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| CATEGORY: | Video |
| DIRECTOR: | Chris Marker |
| THEATRICAL RELEASE DATE: | 01 January, 1982 |
| MANUFACTURER: | New Yorker Films |
| MPAA RATING: | NR (Not Rated) |
| FEATURES: | Color, Widescreen, NTSC |
| TYPE: | Feature Film-drama |
| MEDIA: | VHS Tape |
| # OF MEDIA: | 1 |
| UPC: | 717119373337 |
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Customer Reviews of Sans Soleil
conceptually inadequate First, a caveat: I am a pretentious ex-art student, constitutionally guilty of intellectual snobbery. So you might think this kind of thing would be my cup of tea. But it's actually directionless drivel, and it bored me to tears. The problem is that Marker isn't as good as he, or everyone else, thinks he is. The images are cliches, as is the dreadful pseudo-philosophical monologue. It really couldn't be parodied - this is the acme of a bad bad bad art film. That goes for 'La Jetee', too.
A cine-voyager's encyclopaedia, one to quicken the heart.
The following comment is merely the equivalent of those travel brochures that encourge you to visit foreign places. To tell you what I thought and felt about 'Sans Soleil' would be as meaningless as somebody returning from a holiday to Majorca and eulogising their suntan. 'Sans Soleil' is a journey everyone must undertake for themselves. One (mental) health warning, though: the journey is endless - once taken, you can never go 'home' again.
Because 'Sans Soleil' IS a journey. It is a journey around the world, through the letters of Sandor Krasna accompanying the footage shot in the places he visited: a town in Iceland soon to be swallowed up by a volcano; a beach on the North African coast where stray dogs congregate; the Ile de France, unexpected home to emus; the jungles of Guinea-Bissau; but mostly Japan, whose every facet and contradiction Krasna obsessively chronicles - its devouring modernity, in the shape of skyscrapers, department stores and pioneering electronics, co-existing with the residues of ancient rites, be they propitiatory ceremonies on the site of a new building, the many shrines devoted to animals, or the New Year festivities for girls entering womanhood. He considers Japanese popular culture, TV, comics, computer games, music, dancing, horror movies; or the bizarre absorption of Western iconography, from JFK to the Pope.
'Sans Soleil' is also, therefore, a journey in time, from the barely marked prehistory of an African desert to the 11th century journal of a Japanese maid-of-honour, to the violent political struggles in the Third World in the 1960s, to a proposed synopsis for a sci-fi film set in 4001, in which a man visits our time, from a culture that has lost the art of forgetting, to our post-modern world that has lost memory.
It is a journey through the mind of a man, Sandor Krasna, whose observations and speculations over a diverse range of material reaches dizzying speculative and metaphysical heights. Taking his cue from something purely local, he conjures dazzling philosophical constructs, that never become pompous or inaccessible, but magically galvanise what is hidden behind or ignored in the everyday. What is more liberating is that the journey into his mind is a journey into our own. Everything he observes on film is recorded verbally in his letters - this might seem redundant, but it encourages us to extract our own speculations and naratives from the same material, filling in gaps, or taking ideas from a different angle.
Above all, 'Sans Soleil' is a journey through the possibilities of film. It is ostensibly a documentary, a series of recorded images of poeple, places and events as they actually happened. But they are part of a fictional construct, the letters of a fictional filmmaker. Their integrity as documentary images are qualified by experiments on the soundtrack, by distotions of their texture, and by computerised manipulation. In any case, 'Sans Soleil', like most Marker films, is what Pasolini called a 'polluted' text; already distanced by the persona of Krasna, Marker's own footage is supplemented by a bewildering mass of found film, documents taken from their original contexts reimagined in a new collage. Even the 'staight' documentary soon becomes a springboard for vertiginous speculation, attesting to Krasna's desire to privilege non-being as much as being, such as the sequence where the presumed thoughts and dreams of weary rail commuters synchronise with Krasna's own oneiric ruminations. Marker's thoughts on life, death, memory, time(s), history, dreams, resurrections, reincarnation, delusion, men, women, desire, city, war, politics, water, ritual, space, travel, creation etc., culminate in the best-ever exegesis of the world's greatest film, and Marker's holy grail, Hitchcock's 'Vertigo'.
An interesting video
This is a very interesting video. I live in Japan and the traveller notices and is fascinated with everything I take for granted, for example, the January light.