East Side Story, a recent documentary about communist musicals, assumes that communist-bloc directors were just itching to make Hollywood extravaganzas and invariably wound up looking strained, square, and ill equipped. But Red Psalm (1971), Miklos Jancso’s dazzling, open-air revolutionary pageant, is a highly sensual communist musical that employs occasional nudity as lyrically as the singing, dancing, and nature; within its own idioms it swings as well as wails. Set near the end of the 19th century, when a group of peasants have demanded basic rights from a landowner and soldiers arrive on horseback, it’s composed of less than 30 shots, each one an intricate choreography of panning camera, landscape, and clustered bodies. Jancso’s awesome fusion of form with content and politics with poetry equals the exciting innovations of the French New Wave in the 60s and early 70s. The music, ranging from revolutionary folk songs to {Charlie Is My Darlin’,} will keep playing in your head for days, and the colors are ravishing. The picture won Jancso a best director prize at Cannes, and it may well be the greatest Hungarian film of the 60s and 70s, summing up an entire strain in his work that lamentably has been forgotten here. Read more
From the Chicago Reader (June 1, 1998). — J.R.
The words “communist musical” may call to mind tractors and factories — both of which are certainly in evidence here — but this fascinating and enjoyable 1996 documentary by Romanian-born filmmaker Dana Ranga and American-born independent Andrew Horn presents the singular genre as a conflict between capitalist glitz and socialist poetry, revealing both the Marxists’ tragicomic attempts to beat the West at its own game and the homegrown folksiness of their efforts. Reportedly only 40-odd musical features were produced in the Soviet Union, Bulgaria, Czechoslovakia, East Germany, Poland, and Romania prior to the collapse of communism, and roughly half of them are excerpted here. Ranga and Horn interview writers, directors, stars, and ordinary viewers of communist musicals, as well as one prestigious film historian (Maya Turorskaya, best known here for her book on Andrei Tarkovsky). The selection of clips isn’t everything it might have been — I regret the absence of any examples by Alexander Medvedkin, some of which are glimpsed in Chris Marker’s The Last Bolshevik, and eastern European critics have cited other omissions. But Ranga and Horn’s insights into communist film production and their story of how the communist musical triumphed or withered in its various settings offer plenty of food for thought. Read more
From the Chicago Reader (May 1, 1998). — J.R.
A middle-aged man who’s contemplating suicide drives around the hilly, dusty outskirts of Tehran trying to find someone who will bury him if he succeeds and retrieve him if he fails. This minimalist yet powerful and life-enhancing 1997 feature by Abbas Kiarostami (Where Is the Friend’s House?, Life and Nothing More, Through the Olive Trees) never explains why the man wants to end his life, yet every moment in his daylong odyssey carries a great deal of poignancy and philosophical weight. Kiarostami, one of the great filmmakers of our time, is a master at filming landscapes and constructing parablelike narratives whose missing pieces solicit the viewer’s active imagination. Taste of Cherry actually says a great deal about what it was like to be alive in the 1990s, and despite its somber theme, this masterpiece has a startling epilogue that radiates with wonder and euphoria. In Farsi with subtitles. 99 min. (JR)
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From the Chicago Reader (September 25, 1998). — J.R.\
This unusually charming and touching Ismail Merchant-James Ivory film feels closer to memoir than fiction; it’s drawn from an autobiographical novel by Kaylie Jones (daughter of novelist James Jones), but Ivory, working with his usual screenwriting collaborator, Ruth Prawer Jhabvala, reportedly fleshed out the story with some of his own experiences. In “Billy,” the first of the film’s three sections, an expatriate novelist in Paris (Kris Kristofferson) and his wife (Barbara Hershey) adopt a six-year-old French boy who’s initially resented by the couple’s natural daughter. “Francis,” set a few years later, recounts the daughter’s friendship with an eccentric American schoolmate (Anthony Roth Costanzo), and Jane Birkin has a field day as his doting single mother. Yet these last two characters, as well as the family’s maid (Dominique Blanc) and her boyfriend (Isaac de Bankole), disappear in “Daddy,” which follows the family’s return to the States once the siblings are teenagers and the father’s health is deteriorating. The three parts add up to a rather lumpy narrative, and the characters are perceived through a kind of affectionate recollection that tends to idealize them, but they’re so beautifully realized that they linger like cherished friends. Read more
From the Chicago Reader (February 5, 1999). — J.R.
