KLAATU YOU (28)
July 8, 2020
One in a weekly series of enthusiastic posts, contributed by HILOBROW friends and regulars, on the topic of our favorite pre-Star Wars science fiction movies.
ALPHAVILLE | d. JEAN-LUC GODARD | 1965
When I watched Alphaville 20 years after I first saw it, I realized that I loved it then because the film is a dance. At that time in my life I was actively a dancer-choreographer, and in both capacities I was trying to relearn how to be in and make dances, aiming slightly (or maybe very much) to the side of how I had learned those things in my training. I don’t think I recognized then that it was a dance film. I sampled sound from the film directly into several sound scores for my friend Chris Yon’s dances, which partook of the same strange worldbuilding dislogic of Alphaville. The pitch-shifted computer voice droning “occupé, occupé, libre, occupé…” to announce the status of each door along a hallway of interrogation rooms accessing the region-controlling supercomputer who has destroyed poetry in favor of logic always seemed like something akin to a square dance caller in a less happy world. But when I re-watched the film I realized that it really is made as much of dancing as it is of photography.
Consider these elements: the oblique narration that intermittently streams into the sequences in a tempo less like a narrative frame and more like light moving into and out of a break between clouds, setting the piece in a kind of compressed zone of feeling that asks you to accept intuitive understanding that can’t quite access logic (“That’s always how it is. You never understand everything”); sudden orchestral pulses of sound punctuating silence, not simply underscoring or crafting the feeling of the film in the normal soundtrack sense, but operating as a fully independent element of its composition; the silence in itself, zero sound, a total room-tone evacuated silence that often belongs to dances (at least in the post-Judson tradition) but almost never to movies, silence as a space of expansion against which the precise actions of a moving body are articulated in high relief, a Cagean silence; the bodies — oh my god the bodies — pressed against the walls, sloughing surfaces and losing their vertical axes as if in a 2 AM contact improv trance jam in which humans partner buildings; the synchronicity, the pathways, the precision of every visible movement, nothing naturalistic, not even the breathing. And I suppose there’s something too, of dance, in the gravitational pull of Anna Karina’s beauty. As a dancer I always found the beauty thing a weird knot that I never managed to untie: on the one hand, while moving or choreographically setting in motion, gratitude for the thrill of experiential clarity and potentiality that attaches to a body moving freely in space, on the other, the weird offering, part narcissistic, part deep-time female inheritance, of making oneself visible, being the beautiful object for the gaze of others.
Maybe, aside from all that, though, Alphaville’s secret status as dance film can offer something useful to any project of poetic sci-fi: choreographic thinking as a kind of acceleration into weirdness; a world-building communicated instantaneously in the evidence of altered embodiment; an off-kilter sequential possibility in narrative that lets us leap right into strange human experience in an imagined other world.
KLAATU YOU: INTRODUCTION by Josh Glenn | Matthew De Abaitua on ZARDOZ | Miranda Mellis on METROPOLIS | Rob Wringham on THE INVISIBLE MAN | Michael Grasso on THE ANDROMEDA STRAIN | Gordon Dahlquist on 2001: A SPACE ODYSSEY | Erik Davis on DARK STAR | Carlo Rotella on THE OMEGA MAN | Madeline Ashby on KISS ME DEADLY | Adam McGovern on SILENT RUNNING | Michael Lewy on THIS ISLAND EARTH | Josh Glenn on WILD IN THE STREETS | Mimi Lipson on BARBARELLA vs. SINS OF THE FLESHAPOIDS | Vanessa Berry on THE FLY | Lynn Peril on ATTACK OF THE 50 FOOT WOMAN | Peggy Nelson on SOLARIS | Adrienne Crew on LOGAN’S RUN | Ramona Lyons on THE MAN WHO FELL TO EARTH | Kio Stark on THE STEPFORD WIVES | Dan Fox on FANTASTIC PLANET | Chris Lanier on IKARIE XB-1 | Devin McKinney on IDAHO TRANSFER | Mark Kingwell on THUNDERBIRDS ARE GO | Luc Sante on THE TENTH VICTIM | William Nericcio on DEATH RACE 2000 | Rob Walker on CAPRICORN ONE | Gary Panter on ANGRY RED PLANET | David Levine on THE STEPFORD WIVES | Karinne Keithley Syers on ALPHAVILLE | Carolyn Kellogg on IT CAME FROM OUTER SPACE | Sara Ryan on ESCAPE TO WITCH MOUNTAIN | Lisa Jane Persky on PLAN 9 FROM OUTER SPACE | Adam Harrison Levy on BENEATH THE PLANET OF THE APES | Gerald Peary on CREATURE FROM THE BLACK LAGOON | Susannah Breslin on A CLOCKWORK ORANGE | Seth on WAR OF THE WORLDS | James Hannaham on GOJIRA/GODZILLA | Lydia Millet on VILLAGE OF THE DAMNED | Matthew Daniel on FANTASTIC VOYAGE | J.C. Gabel on INVASION OF THE BODY SNATCHERS | Alison Fensterstock on ROCKY HORROR PICTURE SHOW | Wayne Chambliss on THEM! and PHASE IV | Neil LaBute on 20,000 LEAGUES UNDER THE SEA | Kevin Obsatz on DEATHSPORT | Erin M. Routson on WESTWORLD | Shawn Wolfe on ROLLERBALL | Chelsey Johnson on THE BLOB | Heather Kapplow on SPACE IS THE PLACE | Marc Weidenbaum on COLOSSUS: THE FORBIN PROJECT | Katya Apekina on A BOY AND HIS DOG | Tom Roston on SLAUGHTERHOUSE-FIVE | Vicente Lozano on DAY OF THE DOLPHIN | Seth Mnookin on NUDE ON THE MOON | Anthony Miller on THE DAY THE EARTH STOOD STILL.
