A mixture of colonialist nostalgia and revisionist attitudes about same, this semiautobiographical first feature (1988) by Claire Denis, former assistant to Rivette, Makavejev, Jarmusch, and Wenders (among others), is set and shot in Cameroon. A young Frenchwoman named France (Mireille Perrier) recalls her childhood in the late 50s as the daughter of a district officer (Francois Cluzet). The little girl (Cecile Ducasse) is mainly brought up by a kind and sensitive black servant (Isaach de Bankole) significantly named Protee after the many-sided god Proteus. Denis has some success in establishing the lazy, contemplative rhythms of life in such a place, which are partially upset when a group of travelers who are waiting for their plane to be repaired move in — an intrusion that brings diverse sexual, racial, and political undertones to the surface — although the episodic flow tends to set up an occasional self-consciousness and air of portent about the film’s apparent lack of pretension. As a first feature, this is respectable enough work, though the intelligence here seems at times closer to Louis Malle (for better and for worse) than to any of Denis’ former employers. With Giulia Boschi, Kenneth Cranham, Jean-Claude Adelin, and Emmet Judson Williamson; coscripted by Jean-Pol Fargeau. Read more
The film that, along with Open City, gave international prominence to Italian neorealism, this drama directed by Alberto Lattuada suggests a bleaker Italian equivalent to The Best Years of Our Livesa film about returning soldiers and their trouble readjusting at the end of World War II. Amedeo Nazzari plays a poor and unhappy veteran returning to Turin from a German POW camp; Anna Magnani plays a ruthless prostitute who seduces him into crime (1946). (JR) Read more
Two justly celebrated short features by the great Roberto Rossellini, The Human Voice and The Miracle, both starring Anna Magnani, were combined into this 1948 feature, devoted, according to Rossellini, to earthly love and the beginning of divine love respectively. The first is an innovative adaptation of a one-act play by Jean Cocteau with only one on-screen character, recorded in direct sound; the second is a controversial tale (coscripted by Federico Fellini) about the seduction of a naive shepherdess by a man she believes is Saint Joseph. (JR) Read more
The second of Michael Powell’s two films made in Australia, this is a lovely erotic and idyllic comedy about a New York painter (James Mason) who has moved to a remote barrier reef island, which he shares with a drunken eccentric (Neva Carr-Glynn) and her beautiful teenage granddaughter (Helen Mirren), whom he paints and sleeps with. James Mason coproduced; Jack McGowran and Frank Thring costar; Peter Yeldham wrote the script, adapted from a novel by Norman Lindsay (1969). (JR) Read more
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
At last, a teenage love story with real characters instead of cliches, poses, and attitudes (1989). The directorial debut of Cameron Crowe (Jerry Maguire), it follows two very different high school graduates in Seattleaspiring kickboxer Lloyd (John Cusack) and brilliant student Diane (Ione Skye), who’s just won a fellowship to study in Englandas, to everyone’s surprise, they gradually get involved. John Mahoney plays Diane’s devoted but demanding father. Produced by Polly Platt, with James L. Brooks serving as executive producer, the movie stands out mainly because its attention to detail is so precise; Cusack and Skye are especially fine, but the overall treatment of contemporary teenagers is so refreshing that it almost makes up for dozens of phony and superficial predecessors (and for once the adults aren’t viewed exclusively from the wrong end of the telescope). As in Brooks’s Broadcast News, it’s the characters and their interrelationships that make the story. 100 min. (JR) Read more
Gallons of PBS-style piety are lavished here on a trite tale about a widowed clock maker (Kurt Russell) with a little girl who settles down with an unwed mother (Kelly McGillis) in a southern mountain community in the 30s, and then becomes involved in various intrigues involving the father of her child and two feuding families. Adapted by Carol Sobieski from a novel by John Ehle and directed by Ted Kotcheff, the film has a likable performance by Lloyd Bridges as the unwed mother’s father. McGillis strives hard to be believable in what is essentially an impossible role for her, while Kurt Russell is amiably professional but predictable. The film is shot (by Francois Protat) in ‘Scope, but the effort is essentially wasted by dull center framing that makes the format superfluous (1989). (JR) Read more
