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Text of the page (random words):
nd credits of the parallax view as consultant designer we had a meeting with don record jon boorstin recalled in our interview and we wound up going with a simpler approach much simpler than what record was going for in the meeting boorstin elaborated we had a contract with him to do the test sequence and he had a sense of what we were trying to do don found some very useful stuff he came up with the sexual stuff he found a lot of the images another document found in the pakula papers is a typewritten page summarizing an october 2 1973 meeting with record that offers a fascinating glimpse into the early phase of creating the test film in it boorstin notes that don currently tracking down pics of alcoholism drug abuse the good life incl positive whiskey stuff hitler from his contacts and library also discussed in these notes are abandoned ideas such as the possibility of shooting certain subjects ourselves to get what we need the second half of the page has columns divided into subjects in a tentative effort at structuring the test film family politics alienation under these column headers are sections that take us from domestic bliss americana loneliness to the swinging life adulation of political heroes alcoholism and drugs to raw sex riot and assassination corpses and violence the notes state that the sequence should build in menace finally boorstin adds at the bottom of the page the following directions while there are not clear cut separations between sequences balance should shift as indicated pictures should be re used as much as possible changing meaning by judicious juxtaposition and use of portions of pictures in different ways e g just hands or subtle alteration of pics boorstin also described the creative process behind the creation of the test film in his 2021 interview with criterion alan and i spent a lot of time talking about what this would be and alan s key idea was to use those title cards power father mother love and having the images evolve from being very benign to being very threatening then to being very angry and vengeful alan did a brilliant job and i helped him with the choice of images both finding them and how to edit them and shoot them i d go down to chinatown or i d look through magazines i went to the village voice and found this picture of a bunch of guys and brought it to alan and he said yeah that s great let s use that and then we d talk about it and we d go out and find more and it was creative like that if you could say it in words you wouldn t have to show the movie and what s wonderful about this three and a half minutes is you can t say it in words the other key member of this four person group was wilson s willie hong jr who worked for don record almost until record s death in 1980 record s surviving partner lollie ortiz told me in a telephone interview that willie was don s still photographer and cinematographer and he used him all the time boorstin recalled in his interview with me that hong shot images for the test film sequence on an animation stand i would direct him based on what alan and i had discussed according to boorstin in many cases they shot from the actual source image he told me that the careful viewer can see magazine creases in some of the images in the released film in an email boorstin added i have fond memories of evenings with him doing the shoots alan j pakula himself spoke at some length about the test film at a seminar held at the american film institute in 1974 if at times he sounds like a psychology professor it is because in his high school years he contemplated becoming a psychoanalyst according to pakula s biographer jared brown the director s interest in psychology only grew over the years it makes perfect sense of course that the parallax view test film was conceived of by a person with a deep fascination with the human psyche i worked on that for at least four months one of the reasons i m slow was one getting the pictures getting the rights to the pictures and then playing with them endless playing with slides and i d put one there and one there and i wanted to use all those mother father the most primitive kind of almost elementary school images childlike images and there was a story behind that i mean there is a story through that whole thing i tried to make it look like a couple of lovers but on the simplest level one it starts out with love and that fascinated me that you come and they test for hostility and to find a gunman or a killer s personality and the first word is love and all these happy bourgeois images and father and all the wonderful ideal fathers we ve been told we re supposed to have and country and that s just what country is supposed to be and motherhood oh god it s just perfect and everything is all as it should be and then it starts getting into what is for the person involved or might be father becomes possibly a depression figure an okie who s been hurt by society who s worked hard and has obviously been destroyed in some way many other versions of father come and mother becomes a kind of broken figure and then you go back to the start where everything s happy and the way it s supposed to be and then it comes back to what it s really like for that kind of person and honing it all down is the definition of me one s sense of one s self and it starts out with baseball players and kids on bicycles and they re all cheery what we re all supposed to think of ourselves in the best of all possible worlds totally well adjusted and wonderfully extroverted simple people and then it goes winding up with in contrast to that key figure who is the man in the prison cell actually the man in the prison cell and that hungry child on the bed and then that man in a mental cell huddled on the cot looking down the impotent passive person cut off from the world and people who are attracted to that kind of violence the kind of assassination fantasy very often there s that great fear of impotence the great fear of passivity that great fear of being destroyed by the world and then we pop back to all the people being happy and he s caught in that and there s another media image and that s superman there s the manic me that s the aggressive me as compared to the passive me and they keep coming back and you have the choice of of being one or the other you can be destroyed by the society you can be left out you can give in to your sense of impotence and wanted him to look at that cartoon figure because i wanted it to be the most infantile sense of a super hero fantasy and everything doesn t mean what it does anyway suddenly you look at those things of nazi ism swastikas you know you re playing around with george washington and suddenly there s george washington and a swastika at a nazi party rally and there s kennedy and it s like nothing s really with us anyway and it whips you out of the unfairness of this world where everybody has everything steak and meat and gold and fame and sex and love and why have i been left out but you can be superman or else you can give up and be that be destroyed you can be superman and break out and destroy and that s a happy note and make the world well again by destroying and then i played with some other things i played with the sexual guilt that kind of a man can have where there s a whole kind of oedipal thing where there s a picture of mother and suddenly there s a picture of a boy who looks like he s opening his