The unusual thing about this pleasant (if at times formulaic) shaggy-dog road movie set in Montana, South Dakota, New Mexico, and environs is that it’s all about contemporary Cheyenne Indians. The story of a huge traditionalist Cheyenne named Philbert (Gary Farmer) and his beat-up wreck of a car (purchased with pot), which he regards as his “pony,” the movie follows the wayward adventures that ensue when Philbert’s political friend Buddy (A Martinez) gets him to drive the two of them from Montana’s Lame Deer reservation to Santa Fe, to get Buddy’s sister Bonnie (Joanelle Romero) out of jail. Directed by Jonathan Wacks from a script by Janet Heaney and Jean Stawarz based on David Seals’s book, there’s more pleasure to be found here in character and incident than in plot per se, but in addition to offering an interesting cross section of Cheyenne life and attitudes, there’s a fair amount of fun to be had along the way–including attractive scenery and some good laughs. With Amanda Wyss. (Fine Arts) Read more
Two fascinating relics of the French cinema in the mid-30s, both semimusicals starring the great black dancer Josephine Baker in all her glory, and both very interesting for the racial attitudes they reveal. In each feature Baker is paired with a white male star–Jean Gabin as a brother-by-adoption and sailor-turned-electrician in Marc Allegret’s Zou Zou (1934), and Albert Prejean as an aristocratic novelist in Edmond Greville’s Princess Tam Tam (1935)–who is set up as a potential lover, but who eventually passes her up for a white woman. (Even with these supposed safeguards, these movies were deemed virtually unexportable to the U.S. at the time, when big-budget movies starring blacks were unheard of; Princess Tam Tam, the more racist of the two, had a brief American run during the 40s, but only in a highly censored version.) In Zou Zou, which has the somewhat more plausible plot of the two (and was one of the biggest French box-office hits of its year), Baker and Gabin grow up together in the circus and wind up working at the same Paris music hall; in Princess Tam Tam she’s a Tunisian native–almost a Rousseau-like noble savage–discovered by Prejean, a Parisian abroad who uses her as the raw material for his novel, in which he imagines her taking Paris by storm (as Baker herself did in the 20s) and making his wife jealous. Read more
Jeff Bridges gives one of his best performances to date in an absorbing romantic comedy-drama written and directed by Alan J. Pakula about the emotional confusions and adjustments that take place when a divorced psychiatrist (Bridges) and a widow/photographer (Alice Krige), both of whom have two children from their previous spouses, decide to get married. The New York setting and the economic bracket and well-educated veneer of the characters (as well as the effective use of familiar songs) suggest the world of Woody Allen, but this is incomparably better in its insights and density than any of Allen’s efforts; the characters steadily grow in interest and complexity as the plot unfolds, and although the two-hour movie may be slightly longer than it has to be, it does a surprisingly deft job of acquainting us with about a dozen major characters, not one of whom is a stock figure. With Farrah Fawcett (as the psychiatrist’s former wife), Drew Barrymore, Lukas Haas, David Dukes, Frances Sternhagen, George Hearn, Theodore Bikel, and Linda Lavin. All these actors are very fine, but the always able Bridges surpasses himself–his performance is a series of inventive and unexpected grace notes throughout. (Ford City East, Edens, McClurg Court, Orland Square, Woodfield, Forest Park, Burnham Plaza, Oakbrook, Golf Mill, Lincoln Village, Evanston, Norridge, Webster Place) Read more
Any new film by experimental filmmaker and artist Michael Snow is a major event, and this 41-minute “road” movie of shifting landscapes shot from the bottom of a truck, and accompanied by the sounds of a film audience, is no exception. The title apparently stems from the common identity of Snow, who drove the truck, and the audience watching the film. Judging from a first viewing, Seated Figures lacks the pristine excitement of Snow’s monumental camera movement trilogy of the late 60s and early 70s (Wavelength, Back and Forth, and La region centrale), but it is full of different kinds of suspense and surprises for spectators who are prepared to experience a painterly film without a story line but with a great deal of luscious Canadian landscape, seen at close range and in motion. Snow himself will be present to answer questions, and he’ll also be showing his wonderful So Is This (1982), a remarkable film consisting of words flashed on a screen that manages to extend that minimal conceit into complex and entertaining strategies for addressing an audience. (Film Center, Art Institute, Columbus Drive at Jackson, Monday, April 17, 7:00, 443-3737) Read more
