Showing posts with label Jean-Luc Godard. Show all posts
Showing posts with label Jean-Luc Godard. Show all posts

Sunday, July 19, 2020

Sunday, October 13, 2019

Tosh's Journal - October 13 (Lenny Bruce & Emil Cioran)




TOSH’S JOURNAL

October 13

“I’ve invented nothing; I’ve simply been the secretary of my sensations.” As I walk around Asakusa, I found the theater where Lenny Bruce performed, totally in English on Rokku-Broadway. It’s an area that is full of small theaters, and it is regarded as the home of 19th and 20th century Japanese comedy. Bruce, being the king of American stand-up comedy, decided to do a show here in the late 1950s, but did his act in English. Ten or so years after Japan surrendered to the United States, this series of islands had to cope with another alien invasion. What I have read is that he bombed at the Toyo Gekijo theater. It wasn’t his subject matter, but the fact that he insisted on doing the entire act in English, which in the 1950s, was not a common second language in Japan.

Nevertheless, it is not what he says that is so great, but how he says it. I rarely follow his narratives, but instead, I’m glued to the visuals of the man on stage. The way he snaps his fingers in key lines, it is virtually done to wake one up in the audience. In other words, he’s absolute music to me. But as a visitor or tourist, I tend to like to see performances in languages other than English. And English is the only language I know. And what I know beyond language is music and visuals. So in that sense and my thinking, Tokyo is the perfect landscape for me. Here, I can enjoy my misery in peace because chaos is all around me. I can’t figure out how to work with anything here. Toilets are impossible. So many push buttons to push, but all in kanji, so I can’t read what it is for or even why. But on the other hand, “Chaos is rejecting all you have learned, Chaos is being yourself.”

I went to the “Band of Outsiders” cafe in Shibuya, which is a venue devoted to Jean-Luc Godard’s film “Band à part.” It’s an interesting place because all the customers here are encouraged to speak only lines from that film (in Japanese), and of course, at 9 PM every Tuesday night, there is the famous line-dance done in the movie. Sometimes there are up to 15 people doing an exact imitation of the dance done by Anna Karina, Sami Frey, and Claude Brasseur. With a few glasses of sake, I get the encouragement to join the dance. In my mind, I try to imagine Lenny Bruce dancing as well. I snapped my fingers like everyone else in the dance, but my thoughts are not on that film scene, but Lenny, as he performed in front of an indifferent Asakusa audience.

“The fact that life has no meaning is a reason to live — moreover, the only one.” Therefore I venture into the night and try to find substance, but alas, even that, is just an illusion. Yet, the beauty of the moment of getting lost, or having the mist of the rain hit your face, is truly what to live for. “Melancholy: an appetite, no misery satisfies.” I go to Disk Union Shibuya, down to the basement in their jazz store, to hear the melancholy playing by Art Tatum, and suddenly remembered that my life is full of right turns when I’m left-handed. No wonder I don’t connect to this world. And happily so.

- Tosh Berman

Sunday, September 22, 2019

Tosh's Journal: September 22 (Anna Karina, with Maurice Blanchot & Erich...




TOSH’S JOURNAL

September 22

When I think of the name “Anna Karina” it brings up images of her former husband Jean-Luc Godard, but when I see a picture of her, I only think of her. I’m crazy about her. “At the moment everything was being destroyed she had created that which was most difficult: she had not drawn something out of nothing (a meaningless act), but given to nothing, in its form of nothing, the form of something.” I never fully understand the meaning of a beautiful woman as it is defined in words. Do they mean she’s pretty? I’m struck by her character, or maybe the words she says through various writers and directors. I never think of Godard as being beautiful, but when I see Karina in his films, I think she’s “beautiful.”

“I could not work with a girl who did not have a spiritual quality.” Throughout my life, I tried to find my own Anna Karina, but my lack of spirituality held me back to see the happiness that is owed me. The very image of love, I couldn’t define in words, so it became a sense of nothingness. I needed a name attached to it, to give me some meaning. “Anna Karina” represents a sea of mixed passions that as a fisherman, I have to throw a line out there, and see what bites. I watched her watching Renée Jeanne Falconetti on a movie screen that, for me, reflects on attaching an identity to another. To be so vulnerable, and to pick up on another person’s pain, is the precise definition of my unhappiness.

