Robert Frank „Pull My Daisy” (1959) 16Mm, Schwarz-Weiß-Film, 28 Minuten

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Robert Frank „Pull My Daisy” (1959) 16mm, Schwarz-Weiß-Film, 28 Minuten Pull My Daisy ist ein Kurzfilm über die Beat Generation von Robert Frank und Alfred Leslie und basiert auf dem dritten Akt eines nie veröffentlichten Theaterstücks mit dem Titel Beat Generation von Jack Kerouac. Der Filmtitel spielt an auf ein gleichnamiges Gedicht von Kerouac, Allen Ginsberg und Neal Cassady aus den späten 1940er Jahren an, dessen Text auch teilweise für die Jazz-Intro am Anfang des Films herangezogen wurde. Die Geschichte basiert auf einer wahren Begebenheit im Leben des Neal Cassady und seiner Frau Carolyn. Die Frau eines Bremswärters – eine Malerin – hat einen ehrenwerten Bischof zum Abendessen eingeladen. Doch die Künstlerfreunde des Bremswärters kommen unangemeldet vorbei und sorgen für Aufregung. Die Schauspieler sind Allen Ginsberg, Gregory Corso, Larry Rivers, Peter Orlovsky, David Amram, Richard Bellamy, Alice Neel, Sally Gross und Pablo, Franks Sohn, der damals noch ein Baby war. Jack Kerouac steuerte einen improvisierten Erzählstrang bei. Jahrelang wurde Pull My Daisy als Improvisationsfilm gefeiert, bis Leslie 1968 verriet, dass der Film zeitaufwendig geplant, geprobt und gedreht wurde. Robert Frank “Me and My Brother” (1965—68) 35mm, Farb- und Schwarz-Weiß-Film, 85 Minuten Me and My Brother ist Robert Franks erster Spielfilm. Er wurde erstmals 1968 auf den Filmfestspielen in Venedig gezeigt und vereinte alles, was Franks Kunst bis dahin ausgemacht hatte: Der Blick von „außen“ auf Amerika, die poetische Freizügigkeit der Beats, der Fokus auf das Nebensächliche. Der Film feiert die Wiederkehr des poetischen Essays als Assemblage sowie die Bestätigung des Untergrunds als wilde, filmische Analyse in Form einer Collage und verbindet kunstvoll Gegensätzliches, spielt den Fake gegen das Authentische aus, Pornographie gegen Poesie, Fiktion gegen Realität, Beat-Zynismus gegen Hippie-Romantik, und Einfarbigkeit gegen Farbe. Die Geschichte enthält bizarre Wendepunkte und erinnert an den ungekünstelten Film-im-Film und heruntergekommene Kinosäle. Trotzdem verbirgt sich bei aller Verrücktheit dank der Texte, Zitate, Musik und wiederkehrender Assoziationen eine gewisse Struktur im Dickicht von Psyche, Film und Urbanität. .

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