Mike Leigh’s very watchable up-to-the-minute bulletin from Thatcher England centers on a posthippie working-class couple in London named Cyril (Philip Davis) and Shirley (Ruth Sheen), who are beautifully conceived and realized, as well as on Cyril’s mother (Edna Dore), his middle-class sister (Heather Tobias) and brother-in-law (Philip Jackson), and his mother’s yuppie next-door neighbors (Leslie Manville and David Bamber), most of whom live around King’s Cross. The texture of everyday life in contemporary London is precisely rendered. Leigh, a household name in England because of his extensive theater and TV work and one previous feature (the 1971 Bleak Moments), tends to satirize and even caricature the upper-class characters, but the jabs are generally accurate, and the overall construction of this episodic movie is deft and ingenious, pointing up parallels and contrasts in the sexual habits of his three couples and making interesting connections between other characters as well. Alternately bleak and hilarious, saddening and refreshing, this very political reflection on the state of England today is not to be missed. (Fine Arts) Read more
French-Canadian experimental filmmaker Vincent Grenier, currently a teacher at the Art Institute, will show and discuss his most recent works: the 14-minute short Time’s Wake (1987) and the nearly hour-long I.D. (1988). Part of the fascination of both stems from Grenier’s capacity to build his images and sound tracks in densely woven yet constantly interacting and changing layers. Time’s Wake–made from diverse materials shot over a decade in color and black and white, and described as “a collection of ‘windows’ on a personal past”–features lyrical superimpositions and a very musical sense of camera movement. The black-and-white I.D. utilizes superimpositions of image and sound to capture a series of monologues and dialogues by acquaintances of Grenier in Binghamton, New York; the camera and microphone capture the people and their surroundings elliptically yet far from objectively, functioning largely as participants in the encounters. Original and often beautiful, these films encourage us to reconsider phenomenological experience as well as memory in fresh and interesting ways. (Chicago Filmmakers, 1229 W. Belmont, Friday, April 7, 8:00, 281-8788) Read more
Weighing in at 141 minutes, this lush 1960 biopic about Franz Liszt (Dirk Bogarde) isn’t inaptly named. Director Charles Vidor (Gilda) died in the middle of shooting, and George Cukor took over. As often happens in this sort of picture, the musical sequences are absorbingMorris Stoloff and Henry Sukman received an Oscar for the scoringbut what comes between them tends to be relatively lethargic. Shot in ‘Scope by James Wong Howe; with Capucine, Genevieve Page, Martita Hunt, and Alex Davion as Chopin. (JR) Read more
Jeff Bridges gives one of his best performances in an absorbing romantic comedy-drama written and directed by Alan J. Pakula about the emotional confusions and adjustments that take place when a divorced psychiatrist (Bridges) and a widow/photographer (Alice Krige), both of whom have two children, decide to get married. The New York setting and the economic bracket and well-educated veneer of the characters (as well as the effective use of familiar songs) suggest the world of Woody Allen, but this is incomparably better in its insights and density than any of Allen’s efforts; the characters steadily grow in interest and complexity as the plot unfolds, and although the two-hour movie may be slightly longer than it has to be, it does a surprisingly deft job of acquainting us with about a dozen major characters, not one of whom is a stock figure. With Farrah Fawcett (as the psychiatrist’s former wife), Drew Barrymore, Lukas Haas, David Dukes, Frances Sternhagen, George Hearn, Theodore Bikel, and Linda Lavin. All these actors are very fine, but the always able Bridges surpasses himself his performance is a series of inventive and unexpected grace notes throughout. (JR) Read more
Any film by experimentalist Michael Snow is a major event, and this 41-minute road movie of shifting landscapes shot from the bottom of a truck, and accompanied by the sounds of a film audience, is no exception. The title apparently stems from the common identity of Snow, who drove the truck, and the audience watching the film. Seated Figures lacks the pristine excitement of Snow’s monumental camera movement trilogy of the late 60s and early 70s (Wavelength, Back and Forth, and La region centrale), but it is full of different kinds of suspense and surprises for spectators who are prepared to experience a painterly film without a story line but with luscious Canadian landscapes, seen at close range and in motion. (JR) Read more
