Peter Watkins’ amazing 1970 film Punishment Park, in a new 35mm print, begins a three-day run at New York City’s Anthology Film Archives today. You should totally see it there if you can. I have some reflections on this seminal film here. At what used to be called The Auteurs’ Notebook. And is now called The MUBI Notebook. Which name change is announced here. And explicated further here. And reported on by my old colleague Anne Thompson here. And made fun of, gently, by little old impish me here, in Topics, etc., which is extra short this week to make room for the site’s ever-growing Cannes coverage. Okay, we all clear on that? Enjoy.
Oh, man: when I saw PUNISHMENT PARK, it just knocked my socks off. I was afraid it wouldn’t age very well, and while of course it is on the one hand very much of its time, it’s still remarkably relevant, especially re: the reduction of political discourse to two intractable sides shouting at each other and unwilling to listen to or concede even the smallest damn thing.
Probably my favourite Watkins films besides CULLODEN– and that’s probably only because CULLODEN’s formal distance makes for a slightly less abrasive, and darkly humourous, viewing experience. I envy all you New Yorkers and your ability to see PARK on the big screen.
Haven’t seen THE COMMUNE or THE FREETHINKER yet, but for me Watkins’ masterpieces are THE WAR GAME and EDVARD MUNCH (extended version). Call me a heretic, but I think PUNISHMENT PARK and THE GLADIATORS could do with remakes. They were brilliantly prescient and high-concept–original and far advanced for art cinema at the time–but somehow in both of these works the politics gets in the way of the story thereby ultimately the politics. I know the political ideas/themes are just about the entire point for Watkins. But I just don’t feel the documentary truth of the times in the world he creates in PUNISHMENT PARK the way I do, say, even in just the first scene of ZABRISKE POINT. I have a similar problem with PRIVILEGE, which I wanted to like so badly. But, correct me if I’m wrong about this music-fan Glenn, I feel like Watkins, in his eagerness to create a tidy political allegory, completely misunderstands the essence of rock-n-roll and the youth connection to it. Rock is that which can never be fully co-opted, certainly not in the way he portrays it. Granted, the Stones have sold out a zillion times over by now and some Indie bands debut their tracks on car commercials, but that’s a far cry from, say, a frontman becoming a puppet for a Bush-like régime.
@ Warren: Yeah, I feel very much as you do about “Privilege;” Watkins not only doesn’t get rock and roll, he doesn’t get pop culture in general, and I say this as a certified non-fan of the likes of Britney Spears and a proud rockist. Hence, I thought it was pretty funny when Michael Atkinson fell all over himself praising the film on its DVD release here; talk about birds of a feather.
I don’t have the same problem, or anything like the same problem, with “Park,” I have to say. I’m 100% with you on “Edvard Munch,” I think it’s not only Watkins’ masterpiece but one of the greatest films ever made.
So good to see some love for EDVARD MUNCH. Undoubtedly Watkin’s masterpiece, of the ones that I’ve seen (I have yet to see COMMUNE and FREETHINKER as well). Not to mention one of the greatest films ever made about an artist (and yes, I’d probably also go with one of the greatest films ever made period).
Looking forward to seeing the new print at Anthology this weekend.
I’d love to know how much that clown paid somebody to tell him “mubi” makes more sense than “auteurs.” Or, no, I wouldn’t, actually. He should’ve renamed it the Fubar Notebook. Or, the Paley Center.
A year ago I showed Punishment Park at a “History Department Movie Night” at the university I teach at – and by offering extra credit to my students ensured a sizable crowd. Of course there was a small percentage who responded with typical young adult indifference, but I was quite surprised with the visceral reactions from many of the students. one cadre showed up just as it started and missed my explanation beforehand – so they thought it was all real and some tried to walk out! I caught them in the hall to ask them why they were leaving and one girl was almost in tears.…I had to explain it was not a documentary, but a fictional film – they reluctantly finished the film, but their essays on it oozed dismay and shock.
It truly is an astounding achievement, and one of the single most unsettling films I’ve ever seen. I am glad it seems to be receiving a bit of attention of late for it’s incredible portrayal of the emotions that ran so high in Nixon’s America. The word gets thrown around a lot, but this is truly an “important” film.