+ Rare Rock ‘n Roll Photos on a Crowdsourced Web Site, and Now a New Book


Rock pho­tog­ra­phy is an art form in itself, as demon­strat­ed by books and exhi­bi­tions of some of its mas­ters like Mick Rock, Jen­ny Lens, Pen­nie Smith, and so many oth­ers. But two years ago, the Smith­son­ian turned to the crowd, to the fan, to the ama­teur pho­tog­ra­ph­er, with a call to sub­mit pho­tos from over six decades of rock and roll that weren’t hang­ing on gallery walls, but sit­ting in a shoe­box some­where. From fans with insta­mat­ic cam­eras to ama­teurs cov­er­ing con­certs for their school paper, the Smith­son­ian want­ed anoth­er angle on our cul­tur­al obses­sion.

Many of the con­tri­bu­tions now live on a crowd­sourced web­site. And a result­ing book Smith­son­ian Rock and Roll: Live and Unseen col­lects the best of these in a chrono­log­i­cal his­to­ry of the genre, from post-war blues to the late 20th cen­tu­ry. It will be offi­cial­ly released on Octo­ber 24, though you can pre-order now.

Web­sites Mash­able and Dan­ger­ous Minds present a selec­tion of pho­tos from the book, such as a shot of Sly Stone at the height of his pow­ers (and belt buck­le size), a pic of the Talk­ing Heads on stage in Berke­ley, 1977; a dark and mys­te­ri­ous glimpse of Bon­nie Raitt, cir­ca 1974; and a shot of Cream play­ing the Chica­go Col­i­se­um tak­en from the side of the stage, with Gin­ger Baker’s head a com­plete blur. Also find Joni Mitchell at Klein­hans Music Hall. And The Ramones in Tempe, Ari­zona, cir­ca 1978.

Bon­nie Raitt at the Har­vard Square The­atre, by Bar­ry Schneier/Smithsonian Books

It’s a reminder of how unpre­ten­tious these live shows could be, hap­pen­ing in a world with the sim­plest of light­ing rigs and decades from the big screen pro­jec­tions even up-and-com­ing bands now indulge in. For the most part, this was an inti­mate con­tract between the artist and the audi­ence, all crammed into small clubs with smoke, sweat, heat, and, most impor­tant­ly, elec­tric­i­ty in the air.

The new book also fea­tures tales from the peo­ple who took the pho­tos, along with some more pro­fes­sion­al pho­tos to “flesh out this overview of rock and roll,” accord­ing to the intro­duc­tion by orga­niz­er Bill Bent­ley. He adds: “The results, span­ning six decades, aim for nei­ther ency­clo­pe­dic author­i­ty nor com­pre­hen­sive final­i­ty, but rather an index of supreme influ­ence.”

The Ramones in Tempe, Ari­zona, by Dori­an Boese/Smithsonian Books

That supreme influ­ence con­tin­ues to be felt, for sure. Although the sub­mis­sion win­dow is now closed, the Smith­so­ni­an’s web­site allows you to look through the hun­dreds of sub­mis­sions to the project.

Relat­ed Con­tent:

UC San­ta Cruz Opens a Deadhead’s Delight: The Grate­ful Dead Archive is Now Online

Bea­t­les, Friends & Fam­i­ly: Pho­tos by Lin­da McCart­ney

Judy!: 1993 Judith But­ler Fanzine Gives Us An Irrev­er­ent Punk-Rock Take on the Post-Struc­tural­ist Gen­der The­o­rist

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the FunkZone Pod­cast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

Three Blade Runner Prequels: Watch Them Online

Even if you’ve spent each and every day since you first saw Rid­ley Scot­t’s Blade Run­ner wait­ing for a sequel, you still might not be ful­ly pre­pared for Denis Vil­leneu­ve’s Blade Run­ner 2049 when it opens in the­aters this Fri­day. The 1981 orig­i­nal took place in the Los Ange­les of the then-far-flung future of 2019, mean­ing that 30 years have elapsed in the Blade Run­ner uni­verse between its first fea­ture film and its sec­ond. Much has tak­en place over those three decades, some of it por­trayed by the three offi­cial short pre­quels released to the inter­net over the past month. Today we present them all in chrono­log­i­cal order to catch you up with what hap­pened after Har­ri­son Ford’s Blade Run­ner Rick Deckard picked up that origa­mi uni­corn and left the build­ing.

