Written for and published in Outsider Films on India, 1950-1990, edited by Shanay Jhaveri, Mumbai: The Shoestring Publisher, 2009 — a very handsomely produced book that I can highly recommend. — J.R.
The Creation of the World: Rossellini’s India Matri Buhmi
In my mind, there isn’t as much distinction between documentary and fiction as there is between a good movie and a bad one. — Abbas Kiarostami
From the beginning, film has owed an important part of its fascination to ambiguous overlaps between documentary and fiction —- sometimes experienced as conflicts between the separate aims of showing the world and telling a story, and frequently associated with incorporating both unforeseeable and carefully planned elements in a given film. It’s a tendency that can already be seen in the contrived gags of the Lumière brothers films, the re-enactment of recent famous events in some films of Georges Méliès, and the coexistence of fantasy and on-location actuality in Louis Feuillade serials. Later, of course, the same mix becomes re-animated in Italian neorealism and in work by French New Wave directors (perhaps most notably Jean-Luc Godard and Jacques Rivette and some of their immediate successors, such as Luc Moullet and Jean Eustache), in the improvisational strategies of Robert Altman, in some of the ambiguities found in the films of Abbas Kiarostami, Mohsen Makhmalbaf, and Jafar Panahi, and in practically all the films of Pedro Costa and Pere Portabella.… Read more »
From the Chicago Reader (August 6, 1993). — J.R.
LYRICAL NITRATE *** (A must-see)
Directed and written by Peter Delpeut
VISIONS OF LIGHT: THE ART OF CINEMATOGRAPHY *** (A must-see)
Directed by Arnold Glassman, Todd McCarthy, and Stuart Samuels Written by Todd McCarthy.
I realize it sounds strange to put it this way, but the special pleasures to be found in Lyrical Nitrate -– a 50-minute compilation of fragments of silent films made between 1905 and 1915, showing this Saturday and Sunday at the Music Box -– are closely related to the voyeuristic appeal of pornography, specifically old-fashioned stag reels. The experience of watching these fragments is, like the fragments themselves, fleeting and therefore tantalizing, suggestive and therefore provocative -– and so far off the beaten track of what’s supposed to be viewer friendly in our culture that I’m reminded of J. Hoberman’s speculation in the second edition of Midnight Movies, a book we coauthored: “Imagine if one had to go out at midnight to some seedy theater to see projected tapes of The Simpsons.… Read more »
I face the same dilemma every year: multiple requests for lists of my favorite films of the year, all of them due before I’ve had a chance to see all the contenders. And it looks like the biggest casualty of this process in this year’s roundup has to be Samuel Maoz’s provocative, original, and creatively vexing (at once hilarious and devastating) Israeli feature, FOXTROT, which for me very easily surpasses many of the more popular favorites such as THREE BILLBOARDS… and NORMAN, which I find quite dull, unchallenging, and conventional in comparison. [12/27/17]
… Read more »
Two new British Film Institute digital releases related to Orson Welles, both due out later this month, arrived in my mailbox yesterday, the day after I submitted my Fall DVD column to Cinema Scope —Around the World with Orson Welles (1955) on Blu-Ray and Chuck Workman’s 2014 Magician: The Astonishing Life and Work of Orson Welles on DVD. In their very different ways, both are worthy items that are well worth having, which is largely why I’m posting something about them here.
Around the World with Orson Welles is a shamefully neglected TV series directed by Welles of six half-hour episodes, made around the same time as Mr. Arkadin (for the same French producer, Louis Dolivet), with a remarkable range of topics including Basque culture (two episodes), Vienna coffee houses and pastry, the bohemian avant-garde in Paris (including a reading of Lettrist poetry: see still below), London pensioners, and the Spanish bullfight (with Mr. and Mrs. Kenneth Tynan as cohosts); a seventh episode — the first to be shot, but never completed — was an investigative crime report set in the French provinces, The Dominici Affair, and an English version of Christophe Cognet’s 52-minute, 2000 French documentary about this project is one of the two extras included.… Read more »
From the Chicago Reader (January 3, 2003). I was very touched when, over a dozen years later, and quite recently, in Lisbon, Nicoletta Braschi (who was performing Samuel Beckett’s Happy Days there) thanked me for this piece. — J.R.
