NEW: Her Socialist Smile (John Gianvito, USA)
OLD: Une Histoire de Vent/A Tale of the Wind (Joris Ivens & Marceline Loridan, 1988, France)
Two quixotic adventures in filming the unfilmable, both made by indefatigable masters of bearing witness. … Read more »
As I recall, this article, published in the November 2, 1990 issue of the Chicago Reader, had two immediate consequences for me. The first was that the late Gene Siskel, an acquaintance of mine from press screenings, refused to speak to me for several years, and I was no longer able to attend any more press screenings in Chicago held mainly for him and Roger Ebert. The second was that on November 11, when Rouch appeared at the Film Center, he publicly thanked me for my article, which I don’t believe had ever happened to me before with a filmmaker. So one might say that I lost an acquaintance (at least until Gene decided to forgive me several years later, after I attended a tribute to him and Roger at the Music Box) and gained a friend. —J.R.
LES MAÎTRES FOUS
Directed by Jean Rouch.
THE LION HUNTERS
*** (A must-see)
Directed by Jean Rouch
With Tahirou Koro, Wangari Moussa, Belebia Hamadou, Ausseini Dembo, Sidiko Ko ro, and Ali the apprentice.
Directed by Jean Rouch
With Damoure Zika, Lam Ibrahim Dia, and Illo Gaoudel.
Anthropologists of the year 2090 — if humanity still exists and is still sufficiently divided, sufficiently colonialist and hierarchical, to need anthropologists — may look with wonder at that revealing artifact of late-20th-century multinational capitalism, the American newspaper.… Read more »
The following was written at some point in the early 1980s, as a kind of postscript or pendant to my first book, the autobiographical Moving Places: A Life at the Movies (New York: Harper & Row, 1980; 2nd ed., Berkeley: University of California Press, 1995). I was living in Hoboken at the time, and secretly in love with another writer whose first name was Veronica. A slightly altered and doctored version of this piece eventually turned up in Ian Breakwell and Paul Hammond’s English anthology Seeing in the Dark: A Compendium of Cinemagoing (London: Serpant’s Tail, 1990). The version here has also been altered and doctored a little, and I’ve added all the photos, including those of the Ritz before and after its 1985 restoration. — J.R.
Putting Back the Ritz
Between about 1947 and 1951, when the Ritz Theater in Sheffield, Alabama was still open (it was built in 1928 and received an Art Deco upgrade for talkies about five years later), my main encounters with the place, between the ages of four and eight, were on trips with my father across the river to pick up the final reports on the daily receipts on all four of the Rosenbaum theaters our family owned in Sheffield and Tuscumbia.… Read more »
From the Chicago Reader (March 3, 2000). One can access A Humble Life here. — J.R.
A Humble Life
Rating ** Worth seeing
Directed and written by Alexander Sokurov.
I’ve seen at least a dozen of Alexander Sokurov’s works, but I’ve had a rough time getting a clear fix on him. For one thing, I didn’t recall having seen either A Lonely Man’s Voice (1978), his first feature, or The Second Circle (1990), yet when I checked I found I’d written reviews of both a decade ago. Is my brain a sieve? Or is it that many of Sokurov’s works are like passing mists on the verge of evaporating? Like his late mentor Andrei Tarkovsky, Sokurov is a mystical master of indeterminate zones — sometimes making it impossible to determine whether a shot is in color or black-and-white, whether it’s showing an interior or exterior, and whether it represents inner or external realities. So much uncertainty can make a film hard to remember.
For another thing, Sokurov is extremely prolific as both a filmmaker and a video artist — the only filmography I have available, dating from early 1991, includes 20 items — yet much of his career remains undocumented.… Read more »