Tapescripts Annakarinaland

JUNE 16, 2024 Second Broadcast

 This is Annakarina Land, and I'm your host, Moira Sullivan. San Francisco Film

Critic and Scholar, Anna Karina Land, is broadcast on Saturdays at 10 p .m.

They focus on women and film with interviews, film reviews, and festival reports.

Sorcerer Stevie Nicks, Cheryl Crow

I'm

tired, I'm thirsty, hey,

I'm wild -eyed, in

♪ Yeah, yeah ♪ ♪ Timeless ♪ ♪ In your final rehab ♪ ♪ It's a high price ♪ ♪

For your love to rehab ♪ ♪ Sister Ruth ♪ ♪ Who is the master ♪ ♪ A man and

woman on a star screen ♪ ♪ In your final In the middle of a snow dream So I

surrender, show me the highlight

Come on over, let me put you on night Alright

♪ Lady from the mountain ♪

I'm

tired,

I need you badly, I'm wild -eyed In my misery,

yeah yeah I'm timeless When your finally hate Oh,

it's a high price For your luxury, yeah yeah

Just a run, who is the master?

Man and woman on a star screen In the middle of a snow dream Just a run,

show me the highlight

I'm all over

♪ Put you on a

game, darkness ♪

Won't you tell me who I'm bad?

Baby, don't look

♪ Won't you tell me who you are ♪

(upbeat music)

You've been listening to Stevie Nicks and Cheryl Crowe in "Sorcerer." For the second

broadcast, I will look at two films by Belgian filmmaker Chantel Ackerman, A

filmmaker of great importance in the world of women and cinema. A filmmaker who

would have been 74 on June 6th. She was a teacher at City College of New York in

filmmaking, so we'll look at her film Jeanne -Dielmann with Delphine Serig,

and if you've never seen it, it's time, from 1978. Which helped finance her next

film from the the same year, Rendez-vous d'Anna, The Meetings of Anna, with Aurora

Clément. After that, we'll return to the 77th Cannes Film Festival that I just

returned from, where I will report on Out of Competition Furiosa by George Miller,

starring Anna Anya Taylor. And the show tops off with a review of The Red Shoes by

Michael Powell, Based on a fairytale by Hans Christian Andersen and starring Scottish

actress Moira Shearer.

 Next up will be a short compilation homage to my sister Monica

Sullivan following a tribute that was heard in the first Annakarina broadcast on

June 8th Monica for 30 years was an independent voice in community radio She hosted

two shows, which are featured on Saturdays for KXSF from 10 a .m.

to 11 a .m. Movie Magazine International, a 30 -minute entertainment program that looks

at films with interviews with directors and actors and festival reports in the San

Francisco area and around the world. Movie Magazine International broadcasts classic

programs from its 30 -year run that you can still hear in the U .S. and in the U.K. on KXSF. 

And Shoestring Radio Theater, sent from all over the world that are

produced by a team of actors and playwrights, and engineered by Steve Rubenstein,

the producer of Movie Magazine and Shoestring Radio Theater, Monica's husband. His

compilation contains the many voices of Monica Sullivan. Take it away,

Monica. 

'Good evening. You're listening to Shoestring Radio Theatre. What's the

matter? Anyone would think you loathe the side of me these days. This time,

we're going to visit Tracy and Chris. We're trying to sleep after watching the late,

late movie about a Homicidal eight -year -old girl named Rhoda Penmark Won't you come

in and have tea with us? We've been away in England the whole year. You know my

husband and I would love to see you again There now, it's all right.

It's all right, Andy. I'm here

Mr. Hildebrand, do you realize how grateful some children would be to eat that

apricot pie? Well, you take my word for it, Mr. Hildebrand. This spy might mean the

difference between life and death in certain parts of the world. Live things in much

fresher than dead ones, and you humans eat all sorts of dead creatures.

While they pick on her, your precious Harold Hung isn't exactly finding a sister -in

-law off with a whip. No, I am a queen. I do not perform tricks.

Nya -nya -nya -nya, come and get me - screw!

In alliance with the President's Commission on Health, I've decided to initiate the

most advanced nutritional regime available. As of 0700 hours,

all inmates will be duly placed on the newly established dietary standards inspector

ah then Mr. Ide's in trouble what's he done now of course it is going to be

select your house is really one of the few houses in London where I can take dear

Agatha I've noticed the Dear sisters, your precious jewels shall be returned to you

just as soon as one of our three master's loo's can correctly deduce who stole the

diamond and just where it is hidden.

How could I ever forget you? You broke my heart Oh,

these years ago.