The worst movie I saw all year was the dubbed and recut version of Roberto Benigni’s Pinocchio, hastily released by Miramax on Christmas Day. Yet I could easily have placed Benigni’s subtitled original in my top 50, if not top 40.
The late-19th-century source novel, Carlo Collodi’s The Adventures of Pinocchio, is so quintessentially Italian that adaptations lose flavor and meaning if they don’t include that aspect. Walt Disney’s 1940 animated feature also failed to include the original’s sense of poverty, its cosmic vision of brutality, and many other disturbing elements, then heaped on the sentimentality; the studio got away with it because the film at least had a style and an occasionally disturbing vision of its own.
Benigni’s adaptation replicates more of the Disney sentimentality than I would have liked, but it returns to the Italian original, altering it mainly to fit Benigni’s irreverent and very Italian sense of comedy. (Federico Fellini had hoped to adapt the story with Benigni as the lead, and this film reflects some of Fellini’s broadness and comic-strip floridity.)… Read more »
From the Chicago Reader (December 20, 2002). For the record, I regard Downsizing as Payne’s best film to date, even if it’s less perfectly shaped than Election, but representing as much of a leap from About Schmidt as that film was from Citizen Ruth. — J.R.
I was so offended by the cynicism and class condescension of Citizen Ruth, Alexander Payne’s first feature, that I’ve remained suspicious of his work even as he’s emerged as a more skillful director in Election and this still more ambitious and accomplished film. It’s a very free adaptation of a Louis Begley novel, transposed from Manhattan to Payne’s native Nebraska, in which Jack Nicholson has been asked to put on some weight and finally act his age. The problem is he’s still Jack Nicholson, exuding his know-it-all charisma even when playing a clueless asshole and not nearly as inventive as he was in a much less showy part in The Pledge. The contrivance here by which he bares his soul — by mouthing letters to an African boy he’s helping to support from afar — is bogus and forced, and even the more observant moments in this odyssey of a bored and boring widower can’t entirely escape the jeering tone that remains Payne’s stock-in-trade.… Read more »
This appeared in the April 4, 1997 issue of the Chicago Reader. –J.R.
Rating * (Has redeeming facet)
Directed and written by Alexander Payne
With Laura Dern, Swoosie Kurtz, Kurtwood Smith, Mary Kay Place, Kelly Preston, M.C. Gainey, Burt Reynolds, and Tippi Hedren.
Inventing the Abbotts
Rating *** (A must see)
Directed by Pat O’Connor
Written by Ken Hixon
With Joaquin Phoenix, Billy Crudup, Will Patton, Kathy Baker, Jennifer Connelly, Liv Tyler, Joanna Going, Barbara Williams, and Michael Sutton.
By Jonathan Rosenbaum
The best insight into 20th-century repression I’ve encountered recently is contained in Sidney Blumenthal’s piece about Whittaker Chambers in the March 17 issue of the New Yorker. Chambers “lived in a time when it was easier to confess to being a [communist] spy than to confess to being a homosexual,” Blumenthal notes. He also remarks that Chambers’s behavior as a spy — “furtive exchanges, secret signals, false identities” — resembled his behavior as a homosexual, and that he “and a pantheon of anti-Communists for whom conservatism was the ultimate closet — J. Edgar Hoover, Roy Cohn, and Francis Cardinal Spellman — advanced a politics based on the themes of betrayal and exposure, ‘filth’ (as Hoover called it) and purity.… Read more »
Can I help promote a collection of symposia, two of which I participated in, as well as several interviews ? Why not? This is fun to browse and useful as well as instructive to read. The symposia are conducted with exemplary breadth and thoroughness (the one on international film criticism, for instance, takes in no less than twenty countries), and although the interviews are mostly with critics (Pauline Kael, John Bloom, Peter von Bagh, Mark Cousins), a good many programmers and film preservationists are also surveyed. Editors Cynthia Lucia and Rahul Hamid have done a careful and conscientious job and produced a very handsome book. Need I say more? [12/16/17]… Read more »
I’m mainly reprinting this early review for the Chicago Reader, run in their July 22, 1988 issue, for theoretical reasons rather than because of any intrinsic or enduring interest in the movie involved —- which may well limit or even eliminate the piece’s interest for some readers. When I started reviewing for the Reader and discovered that I had to assign a rating, from one to four stars, to all the films I reviewed at any length, a longstanding Chicago custom, my impatience with this requirement, which struck me as both arbitrary and absurd, is part of what yielded the following. Another part is the sometimes necessary pretense of knowledge by reviewers about matters they know little about. –- J.R.
