Written in October 2012 for what was supposed to have been the first (and, so far, only) translated edition of my most recent collection, although it has never come out. There is, however, a Korean translation of my earlier collection Essential Cinema (with a new Afterword, available here).
In retrospect, I’m sorry that I didn’t find some way of mentioning Lee Chang-dong’s extraordinary Poetry (2010), my favorite Korean film [see all the stills below] — and one that, incidentally, helps to explain the reason for my alienation from most of the other South Korean films I’ve seen and their excessive reliance on rape and serial killers as subjects (something that I was embarrassed to bring up in this Preface, written at the request of the publisher). This film in fact addresses the theme of rape and its role in Korean society quite directly. — J.R.
My acquaintance with cinephilia in South Korea is limited. My only first- hand knowledge comes from my experience as a juror on Indie Vision at the Jeonju International Film Festival in the Spring of 2006 and my acquaintance over a longer period with the brilliant and discerning critic and programmer Un-Seong Yoo, who worked for that festival for many years and, more recently, was my fellow juror on the New Directors jury at the San Sebastian Film Festival in the Fall of 2011.… Read more »
From the Chicago Reader, June 20, 2003. The posthumous Schuller-conducted premiere of Epitaph, incidentally, alluded to below, is now available on DVD, and is warmly recommended. — J.R.
Charles Mingus: Triumph of the Underdog
*** (A must-see)
Directed by Don McGlynn.
The sheer impossibility of encompassing jazz bassist, composer, and bandleader Charles Mingus (1922-’79) in a single film limits Don McGlynn’s ambitious 1997 documentary, Charles Mingus: Triumph of the Underdog, from the outset. Which doesn’t mean you shouldn’t see it — it’s playing at the Gene Siskel Film Center, and Mingus’s second wife, Celia Mingus Zaentz, will lead a discussion after the June 27 screening — but if you don’t already know something about the man’s music this may not be the ideal place to start. I’d recommend instead one of his best early albums — The Clown, Tijuana Moods, East Coasting, Mingus Dynasty, Charles Mingus Presents Charles Mingus (the best one with Eric Dolphy), or Mingus at Monterey.
No single book has succeeded in doing full justice to Mingus either. Maybe it’s because he had a genius for straddling musical categories such as traditional, modern, avant-garde, jazz, and classical (as Gunther Schuller points out in one of this film’s interviews, Mingus studied Arnold Schoenberg’s music in his teens, during the 30s, when few people here were familiar with it).… Read more »
An expanded edition of my book with Mehrnaz Saeed-Vafa, Abbas Kiarostami (University of Illinois Press, 2004), was published in Argentina by Los Rios, translated into Spanish by Luciana Borrini and Julián Aubrit. (A stil more expanded edition appeared in English much later, in 2018.) One of the two texts added to the Argentinian edition, my essay “Watching Kiarostami Films at Home,” is already available on this site, as are an essay about Shirin I wrote for the Cinema Guild DVD and an earlier dialogue I had with Mehrnaz about the film. Here is the other addition, written by Mehrnaz expressly for the expanded edition. — J.R.
Reflections on Like Someone in Love (2012)
By Mehrnaz Saeed-Vafa
A phone conversation between Chicago (Saeed-Vafa) and Rome (Kiarostami), March 17, 2013:
MS: When you talked about Shirin in one of your interviews, you said that it was a unique film that could have changed your career, if you had made it earlier. What did you meant by that?
AK: I wished I had made Shirin earlier to get a better emotional understanding of women. Shirin was like a silent, wordless interview with 117 women. You could tell that they were all thinking silently about their private relationships, and we could see their emotions in their faces.… Read more »