Antonio Gaudi


1h 12m 1984
Antonio Gaudi

Brief Synopsis

The camera explores the buildings of Spanish architect and sculptor Antonio Gaudi.

Film Details

MPAA Rating
Genre
Documentary
Foreign
Release Date
1984

Technical Specs

Duration
1h 12m

Synopsis

Documentary on the Catalan architect Antonio Gaudi that focuses on the imagery in his buildings rather that interviews about the work.

Film Details

MPAA Rating
Genre
Documentary
Foreign
Release Date
1984

Technical Specs

Duration
1h 12m

Articles

Antonio Gaudi


In the feature-length documentary, Antonio Gaudi (1984), the Japanese director Hiroshi Teshigahara explores the architectural world of Antonio Gaudi, accompanied by an ethereal and eclectic musical score by Toru Takemitsu. With almost no spoken commentary, Teshigahara depicts Barcelona and Catalonia in general as cultural environments, architectural influences on Gaudi's style, and several of his best-known creations, culminating in Barcelona's Expiatory Temple of the Holy Family, Gaudi's lifelong, still-unfinished project.

Antonio Gaudi (1852-1926) is generally considered part of the Art Nouveau design movement that flourished around the turn of the century. Also commonly referred to as "modernism" in certain contexts (notably, Barcelona and Russia), Art Nouveau was known for its use of organic design motifs, especially plant-based, and its extensive reliance on curves, particularly parabolic and hyperbolic forms. Gaudi, however, stands out for the sheer extravagance of his vision. During his studies at the Escola Tecnica Superior d'Arquitectura from 1873 to 1877, he quickly established a reputation for his unconventional designs. His professor Elies Rogent supposedly declared, upon signing Gaudi's diploma, "I have either found a lunatic or a genius."

A devout Catholic, Gaudi developed his mature architectural style on shapes found in nature, such as the spiral, animal skeletons, and scales. In that respect, his version of modernism was not unlike that of the similarly devout twentieth-century French composer Olivier Messiaen, who drew upon bird songs as a source of musical inspiration. The industrialist Count Eusebi Guell was a friend of Gaudi and gave him his first major commissions, which included the Guell family residence, the Guell Park in Barcelona, and a worker's colony.

Gaudi's most famous work by far is the Expiatory Temple of the Holy Family (Temple Expiatori de la Sagrada Familia). Because of a disagreement with the commission overseeing the project, Francesco del Villar, the lead architect, was replaced by Gaudi, who introduced a new design of his own. He worked on the project starting from 1883 and continued for the rest of his life, devoting the last 15 years exclusively to it. The building was partially destroyed during the Spanish Civil War, as were the models, but the latter were painstakingly reconstructed and construction has also resumed on the basilica. This and other buildings designed by Gaudi are among the major tourist draws of Barcelona. Indeed, Gaudi's unique designs make his buildings a popular choice for film location shooting. For example, Michelangelo Antonioni shot part of The Passenger (1975) on the roof of Casa Mila (also known as La Perdrera, or "the Quarry"), due to the striking shapes on its roof.

At first glance, a documentary about Gaudi might seem an odd choice for Hiroshi Teshigahara (1927-2001), who was primarily known as the director of The Woman in the Dunes (1964), adapted from Kobo Abe's spare, allegorical novel about entrapment. In fact, throughout his career Teshigahara made documentaries on a variety of subjects: Hokusai's paintings, floral arrangement (the 1956 short Ikebana), sculpture (Vita: Sculptures by Sofu from 1963 and Sculpture mouvante: Jean Tinguely from 1981), and boxing (the two films on Jose Torres made in 1959 and 1965).

Teshigahara first saw Gaudi's work during a trip to Barcelona with his father in 1959, and it left a profound impression on him. He later recalled: "Shortly after entering Barcelona, four grotesque steeples appeared before me. Their peaks seemed to domineer over the city shining with gold. I was struck with a sense of conviction. As I approached, the holes pierced in those four tense conical structures, just like a tremendously appealing demonic whisper, clutched me with force. What I was looking at was Gaudi's last masterpiece [the] Sagrada Familia."

