Monthly Archives: November 2021

Truffaut Lite [THE LITTLE THIEF]

From the Chicago Reader (October 6, 1989). — J.R.

THE LITTLE THIEF ** (Worth seeing)

Directed by Claude Miller

Written by Annie Miller, Claude Miller, and Luc Beraud

With Charlotte Gainsbourg, Didier Bezace, Simon de la Brosse, Raoul Billerey, and Chantal Banlier.

The French cinema has perhaps never been more desperately in the doldrums than now, and this slump is best represented by the trips down memory lane that seem to be a major preoccupation in current French movies. Never entailing research or reevaluation, these simplified, nostalgic foreshortenings of the past often pare away much of what makes that past interesting.

Claude Miller’s The Little Thief (La petite voleuse) is a case in point because it purports to be, at least in this country, the last work of the late Francois Truffaut. (I’m told that no such claims were made about the film when it opened in France, and can understand why; even French amnesia doesn’t ordinarily extend quite as far as our own.) The film was developed out of a long-nurtured Truffaut project that Truffaut considered filming at various points throughout his career; a 30- or 40-page treatment (accounts differ) he wrote with Claude de Givray served as Miller’s starting point, although by all accounts this story has been extensively reworked and embellished, and even given a new ending. Read more

Babette’s Feast

From the Chicago Reader (March 1, 1989). — J.R.

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Gabriel Axel’s Danish feature, the 1987 Oscar winner for best foreign film, is based on an Isak Dinesen tale. On the whole, the adaptation is faithful but some of the qualities of Dinesen’s language are lost in translation or through abridgment, and the politics have been needlessly simplified. The plot concerns a French servant in a strict Lutheran household in Denmark — Norway in the original — whose family has perished in the French Commune uprising. The acting is impeccable and the ambience suffused with delicate charm, but overall this doesn’t aim at anything higher than Masterpiece Theatre or a Merchant-Ivory film. Aside from the elaborate serving of the eponymous meal, which expands greatly on the original, few of the additions constitute improvements. With Stephane Audran, Jean-Philippe Lafont, Jarl Kulle, Bodil Kjer, and Birgitte Federspiel (Ordet). In Danish with subtitles. 102 min. (JR)

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All Is Forgiven [MONSTER’S BALL]

From the Chicago Reader (February 22, 2002). — J.R.

Monster’s Ball

** (Worth seeing)

Directed by Marc Forster

Written by Milo Addica and Will Rokos

With Billy Bob Thornton, Halle Berry, Peter Boyle, Heath Ledger, Sean Combs, Mos Def, and Coronji Calhoun.

Monster’s Ball is a Hollywood art movie; even the fancy color graphics imposed on the seedy milieu behind the opening credits tell us that. For some viewers, including a few reviewers, the movie becomes bearable only after an hour of misery, when the lead characters, Hank Grotowski (Billy Bob Thornton) and Leticia Musgrove (Halle Berry), finally get around to having their big sex scene (which I have to admit is worth the price of admission). Maybe the sex is prompted by these characters’ mutual misery, but it also happens because this is a Hollywood movie and these are its stars. And because it’s also an art movie, all the misery preceding the scene makes it feel earned.

Hank is a white corrections officer at the state pen in Georgia who recently guided Leticia’s husband, who’s black, to the electric chair, though it takes him a long time — and her even longer — to figure out the connection. Read more

Ghost World

From the August 1, 2001 Chicago Reader. — J.R.

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If, like me, you’ve been wondering how Terry Zwigoff, the brilliant documentary filmmaker who made Crumb, would negotiate his shift to fiction filmmaking, here’s your answer: brilliantly. Ghost World, a very personal adaptation of the Daniel Clowes comic book that Zwigoff wrote with Clowes, either captures with uncanny precision what it’s like to be a teenage girl in this country at this moment or fooled me utterly into thinking it does. Thora Birch (American Beauty) plays Enid, a comic book artist (her notebook was actually drawn by Sophie Crumb, Robert’s daughter) who plans to share an apartment with her best friend Rebecca (Scarlett Johansson). Enid befriends Seymour (Steve Buscemi), a lonely, much older collector of rare blues and jazz 78s, shortly after she almost graduates from high school. To get a diploma, she has to take an art course over the summer, and our glimpses of this add up to the funniest portrait of American “art appreciation” I’ve ever seen, with Illeana Douglas, as the teacher, rivaling Elaine May as a satirist. Never predictable, this movie is often hilarious as well as touching, subtly adapting the mise en scene of Clowes’s original without being fancy or obtrusive about it. Read more

THE PROJECTIONIST (1975 review)

From Monthly Film Bulletin, January 1975 (Vol. 42, No. 492). -– J.R.

