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Robert Frank’s ONE HOUR (1990)
Commissioned by and published in Frank Films: The Film and Video Work of Robert Frank, a 2009 German retrospective catalogue published in English. You can see a few brief glimpses of the video in the fascinating recent documentary Don’t Blink — Robert Frank. It was produced by Philippe Grandrieux for French television. — J.R. “I’ve seen La chouette aveugle seven times,” Luc Moullet once wrote of Raúl Ruiz’s intractable masterpiece, “and I know a little less about the film with each viewing.” Apart from being both intractable and a masterpiece, I can’t say Robert Frank’s One Hour [also sometimes known as Sixty Minutes) has anything in common with the Ruiz film, yet what makes it a masterpiece and intractable is the same paradox: the closer I come to understanding it, the more mysterious it gets. My first look at this single-take account of Frank and actor Kevin O’Connor either walking or riding in the back of a mini-van through a few blocks of Manhattan”s Lower East Side — shot between 3:45 and 4:45 pm on July 26, 1990 — led me to interpret it as a spatial event capturing the somewhat uncanny coziness and intimacy of New York street life, the curious experience of eavesdropping involuntarily on strangers that seems an essential part of being in Manhattan, an island where so many people are crammed together that the existential challenge of everyday coexistence between them seems central to the city’s energy and excitement. Read more
Commissioned by and published in Frank Films: The Film and Video Work of Robert Frank, a 2009 German retrospective catalogue published in English. You can see a few brief glimpses of the video in the fascinating recent documentary Don’t Blink — Robert Frank. It was produced by Philippe Grandrieux for French television. — J.R.
“I’ve seen La chouette aveugle seven times,” Luc Moullet once wrote of Raúl Ruiz’s intractable masterpiece, “and I know a little less about the film with each viewing.” Apart from being both intractable and a masterpiece, I can’t say Robert Frank’s One Hour [also sometimes known as Sixty Minutes) has anything in common with the Ruiz film, yet what makes it a masterpiece and intractable is the same paradox: the closer I come to understanding it, the more mysterious it gets.
My first look at this single-take account of Frank and actor Kevin O’Connor either walking or riding in the back of a mini-van through a few blocks of Manhattan”s Lower East Side — shot between 3:45 and 4:45 pm on July 26, 1990 — led me to interpret it as a spatial event capturing the somewhat uncanny coziness and intimacy of New York street life, the curious experience of eavesdropping involuntarily on strangers that seems an essential part of being in Manhattan, an island where so many people are crammed together that the existential challenge of everyday coexistence between them seems central to the city’s energy and excitement. Read more
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