From the Chicago Reader (May 11, 1990). — J.R.
LAST EXIT TO BROOKLYN
* (Has redeeming facet)
Directed by Uli Edel
Written by Desmond Nakano
With Stephen Lang, Jennifer Jason Leigh, Burt Young, Peter Dobson, Jerry Orbach, and Alexis Arquette.
After making the rounds of Europe late last year, this West German feature, an adaptation in English of Hubert Selby Jr.’s famous short-story collection of 1964, has finally reached our shores, and it proves to be at least as much of a mixed blessing as the book itself was a quarter of a century ago. Although shot on location in Brooklyn’s Red Hook district, adapted by an American (Desmond Nakano, who scripted Boulevard Nights about a decade ago), and featuring an all-American cast, this is very much a European picture in style and ambience, with more emphasis on mood and atmosphere than on plot and action.
Uli Edel, the director, whose best-known previous effort in the U.S. is Christiane F. (1980), and who has been interested in adapting this book since the early 70s, employs a somewhat distanced theatrical style in lighting, production design, and staging that registers a bit like Rainer Werner Fassbinder’s did, though without the political irony that gave Fassbinder’s style its edge.… Read more »
A post on the Chicago Reader‘s blog, Bleader. — J.R.
Adolescent sex in Oberhausen
… Read more »
I’ve just returned from the 53rd International Short Film Festival in Oberhausen, Germany, where I was invited to serve on the jury of FIPRESCI, the international film critics organization. My work, apart from participating in a panel about the privatization of film experience, consisted of seeing the 64 short films in the international competition and, along with two other jurors (Oliver Baumgarten from Cologne and Alexis Tioseco from Manila), awarding one of them a prize. We picked Amit Dutta’s 22-minute Kramasha from India — a dazzling, virtuoso piece of mise en scene in 35-millimeter, full of uncanny imagery about the way the narrator imagines the past of his village and his family.
The Festival had 14 prizes in all, gave a total of 30,000 Euros to many of the winning filmmakers, and concluded with a ceremony that lasted well over two and a half hours. Part of what made the event interesting was the same default position that sustained me through the 64 shorts I saw: the notion that at a festival as genuinely international as this one, a certain education was possible, however limited, in how people in other parts of the world were living and thinking — all of which provides a potential context for better understanding some of the choices involved, conscious or otherwise, in how Americans live and think.