The first picture of the film shows the director’s desk at a window in his home in Jerusalem. The next enigmatic, black-and-white picture of a tall prison cell wall with light from above is from the film The Last Judgement, shot by Frank in 1987. This symbolic picture represents the entire idea behind the creation of Flashback, a film that took Herz Frank three years to make. Or perhaps ‘come to grips with’ would be more fitting. He is the man in the cell, on his way to leaving life. ‘Have I sinned?’ he asks. This film is a ‘dreamlike flight to the past,’ as the director put it when he screened the film for colleagues at “European Storytellers” in Stockholm.
But the film was prompted by quite a different story, as he states in the first part that opens with a warm, generous tribute to Juris Podnieks. Full of sadness, he looks at Podnieks’ face and then creates a parallel to the film that more than any has made the name Herz Frank part of the history of documentary film with Ten Minutes Older from 1978. Juris Podnieks was the cinematographer of this film classic, a ten-minute, uncut sequence studying the faces of a boy and other children as they watch a puppet theatre performance. In Flashback, Frank shows ten seconds of Juris Podnieks’ face – a sequence filmed in January 1991, one week after the Soviet Army’s black brigade had gunned down two of his cameramen in a park in Riga. Frank looks at the face of a man filled with pain. A man who one week before had held his dying cameraman, Andris Slapins, in his arms. A ten-second look at a man who himself died one year later in a tragic drowning accident. The student, who became synonymous with Perestroika filmmaking, died before his teacher.
Ten Minutes Older is the starting point of Flashback, made over a three year period, from 1999 to 2002. It started as a film project in a more classic sense: Frank wanted to see what had happened to the boy who had been watching the puppet theatre. He discovered that he had turned into an (excellent) gambler and bridge player – and some twenty years later, Frank was in Prague filming him playing in a tournament. He saw that he still bites his lower lip when he concentrates, but that he has also managed to evoke a smile when Frank took him and his parents to the cinema to watch the twenty-year-old Ten Minutes Older. Paradoxically, this boy had chosen a profession where you are not allowed to show your emotions!
Frank’s own life made him change the whole idea of the film. His beloved wife Ira contracted a terminal illness, and he himself had to undergo major heart surgery. He was no longer capable of continuing to take a genuine interest in other people’s lives and decided to turn the camera around and point it at himself and his life as a filmmaker. From that point on, Flashback becomes a very personal film, a synthesis of themes permeating a long career, and a synthesis of his own life during a period of time when he lost his wife: vignettes reflecting on life and death with himself in the picture and with clips from his films that demonstrate his exquisite sense of style and precision.
The film becomes autobiographical, as he exploits photos from his private archives to the utmost, even inviting the audience to attend (literally) his heart surgery; it never seems private, but always personal.
To the Heart
The film revolves round the hospital scene. Frank lies in his bed prepared for surgery; he introduces the doctors who have prolonged his life and the gentle nurse, one of many women who have taken care of him through a long life. He comments from a prone position, and the camera documents in detail how the operation proceeds. It is quite painful to watch as the director is cut open so the doctors can work on him. The director knows this, so he inserts a shocking metaphor to make us relax (!): the sequence from The Awakening about the sculptor who created a work on Eisenstein. The sculptor, a big man, carves a trunk with a saw that resembles the surgical instruments.
This long sequence is about how to get through to the heart, or soul, that has been the director’s aim throughout his professional career. In his opinion, this mission resembles the work of the surgeons who struggle to get to the core of the matter. In this film, too, Herz Frank demonstrates his masterful skill of filming faces. “Old people have everything written on their faces,” he says showing clips from The Last Celebration (1980) about Kaulins, the head of a collective farm who believed in the socialist idea. He reads the face of this man, as he reads the face of the boy watching the puppet theatre, the same grown up person playing bridge, or himself ’the lucky sad one’ as he is photographed by his father, whose photographer career he has carried on.
A Love Story
“Maybe I was quite hard-hearted,” he says recalling his life with Ira, the main character and clearest recurring theme in Flashback. Full of melancholy, the love story between Ira and him unfolds. He does not film her, apart from once when the snow is falling in Jerusalem, but he cannot refrain from taking photos of his wife in her bed as the end of her life draws near. He says he is sinning by taking these pictures, but he does so with the affection of a husband who is not only a great filmmaker, but who has also taken still photos throughout his life. And he makes the pictures universal and poetic as he films still photos and tilts to her hands stretching to the ceiling in the bed. He also shows us photos of Ira when they were younger and she wanted to become a clown.
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