After all, it's just a ride….

ICA Harris Savides Tribute – The Game (1997) & Birth (2004) – Prelude

savidesNow here’s something to get our teeth into prior to the LFF exploding next week – on Sunday the ICA in London are hosting a tribute to one of the finest cinematographers of the contemporary era, the remarkable Harris Savides who passed away last October at the sadly premature age of 55. One need only cast the eyes over his CV to identify a procession of fantastic films and music videos, and the  Badlands Collective have quite brilliantly sourced 35mm prints of two of his greatest achievements that I’ll outline shortly. Why am I published a context post? Well, given the material I’m minded to give both films the full Menagerie treatment, after musing over the programme I’m convinced that a single post covering both films and situating his work in context would be rather an unwieldy beast, and given that full film reviews have been rather sparse here recently I need to get back into the game (if you’ll forgive the pun) if I’m going to do the LFF justice. Here’s what’s first on the agenda;

Hmph, they don’t make teaser trailers like that anymore do they? I’m an enormous admirer of this film which like Panic Room  usually gets overlooked in the Fincher constellation, this should be an interesting experiment as billionaire bankers weren’t exactly sympathetic characters back in 1997, let alone 2013. Still, that’s kinda the point, and despite the film being rather fresh in my mind after a small screen revisit last year this promises to be quite an investment.

Given Jonathan Glazer’s return to the spotlight after the growing anticipation for the otherworldly Under The Skin  the further tipping point of my attendance at this double bill was threefold – the prospect of catching an elusive Fincher on the big screen of course, and then not only the presence of Glazer to introduce this screening of his movie but it also being his personal copy of the silver nitrate 35mm print of his film which I’m told hasn’t been publicly projected since its Venice debut a decade ago – celluloid catnip if ever I heard it. I did see Birth  at the cinema upon its release back in 2004 and loved it, even then the obvious Kubrick comparisons were proceeding with the cool dexterity of an immaculately framed and executed dolly shot, so this gives me some licence to delve into  earlier material as  believe me the opening aira of Skin is perhaps the closest a collegial acolyte has come to grasping Stanley’s mantle in the past fifteen years. In the meantime here is some more of Davide’s work on the sadly increasingly haunting and precient Elephant;

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