![\"femme1.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2012\/01\/femme1.jpg\")
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La femme 100 t\u00eates: L’immacul\u00e9e conception (1929).<\/em><\/p>\n Salvador Dal\u00ed never lacked for attention from filmmakers, as has been noted here<\/a> on several occasions. Max Ernst, on the other hand, received far less attention despite being an actor and collaborator in two of the most significant Surrealist films, L’Age D’Or<\/em><\/a> (1930) and Dreams That Money Can Buy<\/em><\/a> (1947).<\/p>\n La femme 100 t\u00eates: Alors je vous pr\u00e9senterai l’oncle (1929).<\/em><\/p>\n One of the key works in the Ernst filmography is La femme 100 t\u00eates<\/em>, a 19-minute film from 1967 based on the series of collages Ernst created under that title in 1929, precursors to his collage masterwork Une semaine de bont\u00e9<\/em><\/a> (1934). Eric Duvivier was the director, nephew of the celebrated French director Julien Duvivier<\/a>, and a director of many educational films, none of which seem to be listed on IMDB. Duvivier’s film may be short but he had the resources to go to some extraordinary lengths in replicating cinematically so many of Ernst’s collages. Some of the scenes merely require a room or a street, in others bizarre or elaborate sets have had to be built then populated with actors for shots that last less than half a minute.<\/p>\n La femme 100 t\u00eates (1967).<\/em><\/p>\n Why go to all this effort in 1967? The clue is in the name and logo of the producer\u2014Sandoz\u2014the\u00a0pharmaceutical company that invented and manufactured LSD. Sandoz had a film division which they used to create promotional films for their products. Among the ones related to LSD are Images du monde visionnaire<\/em><\/a> (1964), directed by Henri Michaux and Eric Duvivier, and (possibly) La femme 100 t\u00eates<\/em>. I say “possibly” only because I haven’t seen this confirmed but why else would a pharmaceutical company that just happened to make the world’s most famous hallucinogenic drug make a Surrealist film? Whatever the reason it’s a remarkable piece of work. See it on YouTube here<\/a>.<\/p>\n La femme 100 t\u00eates (1967).<\/em><\/p>\n Previously on { feuilleton } La femme 100 t\u00eates: L’immacul\u00e9e conception (1929). Salvador Dal\u00ed never lacked for attention from filmmakers, as has been noted here on several occasions. Max Ernst, on the other hand, received far less attention despite being an actor and collaborator in two of the most significant Surrealist films, L’Age D’Or (1930) and Dreams That Money Can … Continue reading “La femme 100 t\u00eates by Eric Duvivier”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2,1029,851,7,18],"tags":[2858,3254,3253,124,112,87],"class_list":["post-10806","post","type-post","status-publish","format-standard","hentry","category-art","category-collage","category-drugs","category-film","category-surrealism","tag-eric-duvivier","tag-henri-michaux","tag-julien-duvivier","tag-lsd","tag-max-ernst","tag-salvador-dali"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-2Oi","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/10806","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=10806"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/10806\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=10806"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=10806"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=10806"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"femme2.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2012\/01\/femme2.jpg\")
<\/p>\n![\"femme3.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2012\/01\/femme3.jpg\")
<\/a><\/p>\n![\"femme4.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2012\/01\/femme4.jpg\")
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\n\u2022 Scenes from a carriage<\/a>
\n\u2022 Surrealist echoes<\/a>
\n\u2022 Max (The Birdman) Ernst<\/a>
\n\u2022 The Robing of the Birds<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"