director Tinto Brass
The 1960’s and early 1970’s were radical times, in the world, and in the cinema. “Avant-garde” may have been a recycled term to describe a lot of what was coming out influenced by the French New Wave and further radicalization, but challenging times made for challenging films, and particularly, films that challenged cinema, meaning, and all things status quo.
Though Tinto Brass is often described as avant-garde, as is his 1969 film Attraction, I found myself questioning its rigor.
Anita Sanders is a young woman about town (the town being London), and the film is arguably all her perspective, her looking (voyeurism and desire) and interior images from her mind and impressions. It’s about sex and sexuality, sure, but also Vietnam, advertising, art, race, violence, all to the decidedly psychedelic groove of Freedom (the band).
For my money, the success level of Attraction‘s avant-garde-ness is moderate. I’m thinking of other films of the era that I’ve seen that were more radical and challengeing. Take a lot of Godard, but more specifically Věra Chytilová’s Daisies (1966), Jaromil Jireš’s Valerie and Her Week of Wonders (1970), Dušan Makavejev’s W.R.: Mysteries of the Organism (1971), and to some extent as well, Marco Ferreri’s Dillinger Is Dead (1969).
I don’t know. I’ll see how it sits. It’s cool but not too cool.