Flick Review < The Spirit of the Beehive | Víctor Erice, 1973

The Spirit of the Beehive is a 1973 Spanish drama film directed by Víctor Erice

The film focuses on the young girl Ana and her fascination with the 1931 American horror film Frankenstein, 
as well as exploring her family life and schooling. The film has been called a "bewitching portrait of a child’s haunted inner life".

"I told you he was a spirit. If you're his friend, you can talk to him whenever you want. 
Just close your eyes and call him... It's me, Ana... It's me Ana..."

At bedtime Ana asks Isabel again what Isabel promised she was going to tell her at the movie.

"Why did he kill the girl, and why did they kill him after that?"
"You don't know. You're a liar"
"They didn't kill him, and he didn't kill the girl."
"How do you know? How do you know he didn't die?"
"Everything in the movies is fake. It's all a trick. Besides, I've seen him alive."
"In a place I know near the village. People can't see him. He only comes out at night."
"Is he a ghost?"
"No. He's a spirit."
"Like the spirit of Dona Lucia talks about?"
"Yes, but spirits don't have bodies. That's why you can't kill him."
"But he had one in the movie. He had arms and feet. He had everything."
"It's a disguise they put on when they go outside."
"If he only comes out at night, how can you talk to him?"
"I told you he was a spirit. If you're his friend you can talk to him whenever you want. Just close your eyes and call him. 'It's me, Ana.'"

 The Spirit of the Beehive (1973)

The Spirit of the Beehive (Bonfire Scene)
Ana Torrent posing for the poster of the San Sebastián Film Festival in 2003 
to mark the 30th anniversary of the release of The Spirit of the Beehive.

The Top Floor | Karolos Koun, 1938

I had already climbed to the top floor
when i realized
how impossible it would be
to get down the steps again.
Still worse,
i noticed
that the only human being
was an old relative
with a wig, false teeth, an eye of glass
and painted eyebrows
who kept her hands always folded on her top
and smiled.
The rest
walls, doors, fresh paint and carpets,
many carpets
to walk on noiselessly.

Karolos Koun / Κάρολος Κουν / Είκοσι δύο ποιήματα : Καλοκαίρι 1938

Karolos Koun 1908 - 1987

In 1942, he founded the experimental Art Theater and its drama school. Koun gave premieres in Athens of works by avant-garde European playwrights such as Bertolt Brecht and Luigi Pirandello. In 1962, Koun's production of The Birds by Aristophanes won first prize at an international festival at Paris.

Η Παρακμή της Συνομιλίας / Μὲ τὸν Ριρῆ ἢ τὸν Ντιντῆ, θὰ χορέψη τὸ ταγκό | Ο θεατής, 14.02.1925


Ο θεατής, 14.02.1925

The Winter Dance Party (1959) | Buddy Holly / Big Bopper / Ritchie Valens / Frankie Sardo / Dion & The Belmonts

Frankie Sardo never wanted to be a rock and roll star. He was invited to join the tour because he had a regional hit in the Midwest with a song his brother had written called “Fake Out;” his friends, the other artists already booked on the tour, asked him to come along as the opening act. He had just come back from a tour of duty in the Korean War and thought it sounded like it would be a fun trip. Sardo’s memories of the tour and the other musicians he traveled with are as clear as the day he first stepped on the stage at the Surf Ballroom. Upon returning to the Surf all these years later, he said that what came back immediately was the laughter. The conditions of the Winter Dance Party tour were horrible – zigzagging across the frozen Midwest in the dead of winter, with 35 degrees below zero temperatures in rickety old buses that kept breaking down. Even so, there was no shortage of practical jokes, card playing, story telling and song swapping. One of the best jokes, according to Sardo, was before a performance one night, he and the other guys re-strung Buddy Holly’s guitar upside down. Buddy ran on stage and grabbed his guitar, like he always did, started strumming… As the tour progressed, Sardo was musically and personally influenced by the other acts. Ritchie Valens’ roommate on the tour, Sardo remembers how polite Valens was – calling everyone sir. Sardo grabbed the “kid” and explained to him that he was a rock star, he had a major hit record and he should be telling people to move over and give him a seat! He remembers Bopper’s booming laugh and Buddy’s sense of humor. He remembers youth, the kids screaming in the audience – so much so, that for fun the singers would sing impromptu risqué lyrics to their well-known hits because the pandemonium from the crowd was so loud.

