Goodbye in the Mirror | |
---|---|
![]() Still from Goodbye in the Mirror | |
Directed by | Storm de Hirsch Louis Brigante |
Written by | Storm de Hirsch |
Produced by | Storm de Hirsch |
Starring |
|
Cinematography | Giorgio Turi |
Edited by | Storm de Hirsch Louis Brigante |
Music by |
|
Distributed by | Bobina Productions Film-Makers' Cooperative |
Release dates |
|
Running time | 80 minutes |
Country | United States |
Language | English |
Budget | $20,000 |
Goodbye in the Mirror is a 1964 black-and-white experimental film produced and directed by Storm de Hirsch.
Goodbye in the Mirror is de Hirsch's only feature-length film. It centers on the lives of three young women living in Rome who engage in a series of volatile relationships. [1]
Maria, an American, shares an apartment with Berenice, an aspiring actress from England, and Ingrid, a Swedish singer. Maria becomes romantically involved with Marco, an Italian, who tries to show her what life is really like for his people. Maria continues to see other men. She becomes jealous of Berenice and Ingrid and evicts them from her apartment. Another American, Sarah, briefly stays with Maria; the two women develop an affection for one another, but Sarah suffers from homesickness and returns to America. One night Marco catches Maria with another man; he slaps her and tells her he had been planning to propose to her. They make up, but then Maria thoughtlessly asks him how they should travel to America together. Offended, Marco tells her she must remain in Italy if she is to be his wife. She finds herself unable to give him the answer he wants, so he leaves her. [2]
According to de Hirsch, the film is about the girls' "restlessness and personal involvements in assuming the role of woman as hunter." [3]
Part scripted and part improvised, the film was loosely based on a poem written by de Hirsch and on her own experiences. [4] It was shot on location in Rome using a hand-held 16mm camera, and post-dubbed; the technical quality is crude. [1] Aural masking effects are occasionally used as a counterpoint to the visuals. [5] The total cost of production was $20,000. [4]
It is available for rental from the Film-makers' Cooperative in 16mm format. [3]
Cast:
Also:
Crew:
De Hirsch's husband, Louis Brigante, served as associate director. [2]
The film debuted at the Cannes Film Festival in Spring 1964. It was screened at the Locarno International Film Festival in Switzerland that summer, and at the Vancouver International Film Festival in 1966. [6] Its first screening in the U.S. was in New York City on May 27, 1965. Originally released in 16mm, it was later converted to 35mm. [2]
Response to Goodbye in the Mirror has been mixed. It was criticized as uneven and overlong in a Variety review, and is characterized as "disappointing" in de Hirsch's biography by Cecile Starr. [4] By contrast, Jonas Mekas said after seeing the film, "I couldn't believe what beauty struck my eyes, what sensuousness," [5] and Gregory Markopoulos was impressed with its "visual wisdom." [7] Wheeler Winston Dixon called the film "superb" in his profile of de Hirsch, [1] and in a later article, wrote, "This transcendent and ambitious narrative film is only one example of early Feminist cinema that led to the later work of Yvonne Rainer, Jane Campion, Sally Potter, Julie Dash and others." [6] Gwendolyn Audrey Foster called it "mesmerizing" and "a visual feast of experimentation" in her book on women film directors, and compared its visual effects to those of MTV. [5]
In a discussion with de Hirsch on gender and art, Shirley Clarke called Goodbye in the Mirror the first "real woman's film" [8] and noted:
In other words, for some reason, even so far, women film-makers have yet to deal with the subject of women. That usually, for instance, Varda's heroes are men. Her women may or may not be what brings them to their salvation, or whatever. In Zetterling's film, the women may be the enemy or the devil or the one who gets everything going. But so far in film, we have yet to have treated on the most basic level, very personal reactions of women. Because so far, we've had mostly men directors who, whether they've been very sensitive or not, have not really been able to deal with women this way. Just like when they write about women, they're writing from a certain separateness. Goodbye in the Mirror is dealing with women. And women's reactions to a series of events. [8]
Berenice Alice Abbott was an American photographer best known for her portraits of cultural figures of the interwar period, New York City photographs of architecture and urban design of the 1930s, and science interpretation of the 1940s to the 1960s.
An underground film is a film that is out of the mainstream either in its style, genre or financing.
Gwendolyn Margaret MacEwen was a Canadian poet and novelist. A "sophisticated, wide-ranging and thoughtful writer," she published more than 20 books in her life. "A sense of magic and mystery from her own interests in the Gnostics, Ancient Egypt and magic itself, and from her wonderment at life and death, makes her writing unique.... She's still regarded by most as one of the best Canadian poets."
BolexInternational S. A. is a Swiss manufacturer of motion picture cameras based in Yverdon located in Canton of Vaud, the most notable products of which are in the 16 mm and Super 16 mm formats. Originally Bol, the company was founded in 1925 by Charles Haccius and Jacques Bogopolsky, the company's name having been derived from Bogopolsky's name. In 1923 he presented the Cinégraphe Bol at the Geneva fair, a reversible apparatus for taking, printing, and projecting pictures on 35 mm film. He later designed a camera for Alpa of Ballaigues in the late 1930s.