Questions of aesthetics do not only figure in Teshigahara's documentary and fiction films. Teshighara's father Sofu founded the Sogetsu school of ikebana, which offered a freer approach than traditional ikebana, including the use of unconventional materials. Following his father and aunt, Hiroshi Teshigahara headed the school, a commitment which occupied much of his time and limited the number of feature films he ultimately directed. In addition to ceramics and calligraphy, he created a number of innovative large-scale installations using bamboo, among them a piece in Hiroshima dedicated to the memory of his friend, the composer Toru Takemitsu. His daughter Akane Teshigahara now heads the school. His official website is still maintained as part of the Sogetsu Foundation website.

Producer: Noriko Nomura
Producer, Director and Editor: Hiroshi Teshigahara
Supervisor: Juan Bassegoda Nonell
Photography: Junichi Segawa, Yoshikazu Yanagida and Ryu Segawa
Editor: Eiko Yoshida
Music and Sound Effects: Toru Takemitsu, Kurodo Mouri, Shinji Hori.
C-72m.

by James Steffen
Antonio Gaudi

Antonio Gaudi

In the feature-length documentary, Antonio Gaudi (1984), the Japanese director Hiroshi Teshigahara explores the architectural world of Antonio Gaudi, accompanied by an ethereal and eclectic musical score by Toru Takemitsu. With almost no spoken commentary, Teshigahara depicts Barcelona and Catalonia in general as cultural environments, architectural influences on Gaudi's style, and several of his best-known creations, culminating in Barcelona's Expiatory Temple of the Holy Family, Gaudi's lifelong, still-unfinished project. Antonio Gaudi (1852-1926) is generally considered part of the Art Nouveau design movement that flourished around the turn of the century. Also commonly referred to as "modernism" in certain contexts (notably, Barcelona and Russia), Art Nouveau was known for its use of organic design motifs, especially plant-based, and its extensive reliance on curves, particularly parabolic and hyperbolic forms. Gaudi, however, stands out for the sheer extravagance of his vision. During his studies at the Escola Tecnica Superior d'Arquitectura from 1873 to 1877, he quickly established a reputation for his unconventional designs. His professor Elies Rogent supposedly declared, upon signing Gaudi's diploma, "I have either found a lunatic or a genius." A devout Catholic, Gaudi developed his mature architectural style on shapes found in nature, such as the spiral, animal skeletons, and scales. In that respect, his version of modernism was not unlike that of the similarly devout twentieth-century French composer Olivier Messiaen, who drew upon bird songs as a source of musical inspiration. The industrialist Count Eusebi Guell was a friend of Gaudi and gave him his first major commissions, which included the Guell family residence, the Guell Park in Barcelona, and a worker's colony. Gaudi's most famous work by far is the Expiatory Temple of the Holy Family (Temple Expiatori de la Sagrada Familia). Because of a disagreement with the commission overseeing the project, Francesco del Villar, the lead architect, was replaced by Gaudi, who introduced a new design of his own. He worked on the project starting from 1883 and continued for the rest of his life, devoting the last 15 years exclusively to it. The building was partially destroyed during the Spanish Civil War, as were the models, but the latter were painstakingly reconstructed and construction has also resumed on the basilica. This and other buildings designed by Gaudi are among the major tourist draws of Barcelona. Indeed, Gaudi's unique designs make his buildings a popular choice for film location shooting. For example, Michelangelo Antonioni shot part of The Passenger (1975) on the roof of Casa Mila (also known as La Perdrera, or "the Quarry"), due to the striking shapes on its roof. At first glance, a documentary about Gaudi might seem an odd choice for Hiroshi Teshigahara (1927-2001), who was primarily known as the director of The Woman in the Dunes (1964), adapted from Kobo Abe's spare, allegorical novel about entrapment. In fact, throughout his career Teshigahara made documentaries on a variety of subjects: Hokusai's paintings, floral arrangement (the 1956 short Ikebana), sculpture (Vita: Sculptures by Sofu from 1963 and Sculpture mouvante: Jean Tinguely from 1981), and boxing (the two films on Jose Torres made in 1959 and 1965). Teshigahara first saw Gaudi's work during a trip to Barcelona with his father in 1959, and it left a profound impression on him. He later recalled: "Shortly after entering Barcelona, four grotesque steeples appeared before me. Their peaks seemed to domineer over the city shining with gold. I was struck with a sense of conviction. As I approached, the holes pierced in those four tense conical structures, just like a tremendously appealing demonic whisper, clutched me with force. What I was looking at was Gaudi's last masterpiece [the] Sagrada Familia." Questions of aesthetics do not only figure in Teshigahara's documentary and fiction films. Teshighara's father Sofu founded the Sogetsu school of ikebana, which offered a freer approach than traditional ikebana, including the use of unconventional materials. Following his father and aunt, Hiroshi Teshigahara headed the school, a commitment which occupied much of his time and limited the number of feature films he ultimately directed. In addition to ceramics and calligraphy, he created a number of innovative large-scale installations using bamboo, among them a piece in Hiroshima dedicated to the memory of his friend, the composer Toru Takemitsu. His daughter Akane Teshigahara now heads the school. His official website is still maintained as part of the Sogetsu Foundation website. Producer: Noriko Nomura Producer, Director and Editor: Hiroshi Teshigahara Supervisor: Juan Bassegoda Nonell Photography: Junichi Segawa, Yoshikazu Yanagida and Ryu Segawa Editor: Eiko Yoshida Music and Sound Effects: Toru Takemitsu, Kurodo Mouri, Shinji Hori. C-72m. by James Steffen