Raul Ruiz’s first mainstream release, which is getting its Chicago premiere at an art house rather than a multiplex, may not be one of his best — given his hundred or so shorts and features, there’s a lot of competition, and this is one of the rare Ruiz movies scripted by someone else. But it certainly provides some provocative and enjoyable jolts. Anne Parillaud plays a professional assassin in Seattle who dreams she’s a vulnerable newlywed honeymooning in the Caribbean and recovering from a rape; she also plays a vulnerable bride who dreams she’s an assassin. William Baldwin plays the significant other of both women, bearing the same name, and the contrapuntal play between Parillaud the victimizer and Parillaud the victim is pushed to dizzying extremes. Beautifully shot by Robby Muller, with periodic allusions in the score (by Ruiz regular Jorge Arriagada) to Bernard Herrmann’s work for Hitchcock, this head-scratching thriller should keep you entertained throughout, at least if you’re feeling adventurous. Ruiz didn’t even have final cut, but he clearly enjoyed himself making this film. Duane Poole wrote the distinctly Ruizian script, featuring twists at every turn, and the costars include Graham Greene and Bulle Ogier. Read more
From the Chicago Reader (February 1, 1999). — J.R.
Wes Anderson’s second feature (1998) has some of the charm and youthful comic energy of its predecessor (Bottle Rocket), also coscripted by Owen Wilson, but it also represents a quantum leap. Jason Schwartzman plays an ambitious working-class tenth grader who’s flunking out of a private school — the Rushmore of the title — because he’s too engrossed in extracurricular activities. To make matters worse, he develops a crush on a young widow (Olivia Williams) who’s a grammar-school teacher there. His two best friends are a schoolmate who’s much younger and a disaffected millionaire alumnus (Bill Murray) who’s much older, and part of the lift of this movie is that it creates a utopian democracy among different age groups. Things come to a crisis when the millionaire becomes the hero’s romantic rival. Stylistically fresh and full of sweetness that never cloys, this is contemporary Hollywood filmmaking at its near best. R, 93 min. (JR)
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From the Chicago Reader (November 1, 1998). — J.R.
For the most part, this is a precise, shot-by-shot video “remake” of a little-known half-hour documentary film made in Chicago in 1967. The original film, made by Jerry Blumenthal, Sheppard Ferguson, James Leahy, and Alan Rettig, was a portrait of 22-year-old Shulamith Firestone as she was earning a BFA in painting and drawing at the School of the Art Institute, working for the postal service, and taking photographs (three years later she would publish The Dialectic of Sex: The Case for Feminist Revolution). The “remake” was made by Elisabeth Subrin (Swallow), a former grad student at the School of the Art Institute who worked with actors and detailed reproductions of Firestone’s paintings and drawings. This fascinating attempt at duplication ultimately has more to say about the 90s than the 60s: though it has some impact of its own as a document about prefeminist awakening, it?s more valuable as a commentary on what separates the past from the present. Kim Soss gives a good performance as Firestone, but her style of speaking is noticeably more guarded and unemotional, telling us a great deal about differences in everyday speech and body language 30 years apart. Read more
From the Chicago Reader (April 1, 1998). — J.R.
As in House of Games, David Mamet tries his hand at a Hitchcockian thriller, this time exploring the chase film rather than obsessive behavior. The effect is altogether lighter — a souffle that periodically threatens to float away. Campbell Scott plays the inventor of something called the Process (Mamet’s MacGuffin), a top-secret formula his company expects to clean up on. About the time that he’s befriended by a mysterious businessman (Steve Martin), he starts to worry that he might be cheated out of a share of the profits. The conspiracies come fast and thick, but because Mamet’s interest — male gamesmanship and competition — is pretty distant from Hitchcock’s usual turf, the spectator winds up feeling less invested in the plot and characters. But this 1998 feature is fun if you’re looking mainly for light entertainment. With Ben Gazzara, Rebecca Pidgeon, and Ricky Jay. PG, 112 min. (JR)
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From the January 30, 1998 Chicago Reader. Since I barely remember Kundun today, I’m pretty sure I must have overrated it, at least in relation to The Apostle (which I remember far better today, even in its truncated version). –J.R.
