October 25, 2021


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‘The Village Detective: A Song Cycle’ Review: A New Corner of Old Mystery

4 min read

Bill Morrison makes movies from other movie pieces, giving new life to the ghostly scraps of the previous day. While most film conservationists aspire to bring lost and degraded films back to their original glory, Morrison sees beauty in perdition – the underlying basis of his mesmerizing Avant-Garde super-cut “Deccasia”, released in 2002, and one of its main attractions, the collage. Village Detective: A Song Bicycle “, which takes a long time to pick up the remains of four reels of celluloid rescued from the Atlantic by an Icelandic fishing trawler.

A decade after “Deccania”, Morrison gained widespread recognition through “Dawson City: Frozen Time”, where a stockpile of century-old mm5 mm prints was found in northern Canada যে which ended up being a de-facto for the Klondike Gold Rush outpost travel film. Graveyards করা serving as a raw material for spreading rumors in a lost era, both fortune-seekers who wanted borders and the remarkable discovery of this fleeting entertainment that miraculously survived them. “Dawson City” proved to be very exciting in part because Detritus was clearly rich and Morrison tried to find out what was found and make a relevant effort.

But his “village detective” is a different animal. What Morrison doesn’t reveal until it’s too late – but what seems fairly clear from the start – is that the discovery isn’t particularly valuable: a partial copy of the popular 1969 Soviet film “Derevinsky Detective,” which somehow overflowed and settled on the seabed. While the film may seem foreign enough to Western eyes, Russian viewers must recognize it as a comparatively uninteresting acknowledgment, which could ruin the potential effect, as Turkish speakers see the twist in “The Usual Suspects” by Kizar’s straightforward gestures. Can name

The recovered film prints are rarely worthless, even if I suspect, Morrison plays the care scenes of an Icelandic archivist opening up to a kind of tongue-in-cheek absurdity. A distorted aspect of film preservation is that many valuable specimens are allowed to be destroyed, while considerable effort and expense is expended to recover the fragments that fall into the right hand. “Dervinsky Detective” – ​​there’s no better reason to recover this gold copy of Flower than the “Dawson City” motherload – considering that people can easily see the image on YouTube in its underestimated completeness. Yet, the rust-stained and badly distorted print holds interest for Morrison, who sees beauty in loss and is a perfect poet of it.

“Derevensky Detective” Soviet actor Mikhail Zharv vaguely played the role of a Colombo-Esc small town police officer who was tasked with helping a musician find his stolen accordion. It rarely sounds like a suppressed case, but the missing instrument reveals a bigger mystery, and the same can be said about the way Morrison uses the film in his film হিসাবে as a classic McGuffin: the explored prize that compels the characters, while the audience Given so that their attention can be focused. Something is missing in “Derevinsky Detective”, but the image that surrounds it, “The Village Detective” has an artifact that is going to ask us: how did it end up on the Atlantic Ocean floor and what, if anything, a bottle Can you tell us this curious message?

Morrison draws footage of seven decades of the actor’s career, preferring to focus on the film’s star Zharv (these are all clearly identified and presented in the best possible scenario, where the “Derevinsky Detective” is sampled in a more hypnotic sea-brain state). In the director’s mind, Jarv’s career could follow a similar trajectory to this print এটি it was well-liked in his time, but since it was forgotten / abandoned এবং and so he devoted himself to rebuilding it through a series of loose yet enlightened connections.

The logic of the meta-narrative of the results is not always clear, and it can actually be strangely shallow at times, when he spotlights Zharv playing the accordion in three other films. In such humorous matches, Zharv’s various roles seem to be talking to each other: here he is looking for a musical instrument in “Derevensky Detective” and there he is using one in several other films, including the first sound film of the Soviet Union. Road to Life, “where Zharv was the first person to sing in Russian on screen. In another very literal association, Morrison commissioned a meditative score from David Lang, written for the accordion.

Such a project may have seemed fairly special a decade or so ago, but these days, amateur editors are doing amazingly sophisticated montages for private event or public YouTube use. Music seems to be a magic tool in such initiatives, suggesting a false continuum of remix artists across different media: a well-chosen melody can smooth out otherwise dazzling splices in the source material. Morrison dubbed the film “a song cycle,” but there is no voice. His narrative is entirely delivered by text, and there is an overall blur in the format that doesn’t feel particularly lyrical, as the mysteries that Morrison is investigating are either explicit or non-defined for the film.

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