Dead Pigeon on Beethoven Street Screen 4 articles

Dead Pigeon on Beethoven Street


Dead Pigeon on Beethoven Street Poster
  • I first saw “Dead Pigeon” in late 1976. The packed one-off screening at the Collective for Living Cinema, a quasi-underground venue in Lower Manhattan, may actually have been the movie’s New York theatrical premiere. Back then, I found “Dead Pigeon” disappointing; seen again, as the filmmaker intended it and without expectation, it’s less a failure than a small, unexpected gift for Mr. Fuller’s fans.

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    Sight & Sound: Michael Atkinson
    July 08, 2016 | August 2016 Issue (p. 98)

    The Godardian penchant for ignoring plot and just hanging out dominates the action; winding exposition scenes are played for the nonsense they are, and the sense of drunken fun had on set is really what's being served up (to a soundtrack by krautrock pioneers Can). It may not be top-shelf or even typical Fuller, but it's a unique call-and-response tissue-sample from the New Wave zeitgeist, and a lovely visit to downtown Cologne.

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    Film Comment: James Hughes
    September 03, 2015 | September/October 2015 Issue (p. 16)

    A satire of international sex scandals like the Profumo affair, Dead Pigeon is awash in MacGuffins and spy-movie clichés—disguises, sleeping potions—that provided cover for more adventurous experimentation elsewhere.

  • Now that we can see it in its full-length version (24 minutes longer than its original release), Dead Pigeon on Beethoven Street is all the more fascinating and flavoursome in terms of its sheer weirdness, and (as Christa Fuller points out) its conscious kinship with the French New Wave becomes much clearer.