“We can’t do anything with an object that has no name.” But once we attach a name to it, or her, it becomes something painful. I have a faint memory of seeing a film that was 10 hours long called “Greed.” I sat through the whole movie at the Cinémathèque Française, and I couldn’t move from my fold-up chair as I watched it on the Steenbeck. The images flickered in front of me as I cringed in knowing what will happen to the leading characters. Only 12 people have seen the extended version of this film, and if we were on trial, we would find the film’s director, Erich von Stroheim, not guilty, for destroying his film. If for nothing else, the time melts in front of you, but ironically enough, most people comment how long the film is, without giving merit or praise (deservedly so) to the work on hand. It is now destroyed.

It has been re-constructed into a version that is almost like the 10-hour film. Alas, it is only a mirror image of the work. The exquisite face of ZaSu Pitts still exists, in scenes and stills, but like my memory, it’s fading fast. Anna Karina stays with me because I presume I know her through the films. Especially the ones she did with Godard. But again, it is mainly reflected through the eyes of her ex-husband. Therefore is that a ‘realistic’ knowledge of Karina? As a publisher, I want to make a book that is nothing but close-up images of Anna Karina. No text, and not even a title or copyright page. Words fail the image. Just a mass-market designed book that holds the image of the greatest treasure on earth - Anna Karina.

Wednesday, August 1, 2018

FROM THE THIRD EYE The Evergreen Review Film Reader Ed Halter & Barney R...





FROM THE THIRD EYE The Evergreen Review Film Reader Ed Halter & Barney Rosset on Tosh Talks

The Evergreen Review was an off-shoot publication/ journal of the Grove Press, edited by the legendary publisher Barney Rosset. When I went to used bookstores, it wasn't hard to find old issues of the Evergreen Review. What strikes my fancy is that reading the review in the late 1960s is so different than reading it in the 21st century. Even the stylish prose of that period is so 1968 and almost dated in a beautiful manner. Languages do change, and it's interesting to pick up a book or especially a magazine from a specific decade or time and notice how the style has changed. "From The Third Eye" is a collection of articles and even ads from The Evergreen Review that focused on the film culture of that period. For me, the most important film magazine of that era was Jonas Mekas' "Film Culture," which he published through the Filmmaker's Co-op and Film Anthology. Evergreen Review, although they did essays and reporting of either film, filmmakers, and film festivals, at its heart was a literary magazine. The publication was set-up as a promotional tool for Grove Press, but also here, for Grove Films, which distributed and produced European films, and actually help made/presented works by Jean-Luc Godard, and writers/filmmakers Marguerite Duras and Alain Robbe-Grillet, which by the way, are all interviewed for the magazine as well as being in the book.

Without a doubt, a perfect snapshot of the concerns of underground or radical cinema, but also the politics of the Vietnam world, and the counterculture that was lurking in Manhattan at the time. Nat Hentoff, Norman Mailer, Parker Tyler, and Amos Vogel are the writers that comment on cinema, but the featured filmmakers are Andy Warhol, Pier Paolo Pasolini, Ousmane Sembène, Duras, Robbe-Grille and William Klein. Also two pieces on Dennis Hopper, one on "Easy Rider," and the other focusing on the making of his "The Last Movie."

Throughout the book there are the original ads that were placed in the magazine, all either focusing on film scripts published by Grove, or film ads distributed by Evergreen/Grove. In a sense, it was a small world, but everyone in that world was an essential figure for culture and the arts. And here at that time, politics was very much part of the creative cultural world. A fascinating document and a fun trip back in time, when things were lively. - Tosh Berman, your host of "Tosh Talks"

Tuesday, January 2, 2018

"Martini Teeth" by Tosh Berman




Due to my extensive dental surgery, I can only drink my dinners at this time.  My dentist suggested that since I'm already an alcoholic, I should just sip cocktails that have some food attached to it.  Which means, of course, the olive vodka martini, which is made correctly at TAIX Restaurant and bar in Echo Park.   Right between the drink and focusing on much as possible a book I brought with me to the bar, Andre Hodeir on Classical music after Debussy, it struck me how hard the bartender works, as well as the waitresses.   Personally, I have always been served well in this establishment.  I also ordered navy bean soup since it was a Thursday, and rightfully so, a Thursday which is Navy Bean Soup day.   I can never fully understand the connection between the Navy and bean soup, but I never question these things in front of a busy bartender.