In 2020, the year after Blade Run­ner, the arti­fi­cial-being-mak­ing Tyrell Cor­po­ra­tion intro­duces a new mod­el of repli­cant, with a longer lifes­pan, called the Nexus 8S. Two years lat­er comes “the Black­out,” an elec­tro­mag­net­ic pulse attack that destroys all tech­nol­o­gy with­in its reach. You can see it hap­pen in Blade Run­ner Black Out 2022, the short at the top of the post direct­ed by respect­ed Japan­ese ani­ma­tor Shinichi­ro Watan­abe (and fea­tur­ing a score by Fly­ing Lotus as well as a reprisal of the role of the qua­si-Esperan­to-speak­ing police offi­cer Gaff by Edward James Olmos).

Repli­cants hav­ing tak­en the blame for the Black­out, their pro­duc­tion gets legal­ly pro­hib­it­ed until the efforts of an orga­ni­za­tion called the Wal­lace Cor­po­ra­tion get the ban over­turned in 2030. The man at the top of the Wal­lace Cor­po­ra­tion, a cer­tain Nian­der Wal­lace, first appears in 2036: Nexus Dawn (mid­dle video), direct­ed by Rid­ley Scot­t’s son Luke.

In that pre­quel we see Wal­lace, who rose to promi­nence on his com­pa­ny’s solu­tion to glob­al food short­ages, sub­mit­ting for approval his lat­est repli­cant, the Nexus 9 (although his nego­ti­a­tion strat­e­gy leaves lit­tle room for com­pro­mise). The younger Scot­t’s 2048: Nowhere to Run (below), which intro­duces a new and impos­ing repli­cant char­ac­ter by the name of Sap­per Mor­ton, takes place just a year before the sequel, by which time, accord­ing to the time­line unveiled at this past sum­mer’s Com­ic-Con, “life on Earth has reached its lim­it and soci­ety divides between repli­cant and human.” Enter Ryan Gosling’s K, one of a new gen­er­a­tion of repli­cant- hunters, who goes out in search of a pre­de­ces­sor who went miss­ing some 30 years ago. All of this, of course, still leaves ques­tions unan­swered. Chiefly: will Blade Run­ner 2049 deliv­er what we’ve been wait­ing even more than three dea­cades for?

Relat­ed Con­tent:

Watch the New Ani­me Pre­quel to Blade Run­ner 2049, by Famed Japan­ese Ani­ma­tor Shinichi­ro Watan­abe

Jared Leto Stars in a New Pre­quel to Blade Run­ner 2049: Watch It Free Online

Blade Run­ner 2049’s New Mak­ing-Of Fea­turette Gives You a Sneak Peek Inside the Long-Await­ed Sequel

The Offi­cial Trail­er for Rid­ley Scott’s Long-Await­ed Blade Run­ner Sequel Is Final­ly Out

Philip K. Dick Pre­views Blade Run­ner: “The Impact of the Film is Going to be Over­whelm­ing” (1981)

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

An Intimate Look at Alberto Giacometti in His Studio, Making His Iconic Sculptures (1965)

A vis­it to an artist’s stu­dio can shed light on his or her work.

The British Arts Coun­cil’s short film above affords an inti­mate glimpse into Alber­to Gia­comet­ti’s stu­dio in Mont­par­nasse cir­ca 1965, the year when he was the sub­ject of major ret­ro­spec­tives at both the Tate Gallery and the Muse­um of Mod­ern Art in New York.

The artist passed most of his work­ing life in cramped space at 46 rue Hip­poly­te. Ear­ly on, he enter­tained plans to relo­cate “because it was too small – just a hole.”

