Grand Opera: An Historical Romance

Grand Opera is a critically acclaimed, experimental, and deeply personal film by the American avant-garde filmmaker, James Benning. Shot entirely in 1920s film stock, reminiscent of the silent era, the movie is a rich tapestry, intertwined with diverse narrative threads, historical allusions, and tributes to fellow artists. Released in 1989, Grand Opera marks a turning point in Benning's oeuvre, a cinematic exercise in self-discovery and an attempt to capture the essence of his artistic vision. Benning's narrative defies traditional storytelling, opting instead for a non-linear structure that reflects the disjointed nature of human experience. The film is divided into five distinct sections – each of which bears a close connection to Benning's personal history, creative influences, and the intricate world of mathematics. By juxtaposing seemingly disparate narratives, Benning crafts a cinematic experience that blurs the boundaries between history, art, and philosophy. The film opens with a series of abstract black-and-white shots featuring mathematical calculations, illustrating the digits of the mathematical constant pi (π). This sequence sets the tone for the remainder of the film, signaling Benning's fascination with the intersection of art and mathematics. Pi, as an irrational number, embodies the inherent complexity and infinite variability that underpins the human experience. Benning's use of this concept foreshadows the film's exploration of other seemingly inescapable patterns and cycles that govern human existence. The second section introduces Benning's travels, showcasing his experiences in various cities around the world. These journeys offer a glimpse into the filmmaker's own wanderlust, a desire to explore the world and discover new perspectives. Interwoven throughout this section are scenes of Benning's encounters with fellow artists and intellectuals, including his friends and admirers, Michael Snow, Hollis Frampton, George Landow (also known as Owen Land), and Yvonne Rainer. These cameos serve as a testament to the interconnectedness of the avant-garde community, as well as the significant influence these artists have had on Benning's work. The historical development of the concept of pi provides another pivotal narrative thread throughout the film. Benning's use of archival footage and illustrations of mathematical equations underscores the intellectual underpinnings of his exploration. By examining the historical context in which mathematics has been used to describe the world, the filmmaker sheds light on the ways in which our understanding of reality has evolved over time. Throughout Grand Opera, Benning pays homage to his artistic influences, often using their own films as source material. These homages are frequently incorporated into the fabric of the narrative, creating a rich intertextual dialogue between different artistic visions. Michael Snow's work, in particular, is woven throughout the film, as evidenced by the incorporation of scenes from Snow's film, "Wavelength." This nod speaks to the ongoing dialogue between Benning and Snow, two artists who have consistently explored the boundaries of cinematic expression. By juxtaposing the disparate threads of his personal and artistic biography, Benning creates a cinematic tapestry that reflects his unique perspective on the world. Grand Opera is at once a deeply personal and universal film, offering insights into the human condition through the lens of mathematics, art, and history. In the end, the film leaves the viewer with a profound sense of the interconnectedness of all things, a sense that has been fostered by Benning's meticulous curation of narrative threads and artistic homages. By navigating the complex relationships between his own life, the work of other artists, and the historical development of mathematical concepts, the filmmaker crafts a cinematic experience that defies categorization, inviting the viewer to embark on an intellectual and emotional journey that lingers long after the film's conclusion.