My column for Caiman Cuadernos de Cine, adapted from a longer piece written for The Chiseler and submitted in August 2020. — J.R.
En movimiento: Herzog’s Tweet Factor
When I first saw Aguirre, the Wrath of God, setin 16th century Peru, what impressed me the most was what Werner Herzog cheerfully but cynically revealed about his opening intertitle: “A large expedition of Spanish adventurers led by Pizarro sets off from the Peruvian sierras in late 1560. The only document to survive from this lost expedition is the diary of the monk Gaspar de Carvajal.” At his Cannes premiere in 1973, Herzog admitted that this was a total lie, invented because he reasoned that people wouldn’t accept the film’s premises otherwise.
His Family Romance, LLC (2019) employs the same ruse. The real Tokyo company that this film is about rents out actors to play the roles of family members, friends, or functionaries for lonely individuals — e.g., a divorced father whom a 12-year-old girl hasn’t seen since her infancy, or a bullet-train worker who needs to be shamed by his boss for bungling a precise train schedule. The resulting feature has been described as a mixture of documentary and fiction, but apart from the company’s founder, playing himself, the entire film is fictional—scripted by Herzog and shot by him with a tiny camera, with actors playing all the characters.… Read more »
(1981), C. Director: Dennis Hopper. With Linda Manz, Dennis Hopper, Sharon Farrell, and Raymond Burr. 94 min. R. Media, $59.95.
When it was released, a friend wittily and succinctly described Out of the Blue as “Dennis Hopper’s Ordinary People.” Though this film didn’t start out as a Hopper movie (he signed on as an actor and took over direction after shooting started), it certainly has the Hopper flavor: relentlessly raunchy and downbeat, and informed throughout by the kind of generational anguish and sense of doom that characterizes both of his earlier films [Easy Rider and The Last Movie].
Hopper, one should recall, is a figure identified with the 1950s. He made his acting debut alongside James Dean in Nicholas Ray’s Rebel Without a Cause (1955). Conceived as a kind of punk remake of Rebel set in a contemporary working-class environment, Out of the Blue centers around Cindy “CeBe” Barnes (Linda Manz), an alienated 15-year-old punk who perpetually mourns the deaths of Elvis Presley and Johnny Rotten. Her mother, Kathy (Sharon Farrell), is a junkie who works at a cheap restaurant; her father, Don (Hopper), is a former trucker and an alcoholic finishing off a five-year stint in prison when the film opens.… Read more »
From the Chicago Reader (January 31, 1992). — J.R.
Ever since he moved to the West, filmmaker Andrei Konchalovsky has been an invaluable presence not only for his considerable talent but also for his capacity to translate Russian dramatic forms into American entertainments. Returning to Russia to film (in English) the story, partly based on fact, of Joseph Stalin’s personal projectionist, he broaches a disturbing and important reality about Russian history that our own culture has tended to ignore: an overwhelming majority of simple, ordinary Russians not only kowtowed to Stalin but genuinely loved and revered him. The projectionist (Tom Hulce), a simpleton from the provinces, loves Stalin more than he loves his own wife (effectively played by Lolita Davidovich); unfortunately, Hulce’s performance is often gratingly hammy and occasionally undercut by lines of dialogue indicating more awareness than the character otherwise shows. Still, as Murray Kempton has suggested, the lack of complexity in Konchalovsky’s characters may diminish the film’s overall accomplishment but shouldn’t be allowed to serve as an excuse to overlook it; as he puts it, the film’s “intention is nonetheless heroic, and its achievement admirable.” Coscripted by Anatoli Usov; with Bob Hoskins, Feodor Chaliapin Jr., and, in the part of Stalin, Alexandre Zbruev.… Read more »
From the Chicago Reader (February 1, 1992). — J.R.
This rarely screened 1954 classic is the only major American independent feature made by communists; a fictional story about the Mexican-American zinc miners in New Mexico then striking against their Anglo management, it was informed by feminist attitudes that are quite uncharacteristic of the period. The film was inspired by the blacklisting of director Herbert Biberman, screenwriter Michael Wilson (A Place in the Sun), producer and former screenwriter Paul Jarrico, and composer Sol Kaplan, among others; as Jarrico later reasoned, since they’d been drummed out of Hollywood for being subversives, they’d commit a crime to fit the punishment by making a subversive film. The results are leftist propaganda of a very high order, powerful and intelligent even when the film registers in spots as naive or dated. Basically kept out of American theaters until 1965, it was widely shown and honored in Europe, but it’s never received the recognition it deserves stateside. If you’ve never seen it, prepare to have your mind blown. 94 min. (JR)… Read more »