The Early Films Of Peter Greenaway - Part 2

DVD Extras

• Galleries of artworks and archives
• introductions to films by Greenaway
• hidden features.

Film Details

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Star Review

These eight films made prior to The Draughtsman’s Contract (itself due for an early 2004 release), give a welcome base on which to appraise the work of this incessantly inventive filmmaker. Provocative, perverse and sometimes infuriating, the aesthetic of these films is drawn from the realms of the painted image instead of cinema. Greenaway’s early ambitions were ‘to make every film-image as self-sufficient as a painting’. Add to this his desire to make films that foreground the artifice of cinema instead of ignoring it, and that are structured around lists and cataloguing devices and you have the ingredients for a body of work that seeks to extend the range of cinema from its own sometimes hidebound constrictions.
Water Wrackets is brilliantly inventive spoof anthropology. Obviously written by somebody in love with the sound of language, the film shows how persuasive even improbable words can be when allied with images. It is also a homage to the beauty of moving water. H is for House allies the absurdity of the alphabet, ‘wherever else in any epistemological collection can you put happiness, hysterectomy, His Holiness, heaven and hell?’ with a charming home-movie. Vertical Features Remake is a mocking comment on academic in-fighting as a number of theoreticians attempt to reconstruct an uncompleted film by Tulse Luper (an early appearance). It is also a celebration along with the previous two films of the countryside of England and Wales. All are in the tradition of landscape painting as much as anything else.
Greenaway’s own introductions to the films are illuminating – who would have guessed that Windows, a short film on defenestration, has at its root a comment on apartheid? Intervals is a short film edited to rigorous requirements and replayed with different soundtracks. Filmed in Venice, it does all it can to deny the existence of water. Dear Phone presents a number of stories intercut with images of red telephone boxes and is an extreme example of Greenaway’s contention that most cinema is nothing but filmed text. Here it is literally the case. A Walk Through H is a complex look at cartography based around 92 hand-painted maps that supply the visual content of the film and which guide us through the journey of an ornithologist from this world to the next. The Falls, the longest film of the period, is ‘a total travesty of the documentary tradition’. It portrays the biographies of 92 people whose surnames all begin with ‘Fall’ after a Violent Unknown Event has left them speaking in invented languages, pretending they are birds and dreaming of flight and water. It is a packed catalogue of techniques, ideas and subversion. A number of the films are aided by Colin Cantlie’s wryly authorative commentaries and fittingly matched by music from Michael Nyman. Greenaway’s films have since flowered into more baroque and extravagant examinations of his interests, but all the subjects associated with his later cinema are here present.

Graeme Hobbs on 21st October 2003

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Film Description

Features Vertical Features Remake and The Falls, the first a playful parody of avant-garde theorising, the second 'a total travesty of the documentary tradition' (Greenaway) that is divided into 92 biographies of people affected by the VUE or 'Violent Unknown Event'. As a cataloguer of the deadpan bizarre, Greenaway is without equal.

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