Antonio Gaudi - Hiroshi Teshigahara's Mesmerizing 1984 Documentary on Catalan Architect ANTONIO GAUDI


In 1959, the young painter and fledgling filmmaker Hiroshi Teshigahara accompanied his father, the avant-garde artist and sculptor and master of ikebana (flower arranging) Sofu Teshigahara, on a trip to New York and Spain with his father's disciples. He had seen photos of Gaudi's work, but actually visiting the physical constructs in Barcelona was overwhelming: "I was thus totally unprepared for the intense shock of my encounter with his architecture," he told producer Noriko Nomura in 1986. He took a 16mm camera and visited every Gaudi site. The footage was edited into a silent 19-minute film, Gaudí, Catalunya (1959), an impressionist survey of his work through the curving lines and organic shapes of his buildings.

Twenty-five years later, after Teshigahara had established himself as one of Japan's most adventurous filmmakers (his films include Woman in the Dunes) and then put down the camera to pursue other artistic avenues, he returned with a film crew to shoot a feature film (his first in twelve years) exploring Gaudi's work. Antonio Gaudi (1984) is not a documentary in any conventional sense. There is no profile of the life and education of the artist, no identifying titles of the buildings, no explanatory narrator, and (apart from a few comments in one scene) a single, brief interview about his final work. It is a portrait of the artist, from the admiring perspective of a fellow artist, as seen solely through his art.

Antonio Gaudi begins with a quick yet calm introduction to Barcelona, its street life, its city style, and the rigid, formal lines of its traditional buildings. In the midst of this architectural conformity, Teshigahara gives us our first glimpse of Gaudi's work with the apartment building Casa Battlo. Squeezed into Barcelona's famous Illa de la Discòrdia ("Block of Discord") next to Josep Puig i Cadafalch's modernist Casa Amatller, Gaudi's building looks like it's trying to squeeze back out, its walls rippling in the effort, its roof arching, the lines of the balconies bending and curving. Next to the straight lines and sharp corners of its neighbors, Casa Battlo looks alive, but it's barely a shrub next to the full flowering of undulating lines and organic curves of Casa Mila, also known as La Pedrara (The Quarry). As much sculpture as architecture, this building (one of Gaudi's most famous) looks like it was (in Teshigahara's words) "sculpted out of rock by water. All the fluid curves were connected by organic lines. This was architecture imbued with life, warm and insulating." It is here that the film really begins to pick out the astonishing details found carved into the façade and out of the walls and ceilings of the interior. These designs look more like bones and tree roots and spiral and bubbles than traditional architectural lines and arches.