I had a rough day.  I lost a temporary cap on my tooth, which makes it impossible for me to chew my food.  The thing has I had the perfect 'soft' burrito in front of me, and I felt a hard substance in my mouth, which was odd because I'm eating just a bean burrito.  I discovered it was my tooth cap, which carefully I didn't swallow, due that I put my fingers in my mouth among the bean material to remove the object.  It takes about 30 seconds to realize that something is drastically wrong, and then my temper came up.  I wanted to have a quick lunch before I shot my "Tosh Talks" episode on Jean-Luc Godard's film soundtrack music.  I was in such a state that Lun*na wanted to know if I want to postpone the filming.   I said go on.  Strange enough, I think this is the best "Tosh Talks" show ever.  Lun*na mentioned that my voice was loud and very clear.  I think all of this was due to my anger of losing the temporary cap.



After the show, I contacted my dentist who told me, even though she's on holiday, to come to her office at 5:30 this afternoon.   I did and met her at the parking lot because it seems the front door was shut due to construction work on the building.  I was a concern because when a car approached the parking lot, I didn't want to think whoever in that car thought I was a perv waiting in the darkness.   Luckily in the vehicle was my dentist and her almost adult daughter.  She took me through the back entrance which led to the employee's kitchen and sometimes storage room for outdated customers with their x-rays of teeth.   The whole dental office was under construction or remodel job of some sort, and therefore I didn't have to go to the dental chair, but the kitchen chair in the employee's room.

When I lost and obtained my temporary crown, I was immediately impressed with the horrible scent of my cap. It smelled like a dead rodent in my crown, but the fact is, my tooth, as busted as it was, felt like the dead animal lived there under a witness protection secrecy program from the Department of Justice.   Still, I was fascinated with the wretched scent of my cap, and wondered if perhaps all tooth caps smelled the same way?  



I sat down among the wires, plastic coverings, and industrial dust in their kitchen area.  Luckily I didn't feel any pain, but just awkwardness in chewing and my self-regard concerning my face.  I thought I had a vacancy between my mouth and everyone looking at me will be aware of my ugliness.   Ever since I was a young boy, I felt like an alien because other kids my age would comment on my oddly shaped teeth.  It wasn't until I reached into my 60s when I decided to get my teeth fixed. The irony is, I will probably be dead before the work is finished.   Still, a corpse with a good mouth is something people will remember me by. I'm just hoping that the casket will be open during the funeral procedure.

As I left the dentist office, I became more aware of how vulnerable I'm to other's opinions on my physical appearance. To dwell on the negativity is an endless amount of ocean of regret.  I choose to go into the darkness of the night and gently chew whatever is out there.

- Tosh Berman, Los Angeles, January 2, 2018

Saturday, December 30, 2017

[FULL] Jean-Luc Godard interview with Dick Cavett (1980)





A full hour of Jean-Luc Godard in English, with Dick Cavett .  A very enjoyable discussion.  And I have to say I have seen only half of this interview.  I'm grateful that the whole show is here.

Jean Luc Godard Soundtrack Music on Tosh Talks





Being a long-time fan of Jean-Luc Godard's cinema, it's interesting how important the music or sound is to all his films.   I don't imagine Godard ever thought about the separation of sound and image, but more with the relationship between the two mediums.  Over the years I have collected both on vinyl and CD numerous soundtrack compilations or the original soundtrack to Godard's works, but this hand-made bootleg, with the images pasted on the record sleeve, is perhaps the best of the lot.  

