Riverview Theater, vintage 1948 sign, designed by Liebenberg and Kaplan, Minneapolis, Minnesota, August 2007, photo © 2007 by QuoinMonkey. All rights reserved
A good friend called me last Sunday completely revved up about a film she had seen at the Riverview Theater in Minneapolis. The last showings were scheduled for Sunday at noon and 5:30p.m. and she said we had to go see it. Both the director and the producer were going to introduce the film and stay afterwards to answer questions.
As soon as I heard it was a documentary on the model most often photographed in Edward Weston’s work, I knew I wanted to see it. It was a rainy Sunday and at 10:30, Liz and I were still in our pajamas, drinking morning coffee; we didn’t have long to get ready. We tried to make the noon showing but got there too late. Instead of missing the first 15 minutes, we decided to head downtown to take photographs and come back for the 5:30. Were we glad we did!
Eloquent Nude – The Love And Legacy Of Edward Weston & Charis Wilson is directed by Ian McCluskey. Ian appeared down-to-earth, excited, and passionate when he talked about the film. He did an excellent job of interviewing, editing, and paring the footage down to just the essentials.
The final product skillfully reveals his vision for the film – to capture the essence of the relationship between photographer, Edward Weston, and poet, writer, and model, Charis Wilson. The film reaches far past their marriage, to reveal the minds and hearts of two people bound by artistic love and creative drive.
McCluskey explained that he had always wondered who the woman was in the Weston photographs. When he started to dig into it, he discovered Charis and in a moment of bravery, contacted her, filmed over 8 hours of interviews, and, well, the rest is history.
He talked about the tender moment when he worked up the courage to give her a call and then stumbled over his words. “It’s an honor to finally talk to you,” he said. In the cut-to-the-point, direct humor that carried over into the film, Charis laughingly said, “Oh, he says it’s an honor.”
Producer, Julie Gliniany, originally from the Twin Cities, eloquently spoke about the project and how she met Ian through an ad on Craigslist. A few years and a lot of work later, Eloquent Nude is a reality. Julie was beaming when she talked about nervously screening the film at the home of Charis Wilson, now 93 and legally blind. They set up a big screen TV and Charis sat close to the action.
About half way into the film, Charis asked her daughter to stop the viewing, turned to Julie and Ian and said, “If my tear ducts hadn’t clogged up years ago, I’d be crying my eyes out. These are the home movies I never had.”
I can’t recommend this film enough. I was riveted to Charis Wilson’s expressive face, honest commentary, and candid sense of humor. And after hearing Ian and Julie speak about their work, I walked out of the Riverview completely inspired to tackle my own creative projects.
Julie and Ian took a chance; they went out there and did something that was close to their hearts. They didn’t have a lot of money but they had an idea that they believed in; they placed ads, got the crew together, contacted Charis and made their vision a reality.
Before we left the historic Riverview Theater (designed by Liebenberg and Kaplan in 1948, with many of the original furnishings), Liz signed up for their email list. Today she got an email from the producer, Julie, that the film had been held over at the Riverview another week. I had already planned to blog about the experience, but Julie’s email gave me that extra zip I needed to get this post out tonight.
Here’s what she said:
Thank you so much for such a warm welcoming in Minnesota over the weekend. Ian and I are safely back in Portland, enjoying the August sunshine and already missing the friendly crowds, Scandinavian accents, and potato salad of the Midwest (I know, my accent isn’t too far from gone).
We wanted to write and let you all know that due to the huge success of ELOQUENT NUDE, the Riverview Theater has decided to hold the film over for an additional week!
As this obviously wasn’t included in the beautiful press we received we’re asking for as much help as you can offer to spread the word about the additional screening dates. Feel free to post this info on blogs, forums, work email lists, etc.. Although Ian and I will no longer be able to attend the screenings, we hope you will help us fill those seats and continue sharing this story.
Riverview Theater
3800 42nd Ave S, Minneapolis
612-729-7369Wed. Aug. 22nd at 5:30
Friday Aug. 24 – Thursday Aug. 30 at 5:30pm
Weekend Matinees at Noon on Aug. 25-26
Tickets are $2Keep in touch!
Julie Gliniany & Ian McCluskey
Don’t miss this film! When it comes to your town, rain or shine, rush out in your pajamas, coffee clutched in hand, and see it. Grab some buttered popcorn and a box of Raisinets. And prepare to be moved.
-posted on red Ravine, Wednesday, August 22nd, 2007
related links:
–Weston Photography – Kim & Gina Weston’s site – Historic and current photographs of the Weston family and history, including Charis Wilson and Wildcat Hill
–Smithsonian Archives of American Art, Interview with Charis Wilson, Conducted by Mimi Luebbermann, In Aptos, California, March 24, 1982 – Great candid interview with Charis, well worth the time.