This low-budget, Chicago-made romantic comedy by Darryl Roberts, written by Roberts, Theresa McDade, and Ivory Ocean, deals with the class conflicts that ensue when a black movie star (Anthony Norman McKay) becomes involved with a woman (Liza Cruzat) who still lives and works in the ghetto. To paraphrase Edmund Wilson on F. Scott Fitzgerald’s first novel, this movie commits almost every error that a movie can possibly commit (at least on a purely technical level), but it does not commit the unpardonable errorit does not fail to live. As Wilson put it, The whole preposterous farrago is animated with life. The issues that it deals with are real issues, and the fact that Roberts’s total shooting budget was only $31,000 commands respect and support. Consequently, if you can put up with dialogue scenes out of sync and other technical flaws, you may find that the sincerity, energy, and personality of this movie make it a lot more watchable and enjoyable than the technically more accomplished current releases that have no good reasons for existing; I certainly felt that way. With Stoney Jackson, Tatiana Tumbtzen, Catero Colbert, and Reggie Theus. (JR) Read more
Two young French filmmakers, Bernard Dubois and Philippe Venault, had the provocative idea of making a follow-up to the 1964 anthology film, Paris vu par, that became a manifesto for the emerging directors of the New Wave. Unfortunately, the unity of that movement is long gone, and this new project is wildly uneven, ranging from the brilliant (Chantal Akerman’s opening sketch, J’ai faim, j’ai froid, is an entire coming-of-age film compressed into 12 frenetic, hilarious, and ultimately touching minutes) to the intriguing (Philippe Garrel’s Rue Fontaine offers a rare Stateside opportunity to see the work of this acclaimed avant-gardist, whose work suggests a crossing of John Cassavetes with early German expressionism) to the mediocre (the segments by Dubois, Venault, and Frederic Mitterrand) to the unwatchable (Vincent Nordon’s Paris-Plage, certainly the longest 13 minutes in film history). A sad lesson emergesthat the French have no more new ideas than we dobut the Akerman itself is worth it all. (JR) Read more
Cary Grant plays the promoter of a boy and his dancing caterpillar in this whimsical comic fantasy, adapted from a short story by Lucille F. Herrmann and a radio play by Norman Corwin, directed by Alexander Hall in 1944; Janet Blair, James Gleason, and William Demarest star. (JR) Read more
In his first feature, TV director Thomas Schlamme films Beth Henley’s own adaptation of her play The Miss Firecracker Contest, with Holly Hunter (Broadcast News) re-creating her stage role as Carnelle Scott, determined to follow in the footsteps of her cousin Elain (Mary Steenburgen) and win the local Miss Firecracker Contest on July Fourth in Yazoo City, Mississippi; Tim Robbins plays another cousin who turns up before the event, an aspiring poet named Delmount. Schlamme has some intermittent problems in establishing a rhythmthere are a number of inconclusive and slightly awkward fade-outs at the ends of certain scenesbut the first-rate cast, which also includes Alfre Woodard and Scott Glenn (both at their best), helps considerably, as does the location shooting. (JR) Read more
A rarely shown Disney cartoon feature from 1948, split into seven sections that were subsequently distributed as shorts: Once Upon a Wintertime, Bumble Boogie, Johnny Appleseed, Little Toot, Trees, Blame It on the Samba, and Pecos Bill. The lively Bumble Boogie is probably the best of these, while the insipid Trees is probably the worst. Some of the voices are furnished by Frances Langford, Dennis Day, Roy Rogers, and the Andrews Sisters. (JR) Read more
A baseball movie set in Cleveland, with Tom Berenger as a seasoned catcher, Charlie Sheen as a rookie pitcher, and Corbin Bernsen as a third baseman, written and directed by David Ward. The plot suggests an unacknowledged remake of The Producers: the Cleveland Indians are inherited by a former showgirl (Margaret Whitton) who wants to move the team to Miami, but can only do so legally if it plays so badly in Cleveland that attendance collapses. The motley, eccentric team that she picks eventually gets wind of her scheme, and guess what? Unfortunately, this has none of the cynicism, humor, or energy of The Producers (or of Bull Durham, for that matter); slick predictability is about all it has in mind, down to the last trite freeze-frame. (JR) Read more
