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Rise and Walk

Elderly patients are lying in a Budapest hospital. Most have no hope of recovery, even their families have given up on them. All day long they observe as the world goes by, or they simply turn inwards. And yet hope still burns within them: from time to time they gather strength and clench their fists, or even stand up again. Instead of a simple report, director Pál Zolnay and cinematographer Elemér Ragályi recompose images of despair, illness and death, inner fortitude, playfulness and hope into lyrical film poetry.

Rise and Walk

NR 1969
Film Magazine of the Arts

"In Spring, 1963 Show Magazine called me and asked that I make a film on arts in New York. I told them, why did they want me to make it - didn't they know I was a bit unusual? ... 'We want something unusual,' they said. So I went out and made a newsreel on arts. Show people looked at the rough cut of the film and became very angry. 'But there is nothing about Show Magazine and DuPont fabrics in the movie,' they said. 'What has that to do with the arts in New York!' I said. The battle was short. The film was destroyed. Really, I have no idea what they did with it. This workprint of the first FILM MAGAZINE OF THE ARTS is the only print in existence, as far as I know." -- J.M.

Film Magazine of the Arts

9.0 1965
Primitive London

The sensational follow-up to "London in the Raw," "Primitive London" sets out to reflect society's decay through a sideshow spectacle of 1960s London depravity—and manages to outdo its predecessor. Here, we confront mods, rockers and beatniks at the Ace Café, cut some rug with obscure beat band The Zephyrs, smirk at flabby men in the sauna and goggle at sordid wife-swapping parties as we discover a pre-permissive Britain still trying to move on from the post-war depression of the 1950s.

Primitive London

5.6 1965
Face to Face: Tony Hancock

Tony Hancock engages in self-reflection, looking back at his childhood, his need to work, his health issues, and whether he could ever truly be happy. The program is believed to have played a role in his eventual downfall by amplifying his proclivity for self-criticism. During the interview, John Freeman posed probing questions about Hancock's life and career. Despite his admiration for the interviewer, Hancock seemed uneasy but responded candidly. Known for his inherent self-critical nature, it is frequently posited that this interview intensified that trait, ultimately contributing to his subsequent challenges. According to Roger, Hancock's brother, "It was the most significant misstep he ever took. I believe it all stemmed from that moment. Self-analysis - that became his undoing.

Face to Face: Tony Hancock

7.5 1960
The Columbia Revolt (Newsreel #14)

In April 1968, black and white students rebelled against the university administration, occupying five buildings, including the president's office in one of the first campus revolts of the Civil Rights/Vietnam War era. The revolt began as a protest against university expansion into neighboring communities and its role as a slum lord. After five days of student control, the administrators and trustees ordered the police to clear the buildings. What resulted was an unprecedented display of brutality and repression. Narrated by one of the student rebels, the detailed eyewitness account of this event galvanized other campus revolts around the country.

The Columbia Revolt (Newsreel #14)

6.5 1968
Byc

Marian Marzyński's documentary is a recording of circus artists' rehearsals. The director manages to show not only the physical effort of the acrobats, but, above all, their emotions and their striving for perfection and struggle with their own limitations. The camera focuses especially on the partnerships of the athletes working in pairs. It shows their interdependence on the way to the best possible performance of the trained acrobatic routine, based on the precise delineation of roles and mutual trust.

Byc

9.0 1967