From the Chicago Reader (March 21, 1997). — J.R.
Rating *** A must see
Directed and written by David Cronenberg
With James Spader, Deborah Kara Unger, Holly Hunter, Elias Koteas, Rosanna Arquette, Peter MacNeill, Yolanda Julian, and Cheryl Swarts.
“Throughout Crash I have used the car not only as a sexual image, but as a total metaphor for man’s life in today’s society. As such the novel has a political role quite apart from its sexual content, but I would still like to think that Crash is the first pornographic novel based on technology. In a sense, pornography is the most political form of fiction, dealing with how we use and exploit each other in the most urgent and ruthless way.
“Needless to say, the ultimate role of Crash is cautionary, a warning against that brutal, erotic and overlit realm that beckons more and more persuasively to us from the margins of the technological landscape.”
These are the last two paragraphs of J.G. Ballard’s introduction to his 1973 novel Crash. They point to a seeming paradox that lies at the heart of David Cronenberg’s masterful film adaptation as well as the original — the idea that pornography, by virtue of being political, can play a cautionary role rather than, or in addition to, a prescriptive one.… Read more »
Françoise Romand’s Mix-up is surely one of the greatest films I’ve ever reviewed, and I can happily report that it’s become available in recent years on DVD (which isn’t to say that it isn’t still grossly neglected); you can even find it on Amazon in the U.S. This article appeared in the February 26, 1988 issue of the Chicago Reader, and eventually it led to my becoming friends with Romand. — J.R.
Directed by Françoise Romand.
ANATOMY OF A RELATIONSHIP
*** (A must-see)
Directed and written by Luc Moullet and Antonietta Pizzorno
With Moullet and Christine Hébert.
* (Has redeeming facet)
Directed by Les Blank.
While the issue of representation is at the cutting edge of most debates about film, it usually gets posed in relation to fiction features; documentaries, ranging from Shoah to the evening news, are commonly exempted. The unspoken assumption that nonfictional form is a discardable, see-through candy wrapper — a means of organizing and containing information, which can safely be ignored once we get to the goodies inside — not only keeps us ideologically innocent but limits the kinds of content we may find permissible in documentaries.
Many valuable documentaries, of course, exist chiefly to let certain voices be heard that might otherwise remain silent: Carole Langer’s Radium City, about a radioactive town in Illinois, is one such example, and Deborah Shaffer’s powerful account of the Sandinista struggle, Fire From the Mountain (which is playing this week at Facets), is another.… Read more »
From the Chicago Reader (August 1, 1993). — J.R.
One of the craftiest and most satisfying pieces about gender politics to come along in ages (1993) — all the more crafty because audiences are encouraged to see it simply as a movie about a seven-year-old chess genius, based on Fred Waitzkin’s nonfiction book about his son Josh. Very well played (with Max Pomeranc especially good as Josh), shot (by Conrad Hall), and written and directed (by Steven Zaillian, who also scripted Schindler’s List), it gradually evolves into a kind of parable about how a gifted kid learns to choose his role models and choose what he needs from them. The part played by gender in all this is both subtle and complex, relating not only to chess strategy (e.g., when to bring your queen out) and the personality of Bobby Fischer, but also to the varying attitudes toward competition taken by his parents (Joe Mantegna and Joan Allen) and two teachers (Laurence Fishburne and Ben Kingsley). It makes for a good old-fashioned inspirational story, absorbing and pointed. (JR)
… Read more »