Oth­ers vis­i­tors to the stu­dio described the artist’s envi­rons in more lit­er­ary terms:

In a charm­ing lit­tle for­got­ten gar­den he has a stu­dio, sub­merged in plas­ter, and he lives next to this in a kind of hangar, vast and cold, with nei­ther fur­ni­ture nor food. He works very hard for fif­teen hours at a stretch, above all at night: the cold, his frozen hands – he takes no notice, he works. Simone de Beau­voir

And:

This ground floor stu­dio… is going to cave in at any moment now. It is made of worm-eat­en wood and grey pow­der.… Every­thing is stained and ready for the bin, every­thing is pre­car­i­ous and about to col­lapse, every­thing is about to dis­solve, every­thing is float­ing.… And yet it all appears to be cap­tured in an absolute real­i­ty. When I leave the stu­dio, when I am out­side on the street, then noth­ing that sur­rounds me is true. — Play­wright Jean Genet

And:

The whole place look­ing as if it had been thrown togeth­er with a few old sticks and a lot of chew­ing gum.… In short, a dump. Any­way he said come in when I knocked.… He turned and glanced at me, hold­ing out his hand which was cov­ered in clay, so I shook his wrist.… He imme­di­ate­ly resumed work, run­ning his fin­gers up and down the clay so fierce­ly that lumps fell onto the floor - Essay­ist James Lord

These impres­sions paint a por­trait of a dri­ven, and dis­ci­plined artist, who logged untold hours mod­el­ing his formes elongee in clay, uncer­e­mo­ni­ous­ly crum­pling and rebuild­ing in the pur­suit of excel­lence.

The cam­era doc­u­ments this inten­si­ty, though his untrans­lat­ed remarks sug­gest a man capa­ble of tak­ing him­self light­ly, cer­tain­ly more so than the accom­pa­ny­ing nar­ra­tion does.

Like the nar­ra­tion, Roger Smal­l­ey’s dis­so­nant score lays it on thick, the son­ic equiv­a­lent of heads like blades and “limbs bound as though ban­daged for the grave.” Per­haps we should con­ceive of the stu­dio as a scary place?

In actu­al­i­ty, it proved a hos­pitable work envi­ron­ment and the impulse to relo­cate even­tu­al­ly waned, with the artist observ­ing that “the longer I stayed, the big­ger it became. I could fit any­thing I want­ed into it.”

Explore the recent Tate Mod­ern Gia­comet­ti ret­ro­spec­tive here and take a clos­er look at the stu­dio via Ernst Scheidegger’s pho­tos.

Gia­comet­ti” will be added to our list of Free Doc­u­men­taries, a sub­set of our col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

Relat­ed Con­tent:

Watch Icon­ic Artists at Work: Rare Videos of Picas­so, Matisse, Kandin­sky, Renoir, Mon­et, Pol­lock & More

Watch 1915 Video of Mon­et, Renoir, Rodin & Degas: The New Motion Pic­ture Cam­era Cap­tures the Inno­v­a­tive Artists

1.8 Mil­lion Free Works of Art from World-Class Muse­ums: A Meta List of Great Art Avail­able Online

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Fol­low her @AyunHalliday.

Watch the New Anime Prequel to Blade Runner 2049, by Famed Japanese Animator Shinichiro Watanabe

The run-up to Blade Run­ner 2049, befit­ting what now looks like the cin­e­mat­ic event of the decade, has con­sist­ed of not just mar­ket­ing hype (though it does include plen­ty of that) but gen­uine artis­tic mate­r­i­al as well. Last month we fea­tured Nexus: 2036, the first of three short “pre­quels” to Denis Vil­leneu­ve’s upcom­ing Blade Run­ner sequel. That one and its fol­low up 2048: Nowhere to Run, both direct­ed by Luke Scott (son of Blade Run­ner direc­tor Rid­ley Scott), use live action to fill in some of the sto­ry between the 2019 of the first movie and the 2049 of the sec­ond. The just-released third short, Black Out 2022, from Cow­boy Bebop direc­tor Shinichirō Watan­abe, brings the Blade Run­ner uni­verse into the realm of Japan­ese ani­ma­tion.

