Tears for secrets buried in the grave.
Minerva Pier in 1977. River Humber ferry
When I came to see this structure, the landing pier for the ferry across the Humber, I did not realise that the service was going to close soon after to make way for the Humber Bridge, initially labelled as going from nowhere to nowhere.
At the time I had been in the city for about three months. There was mucb to learn.
Still, forty years later, learning.
A couple of evenings ago I re watched Michael Deville’s stylised film on a VHS tape I recorded years ago from the TV. I first saw it in the 1980s in the now defunct Hull Screen. It introduced me to the work of the controversial Polish-Swiss painter Balthus; one of his works, The Street, was, is, one of the inspirations for my street photography.
The younger wife of a rather sadistic industrialist traps the young guitar teacher hired for their teenage daughter, Vivianne, in her amorous web to get rid of her husband. A contract killer befriends David, the teacher (the magnus opus of his father was to perfect a bomb), through a kind of surreal conversations between them we learn that he has been hired to kill an industrialist, who happens to be Vivianne’s father (Michel Piccoli), and steal a microfilm hidden in a globe. I found then, and now, the end quite surprising, as David, now rich as he collected the reward of the killing, flies away with Vivianne. Visually a very compelling film, the sensuality of the love scenes being was would be expected from a French film…
More information about Death in a French Garden at IMDb.
produced by the 90mm f5.6 Fujifilm wide angle lens for the 5×4 large format camera is quite impressive, to my eyes. Not only, and merely, bokeh, but a sense that one can walk into the photographs, that one can breathe in the place…