Frankie Sardo - Fake Out

Winter Dance Party (Buddy Holly Final Tour), 1959

His favorite memory from the Winter Dance Party tour happened one night while riding on the miserable, cold bus. Buddy Holly broke out his guitar and wanted to play the group a new song he had just recorded called “It Doesn’t Matter Anymore.” Buddy wanted their opinion on the song. Sardo explains how in this moment, he was flooded with emotion realizing just how special and talented this group of men he was traveling with really are. [...]  The Frankie Sardo Story

Buddy Holly - It Doesn't Matter Anymore

 < Buddy Holly, April 1958

Ritchie Valens - Come on let's go                                  Dion & The Belmonts - I Wonder Why

On February 3, 1959, rock and roll musicians Buddy Holly, Ritchie Valens, and J. P. "The Big Bopper" Richardson were killed in a plane crash 
near Clear Lake, Iowa, together with pilot Roger Peterson. The event later became known as "The Day the Music Died"

< View of mourners the funeral service for musician Jiles Perry Richardson Jr, better known as The Big Bopper (1930 - 1959), Beaumont, Texas, February 7, 1959
Richardson died in the same plane crash that killed fellow musiciains Buddy Holly and Ritchie Valens, and the pilot, Roger Peterson.

Big Bopper - Chantilly Lace

The Book and the Movie: In Cold Blood | Truman Capote, 1966 / Richard Brooks, 1967

"My acquaintances are many, my friends are few; those who really know me fewer still."

"'Am I sorry? If that's what you mean - I'm not. I don't feel anything about it. I wish I did. But nothing about it bothers me a bit. Half an hour
after it happened, Dick was making jokes and I was laughing at them. Maybe we're not human. I'm human enough to feel sorry for myself."

 Truman Capote, In Cold Blood, 1966

1967 May 12 LIFE Magazine - Truman Capote - In Cold Blood Cover - Truman Capote stands between actors who play 
killers in movie of his book. "In Cold Blood" is filmed on scene of the crime - nightmare revisited in Holcomb, Kansas.

The Story Behind a Nonfiction Novel (Truman Capote presents his own views on the case)

 You never used a tape-recorder?

Twelve years ago I began to train myself, for the purpose of this sort of book, to transcribe conversation without using a tape-recorder. I did it by having a friend read passages from a book, and then later I'd write them down to see how close I could come to the original. I had a natural facility for it, but after doing these exercises for a year and a half, for a couple of hours a day, I could get within 95 percent of absolute accuracy, which is as close as you need. I felt it was essential. Even note-taking artificializes the atmosphere of an interview, or a scene-in- progress; it interferes with the communication between author and subject--the latter is usually self-conscious or an untrusting wariness is induced. Certainly, a tape-recorder does so. Not long ago, a French literary critic turned up with a tape-recorder. I don't like them, as I say, but I agreed to its use. In the middle of the interview it broke down. The French literary critic was desperately unhappy. He didn't know what to do. I said, "Well, let's just go on as if nothing had happened." He said, "It's not the same. I'm not accustomed to listen to what you're saying."

How did the two accept being used as subjects for a book?

They had no idea what I was going to do. Well, of course, at the end they did. Perry was always asking me: Why are you writing this book? What is it supposed to mean? I don't understand why you're doing it. Tell me in one sentence why you want to do it. So I would say that it didn't have anything to do with changing the readers' opinion about anything, nor did I have any moral reasons worthy of calling them such--it was just that I had a strictly aesthetic theory about creating a book which could result in a work of art. "That's really the truth, Perry," I'd tell him, and Perry would say, "A work of art, a work of art," and then he'd laugh and say, "What an irony, what an irony." I'd ask what he meant, and he'd tell me that all he ever wanted to do in his life was to produce a work of art. "That's all I ever wanted in my whole life," he said. "And now, what was happened? An incredible situation where I kill four people, and you're going to produce a work of art." Well, I'd have to agree with him. It was a pretty ironic situation.

