Never Alone - A True Story

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The film reflects the Surrealist interest in pointing out the hypocrisy of accepted morality as well as the unrestrained actions of a group which, though brutal, is free from the controls of rationality. It explores the themes of sin and guilt, and in a stunning dream-sequence uses the techniques of superimposition and slow-motion to show the unconscious: chicken feathers fall as a mother walks holding a lump of rotten meat.

The Surrealists loved his unsparing exposure of life's essential amorality - an issue that had always been at the heart of the Surrealist philosophy. It was shown at the Cannes Film Festival, where the accompanying brochure held praise from Andre Breton, and a poetic tribute from the Surrealist Jacques Prevert. Here, he was awarded the prize for Best Director.

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The Mexican poet and intellectual, Octavio Paz, defended the film passionately. Content compiled and written by Jen Farren. Updated and modified regularly. By using our site, you agree to our terms , and usage of cookies.

GOT IT! The Art Story. Surrealism broke new ground in literature through the practice of automatic writing, and in painting, it achieved startling but static dream-like images. His films provoke not only intellectual and emotional responses, but powerfully affect the viewer physically through repellent images of insects, bodily waste, decaying carcasses, amputation, and other shocking desecrations of human body parts.

They involve and interact with the viewer in a way that is the hallmark of postmodernist art many, many years later. Influences on Artist Artists, Friends, Movements. Influenced by Artist Artists, Friends, Movements. View Influences Chart. Influenced by Artist. If you see an error or typo, please: tell us. Related Movements. Artwork Images.

Fritz Lang. Buster Keaton.

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Personal Contacts. Frederico Garcia Lorca. Alfred Hitchcock. Pedro Almodovar. Gabriel Figueroa. She sent her son back to Norway to live with his grandmother, then moved in with Cohen who, on turning 26, bought himself a house on Hydra. But, pretty and alluring as the island was, it required labour to live there. Even getting drinking water was an effort. Ihlen took care of Cohen, as he in turn provided for her. Without making any conscious decision, she effectively became his muse. She was somebody who had this incredible instinct to know the strength of people. Nonetheless, the film also picks up on her discomfort at her role as facilitator rather than creator.

She mentions an anecdote from the film. Ihlen recalled that, on being introduced to a group of artists and not knowing how to describe what she did, she said that her life was her art. Leonard remarked on how appealing this was.

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Cohen used to wish for a matriarchy, though not necessarily in his own private life. One definition that weighed on her was that of single mother. Ihlen had to return to Norway and her son, while Cohen needed to get back to Canada to earn some money. They drove to Norway together, then the aspiring novelist flew to Montreal. It was the first of many estrangements to come. This was a time, of course, when phones were a rarity and communication was by handwritten letters.

That sweet agony of separation, intolerable yet full of poetic longing, is one that is unimaginable in the age of text and Snapchat. In the film, there is footage of Cohen in concert, introducing a song by talking about his relationship with Marianne. At first, he says, he lived with her for most of the year, then two months, then two weeks, until, he says in a wry delivery, he lives with her two days a year.

There were stints together on Hydra, in Montreal and, most unhappily, in New York. For the next decade, Cohen came and went. Two long stays on Hydra produced two novels, The Favourite Game and Beautiful Losers , a strange, mystical fiction I recall reading as a hungry-for-experience teenager travelling around the Greek islands. Cohen had a breakdown when it was completed and, realising that he would never fully support himself, let alone anyone else, by writing literature, he turned his attentions to music.

In , Judy Collins recorded a song Cohen played her called Suzanne, along with the much later Hallelujah, his best-known hit. Thereafter, he took up songwriting, recording and performing and became an international star. There is a revealing scene in the film in which a stunningly beautiful young woman comes on to him, seemingly in the company of her boyfriend. He was very romantic and also I guess really horny. It was around this time that the young Broomfield turned up in Hydra. The incursion is subtly handled in the film, with the Englishman deliberately minimising his part so as not to distract from the romance at the centre of the film.

He was smitten by Ihlen and she followed him back to England, then came to visit him at university in Cardiff. It was quite hard for me to embrace this enormous world. It shows Marianne at 32, an attractive and proud woman who carried no air of entitlement.

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  5. She and Broomfield were together for almost a year. He says she was instrumental in pushing him to make his first film, Who Cares? He has since made more than 30 films, winning countless awards. Among them have been several first-rate films about musicians, although for my money Marianne and Leonard is the best of these.

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    At the end of their year together, she went to New York to try to restart the relationship with him. Cohen was living at the famously louche Chelsea hotel in Manhattan and hanging out with people such as Janis Joplin about whom he wrote Chelsea Hotel , Joni Mitchell and Nico from the Velvet Underground. With her son, Marianne moved into a run-down apartment in Clinton Street. One night, she was mugged on the doorstep. It marked the end of the affair and equally, as the s came to a close, the end of an era.

    As Broomfield shows in his film, very few of those who gathered on Hydra emerged with either their art enhanced or their lives more sorted. Divorce, suicide and madness were some of the endings that the journey had in store. The self, it turned out, could be selfish and destructive. Cohen had that will. It was the success that his efforts brought him that did for his romance with Ihlen. There were other factors too. And a gift for Leonard, I might also add, not to underestimate myself completely. He was sent to board at Summerhill, the experimental school in Suffolk.

    There were other children of Hydra expats there, and, in keeping with the wisdom of the times, Ihlen believed that its unstructured regime, where lessons were optional, would suit her son. In fact he was unmoored and desperate for his mother. As he grew older, he developed psychiatric problems and has subsequently spent a large part of his life in and out of institutions.