This compilation on vinyl goes from 1959 (A Bout de Souffle) to 1980 (Sauve qui Peut La Vie), and what one would consider the iconic Godard years.  Due to avoiding the legal issue, this album is the best representation of Godard and sound/music of those years.   The one thing that struck me is the sadness in the music. Composed by various writers such as Martial Solal, Michel Legrand, Georges Delerue, Paul Misraki, Antoine Duhamel, Gabriel Yared, and singing by Chantal Goya (Masculin Feminin) which is superb French Yé-Yé and the ultra-rare (and the excellent) Claude Channes' "Mao Mao." The instrumental passages are very somber when you listen to it without the Godard images.  Not sure if Godard instructed the mood that is in the music for his film, but the above composers all wrote magnificent pieces for the Godard soundtrack. 

The album is not that easy to locate, but one can through by chance your local store, or more likely on the Internet.   If you are a fan of Godard, it's a must that you obtain this specific recording.  Beyond that the music here is gorgeous.  - Tosh Berman

Wednesday, December 3, 2014

December 3, 2014



December 3, 2014

There’s a storm starting up outside my window, and there has been a storm brewing in my heart for a while now.  I feel that everything I have carried out in the past, will now come home to either haunt me right up till my death, or fly like a buzzard over my body, just waiting till I stop breathing.   I woke up from a dream just now, where I was wandering in a foreign city, and I’m not sure if it was Paris or Tokyo, but it’s a location that I visit often in my dreams.  Bookstores are very much part of my dream world.  I have at least three bookshops that I visit in my dreams.  I’m sure that they are based on actual stores, but to this day, I can’t figure out which store or in what location.  The bookstore last night was a second-hand store that always sold interesting titles, and mostly was Penguin editions from the 1940s. The store was located on a side-street off the big arcade.   I remember there were Americans on the street, but obviously tourists of some sort and manner.  I couldn’t find the store, and when I woke up, I felt a great depression upon me.  I think through my dreams, I’m trying to find heaven, but alas, it is so close to me, I can almost feel it - but then I awake, and I’m left with a storm outside, that clearly represents how I feel inside my heart and soul.



I’m not a great traveler, but I do travel time-to-time, and it’s always for the pleasure of looking for pleasure in some area of the world that will spark my imagination.  I often dream of going to the cinema and it is always a theater located in a very urban part of the city - meaning not in the suburbs.   I know it’s a film by Jean-Luc Godard, with a soundtrack by Nino Rota, but as far as I know the soundtrack or the Godard film does not exist in the awakening life.   But my dream of the film is in great detail, and it is an actual movie, including credits, stars, and so forth.  And even though the soundtrack was by Rota, I clearly made-up the music and orchestration in my dream.  Which is unbelievable to me, because I’m totally tone-deaf and couldn’t carry a melody if your life depended on it.  Nevertheless I have the entire orchestration as well as the narrative of this film in great detail in my dreaming life.



“Tell me, can one at all denote thinking and feeling as things entirely separable?  I cannot imagine a sublime intellect without the ardor of emotion.” In my awakened life, I try to separate my feelings from that actions that I do on a daily basis.  A sense of detachment is important for a writer, so in theory that artist can see his work placed in a bigger context.   Yet, in my dreams, I’m consistently emotional, and when I do see a film in that state or landscape, it fits perfectly with how I’m feeling at that moment.  When I’m conscious and writing in a library or in my studio, I feel totally not connected to the written page that is in front of me.  “My aesthetic is that of the sniper on the roof.” Yet, I lose the focus once my morning starts up and I have to face the afternoon, and then the dread of the evening.  Only in dreams do I seem to exist in my fullest capacity as a writer and human being.



“Art attracts us only by what it reveals of our most secret self.” Therefore I feel dead, yet only alive in my deepest dream.  On the other hand “knowing this to be a worthless life to live, why do I keep living on?  Because life contains something called beauty.” And for me, the beauty in my life, is in a dream.