The Apostle
Rating *** A must see
Directed and written by
Robert Duvall
With Duvall, Farrah Fawcett, Miranda Richardson, Todd Allen, John Beasley, June Carter Cash, Billy Joe Shaver, Walter Goggins, Rick Dial, and Billy Bob Thornton.
Kundun
Rating **** Masterpiece
Directed by Martin Scorsese
Written by Melissa Mathison
With Tenzin Thuthob Tsarong, Gyurme Tethong, Tencho Gyalpo, Tsewang Migyur Khangsar, Geshi Yeshi Gyatso, and Robert Lin.
For all their obvious differences, both Kundun and The Apostle are spiritual but nonreligious movies about religious leaders, suffused with a perpetual sense of mystery and driven by an abiding curiosity that provokes our own curiosity as well. As a commercial property, each film amounts to an act of defiance, judging by their critical reception so far. Many mainstream critics have stepped out of Kundun asking, “What could Scorsese have been thinking of?,” and some have come out of The Apostle complaining that it’s basically an ego trip for its writer-director-star.
Both reactions perversely miss the point, telling us more about stereotypical commercial expectations in general than about either project in particular. Read more
This is an expanded version of an article published originally (on October 8, 1993) in the Chicago Reader; the Australian DVD label Madman commissioned this longer piece in the summer of 2009. — J.R.
Let’s start with a dream scenario, a movie that might have been. What if Luis Buñuel made a picture with an American producer, American screenwriter, and American actors during the height of the civil rights movement and set it in the rural south? What if the main character were a jazz musician from the north fleeing from a southern lynching, falsely accused of raping a woman? And, to make a still headier brew, what if Buñuel decided to work in the theme of Vladimir Nabokov’s Lolita, a recent best-seller — the deflowering of a young girl by a middle-aged man?
As a piece of exploitation, this hypothetical project fairly sizzles; yet in the hands of a poetic, corrosive, highly moral filmmaker like Buñuel, it might conceivably transcend this category. Allowing for the strangeness that naturally arise from a foreign director taking on such volatile American materials — indeed, a strangeness that might enhance the freshness of his treatment -—one could well anticipate the beauty and excitement such an encounter might produce. Read more
From the Chicago Reader (March 8, 1996). — J.R.
The White Balloon
Directed by Jafar Panahi
Written by Abbas Kiarostami, Panahi, and Parviz Shahbazi
With Aida Mohammadkhani, Mohsen Kalifi, Fereshteh Sadr Orfani, Anna Bourkowska, Aliasghar Samadi, Mohammad Shahani, and Mohammad Bahktiari.
In Iran the first day of spring is New Year’s Day, the celebration of which starts at a different time of day every year, and among the objects used in the celebration is a goldfish, which symbolizes life. The plot of Jafar Panahi’s extraordinary first feature, The White Balloon (opening this week at the Music Box), involves the adventures of Razieh (Aida Mohammadkhani), a seven-year-old girl who has her heart set on buying a new goldfish for the celebration, insisting that the ones her family already has are “too skinny.”
Only 85 minutes long, the film unfolds in real time and almost exclusively in exteriors along a few blocks of Tehran the morning of the New Year. The film opens in a market, where Razieh’s mother (Fereshteh Sadr Orfani) is shopping; she collects Razieh, who’s carrying a blue balloon, and they walk home together. Nearly all of the film’s other major characters — and even a couple of minor ones — are fleetingly glimpsed during this prelude, though we don’t recognize any of them yet. Read more
From Monthly Film Bulletin, October 1975. — J.R.
Romantic Englishwoman, The
Great Britain/France, 1975 Director: Joseph Losey
Elizabeth Fielding arrives in Baden Baden on holiday; on the
same train is Thomas Hursa, carrying a supply of drugs, which he
hides on the roof of the luxury hotel where Elizabeth is staying.
