This is almost as much fun as it sounds: a Cuban feature-length animated film (by Juan Padron) that makes fun of horror and gangster movies in a bawdy and caricatural style. Among the heavies out to steal Professor von Dracula’s formula, which allows vampires to survive in sunlight, are the European Group of vampires from Dusseldorf and the Vampire Mafia from Chicago. Although the animation style is less than brilliant, there are enough action and high spirits here to make this lively and amusing. With a good Afro-Cuban jazz score by Rembert Egues, featuring Arturo Sandoval’s trumpet (1985). (JR) Read more
This rather atypical late (1961) John Ford western stars James Stewart as a cynical marshal hired to negotiate with the Comanches for white prisoners and Richard Widmark as a cavalry officer who comes along with him. Not a film with any of the resonance of The Searchers, despite a certain similarity in theme, but interesting nonetheless. With Linda Cristal, Shirley Jones, Andy Devine, John McIntire, Mae Marsh, Henry Brandon, and Anna Lee. 109 min. (JR) Read more
Akira Kurosawa’s remarkable 1957 restaging of Macbeth in samurai and expressionist terms is unquestionably one of his finest workscharged with energy, imagination, and, in keeping with the subject, sheer horror. Incidentally, this was reputed to have been T.S. Eliot’s favorite film. With Toshiro Mifune and Isuzu Yamada. In Japanese with subtitles. 110 min. (JR) Read more
This feature by former Orson Welles associate Richard Wilson is both a fascinating period piece (1968) and a memorable black comedy whose quasi-feminist theme was rather ahead of its time. Each of three college womenYvette Mimieux, Judy Pace, and Maggie Threttdiscovers that her boyfriend, Christopher Jones, is secretly sleeping with the other two. They join forces to hold him captive in an attic, where they gradually service him sexually to near death by running a carefully scheduled relay. Good, disturbing fun. (JR) Read more
Laura Mulvey and Peter Wollen’s second feature, made in 1977, relates a feminist parable in 13 360-degree pans. Considered a basic work by many academics, it has very little filmmaking skill or intellectual originality, but it’s so teachable that a lot of film teachers find it very useful. Like many other experimental narratives made in England during this period, it could be described as a film designed to be discussed more than seen (or heard), though it’s at least more watchable (and hearable) than Wollen and Mulvey’s previous feature, Penthesilea: Queen of the Amazons. (JR) Read more
Tengiz Abuladze’s dreamlike allegorical fantasy about Stalinism, as well as despotism in general, is probably the best known and almost certainly one of the best Soviet films to have surfaced as a result of glasnost. Part three in a trilogy, the film needs no special knowledge or background to be enjoyed and appreciated. Avtandil Makharadze is especially effective (and funny) as the despotic Georgian mayor who represents a composite of famous dictators (Hitler, Stalin, Mussolini), a comic-opera figure who literally sings arias at his victims, and also as his divided son who has to justify his father’s outrages many years later. While possibly overlong at 150 minutes, the film represents a complex achievement: an attempt to work through the unacknowledged nightmares of the past, often using fantasy and comedy as essential ingredients, and a striking stylistic effort in its own right. Winner of the special jury prize at the 1987 Cannes film festival. (JR) Read more
Godfrey Reggio’s 1988 follow-up to his 1983 Koyaanisqatsi, working again with a score by Philip Glass, turns to the third world to mount its essayistic propositions. Ken Richards collaborated with Reggio on the script. Part two of a nonverbal trilogy that already sounds suspiciously like the kitschy Family of Man photography exhibit of the 50sa heap of high-tech platitudes about human endeavor. Quatsi, incidentally, is the Hopi Indian term for life. 99 min. (JR) Read more
Eric Rohmer’s least typical and least popular film also happens to be his best: a wonderful version of Chretien de Troyes’ 12th-century epic poem, set to music, about the adventures of an innocent knight. Deliberately artificial in style and settingthe perspectives are as flat as in medieval tapestries, the colors bright and vivid, the musical deliveries strange and often comicthe film is as faithful to its source as it can be, given the limited material available about the period. Rohmer’s fidelity to the text compels him to include narrative descriptions as well as dialogue in the sung passages. Absolutely uniquea must for medievalists, as well as filmgoers looking for something different. This film also features the acting debut of the late and very talented Pascal Ogier (1978). (JR) Read more
