From The Soho News (June 24, 1981). — J.R.
Rediscovering Warner Brothers
Thalia, Thursdays through Aug. 27
High Heels (Dr. Popaul)
Written by Paul Gegauff
Based on a book by Hubert Monteilhet
Directed by Claude Chabrol
Dandy, The All-American Girl (subsequently retitled Sweet Revenge)
Written by B.J.Perla and Marilyn Goldin
Directed by Jerry Schatzberg
Juke Girl is an unassuming Warner Brothers program filler — a Depression movie made in 1942 starring Ronald Reagan as a young socialist hero from Kansas and Ann Sheridan in the tough-and-tender title part. It reminds me of something that Manny Farber said in a recent lecture about what people looked like in 30s films, when “every shape was legitimate,” as opposed to the more constricting notions about what people are supposed to look like in 70s films — a model that remains in force today.
As a general rule of thumb, I think one can argue pretty plausibly that any Warner Brothers Depression film, however minor, has something going for it on a social/aesthetic level that can’t be found in any over-publicized New Hollywood glitz production, however major. This is less monolithic a judgment than it sounds, especially if one considers the radically different notions of audience involved.… Read more »
These are expanded Chicago Reader capsules written for a 2003 collection edited by Steven Jay Schneider. I contributed 72 of these in all; here are the second dozen, in alphabetical order. — J.R.
The Discreet Charm of the Bourgeoisie
Luis Buñuel’s 1972 comic masterpiece, about three well-to-do couples who try and fail to sit down and have a meal together, is perhaps the most perfectly achieved and executed of all his late French films. The film proceeds by diverse interruptions, digressions, and interpolations (including dreams, dreams within dreams, and tales within tales) that, interestingly enough, identify the characters, their class, and their seeming indestructibility with the very processes of narrative illusion and narrative continuity themselves — their rewards as well as their compulsions, their pleasures and their frustrations.
Frightening, funny, profound, and mysterious, the various episodes involving these and other characters (including Jean-Pierre Cassel and Paul Frankeur) are like an anthology of Buñuel’s themes, favorite gags, and recurring nightmares. The film was produced by Serge Silberman and coscripted by Jean-Claude Carrière, perhaps the two most essential friends and collaborators in the flowering of Bunuel’s late period, though Buñuel regulars Rey, Frankeur, and Julien Bertheau might also be cited.… Read more »
Commissioned by BFI Publishing and published in the November 2014 Sight and Sound. This version is slightly tweaked. — J.R.
In an amusing, satisfying, and highly persuasive rant in Time Out in 1977, J.G. Ballard took on the cultural phenomenon of Star Wars (1977), including some of its historical and ideological consequences. Noting that “two hours of Star Wars must be one of the most efficient means of weaning your preteen child from any fear of, or sensitivity towards, the death of others”, he also reflected on the overall impact of George Lucas’s blockbuster on science-fiction movies:
“The most popular form of s-f — space fiction –- has been the least successful of all cinematically, until 2001 and Star Wars, for the obvious reason that the special effects available were hopelessly inadequate. Surprisingly, s-f is one of the most literary forms of all fiction, and the best s-f films — Them!, Dr. Cyclops, The Incredible Shrinking Man, Alphaville, Last Year at Marienbad (not a capricious choice, its themes are time, space and identity, s-f’s triple pillars), Dr. Strangelove, Invasion of the Body Snatchers, Barbarella, and Solaris — and the brave failures, such as The Thing, Seconds, and The Man Who Fell to Earth, have all made use of comparatively modest special effects and relied on strongly imaginative ideas, and on ingenuity, wit, and fantasy.… Read more »