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The Best Lawrence Jordan Directed Movies

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poster

57

28

5.9

/229/

53

/11/

58

/19/

3.3

/493/

41

/236/

69

/6488/

Animation. The theme is Weightlessness. Objects and characters are cut loose from habitual meanings, also from tensions and gravitational limitations. A lyric Eric Satie track accompanies the film. Such a portrait seems necessary from time to time to remind us that equilibrium and harmony are possible, and that we will not dissolve into a jelly if we allow ourselves to relax into them: A horseman rides through the landscape, through the town, but never arrives anywhere in particular. An acrobat swings on a rope above a canal in Venice, and is content just to swing there. Nothing threatens to disturb them. This film is a total contrast to the Kafka-like oddities of Eastern European animation. —Canyon Cinema

poster

55

22

5.6

/445/

47

/21/

49

/26/

3.4

/1083/

Animation using cutout animation to craft a bizarre science fiction experiment. Moving spheres, such as balloons and bubbles, are superimposed on static backgrounds to suggest travel and discovery.

poster

57

9

5.8

/154/

49

/10/

56

/12/

3.3

/334/

"The strangeness of this film is laced with carefully moulded apocalypses as the filmmaker explores a vision of life beyond death – the Elysian fields of Homer, Dante’s Purgatorio, de Chirico’s stitched plain. A moving single picture. Evolving the structure or script for the film involved a process of controlled hallucination, whereby I sat quietly without moving, looking at the background until the pieces began to move without my inventing things for them to do. I found that, given the chance, they really did have important business to attend to, and my job was to furnish them with the power of motion. I never deviated from this plan." —Canyon Cinema

?

50

/2/

In Entr'acte II the walls come tumbling down. The wheels come off the wagon: Thunder, Lightning, Explosive meditations. Everything seems to be happening at once. Then, before you can catch your breath, it's over.

poster

?

6.7

/11/

50

/3/

Where all is static motion; where music and light become one; where change and motion become one; and where the end is the beginning. Black and white cut-out animation with touches of color. Ladies of the past encounter science and natural phenomena.

poster

?

10

/1/

Includes: CHILDREN'S PARTY, COTILLION, THE MIDNIGHT PARTY | These are the first three of the six films Cornell gave me to finish before he died. I have not changed the editing structure. I have made the films printable. They are the first known fully collaged films, i.e., films made from found footage, and were done sometime in the '40s. Cornell combines Vaudeville jugglers, animal acts, circus performers, children eating and dancing, science demonstrations, mythical excerpts, and crucial freeze-frames of faces into a timeless structure, totally unconcerned with our usual expectations of "montage" or cinematic progression. He collects images and preserves them in some kind of cinematic suspension that is hard - impossible - to describe. But it's a delight to anyone whose soul has not been squashed by the heavy dictates of Art.

poster

?

35

/2/

A simple contemplation of the plum tree through a window. In rich black and white.

poster

?

10

/1/

A celebration of the filmmaker’s daughter’s birth. The blazing garden as a metaphor for the cycle of life.

poster

?

5.8

/10/

10

/1/

The Grove is the second part of Lawrence Jordan's H.D. Trilogy. It continues what began with THE BLACK OUD (again featuring Joanna McClure as the catalyst) and concludes in STAR OF DAY.

poster

?

75

/2/

An exploration into 19th century death mystiques, which rely heavily on the supernatural, along with a belief in, or at least a fascination with, fairy magic, much of it implied through subtle imagery. In all, it is a fascinating and astonishingly replete compendium of spiritual endeavor, the 19th century literary body of work that is, along with such masterful illustrators as Gustave Dore and others. These authors were passionately interested in what is noble and what is depraved, a far cry from present day ethics.

poster

?

60

/1/

We are presented on the screen with a sequence of Arcadian images, the intent of which is to raise consciousness one full octave, and to give the viewer a strong hint that a stream of brightness runs through the universe. One morning, when spring was breaking in the trees, I had a euphoric sensation, looking into the sky: a golden dream (Reve d'Or in French, the name of one of my roses, climbing in the persimmon tree.) I set about finding images which I believed portrayed this feeling. This short film, is the result.

poster

?