Monday, October 13, 2014

October 13, 2014



October 13, 2014

“I’ve invented nothing; I’ve simply been the secretary of my sensations.” As I walk around Asakusa, I found the theater where Lenny Bruce performed, totally in English on Rokku-Broadway.  It’s an area that is full of small theaters, and it is regarded as the home of 19th and 20th centuryJapanese comedy.  Bruce, being the king of American stand-up comedy, decided to do a show here in the late 1950s, but did his act in English.   Ten or so years after Japan surrendered to the United States, this series of islands had to cope with another alien invasion.  What I have read is that he bombed at the Toyo Gekijo theater.  It wasn’t his subject matter, but the fact that he insisted on doing the entire act in English, which in the 1950s, was not a common second language in Japan.



Nevertheless, to be honest, it is not what he says that is so great, but how he says it.  I rarely follow his narratives, but instead I’m glued to the visuals of the man on stage.  The way he snaps his fingers, in key lines, it is virtually done to wake one up in the audience.  In other words, he’s absolute music to me.  But as a visitor or tourist, I have a tendency to like to see performances in languages other than English. And Engilsh is the only language I know.  And what I know beyond language is music and visuals.  So in that sense and my thinking, Tokyo is the perfect landscape for me.   Here, I can enjoy my misery in peace and quiet, because chaos is all around me.  I can’t figure how to work with anything here.  Toilets are impossible.  So many push buttons to push, but all in kanji, so I can’t read what it is for or even why.  But on the other hand, “Chaos is rejecting all you have learned, Chaos is being yourself. ”



I went to the “Band of Outsiders” cafe in Shibuya, which is a venue devoted to Jean-Luc Godard’s film “Band à part.” It’s an interesting place, because all the customers here are encouraged to speak only lines from that film (in Japanese), and of course at 9 PM every Tuesday night, there is the famous line-dance done in the film.  Sometimes there are up to 15 people doing an exact imitation of the dance done by Anna Karina, Sami Frey and Claude Brasseur. With a few glasses of sake, I get the encouragement to join the dance.  In my mind, I just try to imagine Lenny Bruce doing the dance as well.  I snapped my fingers like everyone else in the dance, but my thoughts are not on that film scene, but Lenny as he performed in front of an indifferent Asakusa audience.



“The fact that life has no meaning is a reason to live — moreover, the only one.” Therefore I venture into the night, and try to find substance, but alas, even that, is just an illusion.  Yet, the beauty of the moment of getting lost, or having the mjst of the rain hit your face, is truly what to live for. “Melancholy: an appetite no misery satisfies.” I go to Disk Union Shibuya, down to the basement in their jazz store, to hear the melancholy playing by Art Tatum, and suddenly remembered that my life is full of right turns, when I’m obviously left-handed.  No wonder I don’t connect to this world.  And happily so.

Wednesday, April 9, 2014

April 9, 2014


April 9, 2014

If I had to live a life besides my own, I think my choice would be Charles Baudelaire.  Even though he suffered greatly through his life, his suffering sort of became his set-piece or art.   I have read so many biographies on Baudelaire, but in truth, who will be willing to read my biography?  Yes, I can hear the shattering silence even from over here!  As I finish up my childhood memoir, the one Baudelaire quote that gets me started, is his “genius is childhood recalled at will.” When I turn on my computer and go to the page that I am writing on, well, that’s the first thing I see before anything else.

I have been in Paris, and walked around with Baudelaire's image in my head, as well as Guy Debord.  I mix the two up as I left my hotel room, and the only decision I make is either to turn left or right.  Being me of course, that decision took me 20 minutes or so, and there I was but standing outside the entrance of the hotel looking towards my left, and then slowly to my right.  I made the decision due to the fact that I’m left-handed, so therefore I must turn left.  It was a good decision, because I ran across a series of gorgeous girls as well as interesting architecture on Rue Saint-Michel.



 But here in Los Angeles, a city that is deemed to be un-walkable, I wonder through this sleepy city like a man starved for attention.  I find myself feeling like the French actor Michel Simon, in the great Jean Vigo Film “L’Atalante, ” as the sailor who was born to wander the seven seas and every land that hit the ocean.  My curiosity goes overtime when I’m walking around 5th Street and Spring, because each building appears to have a mystery for me.  If I stand on the corner of 5th and Spring, and stare at the Alexander Hotel long enough, I feel I can see the ghosts coming in and out of that building.   It is never Rudolph Valentino or Charlie Chaplin, but just people from the early 1920s carelessly strolling in and out of the entrance.  I wanted to go in, but I felt that my thoughts in my head were more correct, and I didn’t want to expose them to something “now” or even anything that will defuse my imagination.  To imagine is much better for me than say a reality.  That my faithful readers, is a let-down for me.



