Renowned critic and writer Richard Brody has – in the New Yorker – written a long and extremely interesting article on – as he calls him – ”Jonas Mekas, Champion of the ”Poetic” Cinema”. This time the theme is not Mekas as a filmmaker and founder of organisations/assocations for the independent cinema, ”but the activity that’s suddenly in the forefront is his critical writing: his “Movie Journal: The Rise of a New American Cinema, 1959-1971” has just been reissued by Columbia University Press, and it’s a cause for celebration—and consideration. The original edition, from 1972, is long out of print. The book is a rich trove of cinematic wisdom, an artistic time capsule of New York at a moment of crucial energy, and a reflection of controversies and struggles regarding independent filmmaking that endure to this day…”.
The excellent introduction that Brody’s article gives to the book that I will order asap (as well as I will go buy Danish Lars Movin’s new book (in Danish) on American Avantgarde Cinema) mentions Mekas fascination about the French Wave, states that he has written the best ever about Welles ”The Trial”, and about Marlon Brando this ”(his) best work is “the bits in between the action. It’s there that every little word, every little motion, every silence suddenly becomes charged with expression.” And about Cassavetes of course but also Max Ophuls and Godard… READ THE ARTICLE, link below.
Mekas was (is in his 93rd year) a visionary, who predicted with his never sleeping enthusiasm that film with the technological development will be able to reach everyone. BUT as the true documentarian he is (written in 1966): … Let’s show everything, everything. We can do it today. . . . We have to see everything, to look at everything through our lenses, see everything like for the first time: From a man sleeping, from our own navels, to our more complex daily activities, tragedies, loves, and crimes. Somewhere, we have lost touch with our own reality and the camera eye will help us to make contact again.