10

/1/

Painter and collage artist, Jess (Collins) performs 41 (now lost) collages to (his) selected sound bits in the manner of a turn-of-the-century nickelodeon.

poster

?

7.6

/8/

10

/1/

In a woodland, a foolish, bungling magician prepares a potion to aid Hildur, the fairy queen, in rescuing her ward, a princess, who has been abducted by a gnome. The wicked "mortal queen" has threatened the princess with death. By an accident, the magician's potion causes Hildur to become mortal, although subliminal recollections of her mystic existence remain to haunt her.

poster

?

10

/1/

60

/1/

The young man, played by Stan Brakhage, gets himself into a seriously comic mix-up by indulging in semi-sexual fantasies, and allowing the fantasies to take over. This is the best of my very early films and includes my first footage.

poster

?

5.6

/8/

25

/2/

A game of 9-pins played among the stars.

poster

?

15

/2/

A little boy swings, breaks sticks, looks up into the sky, himself a cherub, while on the soundtrack Chad and Jeremy sing "and if a hundred boys should die, we can send a hundred more." An anti-war film made in the Vietnam era.

poster

?

6.7

/6/

35

/2/

Fantasy/psycho-drama of the cat, the candle and the Christmas tree.

poster

?

6.1

/7/

10

/1/

40

/1/

The film is simply the internal, subliminal (poetic) thoughts of an aging woman poet as she travels the world, alone, probably for the last time, thinking of a friend she has lost. Finally, she returns home to write ("write or die"). These story elements are all included in the last long poem of H.D. when she was in her 80s. - Lawrence Jordan

poster

?

7.5

/12/

55

/2/

In describing the basis for TRIPTYCH IN FOUR PARTS, artist Lawrence Jordan writes, "Part one is the Portrait of a North Beach artist, John Reed. Part two and three take place in the desert of the Southwestern United States and Mexico, where I went in quest of, and found, the natural habitat of the peyote cactus. I watched this sacred plant cut and dried for the Indians of the Native American Church. I consumed peyote on numerous occasions. In later years when I red Castineda’s books on the teachings on Don Juan I realized that Mescalito was not a figment of Don Juan’s imagination, and that there is a spirit world whether we like it or not. Part four is a document of the time, and exemplifies the poetry that was in me at that time."

poster

?

35

/2/

50

/2/

A woman reads Philip Lamantia's poem (from which the film gets its title), which evokes masculine angst as the hand acts out the scenario of the poem.

poster

?

5.7

/7/

36

/3/

In EIN TRAUM DER LIEBENDEN [A DREAM OF LOVERS], Monk meanders through a maze of Minoan bull-leaping, satyrs and revelatory rainbows.

poster

?

6.1

/16/

35

/2/

A kinetic collage of superimposed warm, soft-colored 16mm film set to percussive jazz, Lawrence Jordan's PORTRAIT OF SHARON features beat poet Kirby Doyle on a motorcycle and Sharon "Didi" Morill, poet and onetime girlfriend of the saxophonist Gerry Mulligan, blinking her big eyes and sharing her youth with the camera. Landscapes and clouds dance in rhythm, conjuring the contemporary spirit of Jack Kerouac's "On the Road." - Stela Jelincic

poster

?

10

/2/

60

/1/

"Human qualities migrate through light and shadow... Like flames and waves, the dead and the living course through this world... without weight through space and time."

poster

?

60

/1/

This short piece is somewhat romantic, despite its title. We do see the ogre however. He inverts himself into the action throughout the film. As usual, the action is partly symbolic, partly surreal.

poster

?

30

/3/

From a central pivotal position, the camera eye (in this case, the hard and inflexible eye of Minerva) looks out upon twelve passing scenes. None of the scenes are necessarily associated with specific signs of the Zodiac. Lawrence Jordan instead assembled twelve of his collages and passed them in review before the deity (who, as he has noted, never revealed her pleasure or displeasure with these images). The filmmaker underscored the mood of each scene with a short passage of music. One might say that theses scenes are not meant to convey particular meanings to a viewer but are intended to represent various entrances or, as the Egyptians called them, hidden or false doors to the siprit world, the world of the dead, the Underworld, the Bardo or, simply, another plan of reality: verities of the soul in Symbolist terms.

poster

?

