Dim Recollections - Moses und Aron

Over on the Bible Films Facebook page - which is where you should go for latest news, and other people's reviews about Bible Films (you don't have to "do" Facebook to read it!) - Peter Chattaway has posted news that Jean-Marie Straub and Danièle Huillet's 1973 adaptation of Moses und Aron was recently screened in New York. It's been a long time since I saw the film, but it's one of those films that has stuck with me if for no other reason than it's the only feature length film I've seen that is anything like it.

The film is an adaptation of Arnold Schönberg's unfinished opera, Moses und Aron. Two other versions of Schönberg's piece have been released in the last few years, neither of which I've managed to see, but both of which I am keen to see. If nothing else I feel they might help me get a better understanding of Schönberg's work to enable me to grapple with what Straub and Huillet are doing with the material.

In other words, then, Moses und Aron is not for the faint-hearted; I would class it as the least accessible film I have ever seen. Schönberg's opera is a complex exploration of how hearing God speak is an ineffable experience. It works on the interplay between Moses and Aaron. Moses is able to hear God's voice, but is unable to express what God has said correctly. Aaron on the other hand has the task of disseminating what Moses tells him for the sake of the masses. In the process much is lost, and essentially it's that which the libretto is trying to explore. What gets lost in translation?

Schönberg never finished the third act and so only his lyrics remain, which shows that even the great man never quite got a hold on his subject matter, which makes me feel a little better for never managing to write down my thoughts on watching the film. He also pioneered in the field of atonal music - which uses notes independently of the standard scales with a single central tone. This means that even the music to the opera is not easy to appreciate and enjoy.

Filming such material was never going to result in box office gold, but Straub and Huillet also have their own set of complex ideas that they wish to explore by adapting Schönberg's material. The majority of their work was, in fact, adapting established works. Indeed, the only other piece of theirs I have seen is Toute révolution est un coup de dés (Every Revolution Is a Throw of the Dice - 1977) was an adaptation of Stéphane Mallarmé's poem. I'm sure that in this day and age there are several others available to watch online, and so I should really watch more. Not to mention my need to read the two booksI have about their work.

Their style is so cinematically austere, that it makes your standard Dogme film look like Scott Pilgrim vs. the World. They use long, long shots, with very little movement. The image that is most prominent in my mind of this film is such a shot of the back of Moses head. There's also a lack of dramatic action. The focus of the film is the relationship between Moses and his brother, but there are occasional scenes with the rest of the Israelites (the chorus). But they remain stationary in the kind of rigid formation you expect from watching a choir perform live, rather than how you would expect a crowd to act - even in an opera.

The austerity has a point however: it's pushing questions about cinema's form to an extreme. As David Thomson puts it in his essay on Straub ¹.

What we think of as story is invariably the effect of a chosen way of filming. The medium is intensely decision based, and thus there has always been an abiding formal element to it.

...There is a further, inevitable kind of order in the sequence of shots within a film. And although Straub's work has alarmed audiences and been enjoyed by relatively few, it is built upon the assertion that in cinema we respond to those sequences; that composition; light, movement, and sound play upon our thoughts and feelings."

I'm not sure I fully understand that, but it's the most succinctly clear summary I have to hand!

The final act is just read out - no music exists and so in some ways the final act is less accessible for more conservative opera fans, although conversely it does mean that the film becomes a little less accessible for the average film-goer.

In Straub and Huillet's hands the opera also explores the question of word vs image, which is very in-keeping with the second commandment's ban on graven images, often understood as a ban on using images to gain a greater intellectual or spiritual understanding of God.

So that's about it really, like I said, dim recollections. There are more perceptive comments from Richard Brody at the New Yorker.

1 - David Thomson, "The New Biographical Dictionary of Film", LONDON (Little Brown), 2002, Fourth Edition, p.843.

New Moses und Aron DVD

I hadn't realised until just now that a new DVD of Schöenberg's "Moses und Aron" was released at the end of the summer last year. From looking at the Amazon blurb, it appears to be a filming of the live opera version from what I can make out, but I'm not sure whether it has audience applause or not. It was the Ruhrtriennale 2009 production that was filmed.

There is an earlier live recording of the opera but I can't quite work out from the costuming how dramatic the production is. This newer 2010 version looks to have more dramatic movement.

Hopefully this new version will be a little easier to watch than Straub and Hulliet's version. That version, which is more of a film in its own right, is a fine demonstration of ultra-formalism, which certainly has its own strengths, particularly given the themes of the opera, but it's also very though to sit through. Personally I'd be interested in seeing a version that could help me wrap my head around what Schöenberg is trying to say, which would help me understand the Straub and Hulliet film a little more.

Arnold Schoenberg Play on Radio 4

This is slightly off the beaten track for this blog, but recently I've been researching information about Arnold Schönberg, the Austrian composer who wrote the (unfinished) opera Moses und Aron. The opera was made into a film by Danièle Huillet and Jean-Marie Straub. I've also just started reading Bluma Goldstein's "Reinscribing Moses. Heine, Kafka, Freud and Schoenberg in a European Wilderness" which obviously features a chapter on the work.

So I was pleased to catch Radio 4's afternoon play on Friday which was a drama about Schoenberg's personal life c.1907-08. I've never been a huge fan of the artistic medium "Radio Play", and this one has hardly converted me, but it's worth listening to if you have some interest in Schönberg. The play can be downloaded from the BBC website.

A Couple of Relevant Obituaries - Barr and Huillet

I've heard the sad news of the deaths of two people relevant to readers of this blog.

Firstly, the death of James Barr has been widely reported amongst the biblioblogging community. He was 82. I have only read one of his books, "The Scope and Authority of the Bible", (the edition with a still from The Ten Commandments on the front), but it was one of those books which succinctly sums up the things that are intangibly somewhere in your mind, and moves you on to the next level. It was far from his most rigorously academic work, nor his most influential ("The Semantics of Biblical Language" in most people's estimation).

There are a number of obituaries floating around. I would recommend those by The Times and Tyler Williams.

Secondly, Doug Cummings's Film Journey has the news that Danièle Huillet has also died. Huillet nearly always worked in partnership with her husband Jean Marie Straub, and whilst not a well known name in general cinema terms were well respected within the more art-focussed film circles. Their ultra-formal, austere cinema was far from easy to watch, but had so much to say. As far as I'm aware they made only one film related to the bible, and adaptation of Arnold Schoenberg's Moses und Aron in 1974. It's a film that has a lot to say, but it totally off the map of most bible films. I only wish I had a better grasp of what it's about.