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On a single night in New York in 1961, it’s possible to imagine Bob Dylan, Barbra Streisand and Miles Davis playing clubs in and around the Village, while Gloria Steinem and Robert Benton traded newspapers at Jim Downey’s Steak House uptown. James Earl Jones was starring in Jean Genet’s “The Blacks” at the St. Mark’s Playhouse, while Edward Albee, having already galvanized off-Broadway with “The American Dream” and “Zoo Story,” was writing “Who’s Afraid of Virginia Woolf?” Stephen Sondheim might have been noodling ideas for “A Funny Thing Happened on the Way to the Forum.” Andy Warhol might have been preparing Marilyn Diptych or 100 Cans and other works for his first solo pop art show the following year.
During an era that ran roughly from 1960 through 1963, those worlds were known to overlap in fascinating, felicitous ways, It wasn’t uncommon for Steinem — then an emerging journalist working at the humor magazine Help! – to call up an emerging comedian named Woody Allen, inviting him to contribute to the satirical fumetti the magazine specialized in, Robert Redford, having recently left art school and sansha pointe shoe covers beginning to work as an actor, saw a young Streisand while she was playing Village clubs like the Blue Angel and the Bon Soir, never dreaming they would be acting together on screen a little more than 10 years later..
Meanwhile, Jean-Luc Godard’s “Breathless,” Michelangelo Antonioni’s “L’Avventura” and Ingmar Bergman’s “The Virgin Spring” were introducing a new cinematic grammar to American filmgoers. Journalists absorbed the spontaneous rhythms of those films while documentary filmmakers internalized the raw, confrontational intimacy of new off-Broadway productions. Painters went to hear jazz, playwrights went to see modern dance and Beat poets went to the folkie coffeehouses — a cultural cross-fertilization that’s briefly reflected in “Inside Llewyn Davis” when a character played by Garrett Hedlund tells Davis that he acted in the off-Broadway play “The Brig.”.
That’s a moment of poetic license: In actuality, that play didn’t open until 1963, In 1961, when “Inside Llewyn Davis” takes place, Kenneth H, Brown — who wrote “The Brig” — was tending bar, hoping for a break in the theater, That same year, D.A, Pennebaker, who would go on to make the Dylan documentary “Don’t Look Back,” was making films with Robert Drew and Richard Leacock at Life magazine, where they had invented a portable, lightweight camera with synchronized sound that would give rise to a new sansha pointe shoe covers kind of nonfiction filmmaking some would start calling “cinema verite.”..
In 1961, a 24-year-old named Dustin Hoffman was rooming with another emerging actor named Robert Duvall, taking classes, working odd jobs and getting small roles on TV and Broadway. Michael Kahn, now artistic director at the Shakespeare Theatre Company in Washington, was preparing to graduate from Columbia University and exploring the new world of off-Broadway theater. Robert Benton was the art director at Esquire magazine, where Norman Mailer — soon to be joined by Tom Wolfe, Terry Southern and Gay Talese — was beginning to invent the subjective, self-consciously literary writing style that came to be known as New Journalism. He was also dating Steinem, who was working at Help! and sharing an apartment with an artist and illustrator named Barbara Nessim.
In 1961, the folk and blues producer Sam Charters and his wife, the future Beat biographer Ann Charters, had just returned from Europe to New York, where they occasionally visited Van Ronk, Sam Charters’ former roommate on MacDougal Street, A teenager named P, Adams Sitney was working with Jonas and Adolfas Mekas at Film Culture magazine; a year later the Mekas brothers would form sansha pointe shoe covers the Film-Makers’ Cooperative, which distributed films by avant-garde auteurs Stan Brakhage, Kenneth Anger and Jack Smith..
An aspiring magazine designer named Walter Bernard was living in a Weekhawken, N.J., rooming house, studying at night with the legendary magazine designer Henry Wolf, and saving up enough money to move to Manhattan. The future art historian and critic Barbara Rose was working as an archivist for the composer Edgar Varese that summer. Shortly she would depart for Europe on a Fulbright scholarship and marry the artist Frank Stella, whose work had been part of the pivotal “Sixteen Americans” show at the Museum of Modern Art two years earlier.
Each of them was a part of the vibrant New York world outside “Llewyn Davis.” Here are some of their voices, ‘A totally different New York’, P, Adams Sitney: There was so much going on, in any area you want to mention, Paul Goodman published “Growing Up Absurd,” John Cage published “Silence,” and Grove Press brought out an anthology called “The New American Poetry.” It was as if the world had turned upside down with those three books, At MOMA there was a big Rothko [retrospective] and sansha pointe shoe covers they had the “Sixteen Americans” show around that time, , , , Up in a townhouse on the Upper East Side, Leo Castelli was showing Jasper Johns and Robert Rauschenberg, You could see Merce Cunningham at the Judson Memorial Church, , , , It was a wonderfully exciting time.And of course, we believed that cinema would change definitely and dramatically forever, which turned out not to be the case..