The Projectionist
U.S.A., 1970

Director: Harry Hurwitz

Chuck, a stocky film projectionist who works in midtown Manhattan, hears on a radio about an old man mugged on the Lower East Side, and imagines himself coming to the rescue as Captain Flash. The reverie is broken off by the arrival of his friend Harry, an usher, who hears him describe meeting a pretty girl on the way to work (provoking a romantic-movie pastiche); this is interrupted in turn by Renaldi, the tyrannical theatre manager, who orders Harry out of the booth. Chuck next fantasizes a preview,’The Terrible World of Tomorrow”, before getting off work. As Captain Flash, he loses a fight with the thugs, and the old man informs him that The Bat is after his death ray; they proceed to The Bat’s hideout, where Flash sees the same pretty girl he had described to Harry. In the cinema lobby, Chuck chats with the Czech candy man, who is eventually reprimanded by Renaldi for giving Chuck free lemon drops from the counter. Chuck imagines another preview (“The Wonderful World of Tomorrow”) and a Flash episode in which he visits ‘Rick’s Bar’ in Casablanca and tangles with a prehistoric beast in The Bat’s cave. Passing a movie premiere, he imagines arriving there as a celebrity. Read more

Violins at the Ball

From Oui (August 1974). — J.R.

Violins at the Ball. It appears that the two obsessive themes of French cinema right now are movies about movies and movies about the German Occupation. Michel Drach’s Violins at the Ball combines both of these, but on a very personal level, for the story he has to tell is Drach’s own. It is told in two tenses: a present in black and white showing Drach as he tries to interest a producer in his film and he travels around Paris and Oise with his cameraman; a past in color that he is filming, which describes his adventures as a Jewish child during the Occupation.Drach’s wife, actress Marie-José Nat, plays herself in the present and his mother in the past, while their son David portrays Michel at the age of eight. To complicate matters further, the producer declares that the film can’t be made without a star, and Drach immediately replaces himself with Jean-Louis Tringtignant – who also happens to be his best friend. Drach has wanted to make this film for 15 years, and it shows in the careful attention given to various details, the subtle transactions between memory and invention, fear and comfort, yesterday and today. Read more

Improvisations and Interactions in Altmanville

From Sight and Sound (Spring 1975); I’ve mainly followed the editorial changes (mostly trims) used in the version that appears in my collection Essential Cinema….My apologies for the format problems with this piece, only some of which I’ve managed to resolve satisfactorily. — J.R.

 AltmandirectingCaliforniaSplit

 [. . .] Unless it is claimed that a pianist’s hands move haphazardly up and down the keyboard — and no one would be willing to claim this seriously — it must be admitted that there exists a guiding thought, conscious or subconscious, behind the succession of organized sound patterns . . . Of course, it does happen, and not too infrequently, that an instrumentalist’s fingers  ‘recite’ a lesson they have learned; but in  such cases there is no reason to talk about creation.

— André Hodeir, Jazz: Its Evolution and Essence

 

I can never think and play at the same time. It’s emotionally impossible.

Lennie Tristano, circa 1962

 

CHARLIE (Elliott Gould): This is the truth. You’re an animal lover, right?/ SUSAN (Gwen Welles): Yeah./CHARLIE: Okay, well: the great blue whale, right? You know about a great blue whale?/ SUSAN (semi-audible): . . . got that wrestling guy, hunh? /CHARLIE: No, it’s a big fish, a big fish, there’s only two or three left in the world. Read more

Jacqueline Susann’s Once is Not Enough

From Monthly Film Bulletin, August 1975, Vol. 42, No. 499. — J.R.

