A lot have been said about Mr. Kenneth Anger. Over the years he’s been called many things, none of them particularly flattering: a satanist, a racist, a weirdo but whether he is one thing or another we can’t really tell. What we only know for sure is that he was, and still is, one of the most intriguing experimental directors ever. Demonic, provocative, way ahead of its time, Anger’s visual work is powerful and gentle at the same time, like suspended in time yet truly mesmerising.
“Puce Moment”, a short film by him from 1949, was meant to be a celebration of ladies of the silent screen (the original title was “Puce Women”). Puce is the name of a colour, the pale red-violet that permeate the six-minute filming of a lady in her boudoir, what is left of the original project, failed because of lack of funding.
Yvonne Marquis is the woman who plays the role of the “diva”, in real life she would later move to Mexico and become the lover to former Mexican president Lázaro Cárdenas. Yvonne’s resemblance to old film stars such as Clara Bow and Barbara La Marr is striking and her whole action is a tribute to the rich, decadent life of the Roaring Twenties.
“Puce Women was my love affair with Hollywood…with all the great goddesses of the silent screen. They were to be filmed in their homes; I was, in effect, filming ghosts”
— Kenneth Anger
Everything is perfect in this “puce” moment of pure visual pleasure…from the vivid colours of the sequinned gowns, that once belonged to Anger’s grand-mother, to the languid expressions of the silent Yvonne. Her alternate acts, slowed-down or speeded-up, are combined with beautiful and haunting psych-folk soundtrack (added in 1966) by mysterious musician Jonathan Halper. The power and immediacy of this unusual, dream-like film make it look so up to date after all those years. A post-modern celebration of the past, way before post-modernism really had a name.