christy-1960

In a world of high budget thin films this is refreshingly robust if you take the trouble to engage. The four leads do Stirling work in an atmospheric quiet film which avoids cliche. The whole is a metaphor for the generational procession of society. Thoroughly enjoyed thisin a similar way to my enjoyment of , say, Midnight Special it Take Shelter.

I thoroughly enjoyed this film. Remembering that the film was first Proposed in 1970 and came into being in 1974, it is not really the hippy trip some suggest. Caught in the haitus between old and new cinema it attempts to explore the story of the passion through an impressionistic approach. The gender reversals are brave but work in the context of burgeoning feminism. Sandra Locke is as mysterious as she is effective, the three Mary's, here played by men are far more than they appear, and the dialogue whilst sparse is weighty. The production owes a lot to the late sixties populist style of say the Beatles films but also points forward to the work of Derek Jarman and Peter Greenaway. It is a shame that these early 70s films are judged on their ( deliberate) failure to conform rather than on their contemporary achievements. The much bigger budget filming of Jesus Christ Superstar, or the tangled rhetoric of Zabriski Point, are more accessible but fail to communicate in the same way that Suzanne does. As an exploration of innocence cynicism and faith I thought it worked well. The second theme behind the film is the nature of film making itself. Director as creator, divine in the created world. When the discussion of the eternity of the soul unfolds the contemporary flirtation with reincarnation is more a reflection of the directors role travelling between the lives he creates, than a simple populist diversion. Naive this might be, pretentious it is not.