The tour continues through the other great Gaudi works of the city of Barcelona, including Bellesguard, the otherworldly Guell Colony Crypt, and Park Guell, an astounding vision that looks like the recovered ruin of an ancient playground for fairy folk. The organic and the natural is a part of all Gaudi designs, but here his stonework was built to complement and co-exist with the plants and trees, alive in its own way.

The final section is dedicated to Gaudi's final, unfinished work: Sagrada Familia, a magnificent cathedral like no cathedral before or since. From afar, it looks like the tendrils of a plant growing out of the uniformity of modern Barcelona, and Teshigahara's decision to first view it from a distance may have been inspired by his first glimpse of it in his 1959 trip to Barcelona: "as we drove toward Barcelona... the four gleaming spires of the Sagrada Familia rising out of those reddish surroundings came at me with thrilling immediacy." We are brought closer and closer, revealing the myriad intricacies of the outer walls and the spires, the statues that fill the façade, the designs carved out of every surface, the living texture of the building. And then Teshigahara brings in a commentator, former Gaudi assistant Isidre Puig-Boada, to tell us of Gaudi's death and the efforts of his disciples to reconstruct his original model (it was, along with all of his models, destroyed in the Spanish Civil War) and continue his dream. As of 2008, construction continues, and will continue for decades.

The unusual decision to eschew narration and commentary, to show the work without historical context or biographical structure, gives us a different kind of insight to the work. More than simply a filmmaker, Teshigahara had a long career as a multidisciplinary artist and according to his colleague, architect Arata Isozaki, his work was highly influenced by Gaudi's use of natural shapes and organic lines. In the film, he makes the point simply by surveying the architecture around Gaudi's Barcelona buildings and the natural landscape of Catalonia, Gaudi's home. There is no direct comparison or contrast, simply a view of the worlds in which Gaudi lived and drew inspiration.

Criterion's new two-disc edition includes Teshigahara's first Gaudi survey, the 1959 short Gaudí, Catalunya, and it's instructive to see just how many of those initial images show up again in his 1984 film. What's different is the visual flow. By 1984, Teshigahara no longer feels the need for insistent editing and dramatic contrasts. His camera captures Gaudi's rippling organic lines and intricate details with striking angles and revealing variations of close-ups and long shots, all shot in with a camera that drinks in the imagery in still shots and flowing movements and edited into a gentle rhythm. And Teshigahara is careful to include of people working, playing and living within his structures, a reminder that for all their astounding beauty, Gaudi designed these dwellings and public spaces for human habitation. The music by famed composer and long-time Teshigahara collaborator, Toru Takemitsu, combines eerie soundscapes of electronics, percussion and strings (I think I can even pick out a glass harp) with more traditional classical music compositions, slipping from one style to another to fit Teshigahara's mood.

I recall minimal titles an earlier video release of the film, but in this Criterion edition none of these buildings (save Sagrada Familia) are identified, either on the soundtrack or by subtitles. (You can pick them out from the chapter listing in the booklet, if you have the tenacity and the ability to see the chapter numbers on your DVD player.) However, it does include two more traditional British documentaries on Gaudi and his work: a 15-minute B&W film essay made by Ken Russell in 1961 for the TV series Monitor and the one-hour God's Architect, made as part of the BBC series Visions of Space. These works are much more conventional, providing historical background on Gaudi and on the buildings themselves and putting the work in the kind of narrative we are used to, and make perfect companion pieces to Teshigahara's impressionistic study.

The DVD also features Gaudi's 1963 short film Vita: Sculptures by Sofu, a beautiful survey of his father's sculptures, and a new video interview with architect Arata Isozaki, recorded in 2006 for this DVD. The accompanying booklet includes a new essay by art critic Dore Ashton, Hiroshi Teshigahara's remembrance of his first trip to Barcelona (excerpted from a book by his producer, Noriko Nomura) and a round-table discussion with Sofu and Hiroshi Teshigahara and others discussing the 1959 trip.