35

/2/

100

/1/

In the rarely-seen THREE, one begat three became two and then one again.

poster

?

60

/2/

This is a classing Jordan animation, primarily in B/W, with touches of color. Actually, the engraved art work was film on color negative, so that subtle variations in tone are recorded. The mood--enhanced by John Davis' original music--is dream-like. It is both lyric and crackling, producing a kind of anticipatory tension. The scenes, in the usual Jordan manner, follow the surreal principle of placing objects and people where the ought not to be, and making movements that in the waking world are impossible. Each scene is a kind of drama from another world.

poster

?

6.8

/16/

57

/3/

On ancient star maps of magnificent color quality, experimental animator Lawrence Jordan takes the viewer out of this world into a world of cosmic imagination.—Canyon Cinema

poster

?

8.2

/12/

88

/4/

If there is such an old-fashioned thing as "stream of consciousness" in cinema, I suppose this is it. It certainly felt like a flowing stream or river while I was editing day after day, fitting found-sound to found (out-take) footage accumulated over almost sixty years of filmmaking. All the images and sounds buried on reels and spools in the studio came into the light. I felt singularly blessed to be making a non-linear visual autobiography; for it is a fact that most of my life in film is there. The one guiding principle for the construction of the film was the ancient Russian proposal: "instead of canned plays, see a rose, hear a bomb." - Lawrence Jordan

poster

?

10

/2/

Film by Lawrence Jordan, soundtrack by John Davis. Children's book illustrations intermingle with the alchemical and all kinds of animalia in Jordan's 2020 short.

poster

61

?

70

/1/

Popcorn

52

/263/

There is a hint of an under water circus, and many of the performers are acrobats. The sea water, if that's what it is, is yellowish brown. A full-faced sun rises from the Sun King's cradle, while a moon of Saturn circles the planet. The cut-out animation moves airily through a time-distorted world, where dizziness barely maintains a balance, and conventional time-sense disappears. The music of John Davis, which has been slowed to half speed, reverberates eerily throughout the pulsing series of performances, and one wonders whether in the next scene one can catch one's balance. The timing throughout is musical, and suggests a barely upheld world of sanity; of course the dream world creeps into the conscious mind's puritanical sense of propriety, rendering a secondary sense of unbalance facing trial at the bar of...whatever comes to mind. Delirium?

poster

?

63

/3/

A new and original collage film by Lawrence Jordan.

poster

?

6.9

/10/

10

/1/

The Black Oud represents a subtle new direction in documentary. I have used the term 'bio-documentary' to describe this slight, though essential, difference between my film and the majority of personal or experimental documentaries made in the last decade.

poster

68

?

7.1

/112/

67

/4/

60

/1/

3.6

/240/

Orson Welles reads the poem especially for this film by Larry Jordan, which is dedicated to the late Wallace Berman, and is made possible by a grant from The National Endowment Of The Arts.

poster

?

7.0

/43/

37

/4/

44

/5/

Five years in the making, Lawrence Jordan's feature-length "alchemical autobiography" Sophie's Place takes as its inspiration the story of the Greek goddess of wisdom, Sophia. Writes Jordan, "I must emphasize that I do not know the exact significance of any of the symbols in the film any more than I know the meaning of my dreams... I hope that the symbols and the episodes set off poetic associations in the viewer. I mean them to be entirely open to the viewer's own interpretation."

poster

?

5.8

/31/

36

/3/

50

/2/

A ghost story with an unstructured plot set amidst the mysteries of an old house. Mood is dominant over plot, and heightened by musical accompaniement.

poster

?

