Night Light

Part of a trio of films that also includes ADAGIO and WINTER LIGHT, IN A SUMMER GARDEN "draws much of its power from the way it is constructed and the ways it deals with images... [T]he camera pans and pauses, almost passively looks at the fields of flowers, and then plunges through them, carrying us through space." - Robert Haller

If there is such an old-fashioned thing as "stream of consciousness" in cinema, I suppose this is it. It certainly felt like a flowing stream or river while I was editing day after day, fitting found-sound to found (out-take) footage accumulated over almost sixty years of filmmaking. All the images and sounds buried on reels and spools in the studio came into the light. I felt singularly blessed to be making a non-linear visual autobiography; for it is a fact that most of my life in film is there. The one guiding principle for the construction of the film was the ancient Russian proposal: "instead of canned plays, see a rose, hear a bomb." - Lawrence Jordan

Orson Welles reads the poem especially for this film by Larry Jordan, which is dedicated to the late Wallace Berman, and is made possible by a grant from The National Endowment Of The Arts.

An anatomy of violence. Four young men and two young women are on a drive. There's a rivalry between two guys for one of the girls. On a remote road, the car stalls. The driver hitchhikes for help. Led by the intrepid girl, the others walk toward abandoned buildings, perhaps a mining operation. One of the three guys sits and reads. The intrepid one explores the building and sees something that scares her. She screams; the two rivals and the second girl run to find her. Something she says starts a fight between her two suitors. The one reading a book walks away in disgust. After stopping the fight, the two young women follow. How can this end? Preserved by the Academy Film Archive in 2005.

We are first presented a cobweb castle, filled with the haunting doubts of the young protagonist. Spirits appear on the screen and are heard on the soundtrack. Gradually a female guide emerges and escorts the young man into an antechamber to another (and possibly higher) world.

A sombre day in the city. "A Legend for Fountains" is the 16-minute version, "A Fable for Fountains" the 6-minute version.

First shown on January 30, 1967, FOR LIFE AGAINST THE WAR was an open-call, collective statement from American independent filmmakers disparate in style and sensibility but united by their opposition to the Vietnam War. Part of the protest festival Week of the Angry Arts, the epic compilation film incorporated minute-long segments which were sent from many corners of the country, spliced together and projected. The original presentation of the works was more of an open forum with no curation or selection, and in 2000 Anthology Film Archives preserved a print featuring around 40 films from over 60 submissions.

"Human qualities migrate through light and shadow... Like flames and waves, the dead and the living course through this world... without weight through space and time."

The young man, played by Stan Brakhage, gets himself into a seriously comic mix-up by indulging in semi-sexual fantasies, and allowing the fantasies to take over. This is the best of my very early films and includes my first footage.

Against the coastline of the Big Sur country the camera catches swiftly shifting fragments of the nude women at the baths, playing the guitar, cutting the hair, sleeping. The camera movement is used to slightly smear the images onto the film emulsion in a manner parallel with the use of broad different medium from music or painting.

The Extraordinary Child applies his developing style to broad slapstick. His friends from the previous films and the director himself play out a riotous farce about an overgrown baby who steals his father’s cigars. Everyone mugs hilariously. The movie could be taken as another example of the Romantic notion of the artist as a monstrous child or misfit, or a parody of the same rather than the personal confessional statement seen so often in these film movements.

Four young men and a young woman sit in boredom. She smokes while one strums a lute, one looks at a magazine, and two fiddle with string. The door opens and in comes a young man, cigarette between his lips, a swagger on his face. The young woman laughs. As the four young men continue disconnected activities, the other two become a couple. When the four realize something has changed, first they stare at the couple who have kissed and now are dancing slowly. The four run from the house in a kind of frenzy and return to stare. The power of sex has unnerved them.

Our Lady of the Sphere uses cut-out animation to craft a bizarre science fiction experiment. Moving spheres, such as balloons and bubbles, are superimposed on static backgrounds to suggest travel and discovery.

Jordan’s imagery is exquisite and eloquent, concentrating on simple, repeated use of particularly poetic symbols and figures, a conglomerative effect of old Gustave Dore drawings, 19th century whatnot memorabilia, all fused to a totally aware perception. —Lita Eliseu, East Village Other

A ghost story with an unstructured plot set amidst the mysteries of an old house. Mood is dominant over plot, and heightened by musical accompaniement.

TAPESTRY, part of Lawrence Jordan's "Odyssey" triptych and filmed much later in Jordan's life, is a charged record of his bachelor life after marriage and child-rearing.