The Mysteries of the Chateau de De

This is one of the more watchable efforts from the Kino "Avant-Garde" set (no mean feat, really, given the excess of triviality on display!), if essentially due to its intrinsic weirdness. It is bookended by shots of mannequins holding a pair of dice: whether these 'pull the strings' with respect to the remaining 'plot', where characters' actions seem to be determined by whether they decide to play the game or not, remains – given the film's title – its biggest mystery to this viewer!

Apparently, one of the two protagonists who go to a country villa and have a run of the place for 2 days (since it is uninhabited), is the director himself…but it is hard to tell due to the fact that all the characters wear tights over their heads, completely obscuring their facial features! Eventually, two new figures enter the proceedings – they dance a little (negative exposition takes over briefly at this point) and stumble upon the dice…effectively bringing things full-circle and, thus, back to where we came in!

Before viewing the excellent Herzog/Kinski team-up Woyzeck (1979-also reviewed) I decided to catch a French film from 1929. Checking the titles I had from the year,I got set to uncover the mysteries of the chateau.

View on the film:

Made as the "Silent" era of cinema was fading out,co-cinematographer/(with Jacques-Andre Boiffard )writer/director/ lead star Man Ray closely works with Boiffard in making the bulky, heavy cameras of the era move with a fluidity pointing towards the French New Wave,from Ray & Boiffard driving round with a camera gazing out towards the real streets of Paris, to whip-pans round the empty home.

Originally released as part of a double bill that played with Un Chien Andalou (1929-also reviewed) (what a screening that must have been!) Ray dips the playful camera moves with striking Dada surrealism, spinning in close-ups of faceless figures taking a role of the dice to solve the mysteries of the Chateau de De.

Man Ray. He's a Dadaist. "De" in French means dice. Dice are a symbol of Dadaism. That's about the only "reason" behind this film, which of course is funny because Dadaism is about antireason to a degree. But really that's all there is in terms of explanation. In terms of imagery, that's what this movie is for.

It's vastly different from Ray's other works in that it is the exact opposite of the spinning light. Instead, it's very straight and measured shadow. The rapid movement one can get used to in Ray's work is replaced with very static and slow imagery and camera movement. Even the in theory lively movement of the... people... gets pretty slow.

Experimental, interesting, and without reason. If that's what you like, this is what you'll like.

--PolarisDiB

Upon completing the final edit of "Un Chien Andalou," Dali and Bunuel was at a lost what to do with it. It just so happened photographer Man Ray was introduced to Bunuel when he had just finished his "The Mysteries of the Chateau de De." Ray was looking for a second experimental movie to complement his film in an evening's showing. When he saw "Un Chinese Andalou," he arranged the Paris movie house to show the two movies back-to-back.

Man Ray, who produced experimental films in the past, secured funding from France's generous patron of arts, Vicomte de Noailles and his wife Marie-Laure. For props, Man Ray used a pair of dice and six pairs of silk stockings to be placed over the heads of his 'actors." The movie begins with two people tossing the dice to see if they should journey to the south of France to visit the Vicomte mansion. Ray based the film on Mallarme poem's 'A Throw of the Dice can Never do Away with Chance.' The pair drive down to the vacation home where clips of four guests swimming are shown. The host and patron to Man's work, Marie, is filmed in some clever underwater shots. The 24-minute film allows Ray to demonstrate his famous Rayographs, where he placed objects on photosensitive paper and exposed them to light. This was the final movie Man Ray ever produced, making this short one of cinema's more prized surrealistic experiments.

What happens if one gives a dadaist a camera, a modernist château, the cooperation of the patrons and château-owners, and friends? A pastiche of shaky travel images, poetic intertitles, absurd images of people with no faces (stockings or masks), inexplicable action, recurring episodes of dice-rolling, swimming in the handsome pool, exercise, and interiors. Footage cobbled together. Some good puns (piscinema) and such, but mostly tedious, full of dark, inexpert photography, obscure poetic tags, and gratuitous absurdity—much like a the work of a pretentious art-school person with his or her first camera and some film stock to shoot. Still, it's probably one of the first of such things, and thus has a place in film history.