For more information about Antonio Gaudi, visit The Criterion Collection.

by Sean Axmaker

Antonio Gaudi - Hiroshi Teshigahara's Mesmerizing 1984 Documentary on Catalan Architect ANTONIO GAUDI

In 1959, the young painter and fledgling filmmaker Hiroshi Teshigahara accompanied his father, the avant-garde artist and sculptor and master of ikebana (flower arranging) Sofu Teshigahara, on a trip to New York and Spain with his father's disciples. He had seen photos of Gaudi's work, but actually visiting the physical constructs in Barcelona was overwhelming: "I was thus totally unprepared for the intense shock of my encounter with his architecture," he told producer Noriko Nomura in 1986. He took a 16mm camera and visited every Gaudi site. The footage was edited into a silent 19-minute film, Gaudí, Catalunya (1959), an impressionist survey of his work through the curving lines and organic shapes of his buildings. Twenty-five years later, after Teshigahara had established himself as one of Japan's most adventurous filmmakers (his films include Woman in the Dunes) and then put down the camera to pursue other artistic avenues, he returned with a film crew to shoot a feature film (his first in twelve years) exploring Gaudi's work. Antonio Gaudi (1984) is not a documentary in any conventional sense. There is no profile of the life and education of the artist, no identifying titles of the buildings, no explanatory narrator, and (apart from a few comments in one scene) a single, brief interview about his final work. It is a portrait of the artist, from the admiring perspective of a fellow artist, as seen solely through his art. Antonio Gaudi begins with a quick yet calm introduction to Barcelona, its street life, its city style, and the rigid, formal lines of its traditional buildings. In the midst of this architectural conformity, Teshigahara gives us our first glimpse of Gaudi's work with the apartment building Casa Battlo. Squeezed into Barcelona's famous Illa de la Discòrdia ("Block of Discord") next to Josep Puig i Cadafalch's modernist Casa Amatller, Gaudi's building looks like it's trying to squeeze back out, its walls rippling in the effort, its roof arching, the lines of the balconies bending and curving. Next to the straight lines and sharp corners of its neighbors, Casa Battlo looks alive, but it's barely a shrub next to the full flowering of undulating lines and organic curves of Casa Mila, also known as La Pedrara (The Quarry). As much sculpture as architecture, this building (one of Gaudi's most famous) looks like it was (in Teshigahara's words) "sculpted out of rock by water. All the fluid curves were connected by organic lines. This was architecture imbued with life, warm and insulating." It is here that the film really begins to pick out the astonishing details found carved into the façade and out of the walls and ceilings of the interior. These designs look more like bones and tree roots and spiral and bubbles than traditional architectural lines and arches. The tour continues through the other great Gaudi works of the city of Barcelona, including Bellesguard, the otherworldly Guell Colony Crypt, and Park Guell, an astounding vision that looks like the recovered ruin of an ancient playground for fairy folk. The organic and the natural is a part of all Gaudi designs, but here his stonework was built to complement and co-exist with the plants and trees, alive in its own way. The final section is dedicated to Gaudi's final, unfinished work: Sagrada Familia, a magnificent cathedral like no cathedral before or since. From afar, it looks like the tendrils of a plant growing out of the uniformity of modern Barcelona, and Teshigahara's decision to first view it from a distance may have been inspired by his first glimpse of it in his 1959 trip to Barcelona: "as we drove toward Barcelona... the four gleaming spires of the Sagrada Familia