Word: julius
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Dates: during 1970-1979
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...record the conversation or take notes, but later felt compelled to reconstruct their conversation. Writes Malraux in his preface: "With surprise I found out that we know of no dialogue between a great historical figure and a great artist-painter, writer, musician. We have no better knowledge of Julius II's dialogues with Michelangelo than of their loud quarreling. Nor of those between Alexander the Great and the philosophers. We are astonished that Voltaire did not report his with Frederick the Great...
Frank describes his film Me and My Brother thus: The world of which I am a part includes Julius Orlovskv. Julius is a catatonic, a silent man; he is released from a state institution in the care of his brother Peter. Sounds and images pass him and no reaction comes from him. In the course of the film he becomes like all the other people in front of my camera - an actor. At times most of us are silently acting because it would be too painful not to act and too cruel to talk of the truth which exists...
...first main sequence Julius enters a room in which the cameras are filming Peter making it with another homosexual for a skinflick. As Julius (Chaikin) watches, we see him recoil. The grating voice of the man behind the camera tries to sell him: Come around again, it's not so bad, Love can't be bad, ch Julius? The man behind the camera promises to show Julius the film. You'll be in the movies, Julius, big... up on the screen. The movie is a prostituting medium and Julius r?i?cts it; he refuses to become an actor...
Peter treats Julius cruelly ("Yer a god damn creep, that's what you are!") throughout the film. People in the Carpenter Center audience who were familiar with the catatonic conditions were shocked. Catatonics know what is going on around them, they are driven deeper into their condition by the reaction of those around them. They are speechless, often, and retreat into a totally noncommunicative state eventually, depending on their environment. And as we see the film progress, there are many instances in which the camera itself is a very threatening presence to the real Julius Orlovsky (the one with...
...response to questions the following morning, Frank said that perhaps Julius was affected by the making of the film, but he didn't feel it played a major role in his decline. A photographer must believe very strongly in himself, for it is never easy to use a real person in a moving photograph unless one is insensitive and totally egotistic. Frank never spoke of this internal bleeding, but it is there. His whole life illustrates that some men must intrude on others as well as ourselves. And Frank is ruthless in his belief...