lundi 30 juillet 2007

Patti Smith & Robert Mapplethorpe



Land
Horses
Land of a Thousand Dances
La Mer (de)

The boy was in the hallway drinking a glass of tea
From the other end of the hallway a rhythm was generating
Another boy was sliding up the hallway
He merged perfectly with the hallway,
He merged perfectly, the mirror in the hallway

The boy looked at Johnny, Johnny wanted to run,
but the movie kept moving as planned
The boy took Johnny, he pushed him against the locker,
He drove it in, he drove it home, he drove it deep in Johnny
The boy disappeared, Johnny fell on his knees,
started crashing his head against the locker,
started crashing his head against the locker,
started laughing hysterically

When suddenly Johnny gets the feeling he's being surrounded by
horses, horses, horses, horses
coming in in all directions
white shining silver studs with their nose in flames,
He saw horses, horses, horses, horses, horses, horses, horses, horses.
Do you know how to pony like bony maroney
Do you know how to twist, well it goes like this, it goes like this
Baby mash potato, do the alligator, do the alligator
And you twist the twister like your baby sister
I want your baby sister, give me your baby sister, dig your baby sister
Rise up on her knees, do the sweet pea, do the sweet pee pee,
Roll down on her back, got to lose control, got to lose control,
Got to lose control and then you take control,
Then you're rolled down on your back and you like it like that,
Like it like that, like it like that, like it like that,
Then you do the watusi, yeah do the watusi

Life is filled with holes, Johnny's laying there, his sperm coffin
Angel looks down at him and says, “Oh, pretty boy,
Can't you show me nothing but surrender ?”
Johnny gets up, takes off his leather jacket,
Taped to his chest there's the answer,
You got pen knives and jack knives and
Switchblades preferred, switchblades preferred
Then he cries, then he screams, saying
Life is full of pain, I'm cruisin' through my brain
And I fill my nose with snow and go Rimbaud,
Go Rimbaud, go Rimbaud,
And go Johnny go, and do the watusi, oh do the watusi

There's a little place, a place called space
It's a pretty little place, it's across the tracks,
Across the tracks and the name of the place is you like it like that,
You like it like that, you like it like that, you like it like that,
And the name of the band is the
Twistelettes, Twistelettes, Twistelettes, Twistelettes,
Twistelettes, Twistelettes, Twistelettes, Twistelettes

Baby calm down, better calm down,
In the night, in the eye of the forest
There's a mare black and shining with yellow hair,
I put my fingers through her silken hair and found a stair,
I didn't waste time, I just walked right up and saw that
up there -- there is a sea
up there -- there is a sea
up there -- there is a sea
the sea's the possibility
There is no land but the land

(up there is just a sea of possibilities)
There is no sea but the sea
(up there is a wall of possibilities)
There is no keeper but the key
(up there there are several walls of possibilities)
Except for one who seizes possibilities, one who seizes possibilities.
(up there)
I seize the first possibility, is the sea around me
I was standing there with my legs spread like a sailor
(in a sea of possibilities) I felt his hand on my knee
(on the screen)
And I looked at Johnny and handed him a branch of cold flame
(in the heart of man)
The waves were coming in like Arabian stallions
Gradually lapping into sea horses
He picked up the blade and he pressed it against his smooth throat
(the spoon)
And let it deep in
(the veins)
Dip in to the sea, to the sea of possibilities
It started hardening
Dip in to the sea, to the sea of possibilities
It started hardening in my hand
And I felt the arrows of desire

I put my hand inside his cranium, oh we had such a brainiac-amour
But no more, no more, I gotta move from my mind to the area

(go Rimbaud go Rimbaud go Rimbaud)
And go Johnny go and do the watusi,
Yeah do the watusi, do the watusi ...
Shined open coiled snakes white and shiny twirling and encircling
Our lives are now entwined, we will fall yes we're together twining
Your nerves, your mane of the black shining horse
And my fingers all entwined through the air,
I could feel it, it was the hair going through my fingers,
(I feel it I feel it I feel it I feel it)
The hairs were like wires going through my body
I I that's how I
that's how I
I died
(at that Tower of Babel they knew what they were after)
(they knew what they were after)
[Everything on the current] moved up
I tried to stop it, but it was too warm, too unbelievably smooth,
Like playing in the sea, in the sea of possibility, the possibility
Was a blade, a shiny blade, I hold the key to the sea of possibilities
There's no land but the land

looked at my hands, and there's a red stream
that went streaming through the sands like fingers,
like arteries, like fingers
(how much fits between the eyes of a horse?)
He lay, pressing it against his throat (your eyes)
He opened his throat (your eyes)
His vocal chords started shooting like (of a horse) mad pituitary glands
The scream he made (and my heart) was so high (my heart) pitched that nobody heard,
No one heard that cry,
No one heard (Johnny) the butterfly flapping in his throat,
(His fingers)
Nobody heard, he was on that bed, it was like a sea of jelly,
And so he seized the first
(his vocal chords shot up)
(possibility)
(like mad pituitary glands)
It was a black tube, he felt himself disintegrate
(there is nothing happening at all) and go inside the black tube, so when he looked out into the steep saw this sweet young thing (Fender one) Humping on the parking meter, leaning on the parking meter In the sheets there was a man dancing around to the simple Rock & roll song

mercredi 11 juillet 2007

Ingmar Bergman

..est mort cette fin de semaine.