rising out of those reddish surroundings came at me with thrilling immediacy." We are brought closer and closer, revealing the myriad intricacies of the outer walls and the spires, the statues that fill the façade, the designs carved out of every surface, the living texture of the building. And then Teshigahara brings in a commentator, former Gaudi assistant Isidre Puig-Boada, to tell us of Gaudi's death and the efforts of his disciples to reconstruct his original model (it was, along with all of his models, destroyed in the Spanish Civil War) and continue his dream. As of 2008, construction continues, and will continue for decades. The unusual decision to eschew narration and commentary, to show the work without historical context or biographical structure, gives us a different kind of insight to the work. More than simply a filmmaker, Teshigahara had a long career as a multidisciplinary artist and according to his colleague, architect Arata Isozaki, his work was highly influenced by Gaudi's use of natural shapes and organic lines. In the film, he makes the point simply by surveying the architecture around Gaudi's Barcelona buildings and the natural landscape of Catalonia, Gaudi's home. There is no direct comparison or contrast, simply a view of the worlds in which Gaudi lived and drew inspiration. Criterion's new two-disc edition includes Teshigahara's first Gaudi survey, the 1959 short Gaudí, Catalunya, and it's instructive to see just how many of those initial images show up again in his 1984 film. What's different is the visual flow. By 1984, Teshigahara no longer feels the need for insistent editing and dramatic contrasts. His camera captures Gaudi's rippling organic lines and intricate details with striking angles and revealing variations of close-ups and long shots, all shot in with a camera that drinks in the imagery in still shots and flowing movements and edited into a gentle rhythm. And Teshigahara is careful to include of people working, playing and living within his structures, a reminder that for all their astounding beauty, Gaudi designed these dwellings and public spaces for human habitation. The music by famed composer and long-time Teshigahara collaborator, Toru Takemitsu, combines eerie soundscapes of electronics, percussion and strings (I think I can even pick out a glass harp) with more traditional classical music compositions, slipping from one style to another to fit Teshigahara's mood. I recall minimal titles an earlier video release of the film, but in this Criterion edition none of these buildings (save Sagrada Familia) are identified, either on the soundtrack or by subtitles. (You can pick them out from the chapter listing in the booklet, if you have the tenacity and the ability to see the chapter numbers on your DVD player.) However, it does include two more traditional British documentaries on Gaudi and his work: a 15-minute B&W film essay made by Ken Russell in 1961 for the TV series Monitor and the one-hour God's Architect, made as part of the BBC series Visions of Space. These works are much more conventional, providing historical background on Gaudi and on the buildings themselves and putting the work in the kind of narrative we are used to, and make perfect companion pieces to Teshigahara's impressionistic study. The DVD also features Gaudi's 1963 short film Vita: Sculptures by Sofu, a beautiful survey of his father's sculptures, and a new video interview with architect Arata Isozaki, recorded in 2006 for this DVD. The accompanying booklet includes a new essay by art critic Dore Ashton, Hiroshi Teshigahara's remembrance of his first trip to Barcelona (excerpted from a book by his producer, Noriko Nomura) and a round-table discussion with Sofu and Hiroshi Teshigahara and others discussing the 1959 trip. For more information about Antonio Gaudi, visit The Criterion Collection. by Sean Axmaker

