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The Best Saul Levine Directed Movies

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10

/1/

A film made by Pelle Lowe and myself, Ready-Made is a single work in itself, and also exists as part of a series of works that Pelle and I made reflecting on Manet's painting OLYMPIA, including it's reception, it's relationship to painting, sex work, imperialism, the Paris Commune, sex, drugs and rock roll, ect.

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13

/3/

A film in the old style.

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10

/1/

A portrait of Picasso young and old, sung by the wind.

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10

/2/

A portrait of Amanda Katz (Posner) spinning, weaving and talking. A film about story telling rather than one that tells a story. The VHS copy of this tape was one of the most rented tapes in the local film section of the Brookline Videosmith.

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35

/2/

1974 (R8, 7m)

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6.9

/9/

10

/1/

As editor of "New Left Notes", the newspaper of Students for a Democratic Society (SDS), Saul Levine was at the center of multiple radical political movements. Filming from 1968-1982, he employs a rapid fire editing style to create a frenetic, kaleidoscopic portrait of the antiwar movement, women's liberation and the Black Panthers.

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10

/1/

The We Demand march of 1971 was the first recorded political action taken by queer activists in Canada. The date of this march, August 28, 1971, coincided with the second anniversary of the passing of Bill C-150 which decriminalized gay sex in Canada. Although this reform of the 1969 Criminal Code led to the decriminalization of certain homosexual acts, it did not have much of a tangible impact on the policing and surveillance of queers. In fact, the policing of sex between men actually increased following Bill C-150.

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10

/1/

John Broderick recounts a bad LSD trip.

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25

/2/

NOTE TO POLI is, in the words of his student and fellow experimental filmmaker Marjorie Keller, "a note to the filmmaker Poli Marichal 'about' penetration." P. Adams Sitney observed that the film revealed "the visionary power of sexuality for the filmmaker" and it is indeed one of his most sexually visceral. Levine contrasts the startling frankness of the sexual activity that opens the film with the calm of a young person at rest with a cup of coffee and the serenity of post-coital cigarette smoke hanging in the air.

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10

/1/

RAPS AND CHANTS is also without the typical cataract of cuts. The first part is a man's monologue about a grueling LSD adventure (even the image is a washout), and the second is the portrait of a woman, gleefully milking cacophony from a tape recorder by rapidly playing with the buttons. It is an essay in the filmmaker's twofold aesthetic: the roughness and punch of experience remains without cosmetics, unsentimentalized, uninterpreted; instead, the material of its transmission, image, and sound, becomes the field of cathartic, nervous play, a wild Hasidic dance.

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20

/1/

2000 film by Saul Levine

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20

/1/

Director of the Film-makers Coop, M.M. Serra, recollects her morning on September 11, 2001. The Coop is a few blocks from the New York Worlds Trade Center. The tape was shot a month after, while we were waiting to have lunch together.

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20

/1/

A midsummer daydream. S8mm, color/si, (18fps)

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20

/1/

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10

/1/

Founded under water ... all at sea ... made at land.

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7.0

/7/

20

/1/

A film by Saul Levine

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10

/1/

Stan Brakhage with a movie camera. Winter seascapes.

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40

/2/

Camera: Sylvia Gruner & Pelle Lowe

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10

/1/

The third theme of the series: A Few Tunes Going Out. A collection of songs, stories, scattered and interchangeable conversations during the Memorial Day demonstration.

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4.8

/5/

10

/1/

A confrontational rant addressed to the judges of the films entered in a Super 8 competition at No Exit. Both Mark and I were surprised when not only was it shown at the festival but it generated much laughter and angry conversation. -Saul Levine

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45

/2/

Saul Levine spent six years (from 1967-1973) cutting up and re-editing 8mm prints of two Charlie Chaplin shorts, IN THE PARK and EASY STREET, into a dynamic yet dreamy deconstruction of physical and narrative movement. What begins with Chaplin looping around in circular repetitions between a cop and an ominous vagrant becomes more fractured as the film expands. News footage of police arresting protesters (shot from a television screen on black-and-white 8mm film) is cut into the comedy of cops and criminals (a shot of political reality amidst slapstick fantasy) and images are abstracted by rapid-fire cutting. Even the physical cuts on the celluloid become part of the image as Levine chops through the frames themselves, leaving broad gashes on the screen and fracturing images until they overlap with the next shot and the suggestions of narrative are whirled into a frenzy of motion.

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80

/2/

I spent the week of thanksgiving 2010 in Prague; I had never been to Europe before and as a Jew born in the 2nd World War, I had a strong association of central Europe with the Holocaust. I found Prague to be an extremely charming and beautiful city, an architectural palimpsest as it hadn’t been bombed. In this LIGHT LICK I responded to the city in the present tense, but kept being drawn into its past. The grave of Rabbi Judah Lowe, the alleged maker of the Golem, alleged descendent of King David, and certainly one of the great Jewish scholars and mystics of his time. The absence of a contemporary Jewish community and the wonderful statues, bridges, and buildings led me to make this dark Gothic reflection of 21st century Prague.

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55

/2/

"Afternoon idyll with Nancy Frumkin."

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20

/2/

N/A

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10

/1/

DEPARTURE is a film that was shot in 1976-77 during a year when I lost my job due to both cutbacks at the campus at which I taught and my involvement in the movement against them. I collected footage and imagined I would edit the film together the night I left. I was unable to do this and it took several years to finish it.