6.5

/17/

88

/4/

In describing the foundations for SOLAR SIGHT, artist Lawrence Jordan writes, "A question I had in mind was: what's the place of the human being in the cosmos? More and more we think about what is 'beyond.' Less and less is art concerned. I don't know why. The question seems a bit grandiose but I approached it quite simply. I have never worked with color photography as primary background to cut-out animation before. I was surprised that the result was so powerful (helped by John Davis' very resonant music). It was liberating to release human figures into an apperception of suggested space, along with the primordial enigma of the revolving sphere."

poster

38

?

2.6

/111/

50

/1/

Combines the Mambo and Tibetan sound effects with Jordan Animation and clips of silent film stars, including Eric Von Stroheim, Greta Garbo, Gray Cooper, Buster Keaton, Lilian Gish, Mary Pickford, Lionel Barrymore, Lon Chaney, Joan Crawford, Marie Dressier, Charlie Chaplin and others.

?

6.3

/27/

47

/4/

40

/2/

The wanderings (and Lawrence Jordan's "Odyssey" triptych) begin in the late 1950s when the filmmaker joined the U.S. Merchant Marines and sailed through stormy and serene weather to the Orient. WATER LIGHT is an impression of that far wandering.

poster

?

6.8

/77/

47

/4/

50

/6/

Animation, also of a new order in the recent series of short works. Mostly on black space, the figures in blue perform a very compact and jewel-like opera in surreal form, again to Satie’s piano music. Ideally, the film should be projected on a 30" wide white card sitting on a music stand, center stage of a large auditorium or music hall, with sound from the projector piped into the big speaker system. The film is most effective this way, but can be shown normal-size also

poster

55

?

6.1

/131/

46

/10/

52

/11/

3.4

/228/

Jordan’s imagery is exquisite and eloquent, concentrating on simple, repeated use of particularly poetic symbols and figures, a conglomerative effect of old Gustave Dore drawings, 19th century whatnot memorabilia, all fused to a totally aware perception. —Lita Eliseu, East Village Other

poster

?

6.8

/39/

70

/2/

80

/1/

Sepia toning lends a romantic (even wistful) quality to Larry Jordan's film Visions of a City, which he shot in San Francisco in 1957 and edited in 1978. The pace is un-irritating, in contrast to the San Francisco of today; but unlike the equal weight Helen Levill gives to all her subjects, there is an internal evolutionary development in the Jordan film that ultimately delivers a story. Until the introduction of the human protagonist, poet Michael McClure, we are treated to an extravagant display of visual delights.

poster

?

5.8

/5/

10

/1/

A dance of eclectic objects. A play of demented dolls, wheels, and geriatric clocks.

?

23

/3/

An accurate depiction of the basic tenets of northern Mahayana Buddhism, cast into living or "experiential" form, consistent with powerful mantras heard on the soundtrack of the film. Tarthang Tulku, a Tibetan Lama, was the advisor.

poster

?

6.2

/13/

10

/1/

Subtitled “Eros in Psyche” and set to a composition by Tomaso Albinoni, Lawrence Jordan’s rapturous live action short contemplates two nude figures in California idyll. They remain physically separated but Jordan’s spellbinding cutting and tactile camerawork suggest a loosening of inhibition. Parisian fountains and classical statues signal the deep cultural bedrock for the filmmaker’s ostensibly freewheeling portraiture.

poster

?

7.2

/21/

10

/1/

100

/1/

Part of a trio of films that also includes ADAGIO and WINTER LIGHT, IN A SUMMER GARDEN "draws much of its power from the way it is constructed and the ways it deals with images... [T]he camera pans and pauses, almost passively looks at the fields of flowers, and then plunges through them, carrying us through space." - Robert Haller

poster

?

6.8

/8/

The poet's dreams a maiden's bubbles through edifices of forest and eclectic contagion.

poster

60

?

6.9

/53/

40

/3/

3.4

/226/

A compact, full-color cut-out animation as ephemeral as the colors swimming on the surface of a soap bubble. The eternal round shape, the orb (sun, moon, symbol of the whole self) balloons its inimitable and joyous course through scene after scene of celestial delight, fixing at last as the mystical globe encasing the lovers whose course it has paralleled throughout the film.

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