Daily Archives: August 27, 2020

All in the Circle [ONCE AROUND]

From the Chicago Reader (February 1, 1991). — J.R.


*** (A must-see)

Directed by Lasse Hallstrom

Written by Malia Scotch Marmo

With Holly Hunter, Richard Dreyfuss, Danny Aiello, Gena Rowlands, Laura San Giacomo, Roxanne Hart, Danton Stone, and Tim Guinee.

“I don’t know much about art, but I know what I like.” This standard expression of cheerfully blinkered American consumption tells us a lot about the way we think, especially if we substitute other words and phrases for “art” — terms such as life, the world, democracy, the Middle East, Kuwait, or Iraq. By concentrating on what we like, our media excel in holding and gratifying our attention — without broaching the broader issue of our ignorance, which might, after all, upset and confound the steady (if highly selective) information flow. Whether the movie in question is CNN’s recent made-for-TV miniseries Crisis in the Gulf and its popular sequel War in the Gulf (both assigned catchy, lurid logos with flaming red letters) or an effective theatrical release like Once Around, its power to grip us and persuade us is largely predicated on a series of absences and elisions designed to forestall and even silence our curiosity about what we don’t know, along with well-prepared servings of what we know we like. Read more

Pistol Opera


From the Chicago Reader. — J.R.

Japanese director Seijun Suzuki has called this 2001 feature a sequel to his 1967 stylistic exercise Branded to Kill. But that was a hit-man thriller in black and white; this is a sensual explosion in color, a surreal, deliriously balletic pop fantasy that defies most forms of narrative description. Shot for shot, it ranks as the most beautiful movie I’ve seen in years. The characters are four or five generations of women, most of them dressed to kill, with one, a determined hit woman named Stray Cat (Makiko Esumi), trying to shoot her way from third to first place in a hierarchy of assassins managed by an inscrutable and invisible “Guild.” The striking settings are industrial, urban, or rural locations, diverse theatrical stages, and otherworldly studio sets; the dialogue, in Japanese with subtitles, occasionally shifts to English (including recitations of Wordsworth and “Humpty Dumpty”); and the musical accompaniment periodically sounds like Miles Davis in an echo chamber. 112 min. Music Box.

pistolopera0 Read more