Early activist filmmaker Lionel Rogosin was able to film this powerful 1960 apartheid drama on location in South Africa by telling the authorities he was making a musical. Using many nonprofessional actors, the film focuses on the story of a black man named Zacariah who looks unsuccessfully for a steady job in Johannesburg. (JR) Read more
The main disappointment of this 1962 black-and-white cult horror filmmade for $30,000 by two industrial filmmakers, director Herk Harvey and screenwriter John Clifford, on location in Kansas and Utahis that, despite the low budget, uneven acting, clunky editing, corny music, tatty ghoul makeup, and familiar story (one of many variants of Ambrose Bierce’s An Occurrence at Owl Creek Bridge), it still isn’t very good even as camp. There’s a certain interest in the period flavor and the very un-Hollywoodish actors (Candace Hilligoss, Sidney Berger, Frances Feist, Stanley Leavitt, and Art Ellison), and decent cinematography by Maurice Prather, but apart from a slight creepiness in the overall story and ambience (a church organist emerges from a car wreck to find herself intermittently pursued by demons and treated by others as invisible), there isn’t very much here to sustain interest. 83 min. (JR) Read more
Ethel Merman plays the hostess with the mostestWashington socialite and ambassadress Perle Mestain a 1953 Irving Berlin musical adapted from the stage and directed by Walter Lang; starring Donald O’Connor, Walter Slezak, Vera-Ellen, and George Sanders. Lively and topical (for 1953). (JR) Read more
George Sidney’s tacky 1963 musical fantasy-satire about the Elvis craze, based on the Broadway show of the same title, isn’t exactly good, but if you like what he does with Ann-Margret, Janet Leigh, and pink decor, it’s sort of magnificent. The story centers on the visit of rocker Conrad Birdie to a small town to bestow a kiss on one of his biggest fans (Ann-Margret); Paul Lynde is pretty funny as her father. With Dick Van Dyke, Maureen Stapleton, and Ed Sullivan (playing himself). 112 min. (JR) Read more
A serviceable but not very exceptional cold-war thriller (1965) by onetime Kubrick producer James B. Harris (The Killing, Paths of Glory, Lolita), who later went on to forge a much more idiosyncratic directorial vision of his own in such films as Some Call It Loving, Fast-Walking, and Cop. Everything takes place on a U.S. destroyer, where a navy captain (Richard Widmark) has an ongoing debate with a skeptical journalist (Sidney Poitier). Fair to middling suspense and secondary performances from James MacArthur, Wally Cox, and Martin Balsam. 102 min. (JR) Read more
BacklashAustralian filmmaker Bill Bennett’s second feature follows two Sydney police officers (David Argue and Gia Carides) as they escort to trial a beautiful young aborigine (Lydia Miller) who’s accused of killing her employer by castrating him with garden shears. Made on a minuscule budget and with improvised dialogue, this is the feature that introduced Bennett to an international audience (1986). (JR) Read more
Sergei Paradjanov’s 1988 film, loosely adapted from Lermontov’s tale about a Turkish minstrel and maiden, is a relatively minor work with much personal and autobiographical significance. But minor Paradjanov would qualify as something very close to major from most other filmmakers. The style is somewhat akin to the frontal tableaux vivants of The Color of Pomegranates with the addition of some camera movement, dialogue, and offscreen narration; the Azerbaijani dialogue and the subtitled Georgian narration tell the story proper, though the visuals tend to be more illustrative than is usual with Paradjanov. But even if Ashik Kerib were only a collection of beautiful shots (and it is clearly more than that), they’d still be some of the most beautiful shots to be found in late-Soviet cinemarichly colored, mysterious, and magical. 78 min. (JR) Read more
Alan (Rupert Frazer), a wealthy English antique ceramics dealer, becomes smitten with a German secretary named Karin (Meg Tilly) during a business trip in Copenhagen, proposes to her, and marries her after she joins him in England. Although they’re passionately in love, a number of unsettling and seemingly supernatural events–including dreams and apparent hallucinations–begin to raise the question of Karin’s mysterious past, which continues to trouble her. Writer-director Gordon Hessler’s erotic psychological thriller, adapted from Richard Adams’s novel, isn’t an unqualified success (some choppy editing and miscalculated slow-motion occasionally interfere with the trancelike rhythms), but it shares with the memorable horror films of Val Lewton and Jacques Tourneur a preference for suggestion and understatement over explicitness, developing a gripping narrative and some disquieting and evocative moods in the process, along with some fairly steamy sex. (Fine Arts) Read more
A likable if minor low-budget comedy, written and directed by Maggie Greenwald, which focuses on two eccentrics who live in the same neighborhood in Paramus, New Jersey: a frustrated housewife and mother (Maxine Albert) and a narcissistic recluse (Seth Barrish) who cultivates boredom. The editing and dialogue have their moments of wit as this unlikely pair gradually get acquainted. With Richard Kidney (1987). (Film Center, Art Institute, Columbus Drive at Jackson, Friday, September 29, 6:00 and 7:45, 443-3737) Read more
It’s one sign of just how good and lively this international assortment is that arguably the weakest item in the bunch, John Lasseter and William Reeves’s Tin Toy, won the last Academy Award for best animation–and that one isn’t too bad either. My own favorites: Tony Collingwood’s metaphysical fantasy from England, Rarg, which plays with conceits worthy of Borges and Calvino; Susan Young and Mike Smith’s tropical extravaganza Umbabarauma, which gives The Three Caballeros a decent run for its money; and a Soviet tribute to the 60th anniversary of Mickey Mouse by Mikhail Tumelya and Alexander Petrov called The Marathon. Other highlights include Gavrilo Gnatovich’s original (if grotesque) Lazar, some weird blackout gags by Cuban animator Juan Padron, a salute to the Olive Jar Animation Studio, and several funny episodes with Matt Groening’s Simpson family, but this list is far from exhaustive, and the overall level of this collection is unusually high. (Fine Arts) Read more
