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are re-used. The dream is present again; the first shot is a little boy going to sleep, the images that follow are his ‘dream’ about the past, full of trains, cars, factories, typical
American suburbs and fences. Nature is almost absent here; we see images of men and industry, images in movement. The
130:, Bruce Conner started working on this film, which he calls ‘an extension of Take the 5:10 to Dreamland’ . Although he didn’t have the same sound problems with this film, he decided to make it sepia-toned as well, so the two films go together as a pair. Some of the images of
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rhythm is quicker, and the sad but vivid waltz on the soundtrack give this film an entire other feel, less dreamlike and more specifically rooted in the nostalgic
American past.
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A.L. Rees; Bruce Conner and the found-footage film; Monthly Film
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The film a homage to surrealist cinema and the trance films of
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An autobiographical take of the filmmaker's childhood in 1940s
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with sources that parallels his own life experiences.
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MONTHLY FILM BULLETIN 1987|Valse Triste-BRUCE CONNER
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