Blade Run­ner was def­i­nite­ly the movie that influ­enced me the most as an ani­me direc­tor,” says Watan­abe in the pre­view of his pre­quel down below. He and oth­er Japan­ese view­ers under­stood the film’s pow­er long before most any­one in the West (with the notable excep­tion of Philip K. Dick, author of its source mate­r­i­al), and Japan­ese artists began pay­ing trib­ute to it almost imme­di­ate­ly.

In a sense, Blade Run­ner took ani­me form thir­ty years ago: Kat­suhi­to Akiya­ma’s ani­mat­ed series Bub­blegum Cri­sis, the sto­ry of arti­fi­cial humans (called “booomers” instead of repli­cants) run amok and the advanced police team (called “Knight Sabers” instead of “Blade Run­ners”) who hunt them down in a Tokyo of the future rebuilt after a dis­as­trous earth­quake, could hard­ly wear its influ­ence more open­ly.

Filled with visu­al, son­ic, and the­mat­ic ref­er­ences to the orig­i­nal Blade Run­ner while tak­ing the sto­ry in new direc­tions — and also intro­duc­ing two new repli­cant char­ac­ters — Watan­abe’s Black Out 2022–view­able up top–depicts the events lead­ing up to the det­o­na­tion of an elec­tro­mag­net­ic pulse that destroys the elec­tron­ics and machin­ery on which human­i­ty has become so reliant. Human­i­ty blames the repli­cants, and so begins a peri­od of pro­hi­bi­tion on repli­cant pro­duc­tion, only brought to an end by the efforts of Nian­der Wal­lace, the char­ac­ter so eeri­ly played by Jared Leto in Nexus: 2036Blade Run­ner 2049 will pick things up 26 years after the EMP attack. What shape will Los Ange­les be in then? What shape will the cat-and-mouse game between repli­cants and Blade Run­ners take there? We’ll find out, and sure­ly in no small amount of detail, next month.

Relat­ed Con­tent:

Jared Leto Stars in a New Pre­quel to Blade Run­ner 2049: Watch It Free Online

Blade Run­ner 2049’s New Mak­ing-Of Fea­turette Gives You a Sneak Peek Inside the Long-Await­ed Sequel

The Offi­cial Trail­er for Rid­ley Scott’s Long-Await­ed Blade Run­ner Sequel Is Final­ly Out

Watch an Ani­mat­ed Ver­sion of Rid­ley Scott’s Blade Run­ner Made of 12,597 Water­col­or Paint­ings

Watch Tears In the Rain: A Blade Run­ner Short Film–A New, Unof­fi­cial Pre­quel to the Rid­ley Scott Film

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Wes Anderson’s Cinematic Debt to Stanley Kubrick Revealed in a Side-By-Side Comparison

Most film fans hold the work of Stan­ley Kubrick and Wes Ander­son in high regard, even if they don’t find one, the oth­er, or both to their par­tic­u­lar taste. And at first glance, it might seem hard to under­stand what kind of taste could pos­si­bly encom­pass both Kubrick and Ander­son. The for­mer made most­ly com­plex and emo­tion­al­ly chilled peri­od pieces, visu­al­ly grand yet stark, tinged with grim humor, and pos­sess­ing a dim view of human­i­ty. The lat­ter makes col­or­ful, out­ward­ly high-spir­it­ed come­dies, some­times even ani­mat­ed ones, that seem to delight in their own care­ful­ly cul­ti­vat­ed aes­thet­ics.

But both bod­ies of work reveal direc­to­r­i­al minds that take cin­e­ma itself very seri­ous­ly indeed. “Kubrick is one of my favorites,” says Ander­son in an inter­view clip used in the video essay com­par­ing shots from his films to shots from Kubrick­’s, just above. “Usu­al­ly, by the time I’m mak­ing the movie, I don’t real­ly know where I’m steal­ing every­thing from. By the time it’s a movie, I think it’s my thing, and I for­get where I took it all — but I think I’m always pret­ty influ­enced by Kubrick.” That influ­ence, on a visu­al lev­el, does come through in this com­par­i­son, cer­tain­ly in all those first-per­son per­spec­tives and views through port­holes, but even more so with the cam­era moves, espe­cial­ly in the track­ing shots and zooms.

