Jean-Marie Straub was one of the least known of great filmmakers, and among the most original of his time, tnyfrontrow writes.
, who died in September, lived since the nineteen-seventies.) Straub’s work and his life illuminated the very idea of what it meant to be a part of the French New Wave, even at some geographical distance; he both created and personified a passionate, radical critique of the world of movies and of the world at large. He’s one of the least known of great filmmakers—he never had a hit or sought one.
A precocious movie lover and an aspiring critic, Straub often visited Paris in the early fifties, and met Godard, Jacques Rivette, and François Truffaut at the Cinémathèque. During that same period, he ran a film club in Metz, bringing in the youngcritic Truffaut and the magazine’s co-founder André Bazin to introduce films. Straub moved to Paris in 1954, where he met a fellow cinephile, Danièle Huillet, and they quickly became a couple.
In particular, Straub’s cinema is based on that of Bresson, in ways that reflect an ingenious reinterpretation of his work. The first, most conspicuous connection is the rigorous austerity of the images. Like Bresson, Straub understands ideas physically, and the intense restraint and spareness of the images distill ideas to corporeal facts. This concept is an inherently ideological one.
Straub and Huillet were finally able to make their Bach film, “The Chronicle of Anna Magdalena Bach,” in Germany, in 1967, during politically turbulent times—and, though the film is a high-culture, historical costume drama, it seethes with the defiant spirit of the time. Anna Magdalena Bach was played by Christiane Lang, a singer whom Straub had seen in Paris.
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