Like Borges and Bioy-Casares’s no less questionable Chronicles of Bustos Domecq, this satirical look at the presumptions of the avant-garde is apt to be funnier to people who dislike most of the avant-garde on principle than to those with more sympathy, who may be in for a bumpy ride. Either way, Suzanne Osten’s Swedish comedy certainly has its laughs, although a certain rhythmic monotony and sameness in the scenes prevents it from building as much as it should (in the sense that, say, Mel Brooks’s The Producers and Albert Brooks’s Real Life do, to cite two other celebrations of eccentric theatrical excess). A typical scene begins with the director of an avant-garde production asking members of his company to do something outrageous (Do something erotic with objects), and ends with a musician grumbling or making threats (If you say I’m antagonistic once again, I’ll hit you with my shoe). (JR) Read more
Set in Paris in 1926 among American expatriates, this Alan Rudoph feature (1988) isn’t everything one might hope for; Rudolph had wanted to film his and Jon Bradshaw’s script since the mid-70s, and it probably stewed in his consciousness too long. But for the first hour it’s very nearly as good as Choose Me and Remember My Name, and even when it isn’t working it remains fascinating. Set in a claustrophobic world of cafes, studios, and other cluttered interiors, with a great many smoky close-ups and drifting camera movements, the film is about the public profile of modernism more than its inner workings. Rudolph treats all his characters as contemporaries rather than historical figures, and as usual in his work the cover stories of the characters count for more than anything else, even when slipping away. The cast is by and large superb: Keith Carradine, Geraldine Chaplin, Linda Fiorentino, Genevieve Bujold, Kevin J. O’Connor (as Ernest Hemingway), Wallace Shawn, and John Lone. 128 min. (JR) Read more
Manuel Gutierrez Aragon’s 1980 feature, which won second prize at the Chicago International Film Festival the following year, follows a 15-year-old girl (Cristina Marcos) who lives with her father and spends much of her time with a group of elderly Sephardic Jews. Much of the plot revolves around the parallels between a play directed by one of these Jews about a bandit and the real-life underworld of crime. Read more
For people like me who often feel oppressed by minority-film categories such as gay films, black films, Jewish films, independent films, and so on, calling this really well-done, low-budget, personal effortdirected and adapted by Gus Van Sant from a Walt Curtis novel, and shot in Portland, Oregona gay film isn’t very helpful. Far better to say that the film’s working-class hero (extremely well played by Tim Streeter), who works as a grocery-store clerk in Portland’s skid row, happens to be gay, has an unrequited crush on an illegal Mexican immigrant named Juancito (Doug Cooeyate), and ultimately has a brief affair with Juancito’s friend, another illegal alien. Strikingly shot in high-contrast black and white, with offscreen narration and postsynchronized dialogue, the film suffers in spots from its austere budget; the short-take editing style is persuasively handled, but gets a mite monotonous in spots. Still, this 1985 film’s absolute freedom from cliches is genuinely refreshing; looking at it again after Van Sant’s subsequent Drugstore Cowboy, I found it every bit as good and in some ways even more impressive than the later film. It shouldn’t be missed. With Ray Monge. 78 min. Read more
This is the original general-release version, not the more recent restoration, of Orson Welles’s 1948 cheapie, expressionist adaptation of the Shakespeare tragedy, shot in three weeks at Republic Studio on converted western sets. (Both versions are edited by Welles, but this one is two reels shorter and has a redubbed sound track to make the cast’s Scottish accents more subdued.) Whatever the version, this remains the most problematic of Welles’s Shakespeare adaptationsparticularly because of the inadequacies of the two lead performers (Welles and Jeanette Nolan) and the violence done to the textbut it has its compensations and moments of raw power. With Dan O’Herlihy and Roddy McDowall. (JR) Read more
Set in 1917, and based on a true story, this Australian war film follows the eponymous four-man regiment of mounted soldiers who have been together since the Gallipoli campaign, with one of the wounded members replaced by a younger recruit, slugging it out with Germans and Turks in Palestine. With Anthony Andrews, Peter Phelps, Bill Kerr, and Nick Waters; written by Ian Jones, directed by Simon Wincer, and shot in its entirety in South Australia. Read more
Could you believe that Martin Sheen, Sam Wanamaker, and Sean Penn are all hijackers from East Berlin? Apparently this movie expects us to. Based on a true story, the movie follows the hijackers to West Germany, where communist officials demand that they be tried. Leo Penn directs a script by himself and Joshua Sinclair, based on a book by Herbert G. Stern. Read more