As Bill Mur­ray said in a 1999 inter­view with Char­lie Rose of Rush­more, the pic­ture that would make Mur­ray an Ander­son reg­u­lar, “Boy, this has got some great moves in it.” By that he meant “the way sto­ries get told in pic­tures.” A film­mak­er needs a script, of course, but “the way you shoot it, too, shows how you want to impact things on an audi­ence.” He describes Ander­son and his col­lab­o­ra­tors as pos­sessed of “an enor­mous film cul­ture,” recall­ing shots from cin­e­ma past and, in their own pro­duc­tions, repur­pos­ing them com­plete­ly. Mur­ray remem­bers Ander­son describ­ing a shot in Rush­more as “one I saw in Bar­ry Lyn­don.” “You remem­ber Bar­ry Lyn­don?” Mur­ray asks Rose. “It was this enor­mous thing. Ours, though, is the inter­mis­sion of the school play.”

That school play, you may recall, appears as one of sev­er­al put on by Rush­more’s pro­tag­o­nist Max Fis­ch­er, whose sen­si­bil­i­ties (and artis­tic abil­i­ties) may dif­fer from Ander­son­’s, but who shows just the same zeal for cre­ative­ly “rip­ping off” from the movies. “I talk to a lot of those guys who come in here, these young direc­tors,” Rose says of Ander­son and his gen­er­a­tion. “They’ve seen every movie. They’re more stu­dents of cin­e­ma than most.” Mur­ray cau­tions that “it always gets per­vert­ed when peo­ple say, ‘Oh, the good ones copy, the great ones steal,’ ” an idea that can lead to emp­ty for­mal trib­utes, but “Wes,” to his mind, was dif­fer­ent. Pos­sessed of both “mind and body,” he “just knows how to get these things togeth­er in one place,” using the lan­guage of cin­e­ma, whether invent­ed or bor­rowed, for max­i­mum impact — as, in a dif­fer­ent yet star­tling­ly sim­i­lar way, did Kubrick.

Relat­ed Con­tent:

Stan­ley Kubrick’s The Shin­ing Reimag­ined as Wes Ander­son and David Lynch Movies

The Per­fect Sym­me­try of Wes Anderson’s Movies

Sig­na­ture Shots from the Films of Stan­ley Kubrick: One-Point Per­spec­tive

A Glimpse Into How Wes Ander­son Cre­ative­ly Remixes/Recycles Scenes in His Dif­fer­ent Films

Cult Films by Kubrick, Taran­ti­no & Wes Ander­son Re-imag­ined as 8‑Bit Video Games

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Stream Online The Vietnam War, the New Documentary by Ken Burns & Lynn Novick

Right now, PBS is in the midst of air­ing The Viet­nam War, a ten-part, 18-hour doc­u­men­tary film series direct­ed by Ken Burns and Lynn Novick. The “immer­sive 360-degree nar­ra­tive” tells “the epic sto­ry of the Viet­nam War,” using nev­er-before-seen footage and inter­views. If you’re not watch­ing the series on the TV, you can also view it on the web and through PBS apps for smart­phones, tablets, Apple TV, Roku and Ama­zon Fire TV. Episode 1 appears above. Find all of them here.

Note: If these videos don’t stream out­side of the US, we apol­o­gize in advance. Some­times PBS geo-restricts their videos. Also, these videos like­ly won’t stay online for­ev­er. If you’re inter­est­ed in watch­ing the series, I’d get going soon­er than lat­er.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

Mick­ey Mouse In Viet­nam: The Under­ground Anti-War Ani­ma­tion from 1968, Co-Cre­at­ed by Mil­ton Glaser

An Aging Louis Arm­strong Sings “What a Won­der­ful World” in 1967, Dur­ing the Viet­nam War & The Civ­il Rights Strug­gle

What Is Apoc­a­lypse Now Real­ly About? An Hour-Long Video Analy­sis of Fran­cis Ford Coppola’s Viet­nam Mas­ter­piece

by | Permalink | Make a Comment ( 4 ) |

« Go BackMore in this category... »
Quantcast
Open Culture was founded by Dan Colman.