In the Year of the Pig

V'18

In the Year of the Pig

Emile de Antonio
USA, 1968
101min, OF

© Viennale © Viennale

In the Year of the Pig

Emile de Antonio
USA, 1968
, 101min, OF

Mit: 
Harry S. Ashmore
Daniel Berrigan
Joseph Buttinger
Ton: 
Jeffrey Weinstock
Schnitt: 
Helen Levitt
Hannah Moreinis
Musik: 
Steve Addiss

Produktion: 
Monday Film Production
Turin Film Productions
Format: 
35 mm
Schwarz/Weiß

Wie das Publikum Emile de Antonios Film seinerzeit wahr genommen haben mag – im Fernsehen und in Kinos, zu Hause quasi „mittendrin“ in diesem Angriffskrieg der USA in Vietnams Dschungel –, lässt sich heute schwer vorstellen. Die Geschichte des Kolonialismus in Indochina, Überlegungen zur historischen Rolle Ho Chi Minhs als George Washington Vietnams, Interviews mit DDR-Politikern. – De Antonio hat die Realität auf 35mm als großes Kino vor den Eisernen Vorhang geholt. „Agitprop“ wurde vielfach gerufen, weil politisches Engagement im Kino bis heute gerne als Propaganda abgetan wird, insbesondere wenn es sich mit seinem 35mm-Format in den Mainstream einmischt. Messerscharf ist die Waffe des Kinos, das hat De Antonio uns bleibend verdeutlicht. (Katja Wiederspahn)

 

In the summer of 2018, with a delay of 400 months German magazine “Filmkritik” published their last issue, dedicated to Emile de Antonio, director of IN THE YEAR OF THE PIG. On its cover the publication quotes De Antonio: “The USA is a gigantic monster but it is the country I love.” Throughout his life De Antonio worked on a critical chronicle of US politics. In the spirit of an engaged historian his films are furious and confrontational. In his 1968 film about the preceding years of the Vietnam War the director’s political militancy and historical precision leads into one of the strongest courtroom dramas in cinema history. The plaintiff is De Antonio, the defendant are the USA. Like every courtroom drama the film is also a form of theatre, “political theater” as De Antonio called it. Instead of using a voice-over to give his opinion, the director juxtaposes archival footage and creates some irrevocable evidence about the immorality of a war that cannot be won. When he began working on the film in 1967 De Antonio’s purpose was revelation before public opinion was formed. Later he won an Oscar for the film and remembered Fred Astaire opening the envelope “as if he was holding shit in his hand.” (Patrick Holzapfel)
 

Emile de Antonio: POINT OF ORDER (1964), AMERICA IS HARD TO SEE (1968), MILHOUSE: A WHITE COMEDY (1971), PAINTERS PAINTING (1972), MCCARTHY: DEATH OF A WITCH HUNTER (1975), UNDERGROUND (1976), IN THE KING OF PRUSSIA (1976), MR. HOOVER AND I (1989)