From the June 7, 1991 Chicago Reader. Try hitting the second and fourth photos here with your cursor. — J.R.
THELMA & LOUISE
*** (A must-see)
Directed by Ridley Scott
Written by Callie Khouri
With Susan Sarandon, Geena Davis, Harvey Keitel, Michael Madsen, Christopher McDonald, Stephen Tobolowsky, Brad Pitt, Timothy Carhart, and Lucinda Jenny.
I’m not quite sure precisely when Thelma & Louise kicks into high gear. Does it happen when Thelma (Geena Davis) holds up a convenience store, or much earlier, when Louise (Susan Sarandon) shoots a rapist (Timothy Carhart)? Does it happen when Thelma’s tyrannical husband (Christopher McDonald) steps on a pizza, or when Louise divests herself of her watch and jewelry in exchange for an old coot’s sun hat?
Whenever it happens, something starts to click, and the movie becomes mythical — mutates into a sort of classic before one’s eyes. This isn’t to say that it can thenceforth do no wrong; the flashback shots that punctuate the final credits are lamentable, a cheap attempt to add uplift to an ending that doesn’t need it. But the movie does take on a certain charmed existence, persuading one to forgive such lapses. After a rather slow beginning, this prosy film turns poetic; and when that happens, we’re no longer passive bystanders but active participants, along for the ride morally as well as physically.… Read more »
From Cineaste (December 2001).
For a long time, I hesitated about reprinting this, but learning about Ray Carney’s unspeakable treatment of filmmaker Mark Rappaport (as detailed here) eliminated my compunctions.
For more about Rappaport’s work, here are three of the many links on this site:
Cassavetes on Cassavetes
Edited by Ray Carney. London and New York: Faber and Faber, 2001. 526 pp., illus. Paperback: $25.00.
The Films of John Cassavetes: Pragmatism, Modernism, and the Movies
by Ray Carney. Cambridge, New York and Melbourne: Cambridge University Press, 1994. 322 pp., illus. Paperback: $24.95.
John Cassavetes: The Adventure of Insecurity
by Ray Carney. Second Edition. Walpole, MA: Company C Publishing, 2000. 64 pp., illus. Paperback: $15.00.
by Ray Carney. London: British Film Institute (BFI Film Classics), 2001. 87 pp., illus. Paperback: $12.95.
John Cassavetes: Lifeworks
by Tom Charity. London, New York and Victoria: Omnibus Press, 2001. 257 pp., illus. Paperback: $19.95.
As nearly as I can remember, I had two opportunities to meet John Cassavetes in the flesh, both times in New York, and I deliberately passed on both of them. Shortly after Faces came out in the mid-Sixties, a friend from my home town in Alabama who worshipped that film even more than I did — Shadows was still my own favorite then — came to town and found a way of contacting and then going to meet his idol, who was preparing Husbands at the time; he invited me to come along, and I declined.… Read more »
From the Chicago Reader (March 25, 1994). — J.R.
*** SAVAGE NIGHTS
Directed by Cyril Collard
Written by Collard and Jacques Fieschi
With Collard, Romane Bohringer, Carlos Lopez, Corine Blue, Claude Winter, Denis D’Archangelo, and Jean-Jacques Jauffret.
If memory serves, the first time I ever heard of Sylvia Plath was the first time a lot of other people heard of her — in the mid-60s, a few years after she committed suicide, when her posthumous collection Ariel was published. I recall a teacher of mine in graduate school remarking that Plath’s suicide validated her late poetry, implying that if she hadn’t actually taken her own life, poems such as “Lady Lazarus” and “Daddy” wouldn’t have meant as much as they did — indeed, may not even have been “as good.”
The remark offended me at the time, but in retrospect I wonder if in some awful, seldom-acknowledged way my teacher was right. Many of us prefer to believe that works of art should be self-justifying, and therefore demand to be taken on their own terms, without “outside” information, but the fact remains that the hyperactive media and life itself rarely offer us that luxury. Take, for instance, these two consecutive stanzas in “Lady Lazarus” — “Dying / Is an art, like everything else.… Read more »
From the Chicago Reader (January 28, 2000). — J.R.
Rating *** A must see
Directed by Cedric Kahn
Written by Kahn and Laurence Ferreira Barbosa
With Charles Berling, Sophie Guillemin, Arielle Dombasle, Robert Kramer, Alice Grey, Maurice Antoni, and Tom Ouedraogo.
“To think that I’ve wasted years of my life, that I’ve longed to die, that I’ve experienced my greatest love, for a woman who didn’t appeal to me, who wasn’t even my type!” This despairing reflection by Swann about Gilberte appears at the very end of “Swann in Love,” the longest chapter — a little over 200 pages — in Marcel Proust’s Swann’s Way. The chapter serves as a rehearsal for the even more torturous obsessive love of Marcel, the narrator of Remembrance of Things Past, for Albertine — a topic that practically becomes the novel’s principal subject over the thousands of pages to come.
This acknowledgment of the neurotic irrationality that underlies amorous and erotic obsessions is one of Proust’s key passages, and I was reminded of it periodically over the course of Cedric Kahn’s brilliant and hilarious new sex comedy, L’ennui. Yet one of the most striking aspects of the film — adapted from La noia, a 1960 novel by Alberto Moravia that I haven’t read (also the source for a trashy Bette Davis vehicle, The Empty Canvas) — is the way it confounds its Proustian model of jealousy and sexual paranoia with a dash of healthy common sense.… Read more »