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Beanstalk
a film by
g r o o v y f i l m s . b i z
Written, Directed
Photographed,
and Edited by
J o h n H a r t m a n
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 Beanstalk screened at the Bug Theatre and, in my estimation, was very well
received. In fact, the feedback seemed to substantiate that Beanstalk is
my finest work to date, and I hope that's the case as it's my new favorite groovyfilm. I have submitted the film to at least seven film festivals and
if one festival would select the film, I would consider doing a sequel to
Beanstalk. I give great thanks to the cast and crew!
Trevor (Beanstalk, himself), is not by profession, a
performance artist. Yet, he performed splendidly in the film. Trevor reminds me
of the somnambulist in The Cabinet of Dr. Caligari, the first
major German expressionistic film from 1919. I doubt there is more than a
handful of actors in the world that could have replaced the striking
figure that he is.
XZanthia, the secret toy, seems born to such roles,
and is the finest performance artist I can think of. She really goes the
distance. As a semi-famous actor, singer and model, I'm fortunate to have
the likes of her in so many of my films. XZanthia is the one soul that
appears to "breathe" filmmaking as a visual art.
Julia, the lovely toy, was a real plus. One: I think the camera loves her.
Two: of all the cast, she appeared more as a figure straight out of the
silent film era. Hence, Julia added a much needed component to the film.
She performed well as a lovely/shy toy because she actually was lovely and
shy under the scrutiny of the rolling camera = genuine performance.
With such a cast and crew, vision, and luck/good karma,
Beanstalk came
into being. The cast was essential, but so was the producer of the film,
Zee Zarbock. I had no wheels, location permit savvy, or financial support
to have pulled it off. Moreover, most of the New England footage would
have been impossible without Zee as producer and cinematographer.
Plus, for once, I was blessed with enough of a
vision to have written a story around Beanstalk that most folks not only
seem to enjoy, but actually seem to understand as well!
Perhaps the film was "written in the stars." If so, I am grateful.
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Beanstalk screened at the OPUS Fantasy
Arts Indie Film Festival in May 2007. |
Click here for
more still images! Comments, click
HERE
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Beanstalk/GROOVY SILENT FILM
Thursday, January 11, 2007
Current mood:
artistic
Category:
Movies, TV, Celebrities
BEAN STALK
Bean Stalk
describes my current direction in film: Post World War I German
Expressionism. Why? That era has been explored already. True,
however, German Expressionistic film (through modern filmmakers) may yet
produce effects which the artists themselves, in the midst of their own
movement, did not cover but might had, were the movement to have lasted
longer.
German
Expressionistic film was largely halted due to Germany's economic issues of
the time. So, I hope to pay homage to the cinematic era closest to my heart
by expanding on that art form, which basically only lasted 5 years,
(1919-1924) although expressionistic components have continued to influence
cinema.
Bean Stalk is
the first real (should I say reel) attempt to express my soul through this
art form, although I have added elements of German Expressionism in many of
my short films.
I hope to make more
expressionistic films in Bulgaria and/or
New England; where castles, monasteries,
light-houses, cemeteries, forts, and gypsy villages may be incorporated,
paying homage to an atmosphere true to the magnificent sets as seen in
Nosferatu, Cabinet of Dr. Calligari, Metropolis, Golem, and Wax Works.
More to come, I
hope. Peace, John
7-24-06
GROOVY UPDATE:
Beanstalk has been edited to satisfaction and is about to premier, be
released on dvd, groovyfilms website and myspace. Ahhhh. John. 1-11-07
additional writing from:
http://silentmoviemonsters.tripod.com/germanexpressionism.htmlExpressionism
German Expressionism in filmstill
carries more similarities to the Universal Monsters than modern horror films
do. For the most part, modern horror doesn't seek answers: it declares there
to be no answers, and proceeds to prove it by ripping everyone to strips. In
Expressionist films, there is usually some kind of reconciliation, whether
Nosferatu is destroyed, the workers freed, or a stake driven through the
Vampyr's heart. The world may still be confusing, but some answers are
found. The artistic design of German Expressionism teeters on the brink of
archetype and stereotype. Common features include a high contrast between
light and dark shading, eccentric (and often highly angular) set designs,
dream-like haziness, and eerie or horrifying characters. The whole process
is meant to involve the viewer in the landscape of the characters' (and by
extension the artists') minds. Expressionist artistic conventions have gone
on to influence horror culture ever since, including ample use in
Universal's Son of Frankenstein, Orson Welles' and Tim Burton's
pictures, and the Gothic subculture. Expressionism also played a huge part
in the genesis of Film Noir.
More...
German Expressionist Cinema 1919-1933
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