Assembled from the contents of four boxes of film shot by San Francisco filmmaker Dion Vigne in the 1950s and '60s, spinning through a lost history, a disappearance of names and faces and works and words of the characters who comprised one of the great chapters in American Underground filmmaking. At the center of this San Francisco re-history is the unknown Beat filmmaker, Dion Vigne, a character whom we never see but rather feel through the influences of his more renowned contemporaries, Christopher Maclaine, Jordan Belson, the Whitney brothers, Alfred Hitchcock, Kenneth Anger and Anton LaVey.
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A fascinating stew of found footage and recorded tape that is both bitter and sweet, heady and hilarious. It shows a community of highly creative and subversive artists that eventually influenced the mainstream.
Not to be missed by anyone interested in San Francisco cultural history. This is a buffet of hors d'oeuvres from an interesting time -- post-Beat, pre-hippie San Francisco -- each offering a fragment of long-gone artistic life or a connection to an SF icon (Hitchcock's Vertigo, Anton LaVey, Kenneth Anger) or a taste of Vigne's experimental filmmaking. Not much of the city itself is shown, and the footage is often manipulated, but there are plenty of interesting glimpses of the times, and of that beautiful ocelot. Perhaps the film's finest feature is its excellent sound, especially welcome in Vigne's bootlegs of sessions by free-jazz pioneer Ornette Coleman and the early psychedelic band Orkustra.
Fascinating re-working of significant film footage of a bygone era.