Quand les hommes sont morts, ils entrent dans l’histoire. Quand les statues sont mortes, elles entrent dans l’art. Cette botanique de la mort, c’est ce que nous appelons la culture.
Les Statues meurent aussi
I’d like to thank Christophe Crison for alerting me to this rare footage of the young Alain Resnais – whose death two days ago is still sending out shockwaves – and (a glimpse of) Chris Marker, recently published at www.ina.fr. The footage was shot on February 1st, 1954 on the occasion of Jean Vigo Prize, awarded to Resnais and Marker for Les Statues meurent aussi, a film that practically single-handedly inaugurated the essay film, opened a long-needed public conversation about colonialism, racism and the politics of the museum, and was promptly banned by the Centre National de la Cinématographie. Single-handedly? More like à quatre mains, but who’s counting…
Jenny Chamarette, in an article on sensesofcinema.com, summarizes these circumstances:
This 30 minute short film has a chequered history of censorship that at one time elevated it to a somewhat mythical status, and which prevented it from being brought into the wider public eye until some 16 years after it was completed. After its first screening at the Cannes Film Festival in 1953, and in spite of winning the Prix Jean Vigo in 1954, Les Statues meurent aussi was banned in France by the Centre National de la Cinématographie between 1953 and 1963 owing to its controversial anti-colonialist stance. While a truncated version was made available in 1963, the unabridged film only became available in 1968.
Jenny Chamarette, Les Statues meurent aussi, Sept. 2009 (Cinémathèque Annotations on Film, Issue 52)
If anyone can help identify the others that appear here, please do so in the comments section. I would also welcome reflections on what Alain Resnais means to you personally.
Producteur ou co-producteur: RADIODIFUSION TELEVISION FRANÇAISE
Générique: journaliste, Pierre Tchemia
Mots clés: Resnais Alain Marker Chris prix-recompense film Cinéma
A bit more from the Senses of Cinema article:
Les Statues meurent aussi was commissioned by the literary review and publishing house, Présence Africaine, which was set up in 1947 in Paris as a quarterly literary review for emerging and important African writers. Founded by the Senegalese thinker Alioune Diop, it housed the writings of some of the most important francophone thinkers in the latter half of the 20th century, such as Aimé Césaire, Ousmane Sembene, Léopold Sédar Senghor, in addition to French metropolitan writers such as Jean-Paul Sartre and Albert Camus. The journal also translated groundbreaking works by Chinua Achebe and Wole Soyinka into French for the first time. Having emerged so soon after the new French Constitution of 1946 had declared a “French Union”, Présence Africaine’s publications signalled a new, post-colonial status for French and francophone thought, embracing what was then a key notion: that of négritude. It is this notion that the second half of Les Statues meurent aussi engages with most deeply, and perhaps most controversially, especially as it strives to connect the death of the statue with the rise in the commercialisation of African art for the pleasure of the colonial classes. Indeed, it is against the backdrop of a France that had so recently lost its colonial power, but which still retained many of the quasi-Manichean distinctions between white, Western culture and black, African culture, that (and in spite of their claims to the contrary) Resnais and Marker’s film projected its passionately anti-colonial, anti-racist, even anti-capitalist audio-visual collage. It is little wonder then that such a film should have been censored until the late 1960s, by which time it might have lost some of its topicality, but none of its political vigour.Jenny Chamarette, Les Statues meurent aussi, Sept. 2009 (Cinémathèque Annotations on Film, Issue 52)
According to a 1961 interview with Resnais in the French film journal Premier Plan, it proved impossible merely to censor the film rather than ban it, as the censors claimed that any cuts made would run the risk of them effectively re-editing for their own ends. In effect, what this double-edged and ambiguous comment on the part of the censors suggests, is that the censors at the time were unable to extricate the insidious, intelligent and deeply controversial implications of the film from its patient, attentive visual aesthetic and complex, lyrical voiceover, soundtrack and musical score. Marker also critiqued the censor’s reluctance to make clear what their objections were, and in fact published the full details of their letter in an appendix to his written volume Commentaires in 1961. Commentaires also contains the full poetic commentary of Les Statues meurent aussi, in addition to four of his other early works: Dimanche à Pékin (1956); Lettre de Sibérie (1958); Description d’un combat (1960) and Cuba Si! (1961). That said, the written text only echoes, rather than replicates the extraordinary contribution that Marker’s authorial poesis makes to the film as a whole. A generous interpretation might suggest that, for the censors in 1953, the powerful sound and image track of Les Statues meurent aussi proved impossible to untwine in a way that would not simply present a brutal butchery of the film’s aesthetic.Jenny Chamarette, Les Statues meurent aussi, Sept. 2009 (Cinémathèque Annotations on Film, Issue 52)
It is hard yet to speak of Resnais, like Marker a true genius of cinema, but completely unique. Both were fascinated by memory; Resnais’ best films are enigmas of memory and time. It occurs to me that there was, in the making of Les Statues meurent aussi, some discovery made à deux that was to follow both filmmakers throughout their careers, whatever the genre. Resnais, like Marker, created films that asked the spectator to view them not once or even twice, but many times – as if the films were changing, mutating between viewings – and changing the viewer each time as well. Toute la mémoire du monde, Hiroshima mon amour, Nuit et brouillard, Muriel and the incomparable Last Year in Marienbad come to mind for me, for I have viewed them many times.
I can only wish that the two French innovators of the 7th art are convening now wherever they are, and picking up effortlessly where they left off, making films beyond culture, outside of history, inventing higher dimensional arts…