Okay, even though I’ve refused to place The Artist on any of my lists of end-of-the-year favorites, I’ve just finished reseeing it, and I have to admit that if I were a member of the Academy and could offer write-ins, Uggie the dog would be somewhere near the top.
Let’s be frank: we all have different thresholds when it comes to shameless bids for our affection, and these thresholds are invariably matters of taste. While I haven’t been able to forgive The Artist for pilfering and then brandishing a sizable chunk of Bernard Herrmann’s Vertigo score near its closing stretches to impart a sense of tragedy — even after I’ve forgiven Michel Hazanavicius for all his other outrageous breaches of period and silent movie syntax (in short, his diverse and mutifaceted ahistorical outrages), not to mention his abject appropriations of diverse narrative chunks from Singin’ in the Rain, A Star is Born, and Citizen Kane — I’m still periodically won over by some of his audiovisual ideas as acts of audacity and stylistic flourishes in their own right.
Above all, I’m flabbergasted by the performance of Uggie the dog, mutt extraordinaire, which has got to be one of the best canine turns in the history of cinema.… Read more »
From the Chicago Reader (April 16, 1993). — J.R.
*** (A must-see)
Directed and written by Robert Rodriguez
With Carlos Gallardo, Consuelo Gomez, Peter Marquardt, Jaime De Hoyos, and Reinol Martinez.
I was several weeks late catching up with El mariachi, a fine little action picture in Spanish that’s been playing at the Water Tower (and opens this week at the Biograph and Bricktown Square). Judging from all the reviews and press stories I read beforehand, an essential part of the movie’s meaning — almost treated as if it were part of the plot — is that its 24-year-old writer-director, Robert Rodriguez, made it for $7,000 and, now a client of Hollywood’s International Creative Management agency, has a two-year contract with Columbia Pictures, the movie’s distributor, that includes plans to shoot a $6 million English-language remake. Much less important, it would seem, is the fate of the movie’s title hero (played by Carlos Gallardo, also Rodriguez’s coproducer). All he ever wanted, “el mariachi” makes clear, is to be a folk musician like his ancestors, though he loses his guitar, the use of one hand, his music, his girlfriend, and possibly even his soul in the process of saving his skin, which entails becoming a successful killer and appropriating the Anglo villain’s weapons.… Read more »