XIXAX Film Forum


godardian · 3 · 1070

0 Members and 1 Guest are viewing this topic.


  • The Master of Two Worlds
  • *****
    • Posts: 3733
    • Trappings
on: May 23, 2003, 08:55:25 PM
So I'm getting ready to watch The Horse's Mouth on DVD, and I'm made aware that upon the film's first run, they showed a short beforehand: D.A. Pennebaker's Daybreak Express, which is included on the DVD. This was apparently Pennebaker's first film. It's about 5 minutes, set to Duke Ellington's music, and was shot from the 3rd Street El in NYC before they tore it down.

It's fucking gorgeous.

Any fan of Terence Malick, David Gordon Green, Lynne Ramsay, etc, should find a way to see it like, yesterday.

Has anyone else had this experience?

The only other Pennebaker film I've seen is Depeche Mode 101, but now I feel inspired to seek out more of his stuff. Any recommendations?
""Money doesn't come into it. It never has. I do what I do because it's all that I am." - Morrissey

"Lacan stressed more and more in his work the power and organizing principle of the symbolic, understood as the networks, social, cultural, and linguistic, into which a child is born. These precede the birth of a child, which is why Lacan can say that language is there from before the actual moment of birth. It is there in the social structures which are at play in the family and, of course, in the ideals, goals, and histories of the parents. This world of language can hardly be grasped by the newborn and yet it will act on the whole of the child's existence."

Stay informed on protecting your freedom of speech and civil rights.


  • The Vision Quest
  • **
    • Posts: 290
Reply #1 on: May 23, 2003, 11:22:15 PM
yep, beautiful use of color and silhouettes.  i didn't know it was on the dvd when i rented it so it was a nice surprise for me.


  • The Ultimate Boon
  • ***
    • Posts: 579
  • 'change your hair, change your life'
    • portfolio ~
Reply #2 on: August 28, 2019, 06:06:30 PM
Never really gone, Pennebaker changed the way cinema engages with artifice.

A Few Riffs on Penny

Pennebaker’s most daring and powerful moments come when he is not content to merely observe phenomena but transgresses the strictures of documentary, finding within the shot jarring, poetic counterpoints to the subject he’s filming. Direct Cinema proposed a visual language perfectly suited to reflecting the accelerated, mass-mediated landscape of the latter part of the twentieth century. Within that genre, Pennebaker’s films, as director Martin Scorsese said of them, take us places we have never gone before “factually, cinematically, and poetically.” There’s immediate parity between the radicality of Pennebaker’s camera work and what he’s capturing.