From the Chicago Reader (July 21, 1995). — J.R.
Grosse fatigue
Rating *** A must see
Directed and written by Michel Blanc
With Blanc, Carole Bouquet, Philippe Noiret, Josiane Balasko, Christian Clavier, and Charlotte Gainsbourg.
Wonders never cease. When Michel Blanc’s hilarious, vulgar farce Grosse fatigue won the prize for best screenplay at the Cannes film festival last year, the American press generally agreed that its chances of stateside distribution were just about nil. A nasty, abrasively funny insider’s look at contemporary French cinema, it was felt to be far too obscure in its references and far too politically incorrect, with its sexist and homophobic gags about rape, to find much favor among art-house patrons on this side of the Atlantic.
Proving us all wrong, Miramax is releasing the movie this week. I can only applaud their decision: offensive or not, Blanc’s fantasy/comedy qualifies in my book as a satire about the movie business far superior to The Player and Swimming With Sharks — two supposedly scathing looks at Hollywood that squander all their venom on a few west-coast executives with fancy ties and outsize salaries and let the audience that supports them neatly off the hook. Paradoxically, these American-made pictures argue that any system that supports people like these treacherous producer-villains has to be wrong, yet somehow they fail to broach the possibility that we in the audience could have anything to do with such a system ourselves. Read more
From Cinema Scope #19 (Summer 2004). This is obviously out of date in many respects, fourteen years later, but I repost it now a period piece. — J.R.
Joan Hawkins opens her book Cutting Edge: Art Horror and the Horrific Avant-garde (Minneapolis/London: University of Minnesota Press, 2000) with an interesting and useful observation:
“Open the pages of any horror fanzine —- Outré, Fangoria, Cinefantastique —- and you will find listings for mail-order video companies that cater to aficionados of what Jeffrey Sconce has called `para-cinema’ and trash aesthetics. Not only do these mail-order companies represent one of the fastest-growing segments of the video market, but their catalogs challenge many of our continuing assumptions about the binary opposition of prestige cinema (European art and avant-garde/experimental films) and popular culture. Certainly, they highlight an aspect of art cinema generally overlooked or repressed in cultural analysis: namely, the degree to which high culture trades on the same images, tropes, and themes that characterize low culture.”
As a direct illustration of Hawkins’ point, check out the web site www.xploitedcinema.com, a U.S. importer of overseas DVDs that also sells some domestic items and caters mainly to trash aesthetics, but among whose 86 pages of sex, horror, action, and gore items I also recently found an Italian two-disc set of my favorite Bernardo Bertolucci film, Prima della Rivoluzione/Before the Revolution (his second feature, 1964 — subtitled in English, along with all the extras), not to mention English-friendly Spanish and/or Mexican editions of my two favorite Alex Cox films (the 1987 Walker and the 1994 Highway Patrolman), a Spanish edition of Orson Welles’s Chimes at Midnight, a Korean edition of Sam Peckinpah’s scandalously underrated Bring Me the Head of Alfredo Garcia (1974), and Italian editions of Pier Paolo Pasolini’s The Gospel According to St. Read more