Only a very naive person could possibly be shocked these days.

Mr. Vargas, any more outbursts, and I will hold you in contempt of court.

Dump him. That's my feeling. Put this guy out with the trash and paint a big red

pea in the middle of his fat forehead while you're at it. Hello everybody,

I'm Monica Sullivan. Welcome to issue number 940 of Movie Magazine International.

Those were the many voices of Monica Sullivan-- radio journalist, radio host,

San Franciscan writer, historian, right? Chronicler will miss you Monica,

but you're here all the time with us on the radio waves.

Support for KXSF is provided by Rainbow Grocery, a worker -owned cooperative that has

been serving San Francisco vegetarian food and providing a model for sustainable

living since 1975. Rainbow is located at 1745 Folsom Street.

Visit them online at rainbow .co .uk. KXSF would like to thank Rainbow Grocery for

its continued support.

Singer -songwriter François Hardy died on June 11. She was born in Paris in 1944.

And her debut was in 1962, on the show "Salut les copains", "Tout les garçons et

les filles", "All the girls and the boys" became a breakthrough hit. With her

soulful lyrics, she was a beacon for disillusioned French youth. She wrote in this

song, "Without joy and full of ennui, when will the sun shine for me, like the

girls and boys of my age?" I asked, "When will my day come, the day when my soul

is no longer in pain. Hardy is considered one of the top 200 singers of the world

by Rolling Stone magazine.

On nage, ça veut bien ce que c 'est qu 'être heureux Qu 'est -ce que les yeux dans

les yeux Qu 'est -ce que la main dans la main Il sent bon,

amoureux, sans peur du lendemain Oui mais moi,

je vais seul, par les rues La m 'empenne, oui mais moi,

Je vais seul, car personne ne m 'aime Mais jour comme minuit

Son temps tout point pareil

Sans joie et plein d 'ennui

Personne ne m 'a Personne murmure "Je t 'aime à mon orêt" Tous les garçons et les

filles de mon âge font ensemble des projets d 'avenir Tous les garçons et les filles

de mon âge savent très bien ce qu 'ils m 'éveillent Et les yeux dans les yeux et

la main Dans la main, ils s 'en vont, amoureux,

sans peur du lendemain Oui mais moi, je vais seul,

par les rues, l 'âme en pleine Oui mais moi, je vais seul,

car personne ne le mène Mais je ne ferai Comme mes nuits sont en tous les points

pareils

Sans joie et plein d 'ennui

Au pendum pour moi, brillera le soleil Comme Les garçons et les filles de mon âge

prenaient très bientôt ce qu 'est l 'amour Comme les garçons et les filles de mon

âge me demandent quand viendra le jour Où les yeux dans ses yeux et la main dans

sa main J 'aurai le carreur sans perdu l 'endemain J 'aurai le jour,

je n 'aurai plus du tout

When Chantal Akerman made Jean Dielmann, 23, quai commerce.

, 1080 Brussels in 1975, she was only 24 years old.

The road to making the film began with contacts. And one of them was French

filmmaker Babette Mangolt, currently a professor of visual arts at UC San Diego,

who wound up doing the cinematography on this film. Akerman and Mangolt met in New

York, a city that would later become the Young Belgian director's at home. Mangold

introduced Akerman to experimental filmmaking, a small and exclusive world she loved.

Success came early to Ackerman whose film was selected for the Cannes Film Festival

Directors Fortnight in 1975. Suddenly, fifty international festivals wanted to screen

it. It starred a brilliant French actress Delphine Setrig as a housewife and widow,

who stayed at home to take care of her teenage son. Once a week she solos as a

prostitute for one of her regular clients. Of the film, Akerman said she wanted to

value the rare subject of a housewife whose ritualistic work is at home.

She has said that a woman almost certainly would have had to make the film, since

a man barely pays attention to his wife's work at home. To that extent Akerman

does a meticulous study of the daily motions of Jean Dielmann, and as she later

explains, the film was based on watching the routines of her mother at home,

a survivor of Auschwitz, whose parents died in the camp. Jeanne Dielmann is two

hundred minutes long, and is a fascinating film, which breaks down and

compartmentalizes Jean's various chores and activities, such as putting coffee into a

thermos, boiling potatoes, shining her son's shoes, making up his bed,

or putting the money from her clients into a large cupboard dish in the living

room. Each day the routines are shot and the procedures give an extraordinary

importance. This is especially because of Akerman's framing of the kitchen and the

hallway, an almost claustrophobic environment where we as spectators engage in Jean's

activities. We are forced to acknowledge how the order is exact and strictly kept in

Jean's schedule. We notice how Akerman is careful to present the one day when Jean

has some time to think for a bit, unlike previous films, and the film changes its

trajectory. This is the compelling force of the film that remains an intanting

narrative construction to this day. Chantal Akerman died in October 2015 at the age

of 65. Her final film was on her mother, No Home Movie.

