Daily Archives: January 7, 2022

Rock Criticism

From the November 20, 1992 Chicago Reader. –J.R.

ROCK HUDSON’S HOME MOVIES

**** (Masterpiece)

Directed and written by Mark Rappaport

With Rock Hudson and Eric Farr.

In the creation of art, the verb is there to authenticate the subject with the same name.

To paint is the act of painting. . . . To write becomes the act of writing and of the writer. To film, that is, to record a sight and project it, is the act of cinema and of the makers of films . . .

Only television has no creative act or verb to authenticate it. That’s because the act of television both falls short of communication and goes beyond it. It doesn’t create any goods, in fact, what is worse, it distributes them without their ever having been created. To program is the only verb of television. That implies suffering rather than release. — Jean-Luc Godard

You were a great star, Mr. Hudson — one of the biggest. Sorry it all had to end like this. — director Mark Rappaport’s voice in Rock Hudson’s Home Movies

The precipitous decline in the quality of American movies since the 1970s can be attributed to several factors, but three interconnected changes in U.S.… Read more »

Is It Life, or Is It Media? (THE ICICLE THIEF)

From the Chicago Reader (September 14, 1990). — J.R.

THE ICICLE THIEF

**** (Masterpiece)

Directed by Maurizio Nichetti

Written by Nichetti and Mauro Monti

With Nichetti, Caterina Sylos Labini, Federico Rizzo, Heidi Komarek, Renato Scarpa, Carlina Torta, Lella Costa, and Claudio G. Fava.

There is still so much we have to learn about TV! — Kurt Vonnegut, Hocus Pocus

Some people have called Maurizio Nichetti the Italian Woody Allen, an unfortunate appellation in more ways than one. Not only does it not do him justice, it also attributes to him an urban snobbishness that couldn’t be further from his world and persona. In the New York Times, where Allen’s movies are ranked higher than the late works of Welles and Antonioni — apparently because Allen, unlike Welles and Antonioni, reflects the worldview of many New Yorkers — the label can only backfire. But take a look at both actors and ask yourself which of the two is funnier.

The first time I saw a Nichetti movie, all it took was the opening sequence to convince me that there was no contest.

At an international conference in Milan, a distinguished participant suffers a stroke. A desperate call is made across the city to Colombo — a short nebbish with a mop of hair and a Groucho mustache, who operates a hilltop refreshment stand — for a glass of mineral water for the poor man.… Read more »

Godard’s Myth of Total Cinema: HISTOIRE(S) DU CINÉMA

Written for the Rotterdam International Film Festival in November 2003. — J.R.

In his biography of André Bazin, Dudley Andrew notes in passing that “The Ontology of the Photographic Image” and “The Myth of Total Cinema,” which he calls Bazin’s“first great essays,” were both composed during the French Occupation. I hope I can be forgiven for taking the meaning of the second essay’s title in a direction quite different from what Bazin intended–a direction inspired by the fact that we’re living today under a kind of Cultural Occupation imposed by advertising that currently approaches global dimensions, and which operates under the assumption of another kind of “myth of total cinema”. I’m thinking of the myth that the breadth and diversity of contemporary cinema in its present profusion are somehow knowable and therefore describable, something that can be analyzed in detail as well as evaluated.