This obviously wouldn’t be an appropriate time to revive my negative review of Hopper’s Colors in the Chicago Reader 22 years ago, which can easily be accessed by anyone who might be interested. But I’d like to reproduce a couple of short paragraphs from it about my favorite Hopper film, which I continue to cherish:
To make sure my memory wasn’t playing tricks on me, I recently took another look at Hopper’s previous film, Out of the Blue (1980). Here was proof, if any is needed, that a celebrated burnt-out case came back to establish himself as the legitimate American heir to the cinema of Nicholas Ray — a cinema of tortured lyricism and passionate rebellion that reached its fullest flower in the 50s, as if to match the action painting that was roughly contemporary with it. Hopper managed to remake Ray’s Rebel Without a Cause (the film in which Hopper made his acting debut) in terms of a working-class punk (Linda Manz), an androgynous heroine whose grim fate suggested an Americanized version of Robert Bresson’s Mouchette. Casting himself, moreover, as her dissolute father, Hopper gave himself a disturbing part that seemed to update his role as Billy in Easy Rider.… Read more »
The following English translation of Pere Portabella’s “Prologue” to the Spanish edition of Movie Mutations (published in October 2010), commissioned by Portabella himself, was sent to me by Portabella’s secretary Helena Gomà. I have added a footnote to the text that I originally wrote in February 2011. — J.R.
Prologue to Movie Mutations
By Pere Portabella
Over a period of six years, Jonathan Rosenbaum coordinated a group of analysts, critics and film historians with the idea of starting research through dialogue, texts, epistolary exchanges and personal encounters. The people forming part of this interesting process, which has now been made into a book, wove together an ensemble of observations, drawing together verified information and conclusions which allow us to see and understand film from an updated perspective thanks to the integrity of the authors. Everything began as a generational phenomenon and turned into something greater, in a broader, collective reflection about many forms of “mutation” which affect film and film culture in our present era. Technological mutation: “the digital era” is ushering in a new definition of the filmed image.
According to the authors, the film that we knew of in the past was based on making a photographic record of the world, a concept highly valued by their mentor in one era, André Bazin.… Read more »
Herman Mankiewicz is undoubtedly the victim of a credit thief, but the thief in question isn’t Orson Welles but director David Fincher, brandishing and “delivering” the screenplay of his late father Jack. All the best lines in this script come from Herman, but Fincher Sr. is allotted the only writing credit because that’s the way money (not writing) is supposed to work in Lotusland. Yet we’re supposed to credit Mank for telling us how Old Hollywood thought about itself (and incidentally about us too–assuming that we must be idiots for buying into all their lies, Louis B. Mayer’s as well as Fincher’s). I got tired very quickly of all the witty lines, by Herman and Jack alike, thinking, “Can’t somebody, just once, speak half-normally? Is cynicism the only spice we’re allowed to taste, Hecht and Company by the bucketful?” Yes, I know (spoiler alert), the white wine came up with the fish, and all I could think about, almost to Mank‘s bitter end, was when Jack would finally work in that climactic line. Finally, climactically, at the bitter end, natch. Give that dead man an Oscar.… Read more »