–Weston Book Leads To Documentary Film, Oregon State Website, updated 2006 – Wendy Madar co-wrote the Charis Wilson memoir, Through Another Lens: My Years With Edward Weston. We checked a local bookstore last weekend and found the book to be out of print. But you may be able to find it used.
Thanks so much, QM. I hope the film comes to Albuquerque! I absolutely want to see it now. I’ll be perusing the links, too, when I have a chance after work.
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p.s., I love your shot of the Riverview sign. Something about the sky, the brick side of the building, the block letters — it’s all so solid, like how I imagine the Midwest to be.
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Thanks, ybonesy. The interview with Charis (at the link above) is classic. And the photos at the Weston link really bring home how an artist’s legacy gets passed down, generation to generation.
The Riverview is one of my fave theaters in the whole world. If I hadn’t been so tired last night, I would have posted images from photographing it the other day. Stay tuned to my Flickr account. I’ll be posting more of the inside furnishings in the coming days.
What was great about doing this post, was that it energized me so much for my own work. I like to support other writers and artists. It feeds me. And makes my commitment to my own work even stronger!
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I thought of one other thing I wanted to say about the film. It reminded me about the joys and perils of marriages and relationships where both people are writers or artists. It can be the most supportive and creative thing in the world. And at the same time, when egos get in the way, it can turn a relationship on its head.
It seemed like there were defining moments in Charis Wilson’s life, moments of inspiration and joy. And moments when she felt betrayed. The film visually captures the depth of those moments, which is difficult to do.
I’ve been in a relationship where both of us were creative souls. And have seen what arises close up. Then I started to think about other relationships like that, both pros and cons. Something to think about when you’re out there looking for a partner. You’d have to ask yourself – do I really want to be with another writer?
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Mmmm…Raisinettes….Dilly bars…mmmm…you are gonna make me fat…
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leslie, Sunday we had a large popcorn and a bag of Whoppers. Liz wanted M&M’s (better quality chocolate) but I was craving Whoppers. Later, after the movie, I turned to Liz and said, “You were right…M&M’s are better over the long haul. Whoppers short-term.” Still – I do get cravings!
I finished the Whoppers for lunch today. I like Raisinets. They are like the #1 movie chocolate ordered. Don’t know why I didn’t get them – maybe they didn’t have them. Though I can’t imagine. I wonder – what’s the strangest candy ever sold at movie theater?
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QM, I wouldn’t want to be with another me…
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Really great read QM. I had no idea Charis was still alive. I will be sure and look for this. It’s right up my alley.
In my 20’s, I was very honored to work with Brett Weston, Edward’s oldest son, on some limited addition posters. I can still remember his remarkable hands… long fingers with mesmerizing black nails…from long years of developing with his Father and on his own.
He was a bit of a curmudgeon but my crooked smile and youth won him over. He autographed a poster for me as it came off the press…arguing with me about the color of pen he would use. I wanted red so it would show up on his beautiful black and white print from far away. He absolutely refused to sign his work in anything but black.
I still have mine today…in red 🙂
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Heather, that’s fascinating. That you met Brett and know what he was like. Did you ever visit Wildcat Hill, the place that Edward and Charis built? I thought I heard the director say it’s still in the family and you can visit and talk photography. It might be a grandson, maybe Cole’s son?
I want to explore the Weston link (above) more I haven’t had time to really delve into it since I posted this. But I loved that they were sharing many of the Weston photos and the family history on the site. It shows a kind of generosity that I look for in artists.
It’s cool that yours ended up in red. You must be persuasive. 8) Where did you work with Brett? Was it in California?
One of my favorite classes in art school was History of Photography. I just loved learning how it all developed, mostly from the print industry of the time. I liked learning about alternative processes and experimenting with them, keeping them alive. I do miss my darkroom some days – sigh…
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Hey, Heather, I just had a thought. Maybe you could post a photograph of your Weston poster on anuvue. It would be great to see it. Oh, and I wanted to say, I only ever signed my work in black, too. I don’t know what it is about it.
I remember one day in my studio taking some old prints on fiber paper that I was going to toss out and spending a few hours experimenting with different inks and pens to see what I liked in a signature. I looked at color, placement, size, type of penmanship. I know a lot of artists that go through this, make a decision, and usually stick with it.
When I look back at that framed work, I realize that my signature has changed since then. It’s looser and larger. I wonder if that happens to the rich and famous? 8) Or maybe no one else ever thinks about these things.
Did you ever look at your signature from grade school or Junior High and then now? It’s fascinating.
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I just returned home from the Riverview; I saw Eloquent Nude. I am speechless. You’re right, QM, it cannot be recommended highly enough. It is beautiful to the eye, deeply inspiring, and the story of this photographer/writer team is riveting. After seeing this movie, my desire to keep going on the creative path is strengthened. Absolutely.