trousers it s sort of like he s exposing himself to mother and using all the love images and using them in terms of mother and just examining one of the oedipal guilts there and then suddenly the castrating father figure leaping after him in that kind of shadow on the wall it looks like a penis shadow like it s going to destroy running after the little boy to destroy him to punish him ed note this ralph crane photograph titled a boy s escape was published in life in 1947 and then you get the cruel father figures and then the confusion of father and authority and authority being father and if you kill authority you kill father so all of those things are really examined in there and sexual confusion and the confusion of sex and violence you go from the couple making love happily and it winds up in shooting you shoot somebody and i wanted to play it to just keep whipping them up and whipping them up and whipping them up until he breaks through so the final test is for somebody taking that test do you get that excited or not do you have that kind of personality that you would get that excited and in a boston globe interview that was published at the time of the parallax view s theatrical release pakula said that he wanted to use as many familiar photographs that we ve seen in life magazine and grown up with as possible the director told the globe writer that he wanted a rootedness in american folk images he would fuss over every frame once all of the images for the test film had been selected and shot it was time for alan j pakula to work with his editor john w jack wheeler to weave all the pieces together boorstin told me that editing was pakula s very favorite part of filmmaking and that he was a very tenacious editor he would fuss over every frame boorstin described the process for me in our interview alan was with wheeler jack would cut it alan would talk with him jack would recut alan would come back rinse repeat recutting all the time wheeler s role boorstin said was realizing alan s vision adding that jack was a very good enabler boorstin also said that he himself would view cuts on a moviola with pakula and offer suggestions pakula also briefly discussed the editing process with filmmakers newsletter in 1974 i work very closely with the editor i am obsessed with that and in the parallax view more so than before in response to a question about whether he did the cutting himself during editing pakula said he did not no i ll sit at the moviola not all the time but a lot sometimes i ll stop and start in the projection room and other times at the moviola it all depends of course the stunning musical score of the test film is integral to the completed piece pakula spoke highly of composer michael small with whom he had worked on two previous films including klute during his afi seminar in 1974 and then michael came in and the music is so crucial it contributes music and sound is so important to me and i always allow room for it in making the film it must be a sound perception and in that he started out with a simple americana and then it just builds into this kind of acid rock hysteria pakula s biographer jared brown interviewed the composer not long before small s death in 2003 working on a tight deadline michael small then composed and recorded music for the sequence in a few days as he recalls i don t think alan even heard it it was just one of these magical events small told brown that he considered his entire score including the test sequence for the parallax view to be his very best it isn t exactly clear when small completed his scoring for the test sequence itself but according to lukas kendall of film score monthly the final day of soundtrack score recording was february 8 1974 the final cut of the test film that appears in the parallax view is four minutes and thirty seven seconds and comprises 342 frames from 108 still images with nine title cards the film s greatest triumph the parallax view opened on june 19 1974 in new york city and in los angeles on june 26 1974 a few critics immediately understood the singular achievement of the test film sequence while some other major reviewers like vincent canby of the new york times completely ignored it canby was generally unimpressed with the parallax view and gave it a negative review here are some quotes from critics in 1974 who were moved to write about the test sequence variety s murph wondered in his review who exactly was responsible for the dazzling five minute fast edited test sequence cinefantastique s dale winogura called the test sequence an affecting emotional manipulation and compared it to the trip in 2001 a space odyssey a direct participation experience that the protagonist goes through as well as the audience it is a classic sequence the boston globe s patrick mcgilligan described it as an extraordinary and clinical insert in an otherwise chilling movie the hollywood reporter s cynthia kirk wrote in her review that the visual test becomes the film s greatest triumph the atlantic monthly s joseph kanon called the sequence extraordinary newsweek s paul zimmerman wrote that the parallax view was a dazzling exercise in montage and melodrama the boston phoenix s janet maslin called the test sequence crucial and described it as an extraordinary series of arch american slides gordon gow in the british film magazine films filming wrote the entire indoctrination film is a satire at once disquieting and wry an incitement to the paranoia that breeds maniacal saviors in the air the parallax view test film is an original breathtaking and powerful work of filmmaking but it was not produced in a vacuum it is very much a product of its time but also bracingly fresh to most contemporary viewers the style of rapidly cut photomontage or kinestasis was percolating in film schools by the mid 1960s look at life george lucas s first student film at the university of southern california in 1965 is an example of the form that in a very basic way anticipates elements of the parallax test film but it was chuck braverman s american time capsule that really popularized the style of kinestasis the short film was first broadcast on the smothers brothers comedy hour on cbs on the sunday before the 1968 presidential election it proved to be such a hit with viewers that the show ran it again the following month braverman went on to create many other photomontage short films including the dystopian title credit sequence for soylent green which was released the year before the parallax view i reached out to braverman to ask him if he recalled what his reaction was to the test film in the parallax view when he first saw it he replied by email my reaction was that i wish i had been asked to produce the montage i enjoyed it and now plan on watching the film again as i have not seen it since it was first released there were a couple of other notable short political films that preceded parallax that have a similar thematic feel in the controversial barry goldwater campaign film choice 1964 archival clips and stills of wholesome patriotic america are juxtaposed with images of riots vice and corrupt politicians the film ends with rapidly cut clips interspersed with title cards that read choice with a white background for goldwater s republican america and a black background for lyndon johnson s democratic america the nixon now 1972 campaign commercial with a theme song by the mike curb congregation reaching out to find the way to make tomorrow a brighter day nixon now n...