Jacqueline Susann’s Once is Not Enough

U. S.A., 1974Director: Guy Green

Cert--AA. dist–CIC. p.c–Paramount Pictures. In association with

Sujac Productions and Aries Films. exec. p–Irving Mansfield. p–Howard

W. Koch. p. manager–Howard W. Koch Jnr. asst. d–Howard W. Koch

Jnr., Lee Rafner. sc–Julius J. Epstein. Based on the novel Once Is Not

Enough by Jacqueline Susann. ph–John A. Alonzo. Panavision. col

Movielab. ed–Rita Roland. p. designer--John DeCuir. a.d–David

Marshall. setdec–Ruby Levitt. m–Henry Mancini. songs—“Once Is

Not Enough” by Henry Mancini, Larry Kusik, sung by–The Mancni

Singers; “All the wav” by Sammy Cahn, James van Heusen, sung by

Frank Sinatra. titles–Dan Perri. sd. ed–Robert Cornett. sd. rec–Larry

Jost. sd. re-rec–Doc Wilkinson. l.p–Kirk Douglas (Mike Wayne),

Alexis Smith (Deidre Milford Granger), David Janssen (Tom Colt),

George Hamilton (David Milford), Melina Mercouri (Karla), Gary

Conway (Hugh Robertson), Brenda Vaccaro (Linda Riggs), Deborah

Raffin, (January Wayne), Lillian Randolph (Mabel), Renata Vanni (Maria),

Mark Roberts (Rhinegold), John Roper (Franco), Leonard Sachs (Dr. Read more

The Good, the Bad, and the Future

From the Chicago Reader (October 29, 1987). — J.R.

I. Good Things About the Chicago Film Festival

1. Quite apart from aesthetic considerations, any film festival that can boast films from 35 countries and encompass 70 years of filmmaking is performing an invaluable cultural service. The xenophobic and antihistorical cast of most pop culture in this country is such that the more the media expand, the narrower our sense of reality generally becomes, and any institution that can allow us glimpses of cultures and eras other than our own is bound to teach us something more than the average TV news broadcast. (The sharp moral distinction that we usually make between news and fiction–designating the first as “serious” and the second as “entertainment”–overlooks the fact that both are usually designed as narrative entertainment, offering consumable, hence disposable, stories with larger-than-life characters.)

2. Out of the 20 films in the festival that I’ve so far managed to see, more than half are eminently worth seeing, and roughly a third qualify as first-rate. If that’s a somewhat lower batting average than either Facets or the Film Center, it’s still a much higher one than what is achieved by the usual run of commercial mainstream releases. Read more

American Pimp

From the July 11, 2000 Chicago Reader. — J.R.

What’s so disturbing yet provocative about this documentary by Allen and Albert Hughes (Menace II Society, Dead Presidents) is that it essentially celebrates as well as interrogates its chosen subject. More precisely, it allows the pimps in interviews to celebrate themselves, offering them the equivalent of their own music videos in which to strut their stuff. Even if one disapproves of the results — it’s hard not to, given the countless obfuscations and omissions ensured by such an approach — there’s also more understanding of a certain kind than would come from a holier-than-thou polemic. One has to weigh the lift against the mystifications. There isn’t the sort of analysis one would hope to find (the Hugheses even sidestep the issue of whether pimps are as important to prostitution as they once were), but at least one gets a pungent look at what makes being a pimp look attractive to some people in certain circumstances. Check it out for yourself; I’ve felt at least as conflicted about the Hughes brothers’ other movies, but this one arguably accomplishes and says the most. 87 min. (JR)

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Dead Presidents

More ambitious than Menace II Society, this second feature (1995) by youthful codirecting twins Allen and Albert Hughes starts in 1968, a few years before they were born, when three friends from the Bronx (Larenz Tate, Chris Tucker, and Freddy Rodriguez) enlist in the marines. Back from Vietnam but not treated as heroes, they eventually find themselves plotting an armed robbery. Written with Michael Henry Brown, this 1995 picture shows flashes of political savvy and has some decent performances, and the period evocations are nothing to be ashamed of. But gratuitous gore and violence and a huffing and puffing heist sequence eventually compromise the movie’s claim to seriousness. With Keith David, N’Bushe Wright, and Bokeem Woodbine. R, 119 min. (JR)

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Menace II Society

From the June 4, 1993 Chicago Reader. — J.R.