Wheeler Winston Dixon is an American filmmaker and scholar. He is an expert on film history, theory and criticism. His scholarship has particular emphasis on François Truffaut, Jean-Luc Godard, American experimental cinema and horror films. He has written extensively on numerous aspects of film, including his books A Short History of Film and A History of Horror. From 1999 through the end of 2014, he was co-editor, along with Gwendolyn Audrey Foster, of the Quarterly Review of Film and Video. He is regarded as a top reviewer of films. In addition, he is notable as an experimental American filmmaker with films made over several decades, and the Museum of Modern Art exhibited his works in 2003. He taught at Rutgers University, The New School in New York, the University of Amsterdam in the Netherlands, and as of May 2020, is the James E. Ryan professor emeritus of film studies at the University of Nebraska in Lincoln.
Gwendolyn Audrey Foster is an experimental filmmaker, artist and author. She is Willa Cather Professor Emerita in Film Studies. Her work has focused on gender, race, ecofeminism, queer sexuality, eco-theory, and class studies. From 1999 through the end of 2014, she was co-editor along with Wheeler Winston Dixon of the Quarterly Review of Film and Video. In 2016, she was named Willa Cather Endowed Professor of English at the University of Nebraska at Lincoln and took early retirement in 2020.
Mary Ellen Bute was a pioneer American film animator, producer, and director. She was one of the first female experimental filmmakers, and was the creator of some of the first electronically generated film images. Her specialty was visual music; while working in New York City between 1934 and 1958, Bute made fourteen short abstract musical films. Many of these were seen in regular movie theaters, such as Radio City Music Hall, usually preceding a prestigious film. Several of her abstract films were part of her Seeing Sound series.
Warren Sonbert was an American experimental filmmaker whose work of nearly three decades began in New York in the mid-1960s, and continued in San Francisco throughout the second half of his life. Known for the exuberant imagery of films such as Carriage Trade and especially for their intricate and innovative editing, he has been described as "the supreme Romantic diarist of the cinema" as well as "both a probing and playful artist and a keen intellect reveling in the interplay between all the creative arts."
Ann Smyrner was a Danish actress who was active in the 1960s in Italy, the United States, Austria and West Germany. She played in adventure, comedy, science fiction, crime, and horror movies, among which are the Sidney Pink science fiction movies Reptilicus and Journey to the Seventh Planet.
Amy Taubin is an American author and film critic. She is a contributing editor for two prominent film magazines, the British Sight & Sound and the American Film Comment. She has also written regularly for the SoHo Weekly News, The Village Voice, The Millennium Film Journal, and Artforum, and used to be curator of video and film at the non-profit experimental performance space The Kitchen.
Storm de Hirsch (1912–2000) was an American poet and filmmaker. She was a key figure in the New York avant-garde film scene of the 1960s, and one of the founding members of the Film-Makers' Cooperative. Although often overlooked by historians, in recent years she has been recognized as a pioneer of underground cinema.
The Film-Makers' Cooperative is an artist-run, non-profit organization founded in 1961 in New York City by Jonas Mekas, Andy Warhol, Shirley Clarke, Stan Brakhage, Jack Smith, Lionel Rogosin, Gregory Markopoulos, Lloyd Michael Williams, and other filmmakers, for the distribution, education, and exhibition of avant-garde films and alternative media.
Babette Mangolte is a French cinematographer, film director, and photographer who has lived and worked in the United States since 1970.
Moms' Night Out is a 2014 American faith-based comedy film directed by the Erwin Brothers, and written by Jon Erwin and Andrea Gyertson Nasfell. The film stars Sarah Drew, Sean Astin, Patricia Heaton, and Trace Adkins. The film was released on May 9, 2014, in 1,044 theaters. The movie centers on three moms attempting to get away and have a nice night out together and the pandemonium that ensues as everyone's plans go awry. The film was shot in Birmingham, Alabama, and, though it experienced an overall negative reception, grossed $10.5 million.
Sarah Pucill is a London-based film artist. Her work is distributed by LUX, London and LightCone, Paris. She is a Reader at University of Westminster. Central to her work is "a concern with mortality and the materiality of the filmmaking process". Much of her work appears within the restrictions of domestic spaces. In her "explorations of the animate and inanimate, her work probes a journey between mirror and surface".
Peyote Queen is an experimental short film by Storm de Hirsch, produced in 1965.
Marianne Hirsch is the William Peterfield Trent Professor of English and Comparative Literature at Columbia University and Professor in the Institute for Research on Women, Gender, and Sexuality.
Four Women is a 1975 short experimental film produced and directed by Julie Dash featuring music by Nina Simone.
Cecile Starr was an American filmmaker, educator and author who taught and wrote about moving pictures.