Daily Archives: October 27, 2020

Praise

From the November 17, 2000 Chicago Reader. — J.R.

When I spent a day in Brisbane four years ago, it struck me in terms of climate as well as social ambience as being the Mississippi or Louisiana of Australia. That’s only one of the reasons why this grim, passionate, and graphic love story about two highly dysfunctional young individuals — a chain-smoking asthmatic (Peter Fenton) and an irritable, promiscuous, and possibly crazy victim of eczema (Sacha Horler), both unemployed — reminds me of the tale about a doomed couple that forms half of William Faulkner’s The Wild Palms. Another reason is the uncanny way that Andrew McGahan, adapting his own best-selling novel, director John Curran, and cinematographer Dion Beebe have of making their story paradoxically superromantic by keeping it so doggedly antiromantic. With its honesty about sexual inadequacies (his rather than hers), drugs, squalor, and compulsive behavior, this obviously isn’t a film for everyone, but you can’t accuse it of toeing the Hollywood line, and parts of it remind me of Gus Van Sant’s first three movies, before he was swallowed whole by the studios. If you’re looking for something other than the usual cheering up, check this sick puppy out (1999, 98 min.). Read more

Redeemable for Cash: The Damned and the Saved

A special sort of Christmas essay from the Chicago Reader (December 23, 1994). — J.R.

Over the past year we’ve been hearing a lot about the theme of redemption in current movies. Actually the seeds of this trend were probably sown back in 1980, when Raging Bull came out, but now “redemption” is becoming something of a buzzword. I recall being taken slightly aback when I heard Harvey Keitel, speaking at the 1992 Toronto film festival, employ the term without any trace of irony in regard to Reservoir Dogs. And since then I’ve been hearing it more and more, mainly in relation to movies associated with Quentin Tarantino (not only Reservoir Dogs but also True Romance, Natural Born Killers, Killing Zoe, and Pulp Fiction) and such varied films as Cape Fear, Cliffhanger, Forrest Gump, The Professional, and even Heavenly Creatures.

What’s surprising is not only the odd assortment of movies in this new canon but those that are automatically excluded. Looking over last year’s releases, one might logically conclude that movies dealing with the spiritual redemption of their lead characters would include, say, Schindler’s List, Little Buddha, Savage Nights, The Shawshank Redemption, Bill Forsyth’s grossly neglected Being Human, and Krzysztof Kieslowski’s Blue, White, and Red. Read more