Don’t let the silly styling of the title put you off, this is a powerful, convincing, and terrifying look at teenage crime in contemporary Watts. Directed by 20-year-old twin brothers Allen and Albert Hughes from a script they wrote with coproducer Tyger Williams, this shocking, violent, and unsentimental (albeit sensationalized) drama about a second-generation drug dealer (Tyrin Turner) and the callous world he lives in, produced by To Sleep With Anger’s Darin Scott, is terrifically acted, as much by the newcomers (Jada Pinkett, Larenz Tate, Erin Leshawn Wiley, Vonte Sweet, MC Eiht, and Too $hort) as by the old pros (Samuel L. Jackson, Bill Duke, Charles S. Dutton), who are around for cameos. Bel-Air Drive-In, Double Drive-In, Hyde Park, Norridge, Pipers Alley, Ford City.

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Soapdish

From the May 1, 1991 Chicago Reader. — J.R.

Backstage backstabbing and other forms of skulduggery on a daytime soap opera called The Sun Also Sets are the main bill of fare in this 1991 satirical farce, written by Robert Harling (The First Wives Club) and Andrew Bergman (Honeymoon in Vegas) and directed by Michael Hoffman. It’s full of bizarre twists designed to prove that the cast of such a soap opera would generate juicier material than anything a writer could come up with. As the star of both the soap and this movie, Sally Field can’t quite keep up with the hamming of the rest of the frenetic cast — Kevin Kline, Robert Downey Jr., Cathy Moriarty, Whoopi Goldberg, Elisabeth Shue, Carrie Fisher, Garry Marshall, and Teri Hatcher — but as the center of a hurricane, she does nicely enough. This movie certainly has its dopey moments, but if you’re feeling indulgent you’re likely to have a good time with it. 95 min. (JR)

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Time-Tasting Places in 3 Current Releases [THE POWER OF THE DOG, PASSING, NO TIME TO DIE]

There’s an uncommon number of period films

among the end-of-the-year releases and screeners,

a clear indication that we don’t want to spend more

time than we have to in the present moment. Who

could want to? But the problem with most period

films in this country that are insufficiently inflected

with the usual genre reflexes (the beloved ahistorical

escape hatches of noirs, Westerns, and even musicals)

is that most of us know too little about the past

to make it believable enough to feel inhabitable.

A good case in point is Jane Campion’s sluggish The

Power of the Dog, which tries to critique the Western

genre’s gender stereotypes but winds up stranded in the

present almost by default, in its dialogue as well as its

overall ambience. One simply can’t imagine the

offscreen space of a Montana in the 1920s (e.g., the

nearest town) because the imaginative investments are

too meagre, relating more to the visible landscapes than

to the societies and cultures that the characters

supposedly inhabit.

A far more persuasive view of the U.S. in the 1920s is

found in Rebecca Hall’s densely packed and even

claustrophobic Passing, which is visually and

psychologically far more invested in interiors than in

exteriors, and where the novel being adapted is

contemporaneous with the action being shown. Read more

Orson Welles as Ideological Challenge (Part 2)

Originally written as the tenth chapter of my book Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000), this is also reprinted in my 2007 collection Discovering Orson Welles. Because of the length of this essay, I’m posting it in two installments – J.R.

OrsonWelles1937

JohnCassavetes

3. The taboo against financing one’s own work. I assume it’s deemed

acceptable for a low-budget experimental filmmaker to bankroll his or

her own work, but for a “commercial” director to do so is anathema

within the film industry, and Welles was never fully trusted or respected

by that industry for doing so from the mid-forties on. This pattern

started even before Othello, when he purchased the material he had

shot for It’s All True from RKO with the hopes of finishing the film

independently, a project he never succeeded in realizing. As an

overall principle, he did something similar in the thirties when he

acted in commercial radio in order to surreptitiously siphon money

into some of his otherwise government-financed theater productions

during the WPA period, a practice he discusses in This Is Orson

Welles. John Cassavetes, who also acted in commercial films in order

to pay for his own independent features, suffered similarly in terms of

overall commercial “credibility,” which helps to explain why he and

Welles admired each other. Read more