Atom Egoyan’s striking and haunting Canadian feature concerns family ties and video technology, and the strange relationships between them. The plot concerns an alienated young man (Aidan Tierney) who lives with his father (David Hemblin) and his father’s mistress in a fancy high rise full of video equipment. The young man becomes increasingly worried about the fate of his grandmother, whom the father has shunted off to a convalescent home. At the institution he becomes acquainted with an ailing woman and her daughter (Arsinee Khanjian), an equally alienated individual who works as a purveyor of phone sex, which his father uses as a stimulus for his lovemaking. The use of video as a tool of voyeurism and as a means of sustaining distance punctuates the narrative with an eerie persistence; Egoyan’s measured style makes the most of it, while constructing a spellbinding plot that weaves a curious web of complicity and deceit around the major characters. It’s taken a couple of years for this highly accomplished feature to reach Chicago, but it’s still as fresh and as compelling as it was in 1987. (Film Center, Art Institute, Columbus Drive at Jackson, Friday, September 22, 7:45, and Sunday, September 24, 6:00, 443-3737) Read more
First-rate agitprop about the ruthlessness with which South African apartheid is maintained, directed by Euzhan Palcy (Sugar Cane Alley), and adapted from Andre Brink’s novel by Palcy and Colin Welland. More powerful than either Cry Freedom or A World Apart, particularly in its depiction of violence, this film is like those predecessors in concentrating on the situation of white rebels in South Africa, but its depiction of black oppression goes substantially further. Donald Sutherland stars as a liberal but blinkered schoolteacher who gradually becomes radicalized after a series of brutal events affecting his gardener that eventually split his family apart. Susan Sarandon plays a sympathetic journalist, and Marlon Brando, in a juicy comeback cameo that evokes Orson Welles’s Clarence Darrow impersonation in Compulsion, plays an antiapartheid lawyer. The relentless plot is effectively set up and expertly pursued, and Hugh Masekela makes some striking contributions to Dave Grusin’s musical score. With Janet Suzman, Jurgen Prochnow, and Zakes Mokae. (Oakbrook, 900 N. Michigan, Old Orchard) Read more
The remarkable Writing in Water (1984), which runs less than half an hour, consists of a collective account by a family and their neighbors in rural Kentucky of a visit by an old friend who has clearly lost his mind. Beautifully articulated, this tape gradually constructs two stories at once–an oblique narrative of a man going to pieces, and an equally fascinating and challenging portrait of how the family and their neighbors deal with it, practically and emotionally. The narrative method recalls Faulkner’s As I Lay Dying, but Roszell’s editing and juxtapositions of sound and image are so beautifully structured that the work becomes mesmerizing in its style and content–and wholly original. The 58-minute Other Prisoners (1987), which alternates stories by guards and inmates at a Kentucky prison, is a more conventional documentary. But it’s a vivid and illuminating one, with a feel for southern story telling and alternating views of reality, and for using speech patterns and images to orchestrate narrative rhythms. Roszell, who is based in Chicago, will be present at this must-see program to introduce and discuss his work. (Chicago Filmmakers, 1229 W. Belmont, Friday, September 15, 8:00, 281-8788) Read more
For me, the major find of Barbara Scharres’s “Films From the Lunatic Fringe” series, which starts this week at the Film Center, is this highly distinctive pseudodocumentary by Eric Saks, an environmentalist based in Los Angeles. At once novelistic and poetic, this achronological collage of diary entries between the 1940s and 1990s by a fictional toxic-waste dumper named Isaac Hudak–the different stages of his life are played by three actors, including Saks–creates a haunting portrait of an alienated drifter’s existence that comprises the underside of our national heritage. Behind the dry recitation of ecological facts in the narration, there is a powerful overall sense of the poetics of waste (a register that recalls Thomas Pynchon), with writers as diverse as E.M. Cioran and Peter Handke used to flesh out some of the diary entries. Highly original in its form, its subject, its funereal tone, and its ghostly sense of presence, this is a remarkable and memorable first feature, full of haunting ideas and eerie aftereffects. (Film Center, Art Institute, Columbus Drive at Jackson, Friday, September 8, 6:00 and 7:45, and Saturday, September 9, 4:15, 443-3737) Read more
It’s one sign of just how good and lively this international assortment is that arguably the weakest item in the bunch, John Lasseter and William Reeves’s Tin Toy, won an Academy Award for best animationand that one isn’t too bad either. My own favorites: Tony Collingwood’s metaphysical fantasy from England, Rarg, which plays with conceits worthy of Borges and Calvino; Susan Young and Mike Smith’s tropical extravaganza Umbabarauma, which gives The Three Caballeros a decent run for its money; and a Soviet tribute to the 60th anniversary of Mickey Mouse by Mikhail Tumelya and Alexander Petrov called The Marathon. Other highlights include Gavrilo Gnatovich’s original (if grotesque) Lazar, some weird blackout gags by Cuban animator Juan Padron, a salute to the Olive Jar Animation Studio, and several funny episodes with Matt Groening’s Simpson family, but this list is far from exhaustive, and the overall level of this collection is unusually high (1989). (JR) Read more