Her husband Lewis, a successful novelist now at work on a
screeinplay about a discontented woman who leaves her
husband, phones her at midnight. While Elizabeth converses
with Thomas in a lift, Lewis imagines her making love with
a man in a similar situation (an image which he uses in his
screenplay); he rings her again at 12:30 and she answers
belatedly, saying that she will be home in Weybridge the
next day. Thomas’ drug supply is destroyed in the rain
and he flees when he discovers that Swan, a drug contact, is
looking for him. When Elizabeth returns at night, she and Lewis
start to make love on their front lawn, but are interrupted by a
neighbor. After expressing his suspicion that his wife was
unfaithful in Baden Baden, Lewis receives a letter from Thomas
describing himself as a poet and admirer of Lewis’ work and
mentioning that he met Elizabeth in Baden Baden. Read more
From Film: The Front Line 1983 (Denver, CO: Arden Press, 1983).
Although I still agree with most of my arguments here, it’s now clear to me that my characterization of Paul Schrader’s politics in 1983 were oversimplified at best, and simply wrong at worst. — J.R.
Tenants of the house,
Thoughts of a dry brain in a dry season.
T.S. Eliot, Gerontion
Preface: When I was approached last year about inaugurating a series of volumes surveying recent avant-garde film, I immediately started to wonder about how this could be done. Having lived nearly eight years in Paris and London and about as long in New York, I’ve had several opportunities to note the relative degree of information flow between these and other centers of avant-garde film activity, and the growing isolation of New York from these other centers made my own fixed vantage point less than ideal in some ways. When a colleague told me that Jonas Mekas had recently said that it was no longer possible to know what was happening in experimental film as a whole, a bell of recognition rang in my head, and I knew at once that Mekas was the only available oracle l could turn to. Read more
From Film: The Front Line 1983 (Denver, CO: Arden Press, 1983). Due to the length of this, I’ll be posting it in four installments. — J.R.
Tenants of the house,
Thoughts of a dry brain in a dry season.
T.S. Eliot, Gerontion
Preface: When I was approached last year about inaugurating a series of volumes surveying recent avant-garde film, I immediately started to wonder about how this could be done. Having lived nearly eight years in Paris and London and about as long in New York, I’ve had several opportunities to note the relative degree of information flow between these and other centers of avant-garde film activity, and the growing isolation of New York from these other centers made my own fixed vantage point less than ideal in some ways. When a colleague told me that Jonas Mekas had recently said that it was no longer possible to know what was happening in experimental film as a whole, a bell of recognition rang in my head, and I knew at once that Mekas was the only available oracle l could turn to. The Lithuanian patron saint of the American avant-garde film, now 60, has been an American filmmaker for at least half of his life, and a chronicler of the avant-garde film in New York — mainly in The Village Voice and (more briefly) Soho News — for at least 15 years. Read more
An article about “remakes” of independent documentaries, from the November 20, 1998 Chicago Reader. — J.R.
Shulie
Rating *** A must see
Directed by Elisabeth Subrin
With Kim Soss, Larry Steger, Rick Marshall, Eigo Komei, E.W. Ross, Marion Mryczka, Ed Rankus, Kerry Ufelmann, and Jennifer Reeder.
What is it about American culture that compels the film industry to do remakes? The compulsion has been growing over the past two decades — one of my oldest friends, a cinephile and sometime screenwriter based in Hollywood, was already viewing it with philosophical resignation ten years ago. As she put it, “My best friends and I have been spending most of the 80s sitting in cars discussing remakes.”
Since the early 80s we’ve been inundated with more cultural objects than ever before, but we have less and less sense of what to do with them. It’s easy to explain the Hollywood remake syndrome as unimaginative cost accounting: it made money before, so why not do it again? Then there’s the expanding youth market, which encourages unimaginative cost accountants to figure that former hits can be recycled for younger generations — one of the justifications offered by Gus Van Sant for his forthcoming remake of Alfred Hitchcock’s Psycho. Read more
