Four years ago, in Sarajevo, I assigned my filmmaking students at Film.Factory to make five-minute “remakes” of Seijun Suzuki’s Pistol Opera. One of those students, Ghazi Alqudcy, asked me to costar in his own film, A Celebration, along with Gonzalo Escobar Mora — who has subsequently moved to Chicago, along with another of my Film.Factory students, Emma Rozanski.
Here is Ghazi’s film:
[5/28/18]… Read more »
Written for Il Cinema Ritrovato’s catalogue for June 2018. — J.R.
Americans know that Donald Trump’s “Make America great again” means “Make America white again”—a nostalgic longing for the repressive 50s, when Eisenhower spent as much time golfing as Trump does today, and when black men were caddies rather than players if they were visible at all. This is the America that warmly greeted Douglas Sirk’s Imitation of Life in 1959, and when I saw it in a whites-only Alabama theater, this was with sobbing white matrons responding to the film’s deeply conservative message about knowing your place. Consequently, when I was informed by armchair Marxists in the 70s that the film was a work of Brechtian subterfuge, I recalled that the film was released during the Civil Rights movement, when Sirk’s bitter ironies were far too subtle to affect the status quo. As Sirk noted himself, “Imitation of Life is a picture about the situation of the blacks before the time of the slogan `black is beautiful.’ In Alabama, this isn’t called Brechtian, it’s called scaredy-cat.
Twenty-five year earlier, John Stahl’s original adaptation of Fannie Hurst’s then-current (1933) novel was also conservative, but because the Depression was a far more progressive period than the conformist 1950s, it comes across today as considerably more enlightened.… Read more »
This review appeared originally in Cineaste, Fall 2001. — J.R.
Searching for John Ford
by Joseph McBride. New York: St. Martin’s Press, 2001. 838 pp., illus, Hardcover: $40.00
Only sixty pages longer than his other lengthy biography, Frank Capra: The Catastrophe of Success (1992), Joseph McBride’s Searching For John Ford is, in fact, a very different sort of book, and not only because the size and importance of Ford’s work is considerably greater. The earlier volume — a devastating act of demystification that sought to dismantle not only a populist hero, but also the national mythology that virtually willed him into existence — made the value of Capra’s films appear almost secondary. It was suggested, moreover, by Gilberto Perez that McBride even seemed to gloat over the failure of Capra’s farm — that the author’s apparent animus toward his subject spilled over into his cultural critique. For me, the self-deluding aspects of Capracorn — in contradistinction to the erotic splendors of Capra’s best Thirties work — made such a relentless assault on the mythology both useful and necessary.
One might argue that Ford’s career, by contrast, is much too varied and complex to suit any such monolithic agenda, moral or otherwise.… Read more »