** (Worth seeing)
Directed by Martin Brest
Written by George Gallo
With Robert De Niro, Charles Grodin, Yaphet Kotto, John Ashton, and Dennis Farina.
by Jonathan Rossenbaum
There’s a certain unavoidable imposture in the way critics (and the Academy Awards) generally break commercial movies into constituent parts and distinct contributions. To do this is to assume, first of all, that a movie’s official credits are an accurate indication of who did what offscreen, which is often not the case.… Read more »
From the Chicago Reader (July 23, 2004). — J.R.
Directed by Mark Achbar and Jennifer Abbott
Written by Joel Bakan, Harold Crooks, and Achbar
Narrated by Mikela J. Mikael.
A month ago I attended back-to-back press screenings of two major documentaries, Michael Moore’s Fahrenheit 9/11 and The Corporation, which finally opened here last week. Though it would have broken with industry protocol to have said so at the time, before both movies had opened, it was clear that The Corporation — a 2003 Canadian film by Mark Achbar, Jennifer Abbott, and Joel Bakan — was a better film, and second looks at both movies has only confirmed this impression. Michael Moore’s movie probably startles people who rely mostly on TV for their news, but The Corporation will shock even those who keep close track of newspapers and magazines. In fact, it goes beyond shocking in obliging us to ask ourselves how far we’re all prepared to go in our defense of capitalism.
Far enough to jeopardize our health and the survival of the planet? Maybe not, but at the moment it’s corporations that appear to have the power to decide. And the stories this film uses to demonstrate that are chilling.… Read more »
In my original review of this documentary, I cited and recommended some writing by Eliot Weinberger that three of my editors regarded as irresponsible and unreliable and therefore something that shouldn’t be mentioned, along with some of my own pronouncements. Readers who would like to judge this matter for themselves can read my unedited draft, which I’ve added below the published version. The edited version appeared in the February 7, 2003 issue of the Chicago Reader. — J.R.
Power and Terror: Noam Chomsky in Our Times
*** (A must-see)
Directed by John Junkerman.
As a work of cinema, John Junkerman’s documentary about Noam Chomsky doesn’t set the world on fire. The film is a prosaic compilation of interview footage of the linguist and political analyst in his office at MIT intercut with footage of him speaking in Palo Alto, Berkeley, and the Bronx last spring. He’s also shown chatting with students about U.S. foreign policy, the “war on terrorism,” and representations of both in the American media. Unlike Mark Achbar and Peter Wintonick’s Manufacturing Consent: Noam Chomsky and the Media (1992), a Canadian film that’s well over twice as long, Power and Terror: Noam Chomsky in Our Times doesn’t try to offer a comprehensive portrait of its subject or a wide-ranging survey of his thought.… Read more »
From Cinema Scope #17 (Winter 2003). Over a decade later, much of this is clearly out of date, including some of the links, but it seems worth acknowledging that the Internet, like everything else, has a history of its own. — J.R.
I’d like to begin this installment by alerting readers to a couple of excellent online tools that I’ve recently discovered, both of which are indispensable to anyone interested in tracking down the best DVDs of the greatest films: Masters of Cinema and DVD Beaver.