Antonio Gaudi - A Film by Hiroshi Teshigahara


Sometimes a picture is worth far more than a thousand words. Hiroshi Teshigahara's Antonio Gaudi, which is available on DVD from Image Entertainment (a distributor for Milestone Film and Video), is a haunting look at the works of a Spanish architect whose surrealist bent was a great inspiration to such later geniuses as Pablo Picasso and Salvador Dali. Obviously intoxicated by the serpentine power of Gaudi's vision, Teshigahara presents the film with virtually no narration. Subtitles tell you what building you're looking at, then you're expected to let your subconscious do the talking.

The structures are mind-boggling amalgamations of Medieval influences, rising spires, and what Gaudi referred to as "the great book of nature." Barcelona's Temple of Expiation is a particularly wondrous achievement. It seems likely that H.R. Giger, who created the production design for Alien, is also a Gaudi fan. Gaudi's buildings have an almost biological, sensual bent to them that can also be found in Giger's work. You simply have to see these buildings to believe them, and Teshigahara, who's best known for directing the Oscar-nominated Woman in the Dunes, gives you the chance to do exactly that.

He doesn't, however, leave you completely hanging. A continuous Toru Takemitsu score bolsters the images with rising and falling melodies that are almost as ethereal as Gaudi's structures. Regardless of your attitude toward outre architecture this can be a fascinating experience. The non-narrative format places Antonio Gaudi well beyond the realm of most motion pictures, and that includes documentaries. You certainly won't get very far comparing it to The Fountainhead, although Ayn Rand's obsessively individualistic lead character could probably have a passionate conversation with Gaudi. This is The Fountainhead by way of an opium dream.

Perhaps Antonio Gaudi's most obvious precursor is Godfrey Reggio's Koyaanisqatsi, which uses brilliantly photographed images of technological insanity to suggest a thesis about mankind's imminent collapse. Teshigahara's far more uplifting point could be that human beings - or, at least, this particular human being - can transform the labyrinths of their minds into works of startling beauty and wonder. So why not celebrate Gaudi's strangely erotic poetry while we can?

There are no bonuses on Image's disc, just a sharp, colorful print of a movie that very much requires one.

For more information about Antonio Gaudi, visit Image Entertainment. To order Antonio Gaudi, go to TCM Shopping.

by Paul Tatara

Antonio Gaudi - A Film by Hiroshi Teshigahara

Sometimes a picture is worth far more than a thousand words. Hiroshi Teshigahara's Antonio Gaudi, which is available on DVD from Image Entertainment (a distributor for Milestone Film and Video), is a haunting look at the works of a Spanish architect whose surrealist bent was a great inspiration to such later geniuses as Pablo Picasso and Salvador Dali. Obviously intoxicated by the serpentine power of Gaudi's vision, Teshigahara presents the film with virtually no narration. Subtitles tell you what building you're looking at, then you're expected to let your subconscious do the talking. The structures are mind-boggling amalgamations of Medieval influences, rising spires, and what Gaudi referred to as "the great book of nature." Barcelona's Temple of Expiation is a particularly wondrous achievement. It seems likely that H.R. Giger, who created the production design for Alien, is also a Gaudi fan. Gaudi's buildings have an almost biological, sensual bent to them that can also be found in Giger's work. You simply have to see these buildings to believe them, and Teshigahara, who's best known for directing the Oscar-nominated Woman in the Dunes, gives you the chance to do exactly that. He doesn't, however, leave you completely hanging. A continuous Toru Takemitsu score bolsters the images with rising and falling melodies that are almost as ethereal as Gaudi's structures. Regardless of your attitude toward outre architecture this can be a fascinating experience. The non-narrative format places Antonio Gaudi well beyond the realm of most motion pictures, and that includes documentaries. You certainly won't get very far comparing it to The Fountainhead, although Ayn Rand's obsessively individualistic lead character could probably have a passionate conversation with Gaudi. This is The Fountainhead by way of an opium dream. Perhaps Antonio Gaudi's most obvious precursor is Godfrey Reggio's Koyaanisqatsi, which uses brilliantly photographed images of technological insanity to suggest a thesis about mankind's imminent collapse. Teshigahara's far more uplifting point could be that human beings - or, at least, this particular human being - can transform the labyrinths of their minds into works of startling beauty and wonder. So why not celebrate Gaudi's strangely erotic poetry while we can? There are no bonuses on Image's disc, just a sharp, colorful print of a movie that very much requires one. For more information about Antonio Gaudi, visit Image Entertainment. To order Antonio Gaudi, go to TCM Shopping. by Paul Tatara

Quotes

Trivia

Miscellaneous Notes

Released in United States 1998

Released in United States December 1997

Released in United States on Video November 10, 1998

Released in United States Spring March 5, 1986

Re-released in United States October 29, 2008

Hiroshi Teshigaha was an Academy Award nominee for Best Director "Woman in the Dunes" (1964).

Composer Toru Takemitsu died in 1996.

Released in United States 1998 (Shown in New York City (Walter Reade) as part of program "Hearing the Water Dreaming: The Music of Toru Takemitsu" February 27 - March 12, 1998.)

Released in United States Spring March 5, 1986

Re-released in United States October 29, 2008 (New York City)

Released in United States on Video November 10, 1998

Released in United States December 1997 (Shown in Los Angeles (NuArt) December 13-14, 1997.)