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25

/2/

A portrait of a mother with her arms full in the backyard bathing her twin babies as the early spring light sings and dances. Later the father cooks a fish. Marjorie Keller is the mother.

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10

/1/

Concerned with the relation of a word to what we hear or see in our mind when we see it. How this relates to film and color.

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60

/1/

Wild flowers, morning glories, an urban jungle an eden for a petite Tyger.

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54

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5.8

/73/

40

/2/

80

/1/

3.5

/274/

Something of an aesthetic convergence between the diaristic autobiographies and quotidian images of Jonas Mekas (as illustrated in his Diaries, Notes and Sketches chronicles) and the hand crafted dissonance and material violence of Stan Brakhage, “Note to Pati” presents a seemingly typical winter scene – the day after a snow storm as a suburban neighborhood digs out from under the accumulation and children make the most of an unexpected day off from school by playing in their winter wonderland. Saul Levine’s images are diffused, faded, and ephemeral, made all the more dissociating by Levine’s disorienting rapid cut editing, restless and twitching camerawork, and destabilized, quick pan sequences – an evocation of a transitory and wide-eyed innocence.

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35

/2/

Saul Levine began Lost Note as a love poem to his wife but before he finished the film everything had changed. This film is all that was left – 68/69 was a period of violent transition for many. The film was formally challenging, editing footage with in-camera superimpositions and cutting b&w with color.

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7.1

/16/

90

/2/

63

/3/

Made in Binghamton in 1976 - a warped record constructed out of visits to the zoo, relatives and various locations. Appearances by obsessive birds, caged bears and hungry rams. "Certain shots are very evocative, such as a long shot of a group of people sitting on a park bench, one person playing a song on a recorder. The sound of the music, its fragility, is matched by the distance of the shot, lending a feeling of precariousness to the moment. There is a repeated shot of a warped record playing, with the same musical phrase endlessly repeated. The shot is an interior one, with the lighting casting a golden glow on the scene. The warped repetitions begin to reverberate with suggestions of frustrations." – Daryl Chin, The Soho Weekly News "His first talkie, NOTES OF AN EARLY FALL is a characteristically raw work that parlays even the sound of microphone rumble into a formal element.

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7.8

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10

/1/

50

/1/

Stations throughout Connecticut and even New York City. Riding around with my father and back to the gas station.

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DAILY CAMERA is on one level a flickering, ecstatic, and lyrical portrait of Boulder, Colorado. On a deeper level, it is yet another exquisite manifestation of Levine’s quest to merge the fundamental qualities of cinema (light and the arbitrary projection of individual frames) with life itself. This film is not about how the world is, but rather what the camera can turn the world into.

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Two portraits, of Lowe and McKenna, respectively. According to Levine, he was “desperately in love” with both of them.

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LIGHT LICKS are a series of films, which are made frame by frame often by flooding the camera with enough light to spill beyond the gate into the frame left unexposed. LIGHT LICKS are ecstatic flicker films inspired by jazz and mystic visionary practice. PARDES is ancient Persian for walled garden. In Hebrew and Aramaic it means paradise, heaven,the garden of Eden, the peak or terminus of ecstatic visionary, trance flight. NIGHT TIME IS THE RIGHT TIME: moon play light garden be loved

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A stark portrait of my father at daily morning prayers to which I respond, AMEN. Light Licks are a series of films I began in 1999. The films are made frame by frame, often by flooding the camera with enough light to spill beyond the gate into the frame left unexposed. Light Licks are ecstatic flicker films inspired by jazz and mystic visionary practice, and extend my interest in the ways film can be a medium of visual improvisation.

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Every fall a store called NOMAD in Cambridge, on Mass Av,e puts up a window display of Mexican Day of the Dead pieces. My birthday is November, 3, so I am hyper aware of the death/resurrection fall celebration --. this is my sidewalk pedestrian note.

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"Wild Blue Yonder" was the song of the army corps in which Saul Levine's uncle and father served when he was born in 1943.

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"FALLING NOTES UNLEAVING is made from footage gathered in the fall of 2012 and edited in early 2013. Anne Charlotte Robertson, friend and fellow Super8 filmmaker, died. I attended her funeral and filmed the burial of her ashes. She was famous for her diary films and I thought it important to honor her work by filming an event that she could not." - Saul Levine

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LIGHT LICKS are a series of films, which are made frame by frame often by flooding the camera with enough light to spill beyond the gate into the frame left unexposed. LIGHT LICKS are ecstatic flicker films inspired by jazz and mystic visionary practice.

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For Dreaming the Dark: hands that see, eyes that touch, Ana Vaz invited artists and filmmakers whose work trust cinema’s capacity to transform relationships between the body and the camera to propose works that will engage with both perception and embodiment. Could cinema be an art of embodiment? By what rituals and actions could vision become tactile?

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Notes on chance, readymades, and time. Shot at Massart graduation 1997 and Boston 4th of July97. Some of the people appearing are Barbara Bosworth, Stephen Tourlentes, Roy Decarava. Edited shortly thereafter, printed DECEMBER2018 released 2019.

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A small apocalypse prophecy on the threshold of disaster world/home.

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N/A

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As the crow flies, as the crow cries, as the crow alites CAWS

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Directed by Saul Levine.

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Directed by Saul Levine.

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