"Film as dream, film as music. No for of art goes beyond ordinary consciousness as film does, straight to pour emotions, deep into the twilight room of the soul. A little twitch in our optic nerve, a shock effect: twenty-four illuminated frames in a second, darkness in between, the optic nerve incapable of registering darkness. At the editing table, when I run the trip of film through, frame by frame, I still feel that dizzy sense of magic of my childhood: in the darkness of the wardrobe, I slowly wind one frame after another, see almost imperceptible changes, wind faster - a movement."
(from
The Magical Lantern, 1987)



  • HETS, 1944 (Frenzy) - screenplay, dir. by Alf Sjöberg
  • KRIS, 1946 (Crisis)
  • DET REGNAR PÅ VÅR KÄRLEK, 1946 (It Rains on Our Love)
  • SKEPP TILL INDIALAND, 1947 (Ship to India)
  • KVINNA UTAN ANSIKTE, 1947 (Woman Without a Face)
  • EVA, 1948 - co-sc.
  • MUSIK IN MÖRKER, 1948 (Music in Darkness/Night is My Future)
  • HAMNSTAD, 1948 (Port of Call)
  • FÄNGELSE, 1949 (The Devil's Wanton)
  • TILL GLÄDJE, 1949 (To Joy)
  • SÅNT HÄNDER INTE HÄR, 1950 (This Can't Happen Here)
  • MEDAN STADEN SOVER, 1950 (While the City Sleeps) - synopsis
  • FRÅNSKILD, 1951 (Divorced) - story, co.sc.
  • SOMMARLEK, 1951 (Summer Interlude)
  • KVINNORS VÄNTAN, 1952 (Waiting Women)
  • SOMMAREN MED MONIKA, 1953 (Summer with Monika)
  • GYCKLARNAS AFTON, 1953 (Sawdust and Tinsel / The Naked Night)
  • EN LEKTION I KÄRLEK, 1954 (A Lesson in Love)
  • SOMMARNATTENS LEENDE, 1955 (Smiles of a Summer Night)
  • KVINNODRÖM, 1955 (Journey into Autumn)
  • SISTA PARET UT, 1956 (The Last Couple Out) - story, co-sc.
  • DET SJUNDE INSEGLET, 1957 (The Seventh Seal)
  • SMULTRONSTÄLLET, 1957 (Wild Strawberries)
  • NÄRA LIVET, 1958 (So Close to Life, based on a novel by Ulla Isaksson)
  • ANSIKTET, 1958 (The Face)
  • JUNGFRUKÄLLAN, 1960 (The Virgin Spring)
  • DJÄVULENS ÖGA, 1960 (The Devils Eye)
  • LUSTGARDEN, 1961 (Pleasure Garden) - co-sc.
  • SÅSOM I EN SPEGEL, 1961 (Through a Glass Darkly)
  • NATTVARDSGÄSTERNA, 1962 (Winter Light)
  • TYSTNADEN, 1963 (The Silence)
  • FÖR ATT INTE TALA OM ALLA DESSA KVINNOR, 1964 (Now About These Women)
  • PERSONA, 1966
  • STIMULANTIA, 1967
  • VARGTIMMEN, 1968 (Hour of the Wolf)
  • SKAMMEN, 1968 (Shame)
  • RITEN, 1969 (The Rite)
  • FÅRÖDOKUMENT 1969, 1970 (The Fårö Documentary)
  • BERÖRINGEN, 1971 (The Touch)
  • VISKNINGAR OCH ROP, 1972 (Cries and Whispers)
  • SCENER UR ETT ÄKTENSKAP, 1973 (Scenes from a Marriage)
  • TROLLFLÖJTEN, 1974 (The Magic Flute)
  • ANSIKTE MOT ANSIKTE, 1975 (Facee to Face)
  • HÖSTSONATEN, 1978 (Autumn Sonata)
  • AUS DEM LEBEN DER MARIONETTEN, 1980 (From the Life of the Marionettes)
  • FANNY OCH ALEXANDER, (1983) - Academy award for the best foreign film
  • EFTER EN REPETITIONEN, 1983 (After the Rehearsal)
  • BERGMAN'S LIST, 1995 (ed. by Gunnar Bergdahl, foreword by Woody Allen, afterword by Jörn Donner)
  • DE TVÅ SALIGA, 1986
  • DOKUMENT FANNY OCH ALEXANDER, 1986 (Document Fanny and Alexander)
  • KARINS ANSIKTE, 1985 (Karin's Face)
  • THE BEST INTENTIONS, 1992 - screenplay
  • LARMAR OCH GÖR SIG TILL, 1997 (television film)
  • screenplay: TROLÖSAN, 2000 (dir. by Liv Ullman, starring Erland Josephson, Lena Endre)
  • BILDMAKARNA, 2000 (television film, based on Per Olov Enquist's play, performed in Dramaten)
  • SARABAND, 2003 (television film starring Liv Ullmann and Erland Josephson)