The following is a slightly revised and rearranged dialogue recorded for a podcast in January 2014 and reworked a little over a year later for a book by Justin Bozung about Norman Mailer’s films, then cut from the book due to a lack of space the following year. –- J. R.
JUSTIN BOZUNG: My first question for you is, Why in the hell are you and I the only two people in the world that love this film?
JONATHAN ROSENBAUM: Well, we aren’t quite the only two — there’s also my friend Mark Rappaport, who, like Mailer, is both a filmmaker and a writer. But it’s true, there aren’t many others. And I can’t speak authoritatively about why other people don’t like the film, but I will say that I’ve never been a fan of Mailer’s three previous films. And I use the word “film” deliberately and advisedly, because Tough Guys Don’t Dance is above all a movie; it’s the only thing of his that has some resemblance to Hollywood. And he has a flair for it.
I saw what I believe was one of its first screenings, soon after it was (probably) shown at Telluride, at the Toronto Film Festival. Read more
From the June 4, 1999 Chicago Reader. A lot of the material here subsequently turned up in my book Movie Wars. — J.R.
The Thirteenth Floor
Rating * Has redeeming facet
Directed by Josef Rusnak
Written by Rusnak and Ravel Centeno-Rodriguez
With Armin Mueller-Stahl, Craig Bierko, Gretchen Mol, Vincent D’Onofrio, Dennis Haysbert, and Steven Schub.
“I think, therefore I am,” reads the opening epigraph of The Thirteenth Floor, followed by the quotation’s source, “Descartes (1596-1650).” It’s an especially pompous beginning for a movie whose characters barely think, much less exist, but not too surprising given the metaphysical claims and pronouncements that usually inform virtual-reality thrillers.
This is the fourth such thriller I’ve seen in as many weeks, and if any thought at all can be deemed the source of these pictures cropping up one after the other — with the exception of David Cronenberg’s eXistenZ, a film with more than generic commercial kicks on its mind — it might be an especially low estimation of what an audience is looking for at the movies. The assumed desire might be expressed in infantile and emotional terms: “I don’t like the world, take it away.” In other words, for filmmakers stumped by the puzzle of how to address an audience assumed to be interested only in escaping without reminding them of what they’re supposed to be escaping from, virtual-reality thrillers seem made to order. Read more
One wouldn’t expect Albert Brooks’s first novel (Twenty Thirty: The Real Story of What Happens to America) and Woody Allen’s latest movie (Midnight in Paris) to have much in common, especially after one considers that the former is set 19 years in the future whereas the latter is set at least partially between eight and nine decades in the past. But the main thing they do have in common is in fact very contemporary — a preoccupation with money, which Brook’s novel is especially up front about. Both are also ultimately more interested in wisdom than in laughs (or, for that matter, in literature, at least for its own sake); Brooks’s own form of humor, which he seems to find impossible to suppress, is mainly a creative form of sarcasm, which he plants in many of his characters (all of them male, as it happens); more generally, much of his novel’s tone is fairly dour and cautionary. And the principal thing it’s dour and cautionary about is a very contemporary preoccupation with not having enough money. Read more
From Monthly Film Bulletin, December 1976 (Vol. 43, No. 515). I was present when the late Andi Engel, the film’s English distributor, decided to give the film an English title that was less sexist than Utamaro and His Five Women. — J.R.
Utamaro O Meguru Gonin No Onna (Five Women Around Utamaro)
Director: Kenji Mizoguchi
Dist–Artificial Eye. p.c–Shochiku. p. manager–Toyokazu Murata. sc–Yoshikata Yoda. Based on the novel by Kanji Kunieda. ph–Shigeto Miki. ed–Sintaro Myamoto. a.d–Isamu Motoki. m–Hiseto Osawa, Tamezo Mochizuki. sd. rec–Hisashi Kase.historical adviser–Sonao Kahi. l.p–Minosuke Bando (Kitagama (Utamaro), Kotaro Bando (Seinosuke Koîde), Tanaka Kinuyo (Okita), Kowasaki Hiroko (Oran), Izuka Toshiko (Dayu Tagasode), Kinnosuke Takamatsu (Juzaburo), Shotaru Nakamura (Shizaburo), Minsei Tomimoto (Takemoro), Katsuhisa Yamaguchi (Kisuke), Aitzo Tamasuma (Sobe), Eiko Ohara (Yukie Kano), Kyoko Kusajima (Oman), Kimiko Shirotae (Oshin), Junko Kajami (Maid in Kano Family), Mitsuei Takegawa (Tayu Karauta), Kimie Kawikami (Matsunami), Aiko Irikawa (Shodayu), Junnosuke Hayama, Masao Hori. Read more