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Teri, I’m so glad you got to see Eloquent Nude! I was hoping it would benefit some Twin Cities people to see this post and know they had a few more chances to see the film at the Riverview. There is nothing like seeing a documentary on the big screen.
When I read your comment – the story of this photographer/writer team – not only was I thinking about Weston and Charis, but it made me think about hearing Ian and Julie talk about their work on the film. How they met and decided to take a chance and work on the film together. Then their process of meeting Charis and making the film.
It gave the experience two layers: the passion and dedication of the artists who made the film, Julie and Ian. And the dedication of the stars of the film to their art, Edward Weston and Charis Wilson. There were two creative teams involved.
The editing was stunning: tight, crisp, one scene flowing into the next. And weren’t those vignettes amazing? Thanks for weighing in on Eloquent Nude. I hope more people get a chance to see it!
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QM,
I have never been to Wild Cat Hill but it does indeed still belong in the Family… to Kim, Cole Weston’s son and Edward Weston’s grandson. I have a back issue somewhere of Lens Work with an article on Kim’s work featuring ballerinas that’s quite good.
I was fortunate to start in the Printing Industry with a company in California who did work with the Weston’s, the reps of Imogene Cunningham, Ruth Bernhard, Ansel Adams and the Getty. The Getty presented me with a beautiful print on my birthday that I still adore to this day. I don’t know what they were thinking …I was just a dumb kid.
You brought back memories. Working with fiber papers was very rewarding. Great tones, I remember but pain in the ass processing to het there. A gentleman that I admire greatly uses fiber papers. His name is Fan Ho and he is a true living master. He’s on my blogroll but it doesn’t do his work justice. I went to a photography expo in Santa Monica with all the big guns, snobs, think-they-are’s and want-to-be’s. His stuff was stuck way back in a corner on the last isle. I damn near cried when I saw it. It’s that beautiful…and he’s almost unknown.
QM, I’m in the full swing of my Halloween with junk everywhere and the signed Weston is stashed in unknown safety (along with a pair of my shoes??). I have the Getty print in my hallway along with an Adams but I have to wait until the lens I would shoot them with comes back from it’s mission in Tibet. (It’s on loan to a friend). I figured that I would be busy developing the 10,000 I have now to do…gulp…and wouldn’t need it. When things return to normal around here…and that’s stretching it…I’ll shoot some of them so you can see.
🙂 H
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I keep thinking about this documentary. I am hoping the Riverview will continue to hold it over so I can see it a second time. I could likely watch it everyday for a week and continue to get more and more out of it each time.
The scenes I’ve been thinking about most are the ones when they show all the victims of the Dust Bowl in camps on one side of the mountain. Ragged children, tin cup suppers, exhausted parents. And then they flash to Edward on the other side of the mountain, photographing something. Soon he and Charis are on their road trip…photographing, writing, and traveling. I find it liberating that they didn’t have to go to the complete depths of financial ruin themselves during the Depression. It didn’t seem selfish that that Edward and Charis weren’t suffering in the Okie camp. It didn’t seem wrong that they instead were driving across America on a dream-come-true assignment.
This releases me in my own life somehow.
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[…] dinner the next day after work, Liz announced, “I took a half day off Tuesday. Want to go to the Riverview for the inauguration?” It took a few seconds to sink in. Then, with no hesitation, I said, […]
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I just heard that Charis Wilson died on Friday. From the NY Times obit of Charis Wilson (LINK):
Charis Wilson, who was lover, muse, model, amanuensis and wife of the photographer Edward Weston and the subject of many of his best-known nude portraits, died on Friday in Santa Cruz, Calif. She was 95.
From Edward Weston:
“After eight months we are closer together than ever,” Weston wrote in what he called his daybook in late 1934. “Perhaps C. will be remembered as the great love of my life. Already I have reached certain heights reached with no other love.”
I hope to see Eloquent Nude again in her honor. Rest in peace, Charis.
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QM, I just re-read your post and was struck by how energized you were by this film and by the process by which the filmmakers made the piece and realized their dream of doing so. I don’t believe the film ever came to Albuquerque. I watched for it. I wonder if with her death there will be a wider release. Ah, but there’s always Netflix (hopefully).
I want to see Charis Wilson at age 93. She was so beautiful as the young muse in the photo. She must have been a special person to have played that role for Weston.
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ybonesy, I loved the film. And having the filmmakers introduce it and talk about the process before and after the viewing at the Riverview was fantastic. For me, the film combines the things I love — photography, photographers, art, vision, dreams, following dreams. How lives can be ordinary and extraordinary at the same time. I do hope to rent it and watch it again in honor of Charis. It seems like sometimes the wives, girlfriends, significant others of those who are famous get lost in the shuffle. When many times they are the muses for those who make it big. That’s another aspect that fascinates me about art relationships. So many layers to the film, to this love story of two artists.
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[…] to posts: And The Oscar Goes To…, Eloquent Nude At The Riverview[…]
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