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dir. Andrew Horn, 1984
72 mins. United States.
FRIDAY, FEBRUARY 14 – 7:30 PM w/actress Rosemary Moore for Q&A
(This event is $10.)
MONDAY, FEBRUARY 17 – 10 PM
SATURDAY, FEBRUARY 29 – MIDNIGHT
Made in piecemeal payments while Andrew Horn worked as a graphic artist in Koch-era Manhattan, DOOMED LOVE is a delectable hunk of sunken downtown treasure. Painter Bill Rice (SUBWAY RIDERS, THE VINEYARD) stars as Andre, an aging professor of romantic literature who decides, in the film’s doleful introductory passage, to commit suicide after losing the love of his life. Andre is tragicomically unsuccessful, but the attempt leads to a new acquaintance with a psychiatric nurse named Lois (Rosemary Moore), with whom he uncorks a kind of under-acknowledged romance of the soul. Whatever margins that once separated Andre’s work as an academic and his reasons for going on (or not) have completely dissolved; Rice’s monologues – scripted by the great playwright and longtime Horn collaborator Jim Neu – set a tone of deadpan monotony and piercing repetition.
“Life goes on, so to speak:” Horn’s vignettes from Andre and Lois’ – trapped in a state of paralyzing reverie, and newly married to Bob (Allen Frame), respectively – play against jawdropping 2-D backdrops mounted in the Lower East Side’s Millennium Film Workshop where DOOMED LOVE was filmed. Amy Sillman and Pamela Wilson’s muslin and cardboard “sets” make Horn’s film a dour-yet-sweet exercise in epic theatre buttressed by an sparkling minimalist score from Evan Lurie (of The Lounge Lizards), with original songs by Lenny Pickett. At every opportunity – but especially this month, commemorating our annual ANTI-VALENTINE’S program as well as celebrating Andy’s rich body of work – Spectacle is pleased to resuscitate this no-wave classic.
“DOOMED LOVE was my first feature film. It was made in the midst of what was then New Wave Cinema, but instead of the East Village I was taking my cues from Daniel Schmid and Werner Schroeder. I wanted to make an opera – without much knowledge of what opera was – and it became a musical. I wanted to make something mythic and only later discovered just how personal it was. I wanted it to be on a grand scale, which could only play out in a confined and artificial space. In those days we perversely wanted to alienate the audience and dare them to leave. In that I (thankfully) failed miserably.” – Andrew Horn.
PASSAGES OF TIME
dirs. Andrew Horn & Robyn Brentano, 1978
16 mins. United States.
Adapted from Carter Frank’s 1976 dance “Solo for Body and Clocks” and unforgettably performed by Jane Greengold, Horn’s first collaboration with dancer Robyn Brentano is a melancholic reverie on, well, time: how we measure it, mark it, deny is, create it and clock it. While her limbs mimic the movement of the hands on a clock, her voiceover narration leads a meditation on her own life’s relationship with time, mirrored by the clocks and contraptions along the wall behind her.
“To be aware that waking dreams it is not how to sleep, but another dream – and that the death that our flesh goes in fear of is that death which comes every night, and is called sleep. To see in a day or in a year a symbol of the days of man, and of his years, to transmute the outrage of the years into music, a murmur of voices and a symbol – to see in death, sleep, and in the sunset, a sad goal: such as poetry, which is immortal, and poor. Poetry returns like the dawn and the sunset.”
and screening with
dir. Andrew Horn, 1982
5 mins. United States.
Never before shown in public, LIEBESTODT U.S.A. is a brief vignette of the abortive first version of DOOMED LOVE, starring Susan Berman (SMITHEREENS) as Lois and Adam Macadam – star of Horn’s earlier short film ELAINE: A STORY OF LOST LOVE – as Andre. While the framing and blocking are near-exact in consistency with DOOMED LOVE, the result is a surreal (if not hallucinatory) contrast, a vision of what the movie would have felt like in the hands of two different actors.