CARBONA YOUR ENTHUSIASM (2020): “Sex Bomb” | “Going Underground” | “Soft South Africans” | “Typical Girls” | “Human Fly” & 20 other Seventies (1974–1983) punk singles. KLAATU YOU (2020 weekly): ZARDOZ | METROPOLIS | DARK STAR | SINS OF THE FLESHAPOIDS | SOLARIS | & dozens of other pre-STAR WARS sci-fi movies. CONVOY YOUR ENTHUSIASM (2019): THE TAKING OF PELHAM ONE TWO THREE | ROLLERBALL | BLACK SUNDAY | SORCERER | STRAIGHT TIME | & 20 other Seventies (1974–1983) action movies. SERIOCOMIC (2019 weekly): LITTLE LULU | VIZ | MARSUPILAMI | ERNIE POOK’S COMEEK | HELLBOY | & dozens of other comics. TUBE YOUR ENTHUSIASM (2018): LOONEY TUNES | THREE STOOGES | THE AVENGERS | ROCKY & BULLWINKLE | THE TWILIGHT ZONE | & 20 other Fifties (1954–1963) TV shows. WOWEE ZOWEE (2018 weekly): UNISEX | UNDER THE PINK | DUMMY | AMOR PROHIBIDO | HIPS AND MAKERS | & dozens of other Nineties (1994–2003) albums. KLUTE YOUR ENTHUSIASM (2017): THE KILLERS | BANDE À PART (BAND OF OUTSIDERS) | ALPHAVILLE | HARPER | BLOW-UP | & 20 other Sixties (1964–1973) neo-noir movies. #SQUADGOALS (2017 weekly): THE WILD BUNCH | BOWIE’S BAND | THE BLOOMSBURY GROUP | THE HONG KONG CAVALIERS | VI ÄR BÄST! & dozens of other squads. GROK MY ENTHUSIASM (2016 weekly): THE THEORY AND PRACTICE OF LUNCH | WEEKEND | MILLION YEAR PICNIC | LA BARONNE EMILE D’ERLANGER | THE SURVIVAL SAMPLER | & dozens more one-off enthusiasms. QUIRK YOUR ENTHUSIASM (2016): “Tainted Love” | “Metal” | “Frankie Teardrop” | “Savoir Faire” | “Broken English” | & 20 other Seventies (1974–1983) new wave singles. CROM YOUR ENTHUSIASM (2015): DARKER THAN YOU THINK | THE SWORD IN THE STONE | OUT OF THE SILENT PLANET | THIEVES’ HOUSE | QUEEN OF THE BLACK COAST | & 20 other Thirties (1934–1943) fantasy novels. KERN YOUR ENTHUSIASM (2014): ALDINE ITALIC | DATA 70 | TORONTO SUBWAY | JOHNSTON’S “HAMLET” | TODD KLONE | & 20 other typefaces. HERC YOUR ENTHUSIASM (2013): “Spoonin’ Rap” | “Rapper’s Delight” | “Rappin’ Blow” | “The Incredible Fulk” | “The Adventures of Super Rhyme” | & 20 other Seventies (1974–1983) hip-hop songs. KIRK YOUR ENTHUSIASM (2012): Justice or vengeance? | Kirk teaches his drill thrall to kiss | “KHAAAAAN!” | “No kill I” | Kirk browbeats NOMAD | & 20 other Captain Kirk scenes. KIRB YOUR ENTHUSIASM (2011): THE ETERNALS | BLACK MAGIC | DEMON | OMAC | CAPTAIN AMERICA | & 20 other Jack Kirby panels.