Review: Im Spiegel der Maya Deren (2002)
Laura Clifford
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When Anthology Film Archives director, filmmaker Jonas Mekas, advertised
for a volunteer to catalog the films of Maya Deren, director Martina Kudlacek
applied and gained a rich documentary subject. Those unfamiliar with
Deren's work will have an eye-opening education while those familiar will
get to know the passionate nature of a vibrant woman "In the Mirror of
Maya Deren."
Kudlacek begins her film with Mekas holding film cans marked Deren,
declaring them the 'holy grail of cinema - we don't know what's inside,'
before beginning a journey that details Deren's Russian Jewish roots,
influences, lovers, colleagues, travels, and work. Substantial clips of
Deren's experimental shorts are put into context by collaborators and
Deren's own narration, taken from wire recordings (the precursor to
magnetic tape) of her lectures. Although Deren appeared in many of
her films, they were silent for the most part, and so Deren's broad New
Yawkese is a surprise coming from the petite, exotic immigrant.
Second husband Alexander Hammid, the codirector of Maya's most famous
work "Meshes in the Afternoon," reflects on her exotic beauty while
perusing his stunning black and white photographs of her. Friend and
assistant Miriam Arsham fills us in on Deren's background from birth.
Experimental filmmaker Stan Brakhage ("Dog Star Man") talks about her
influence as he prepares a filmic tribute to her. Choreographer
Katherine Dunham, whom Deren worked for, describes her sensuality and
need for movement while dancer Rita Christiani speaks of Deren's perfect
motivational direction for her moves in "Ritual in Transfigured Time."
Poetry, dance, the sea, dreams, ritual and time are continuing themes
in Deren's work. 1944's "At Land" is shot by the seaside, Maya (the name,
adopted by Eleanora Derenkovskaya, means water) acting as sea creature
exploring the shore. She revisits the ocean in her 1946 film as well as
in her explorations of Haitian Vodoun made possible by the first Guggenheim
grant give to a filmmaker. Maya's love of mirrors are featured in another
clip, a dreamlike meditation with dual Derens which recalls both David Lynch's
"Blue Velvet" and "Mulholland Drive." Tai Chi expert Chao-li Chin ("Big
Trouble in Little China") explains how Maya danced with her camera while
following his movements in "Meditation on Violence" and we see that
relationship repeated between subject and director/camera operator (Deren
worked with a 16mm Bolex) in her amazing footage of a Haitian in Vodoun
possession.
In her later years, Deren married Japanese composer Teiji Ito, eighteen
years her junior. His music became a vibrant part of her work as her
interests became ingrained in his (he died in Haiti in 1982). Deren's
death of a brain hemorage at the age of 44 has been attributed to everything
from her Dr. Feelgood shots to disappoint with the reception of her
last film ("The Very Eye of Night") to poverty and starvation.
Kudlacek's film should be required viewing for any student of film.
In addition to celebrating Deren, her love of the physical medium shines
throughout her documentary with frequent cutaways to film strips and
stacked reels. 'It's tougher to be a filmmaker than a painter,' Deren
states - maybe her passion for her work wore her out.
A
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