Jean-Paul Belmondo in Jean-Luc Godard’s “À bout de souffle” (Breathless) strikes me as the same type of me in how I deal with the everyday world and all its citizens that react in that specific world.  Belmondo sees the world as a film, and when I wander through the streets of downtown Los Angeles, I feel more alive with that thought in my mind. Actual history and the architecture are important, but what is even more important is how we look at history and its buildings, and to alter it to serve our own creative impulses.  I can understand the need to be aware of facts, but I want to know why those facts happen, and that alone is a narrative.  In other words, what I see is the real to me, and therefore that will be my narrative for today and perhaps many days afterwards.



Although Hugh Hefner is not by any means a Charles Baudelaire to me, but I still admire how he changed his reality into something more desirable, for himself of course, but for his audience as well.  The image is what we know of the man, and rarely do we need to know more.   So when I take my walks, now mostly in downtown, I look up to the surface, and within my soul I start building downwards to make a foundation for the image that makes my heart weep.

Sunday, April 6, 2014

April 6, 2014



April 6, 2014

Some years back, while I was on the bus returning from work at Book Soup, I noticed a very beautiful young girl reading one of my favorite books of all time.  Alberto Moravia’s “Contempt.” Now to me that was strange enough, but what made it even more attractive to me was that she was reading a mass-market movie-tie of Jean-Luc Godard’s “Contempt” with of course Brigitte Bardot on the cover.  I have never ever seen this edition of this book before, and it was obvious by the design that it was made available in America around the time of the film’s original release here in the States.     In fact, just now, I tried to find the cover on the Internet, and failed in finding this edition.  I didn’t approach her, because the moment was too abnormal for me.   But what made it odder is that I saw her a week later on the bus. On the same line, and she was reading Andrew Loog Oldham’s “Stoned, ” which is another one of my favorite books of all time.   How is it possible that this beautiful young girl is caught twice on a public bus line, reading my favorite books, and not only that, but reading either very rare or difficult editions to get.  For instance, one can’t just pop in a bookstore and buy either of those two specific books.  I was convinced that she was aware of me being there, and she was using these two books to get my attention.  Of course, me being me, I totally ignored her.



Obviously, this is the same thing that happened to the Italian Renaissance poet Petrarch, when he came upon Laura, a woman he didn’t know, but saw in the church of Sainte-Claire d’ Avignon in 1327.  Petrarch wrote many poems to and about this woman, who he didn’t know, and Laura pretty much ignored him and his work.  On a side-note, she was an ancestor of the Marquis de Sade!  A perfect woman to be obsessed with!



Anita Pallenberg must have shared some traits with Laura as well as the girl on the bus.  Brian Jones of the Rolling Stones met her while she was working as a model, and they became an iconic couple, but eventually she left him for Keith Richards, his co-player in the Stones, and some say she had an affair with Mick Jagger.  I was taught in a very young age never play in one’s playground for too long, and in this case I think the Stones put all their marbles in one place and all suffered from it, but on the other hand it was good for their art.  This I believe works for all relationships with respect to the artist who is influenced by a muse or a woman/man/ or even child, when you think of Lewis Carroll or Thomas Mann with respect to his short novel “Death in Venice.”



The Brussels-born cult comic artist Guy Peelaert was very much inspired by the French teenage singing sensation Sylvie Vartan for his erotic comic strip “The Adventures of Jodelle.” In fact he based the visual image of Vartan and made it into his “Jodelle.” I often wondered if seeing the girl on the bus was a message for me to use her as either as a muse or an inspiration to do my writing.  From those two sightings of her, she has become an ideal beauty or is that even true?   Would I have noticed her if she wasn’t reading those two rare editions of my favorite books?  Art operates in mysterious ways, as well as the affairs of the heart.  Eros, passion, and good reading material goes hand-in-hand.