Munich: Peter-Presse / Atlas Films, 1965. Original 1965 German A1 poster for the 1963 US film. Designed by Heinz Edelman
From the collection of noted film historian Amos Vogel. Full provenance available.
An iconoclastic, utterly American underground film best understood by way of the reactions it receives from viewers outside the US. Time Out Guide notes: "a highpoint from the ‘innocent’ years of American underground cinema, and something of an enduring delight for real film buffs. Mekas’ comedy starts from an enthusiastic parody of French ‘new wave’ concepts like using two actresses to play one character, and manages to go on to incorporate references (part satire, part homage) to what seems like every other branch of cinema extant ... from samurai movies to Chaplinesque slapstick...hitting the intended tone between love and skepticism."
Jean-Luc Godard: "Next to the two big shots of the New York School, Clarke and Cassavetes, [Mekas] seemed a poor relative, especially since people got him confused with his brother [Jonas Mekas]. 'Hallelujah the Hills' [proves] clearly that Adolfas is someone to be reckoned with. He is a master in the field of pure invention, that is to say, in working dangerously, 'without a net. His film, made according to the good old principle, "one idea for each shot," has the lovely scent of fresh ingenuity and crafty sweetness. Physical efforts and intellectual gags are boldly put together. The slightest thing moves you and makes you laugh: a badly framed bush, a banana stuck in a pocket, a majorette in the snow. He shows life as defined by Ramuz: 'As with a dance, such pleasure to begin, a piston, a clarinet, such sorrow to be done, the head spins and night has come.'"
23 x 33 inches, non-archivally mounted on board. Light soil overall. Very Good plus overall.
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