On June 6th, it was Chantel Akerman's birthday, and she would have turned 74.

We'll return in a minute with another review of one of Chantel Akerman's films,

"Rendez-vous d'Anna, Meeting with Anna".

Mère, mon carpèze détourne et mon corps se rendonne si léger à la mer La mer

pleure, c 'est vague, qui ont un goût de l 'âme et son vent est faim

Se perdre en la terre,

se fondre à la terre

Mais, magique d 'origine dans son rythme essentiel Le ventre de la mer Au cœur pour

vous jeter dans un mur des séchers Qui n 'est fait que de terre Où je n 'ai jamais

Sur ce qu 'il faut faire Et

la vague dans ses jours puisse briser Et la mer toute à coup devient grise Mon

amour est si lourd à porter

Je voudrais doucement me coucher dans la mer Magique originelle dans son rythme

essentiel Je voudrais que la mer me reprenne pour honnête Ailleurs que dans ma tête,

ailleurs que sous le terre Pour son amour

You've been listening to another song by François Hardy, "Mer". French actress Aurora

Clément was the guest of honor at the Creté International Film Festival in 2015.

In many ways Clément defines the film, whereas Chantal Akerman's Jean Dielmann is

considered the late director's best work, Le Rendez -vous d'Anna would likely be second.

In many ways Clément defines the film with her particular gait and presence in front

of the camera. At the face -to -face, she still has this exactitude and her evocative

and graceful persona. The movement of figures within the frame is one of the

components of Mise en -scène, and Akerman uses this technique brilliantly. As with

Dielmann, the Mis en -scene, or composition of the frame, is rigidly structured for the

direction and artistic intention of the narrative. narrative. Whereas a director like

Alfred Hitchcock is known for a strict adherence to the mise -en -scène, often to the

detriment of his female characters, such as icy blonde meltdowns typified by Tippy

-Hedren in The Birds, Kim Novak in Vertigo and Janet Lee in Psycho,

Akermann uses this space to accentuate women in three dimensions. Anna is one such

character who fills every scene and in almost every one of them her sturdy brown

pumps define space and sound. Where she goes, the camera goes,

and the sound of her shoes tells us something about her. The philosopher Helene Cixous

 wrote about "Ecriture Feminin" in her essay the Laugh of the Medusa from 1975.

I asked Chantel Akermann on a visit she made to Stockholm about the fact that the

meeting Anna has with women is the only time in which she is allowed to speak.

She said that she hadn't planned it but added that it was not intentional, with a

smile. Nevertheless, nearly forty years later it is clear that Anna's inner language

is spoken to women. Through most of the film, Anna listens as men and women speak.

But there is a difference when she listens to women. For them, she is emotive.

Tears fill her eyes. Something stirs in her. That does not, in her one -sided

conversations with men. In Rendez-vous she has more to say to women, because they

do not talk to her, but to her. This includes her mother, played by Lea Massari 

and her old friend Ida, played by Magali Noel. When she says no to a suitor,

Henrik Schneider, played by Helmut Grimm, she also says no to boredom and a

bourgeois life. When she seems to say yes to Daniel, an indifferent suitor, played

by Jean -Pierre Cassell, he turns his back to her, or turns on the radio. Ackerman

freely uses the arches or facades of buildings to place her characters.

Who for the most part are in hotels or train stations. Trains and train tracks are

prominent and artistically arranged, evoking sounds and compromising images in the

film. Anna is a filmmaker on the road who travels to meet with publicists, leaders,

friends, family, or lovers. On the way she has erotic encounters. The figures within

these buildings do their duties in a repetitive fashion. Maids turn down the beds or

strip them of bedsheets, blank -looking clerks, check messages or reservations.

Ana realizes her own boredom and emptiness when she arrives home and walks through

her apartment, and the fridge is only a bottle of water. The echo of her pumps are

heard through the apartment, devoid of anything but function. In her bed,

as she listens to her messages on her answering machine, she realizes her lack of

connection to the world and to others. The 1978 film shows its dates with a

terribly modern looking but non functional TV with push buttons and a large answering

machine that is situated underneath the telephone in Anna's apartment. All calls are

made in phone booths, telegraph offices, or hotel rooms. There are no cell phones or

computers. We're Anna to be young today. Would you feel less empty with the

predominance of social media and smartphones?

