Since I’m about to leave in a few days for visits to Madrid and Lisbon — to be followed, only four days after I return, to a separate trip to Bologna, Paris, Potsdam, and Frankfurt, in that order — I can’t pretend to do justice to either of these exceptional releases, apart from telling you that they exist, where they come from, and a little bit about them. The two excellent labels responsible for them — Cinematek in Brussels, Re:Voir in Paris — were kind enough to send me review copies at my request in each case. Ordinarily, I would (and should) have covered both in my “Global Discoveries on DVD” column in Cinema Scope, and the only excuse I can offer about why I haven’t is that both of them are sufficiently special to seem daunting. In fact, so far I’ve only sampled each package long enough to glimpse some of the riches that I’m still looking forward to savoring in detail later.
In other respects, I hasten to add, they’re really quite different from one another, apart from the fact that both have suggested to me, from disparate angles, the postulate that being regarded as an auteur qualifies in certain ways as a class privilege.… Read more »
Here’s a short piece of mine written for a glossy film magazine, On Film, that never survived past its first issue. It was prompted largely by a negative review of this film by the late Stuart Byron that appeared in the Village Voice after the film showed at the New York Film Festival in September 1970 — a review claiming, as I recall, that the film was a slavish, simplistic, and reductive imitation of Bresson. The fact that Byron was also my (putative) editor at On Film probably didn’t help to speed things along.
Une Simple Histoire can be seen now in its entirety and with English subtitles, for free, and in what appears to be a decent print, at https://ok.ru/video/2383975287406. — J.R.
UNE SIMPLE HISTOIRE
Marcel Hanoun, 1958
In the frantic setting of a film festival, with an audience and press too eager to call “hit” or “miss” at the drop of a curtain, there is little chance of a masterpiece like Une Simple Histoire receiving the kind of attention it deserves. Although Marcel Hanoun’s first film was made over a decade ago, it is much too individual a work to have gone through any significant aging process; one suspects that it will continue to be as new and as unassimilated by other films ten years from now.… Read more »
From the Chicago Reader (February 17, 1995). — J.R.
One of the strangest things about the elusive career of Otto Preminger (1905-1986) is that it remains elusive not because of the man’s invisibility but because of his relative omnipresence in the public eye. Though never as familiar as Alfred Hitchcock, he cut an imposing figure in the media, registering much more than either John Ford or Howard Hawks. Preminger was well known for his Nazi roles in Margin for Error (1943) and Stalag 17 (1953), for appearing in TV guest spots on Batman and Laugh-In and numerous talk shows, as a colorful player in Tom Wolfe’s Radical Chic, and for grabbing headlines as the man who defied the Production Code of the 50s and the lingering Hollywood blacklist of the 60s while grandly mounting well-publicized movie versions of best-sellers like Anatomy of a Murder, Exodus, Advise and Consent, and The Cardinal. Since he was one of the first of the high-profile American independents after the heyday of Griffith and Chaplin and moved from Hollywood to New York in the early 50s and never shifted his home base later, in most people’s minds he was more producer than director.… Read more »