Director
Adapted from an obscure Guy de Maupassant novella, lifted from a paperback bought by Meaney as an undergrad for 99 cents. What’s evident is Horn’s fascination for squared-off blocking and choreography, including a glimpse at a performance of Orpheus and Eurydice in minature. Star Adam Macadam brought on other members of Charles Ludlam’s Ridiculous Theater Company, many of whom would return to work on DOOMED LOVE. Featuring ancient costumes on loan from the Metropolitan Opera (repurposed from early twentieth century productions of Tosca and La Traviata), ELAINE aspires to high gothic on a shoestring budget. Horn and Meaney shot at locations including the Morris-Jumel Mansion in Washington Heights, the Frick, and the Carnegie Hall Cinema, then operated by Sid Geffen and Jackie Raynal – the programmers responsible for hosting the first-ever New York City screenings of films by Marguerite Duras, an influence on the filmmakers (alongside Daniel Schmid, Douglas Sirk and Alain Resnais.)
Director
Andrew Horn was technical director on this black-and-white document of Andrew deGroat’s hypnotic, swirling “Rope Dance Translations”, originally performed at the Brooklyn Academy of Music by Robyn Brentano, Frank Converso, Charles Dennis, Ritty Ann Burchfield and deGroat himself. It was shot in a single day and lit by Carol Mullins (wife of Jim Neu, who would write DOOMED LOVE and THE BIG BLUE). The introductory text describes the dance as “relying on each individual dancer’s energies and response to the ropes. The ‘choreograph’ for this dance is the geometry of the ropes, the centrifugal force of the spinning from and the strict revolving patterns of solo and chorus.” The music for ROPE DANCE TRANSLATIONS was composed by Michael Galasso, who would go on to provide unforgettable string compositions for Wong Kar-Wai’s IN THE MOOD FOR LOVE.