I was in an elevated seat when I saw Mad Max Fury Road in Stockholm in 2015 and

it had all of the elements of a roller coaster ride. I'll never forget the ecstatic

feeling I had watching the momentum of that film. And then we had the brilliant

editor Margaret Sixel, maybe she was the one that was responsible for the many

mothers mythology. I remember a professor at San Francisco State where I attended

film school about Sally Gerhard Miller. She wrote a book called The Wanderground,

an enchanted story that was really very precious to the women's movement of the

1970s. It was about what was going to happen in the future to women, That we were

going to wind up as breeders and that's exactly what the Fury Road film was about

This mythology is not in the new prequel The Australian director decided to cast a

younger Furiosa as he couldn't make Charlie's there on any younger The prequel seems

to have a more polished look compared to its predecessor with modern and updated

elements The Mad Mad Max franchises certainly gotten beefed up. The film lacks strong

female characters with Furiosa, the only female besides her mother, Mary Jobasa.

The Vulvalini with the Valkyrie and the Keeper of the Seeds have been replaced by

Chris Hemsworth and his wife, Elsa Potaki, doubling as a Vulvalini general and a

biker. The storyline leaves out important details about Furiosa's background and the

world she inhabits. Overall, the film raises questions about the portrayal of strong

women in cinema. The five rides are missing, and instead we get the dominating

Dementus, played by Chris Hemsworth, who symbolizes why this film is not a prequel

to the character of Furiosa, but bifurcates her legend and posits a new narrative.

I am not interested in this story, story, and we were promised a prequel—a Furiosa.

This is how female legends are often usurped by male characters. The film kicks off

with Mary Jebassa as she attempts to rescue her daughter from Dementus. Then suddenly

she is not in the film anymore, or the Green Place, or the many mothers. I booked

my ticket to Cannes the second I learned that Cannes was screening the prequel. The

thing about opening night is that And the new film reviewers, such as IndieWire,

come in with their Apple Watches to time how long the standing ovations are for the

films. Nobody ever did that before, but they're doing it now, and it is no

indication of the film's worth. But, being with the actors in the same room, it

gives the wannabees who are star worshipers the feeling that they're one and the

same in this film creation. It must be very exciting for them, of course. While

Theron may not have resettled her younger self, this trope of de -aging for Furiosa

requires a better narrative, not the creation of a new character, for her warlord,

Captor. Chris Hemsworth takes up a significant portion of the film and overshadows

Furiosa whatever they are together on screen. Furiosa's art direction and set design

alludes to potentially a better film than its predecessor, with everything appearing

fresh and polished, yet Mad Max is a saga after the Apocalypse,

where everything is sour and poisoned from the human body to the water, air,

and earth. Oscar -winning editor Margaret Sixel, editing of Fury Road was a

masterpiece of intricate camera angles with match cuts, and continuity editing

especially when applied to fight scenes, and the mobile Armada of old vintage cars,

Polk hats swinging from one car to the other, and the blind guitarist Coma Doof

Warrior. A bold touch from the creators of Mad Max was that this warrior is wearing

a mask made up of the skin of his dying mother. There are a lot of mother

metaphors in this sequel film. Immortan Joe, played by the late Hugh Keesburne in

the 2015 film is replaced by a younger, tamer, less dreadful, and domineering

character, which is probably why they felt that the role played by Chris Hemsworth

as villain was all that was needed. And it felt anticlimactic to see,

for example, the people -eater and the bullet farmer. The absence of women in

speaking roles is noticeable, especially in a time when films featuring strong female

leads are more prevalent. Anya Taylor -Joy delivers a strong performance, but her

character still feels overshadowed by the man around her. The absence of Mad Max is

also felt as he has been a central figure in every other installment, and in this

film only has a cameo. Anya Taylor -Joy's stoic portrayal may be intentional, but it

doesn't necessarily make her character more powerful. The lack of emotional range in

her performance is noticeable, despite a standout scene of rage that she explained

she stood by with the character that has been known as the Praetorian, warrior

woman, and the Imperator. The many mothers have also been stripped down to nothing,

and they were a strong handful, and Fury wrote, "Our babies will not be warlords.

We are not things," were the adages of images of the wives. I wish I could say

more about Furiosa, but as it stands now, Charlize Theron is the ultimate Imperator

and will forever be. She did not have to become younger for this film, for she is

eternal.

