From the Chicago Reader (April 5, 1996). — J.R.
The Neon Bible
Directed and written by Terence Davies
With Gena Rowlands, Diana Scarwid, Jacob Tierney, Denis Leary, Leo Burmester, Frances Conroy, and Peter McRobbie.
Two paradoxical facts about Terence Davies’s first film adaptation:
(1) It follows fairly closely The Neon Bible, a novel written by John Kennedy Toole for a literary contest in the mid-50s, when he was 16 — a decade before he finished work on his second novel, A Confederacy of Dunces, and about 15 years before he, still unpublished, committed suicide (A Confederacy of Dunces was published ten years later, The Neon Bible ten years after that). I don’t care much for The Neon Bible, a hackneyed mood piece set in a rural backwater of the deep south, but I think the movie, which seems 100 percent Davies, is wonderful.
(2) Of all the English-speaking films shown at Cannes last May, the two that got the most boorish and least comprehending reception by the English-speaking press were The Neon Bible and Jim Jarmusch’s Dead Man, though for nearly opposite reasons. Jarmusch, who’s long been criticized for coasting along in Down by Law, Mystery Train, and Night on Earth on the same kind of hip humor he virtually invented for Stranger Than Paradise, finally broke free and did something bold, original, political, dark, scary, outspoken, witty, and often beautiful — a black-and-white western that should be opening here sometime next month. Read more
This was written in December 2008, after Dana Linssen, the editor-in-chief of the independent Dutch film monthly de Filmkrant, sent out a request early that month for contributions to what she called a “Slow Criticism” dossier, to appear in their special English-language newspaper at the Rotterdam International Film Festival in late January. I revived it in 2011 as my own contribution to the avalanche of journalism that had been appearing about Pauline Kael, capped by Frank Rich’s lengthy piece in the New York Times; it’s also included in my most recent collection, Goodbye Cinema, Hello Cinephilia, where it concludes the book’s penultimate section, “Films,” just before its final section, “Criticism”. There isn’t a piece about Kael in the final section, but this broadside helps to explain why.
One aspect of recent journalism about Kael that seems to confirm the provinciality of American film criticism in general is the tacit assumption that “the world of film” in the U.S. is somehow (and automatically) coterminous and equivalent to global film culture — unless the assumption is simply that global film culture is too esoteric and inconsequential a subject to be worthy of discussion in the U.S. But it’s worth stressing that outside the English-speaking world, Kael’s critical status was and is pretty limited. Read more
From the Chicago Reader (May 27, 1988)….Seeing a more recent Konchalovsky picture, the powerful Holocaust drama Paradise, at Mar del Plata, I was reminded of what a terrific filmmaker he can be, which whetted my appetite to resee his powerful Runaway Train (a recent Twilight Time Blu-Ray that was waiting for me when I returned to Chicago). — J.R.
*** (A must-see)
Directed by Andrei Konchalovsky
Written by Konchalovsky, Gerard Brach, and Marjorie David
With Jill Clayburgh, Barbara Hershey, Martha Plimpton, Merritt Butrick, John Philbin, and Mare Winningham.
I still have a lot of catching up to do with Andrei Konchalovsky. Out of his 11 or so features to date, the last 4 of which were made in the United States, I’ve seen prior to Shy People only 2. The Soviet Asya’s Happiness (1966), a film made with and about Russian peasants, was suppressed for many years because of its supposedly “gloomy” depiction of rural life but surfaced at the San Francisco Film Festival a couple of months ago. The other was Runaway Train (1985), costarring Jon Voight, Eric Roberts, and Rebecca DeMornay and adapted from a script by Akira Kurosawa. But a couple of things are already becoming clear from this limited if striking evidence. Read more