In Cold Blood (1967) Director: Richard Brooks / Stars: Robert Blake, Scott Wilson

Truman Capote (2005) / Director: Bennett Miller

Philip Seymour Hoffman, played the title role in Capote, for which he 
won multiple acting awards including an Academy Award for Best Actor.

Στο κατάστρωμα του πλοίου | Arthur Schnitzler (1928)

John Constable, Rainstorm Over the Sea, 1824

''Αλλά περισσότερο απ' τις χώρες και τις πόλεις που είδε, περισσότερο από το σπίτι με 
τις τεράστιες τζαμαρίες και τα πολλά λουλούδια όπου ζούσε τώρα, μίλησε για τις 
ώρες εκείνες που ήταν μονάχη στο κατάστρωμα του πλοίου, ανάμεσα στον ουρανό 
και στη θάλασσα.''

''Καταλάβαινε ότι  εκείνες οι στιγμές της μοναξιάς, του ονειροπολήματος, της 
απομόνωσης, ήταν η βαθύτερη και ουσιαστικότερη εμπειρία στο ταξίδι της.''

''Εκείνο που είχε συμβεί  μια μακρινή νύχτα, εκείνο που είχε αφήσει στη μέση γιατί 
η επιθυμία της ήταν  πιο δυνατή από τη θέλησή της, εκείνο που κρατούσε κρυμμένο και 
δεν τολμούσε να το ανακαλέσει στη μνήμη της...ξαναζούσε μέσα της με τόση ένταση, 
που το βίωνε σχεδόν σαν κάτι τωρινό. Ήταν μόνο λιγοστές λέξεις, περισσότερο ένας 
ακατανόητος ψίθυρος.''

Arthur Schnitzler, Τερέζα, 1928  
μτφ: Βασίλης Πατέρας

Alphabetarion # Pinball | Bobby Fischer / Laurel and Hardy / Nancy Sinatra / Catherine Deneuve / Serge Gainsbourg / Bob Dylan / Elvis Presley / Joe Strummer / Brassaï

Playing pinball 
Frank & Nancy Sinatra
Laurel and Hardy 
Joe Strummer
Bobby Fischer
Bob Gruen, Debbie Harry, CBGBs, 1977 
Robert Doisneau
Playing pinball, 1935
Jean-Paul Belmondo, France, 1965
Catherine Deneuve & Roger Vadim

Paul Almasy, Serge Gainsbourg playing Pinball 1959
Gene Vincent, 1963
Willy Ronis, Brassaï playing pinball, 1954                                                                             Bob Dylan
Elvis Presley playing pinball, 1956

The Van Doren Hawksworth Collection - Pinball, 1966) 

Blue Song (A lost poem) | Tennessee Williams, 1911-83

Tennessee Williams, 1911-83

 I am tired

I am tired of speech and of action.
If you should meet me upon a
street do not question me for
I can tell you only my name
and the name of the town I was
born in – But that is enough
It does not matter whether
arrives anymore. If there is
only this night and after it is
morning it will not matter now.

I am tired. I am tired of speech
and of action. In the heart of me
you will find a tiny handful of
dust. Take it and blow it out
upon the wind. Let the wind have
it and it will find its way home.

Self-Portraits | Man Ray, 1916-32

Man Ray: Self-Portrait, 1932                     Man Ray: Self-Portrait with Camera, 1932
Man Ray: Self Portrait, 1931                               Man Ray: Self Portrait, 1916
Man RaySelf-Portrait with Gun, 1932

"MAN RAY, n.m. synon. de Joie jouer jouir."

( "MAN RAY, masculine noun, synonymous with joy, to play, to enjoy.")
Marcel Duchamp, as the opening epigram for Man Ray's memoir Self-Portrait, 1963

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