[Music]

you

Even if I feel the sun on my skin Every day,

if I don't feel you If

I see the most beautiful things Up in the sky, if I don't see you,

take me, Oya take

me, Oya, take

me, Oya,

take me, Catch

the wind, catch the clouds, if I don't see you Listen

to my skin every day, If I don't feel you Take me oh yeah

Take me Oya

Take me Oya

Take me oh yeah

take me oh yeah

take me oh yeah

take me oh yeah

take G In Plaid Tr 我 h ? Oh I triggered There beef / ε glass wax w嗎 0 Ye

break�� Mom Truth Naz? stret во GO Be 생겼�

You've been listening to the the French Cuban duo Ibeyi Naomi and Lisa-Kaindé Diaz 

drawing from his life work

absorbing the vast terrain of all recorded music. Each week, Gage Kennedy expertly

curates bespoke programs which lean rock but reveal connections between genres,

eras, continents, and cultures. Plus, he always includes long sections that sound like

an old motor sputtering or ominous crackly metallic static. It's off the hook.

Fridays, one to four on KXSF LP 102 .5. 

The Red Shoes connects me, my sister, and my parents in a special way. My parents are San Franciscans. My sister, Monica Sullivan, was born in Visalia approximately 227 miles from San

Francisco. But during that time, my father worked as a youth parole officer in

Alameda while my mother taught at elementary school in Berkeley. The story goes that

one day my parents ducked into a movie theater to escape the rain and saw the red

shoes. They were so impressed by the character, played by Moira Shearer, that they

decided to name their next child after her. However, my name has the American

pronunciation, not Celtic. Monica went to Boston with my parents,

where my father continued his studies at Boston College, and my mother reconnected

with relatives on her father's side. Soon after I was born in Boston on Symphony

Road, a street that was involved in a scandal when arsonists set fire to the

apartment building in the 1970s, the Symphony Road arsonists that made national news.

Later, we all returned to San Francisco and lived in Park Merced. Michael Powell and

Emeric Pressburgers, The Red Shoes, based on a fairy tale by Hans Christian

Andersson, is about a ballerina who comes under the control of an obsessive director

who tries to mold her career into his vision. He also tries to prevent her from

marrying the man she loves, which results in a tragic end. The film opened in major

film festivals in Venice, Cannes, Berlin and London, and was released in 1948,

afterwards receiving two Oscars for our direction and musical score. Moira Shearer

plays Victoria Page, who dreams of becoming a primadonna ballerina, and whose goal,

like many dancers, is to get noticed by the head of a prominent ballet company.

Anton Walbrook plays the arrogant director, Boris Lermontov, who treats the women in

his ensemble horribly, especially if they have any romantic pursuits. The young women,

who aspire to be the best, fall short, according to Lermontov, because if they are

not married to their art, they are failures. The pressure on being great for him

compels him to treat his ensemble like machines. Rather than people, and his

obsession with creating the greatest dancer is for his own reward with little

attention to what consequences this may have for the people who esteem him as a

great director. Victoria watches this happen to her colleagues and then it happens to

her. Not only does Lermontov have eyes on Victoria but also the ambitious composer

Julian Craster played by Marius scoring. However,

when the two of them fall in love, he is bent on breaking them apart. The film is

shot in Villefranche sur Mer, where the company is touring. It is during this time

that Victoria realizes that she can't live without Julian and runs after him.

While making a giant leap nearer Cannes at the train station, she falls on the

train tracks and will never dance again. Though it is the red shoes of the ballet

she wears that seem to have a life of their own. Her momentum is motivated by love

towards Julian and away from Lermontov. The Scottish actor Mauritius is performed as

exceptional and it is the role she is most remembered for in her screen career.

However, her primary career was to the ballet. The BluRay second DVD edition of

the Red Shoes contains a special section with Martin Scorsese about the restoration

of the film. The digital version is an HD digital master of the restoration by the

UCLA Film and Television Archive and Film Foundation. This work began in 2006,

the year that Moira Shearer died at the age of 80 and was completed in 2009. The

film premiered at the Cannes Film Festival that year. Here now is the extended

version of the Red Shoes ballet by Brian Easdale.

(upbeat music)

(dramatic music)

(dramatic music)

(upbeat music)

[MUSIC]

(dramatic music)

(upbeat music)

(upbeat

music)

For Annakarinaland, this is Moira Sullivan. Thank you for joining us.

Support for KXSF is provided by Rainbow Grocery, a worker -owned cooperative that is

conserving San Francisco vegetarian food and providing a model for sustainable living

since 1975. Rainbow is located at 1745 Folsom Street.

Visit them online at rainbow .coop. KXSF would like to thank Rainbow Grocery for its

continued support.