The first of these, at www.masterofcinema.com, is an ongoing international newsletter in English maintained by four rotating editors, with regular updates, devoted to what’s coming out, when and where, and in what condition and with what features. The moment you get to their home page, you see all their regular features, including The News Fountain, a “worldwide DVD calendar” with upcoming releases listed by months, a few discerning articles, and a column of links. The latter is especially valuable, the pièce de résistance comprising a list of directors that at last count included 85 web sites devoted to no less than 76 directors. (In case you’re curious, the directors that have two web sites apiece on this list are Tex Avery, Jean-Luc Godard, Hou Hsiao-hsien, Chuck Jones, Buster Keaton, Akira Kurosawa, Fritz Lang, F.W.… Read more »
From the Chicago Reader (March 1, 2001). — J.R.
Film scholar Jane Feuer has argued that the Hollywood musical is a politically conservative genre, a notion challenged by the Warners musicals of the 30s, Bells Are Ringing (1969), and this exuberant, underrated 1957 movie. Adapted from George Abbott’s Broadway hit, it concerns a strike in a pajama factory, with Doris Day as the shop steward and John Rait as her boss. Though the sexual politics are far from progressive, this is the sort of labor musical that inspired Jean-Luc Godard’s admiration. Bob Fosse’s airy choreography is terrific, and so is the score, which includes “Seven and a Half Cents” and a steamy “Steam Heat”. Stanley Donen directed with verve and energy. 101 min. (JR)
… Read more »
From The Soho News (May 20-26, 1981). I’m sorry that I still haven’t managed to see Vermont in 3 1/2 Minutes, a 1963 film made by a childhood friend of mine — and that I haven’t been able to find any more illustrations for the small-gauge films that I wrote about here….My expressed feeling of solidarity with Squeeze Play was no doubt inflected by the fact that I was living in Hoboken at the time. — J.R.
May 8: At Anthology Film Archives, to see a program in “Home Made Movies: 20 Years of American 8mm and Super-8 Films” — an intriguing and varied series selected by Jim Hoberman that runs through the end of next month, warmly recommended to everyone without money who nurtures fantasies about taking over the media. I learn straight away that Linda Talbot’s Vermont in 3 1/2 Minutes is being replaced by Bear and Jane Brakhage’s Peter’s Dream, a title glossed by Jonas Mekas as referring to Peter Kubelka.
This reminds me of a somewhat troubled notion that first reared its inglorious head when I had the occasion to view all the films in the Whitney’s previous Biennial. The idea is simply that a surprising number of North American avant-garde films seem to center on the same general obsession as The Deer Hunter or Manhattan — namely, a boastful inventory of male possessions: This is my hometown, my house, my rifle, my dog, my Bolex, my woman, my art.… Read more »
From the Chicago Reader (April 22, 1997). — J. R.
Despite its sentimental aspects, this youthful, semitragic tale of two Chinese mainlanders in Hong Kong — the wonderful Maggie Cheung (Actress, Irma Vep) and pop star Leon Lai — and their fluctuating relationship as friends and lovers is the most moving film I’ve seen yet about that city’s last years under colonial rule (though the film’s final sections are set mainly in New York, where both characters emigrate). I suspect many Chinese viewers feel the same, because the film cleaned up at this year’s Hong Kong Film Awards, sweeping no less than nine categories (including best director, film, screenplay, and actress). Set between 1986 and 1996, and visualized by director Peter Chan with a great deal of inventiveness and lyricism, this movie is full of heart and humor, capturing the times we’re living in as no Western film could. Watch for a charming cameo by Christopher Doyle, the premier cinematographer of the Hong Kong new wave, as an English teacher. Film scholar and former Chicagoan Patricia Erens, now based at Hong Kong University, will introduce the Friday screening. Film Center, Art Institute, Columbus Drive at Jackson, Friday, August 22, 6:00; Saturday, August 23, 8:00; Sunday, August 24, 4:00; and Tuesday, August 26, 7:30; 312-443-3737.… Read more »