Shirley Hamburg

The chief spokesman for the “independent or underground film-makers” in this country is Jonas Mekas.

He resides in New York where he edits an anti-intellectual (anti-art?) rather ethereal, often pretentious magazine, FILM CULTURE.

“As long as the ‘lucidly minded’ critics will stay out with their ‘form,’ ‘content,’ ‘art,’ ‘structure, ‘ ‘clarity,’ ‘importance,’—everything will be all right, just keep them out.

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“We’ll save it in the editing.”

Though true of James Cruze, Griffith, Stroheim, this maxim was hardly any longer true of Murnau, Chaplin, and becomes irretrievable untrue with sound film. Why? Because in a film such as Eisenstein’s “October” (and still more so with “Que Viva Mexico”) editing is above all the supreme touch of direction. Elena, just as Mr. Arkadin, is a model of editing because each in its class is a model of directing.

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In adapting a bulky, densely detailed novel of seven volumes, Mai Zetterling has extricated the following schema in her movie, “Loving Couples:” her three women have in common a place and a time of arrival, the hospital, set immediately at the beginning of the film; a starting time, childhood; a central time and place, the chateau and the longest night, Midsummer. This schema orders and disorders brilliantly the destiny of the three lives in which childhoods, love affairs, childbearings correspond to one another.

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