Daily Archives: October 2, 2022

My Love, My Bride

From the Chicago Reader (September 1, 1992). — J.R.

Lee Myung-sei’s delightful Korean comedy about the trials and tribulations of a young married couple (Park Joong-hoon and Choi Jin-sii, both charming and resourceful actors) offers eloquent testimony to the stylistic importance of Frank Tashlin (The Girl Can’t Help It, Artists and Models, Will Success Spoil Rock Hunter?) as an international legacy. Tashlin’s background as an animator — his graphic talent, his formal ingenuity, his taste for bright primary colors — and his flair for satire of contemporary lifestyles both seem fully present in this lively and inventive feature. It isn’t that Lee has necessarily seen or studied Tashlin’s work, but Tashlin’s bag of tricks has become an automatic part of everyone’s resources, and this comedy fully exploits it (1991). (JR)

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Global Discoveries on DVD: Bologna’s Bounty

From the Fall 2022 Cinema Scope.

There appears to be a consensus that this year’s Il Cinema Ritrovato in Bologna was exceptionally rich —so much so that I concluded that my next column in these pages could be devoted to some of its riches, most of which are already available on DVD or Blu-ray in one form or another. The most notable exceptions, at least among the newer films shown —Jean-Baptiste Péretié’s 2021 Jacques Tati, Tombé de la lune (not only the best documentary about Tati to date, but the only one to understand the basic fact that Tati essentially wrote his scripts with his body), and Mitra Farahani’s startling A vendredi, Robinson, a staged internet encounter between two nonagenarian New Wave pioneers, Jean-Luc Godard and Ebrahim Golestan, that encompasses their dialectically contrasting self-portraits — will hopefully become available in the near future, at which point their minor limitations (e.g., Péretié minimalizing the radicalism of Tati’s Parade [1974], Farahani over-maximalizing the radicalism of Godard in her own transgressive editing patterns) can also be discussed.

For the others, let me start by noting that two of my favourite Bologna discoveries are both available from Rarefilmsandmore.com for U.S. Read more


From the Chicago Reader (September 1, 1988). — J.R.


Mae West’s swan song to cinema at age 86 is one of the world’s all-time worst movies, but that doesn’t detract at all from its immense charm and lewd fascination. Based on West’s own play, produced by two wealthy English fans in their early 20s, directed after a fashion by Ken Hughes (reportedly many hands were involved), and including such standbys as Timothy Dalton, Tony Curtis, Dom DeLuise, Ringo Starr, George Hamilton, Alice Cooper, Keith Moon, Walter Pidgeon, Rona Barrett, and George Raft, this inept but heartfelt 1978 tribute to West’s talent and worldview often defies description. It’s amateur filmmaking at its most delirious, complete with a rousing production-number version of “Hooray for Hollywood”; West herself remains visibly sedated but indefatigably game throughout. 91 min. (JR)

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