Daily Archives: May 31, 2020

Closer

From the Chicago Reader (December 3, 2004). — J.R.

Closer

For all his formidable gifts as a performer, Mike Nichols is celebrated mainly as a film director who delivers the goods — which means something only if the goods are worth delivering. Here he’s applied himself to Patrick Marber’s play about two men (Jude Law and Clive Owen) and two women (Julia Roberts and Natalie Portman) seducing, betraying, and punishing one another in various combinations. (The women never get it on, but in the film’s funniest sequence Law flirts with Owen while posing as Roberts in a chat room.) As in Nichols’s previous chamber works of romantic and sexual flagellation (Who’s Afraid of Virginia Woolf?, Carnal Knowledge), the actors are brilliant, the dialogue extremely clever, and the direction assured. But by the end I couldn’t have cared less about any of the characters (2004). R, 98 min. (JR)

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LE VRAI COUPABLE: Two Kinds of Criticism in Godard’s Work

This was originally a lecture given at a conference on Godard held in Cerisy, France on August 20, 1998. It subsequently appeared in a printed form somewhat closer to that found below, in Screen magazine (vol 40, no. 3), in Autumn 1999, as part of a Godard dossier assembled by the estimable Michael Witt. But, if memory serves, it took about a year of correspondence and wrangling before anyone on the magazine’s staff agreed to send me any copy of the issue. (Note: for a more general essay and interview with Godard about Histoire(s) du cinéma, go here.) —J.R.

Le Vrai Coupable: Two Kinds of Criticism in Godard’s Work

Jonathan Rosenbaum

Since the outset of his career, Godard has been interested in two kinds of criticism — film criticism and social criticism — and these two interests are apparent in practically everything he does and says as an artist. The first two critical texts that he published — in the second and third issues of Gazette du cinéma in 1950 — are entitled “Joseph Mankiewicz” and “Pour un cinéma politique”, and his first two features, A bout de souffle and Le petit soldat, made about a decade later, reflect the same dichotomy.… Read more »