Jonathan Rosenbaum

From the August 3, 2007 Chicago Reader. — J.R.

The first feature (1977) of the highly talented black filmmaker Charles Burnett, who set most of his early films in Watts (including My Brother’s Wedding and To Sleep With Anger); this one deals episodically with the life of a slaughterhouse worker. Shot on a year’s worth of weekends for under $10,000, this remarkable work is conceivably the single best feature about ghetto life. It was selected for preservation by the National Film Registry as one of the key works in American cinema — ironic and belated recognition of a film that, until this recent restoration, had virtually no distribution. It shouldn’t be missed. With Henry Gayle Sanders. 87 min. (JR)

Read more

From the Chicago Reader (February 21, 2008). I believe this was my last long review before I left my staff job there. — J.R.

CHARLIE BARTLETT ***

Directed by Jon Poll

I just rewatched Allan Moyle’s Pump Up the Volume, a radical and rebellious teen movie I gave four stars in 1990. I think it holds up, and apparently I’m not the only one: the average rating of the 62 customer reviews it has on Amazon.com is four and a half out of five stars.

The new rebellious teen movie Charlie Bartlett isn’t as good or as radical; it’s more an edgy comedy than a rabble-rouser. But it reminded me of Pump Up the Volume in many ways: it’s one of the first features for a middle-aged director; it captures teenage despair leading up to a suicide attempt (successful in Pump Up the Volume, unsuccessful here); one of its lead characters has a school administrator as a father (the hero in Pump Up the Volume, the heroine here); and it depicts a general disgruntlement about the way schools are run, culminating in a student uprising. The movies are even comparably derivative of others: Pump Up the Volume plundered some of its best ideas from Rebel Without a Cause, Citizens Band, Network, and Talk Radio, while Charlie Bartlett seems especially indebted to Mumford, all the way down to its final blackout gag. Read more

From the Chicago Reader (April 23, 2007). — J.R.

Jacques Rivette’s 193-minute comic feminist extravaganza is as scary and unsettling in its narrative high jinks as it is exhilarating in its uninhibited slapstick (1974). Its slow, sensual beginning stages a meeting between a librarian (Dominique Labourier) and a nightclub magician (Juliet Berto). Eventually, a plot within a plot magically takes shape — a somewhat sexist Victorian melodrama with Bulle Ogier, Marie-France Pisier, Barbet Schroeder (the film’s producer), and a little girl — as each character, on successive days, visits an old dark house and the same events take place. The elaborate Hitchcockian doublings are so beautifully worked out that this movie steadily grows in resonance and power. The four main actresses scripted their own dialogue with Eduardo de Gregorio and Rivette, and the film derives many of its euphoric effects from a wholesale ransacking of the cinema of pleasure (cartoons, musicals, thrillers, and serials). In French with subtitles. (JR)

Read more

From the September 14, 2007 Chicago Reader. — J.R.

David Cronenberg’s follow-up to A History of Violence — starring the same lead, Viggo Mortensen, in a very different part — lacks the theoretical dimension of its predecessor, but it’s no less masterful in its fluid storytelling and shocking choreography of violence. A Russian mafia tale with a London setting, scripted by Steven Knight (Dirty Pretty Things), it confirms Cronenberg’s position as an old-fashioned, almost Dickensian moralist. He refuses to fetishize corruption the way the Godfather films do, while working wonders with a charismatic villain (Armin Mueller-Stahl in a remarkable performance) and creating a charged homoerotic atmosphere. With Naomi Watts and Vincent Cassel. R, 96 min.  River East 21. –Jonathan Rosenbaum

From the Chicago Reader (November 8, 2007). — J.R.

Three early examples of the master’s skill in tailoring his storytelling gifts to the 26-minute format of his celebrated TV show. Included are the very first episode of the series, Revenge (1955), a grim tale costarring Vera Miles and Ralph Meeker, and from the third season, Lamb to the Slaughter (1958), a more characteristic exercise in black comedy adapted from a Roald Dahl story and starring Barbara Bel Geddes. But the real gem is Breakdown (1955), a minimalist tour de force starring (and narrated by) Joseph Cotten as a businessman paralyzed in a car wreck; it belongs among Hitchcock’s neglected masterpieces. 78 min. (JR) Read more

From the Chicago Reader (November 22, 2007). — J.R.

Sometimes cited as the greatest of all Brazilian films, this silent experimental feature (1931) by poet and novelist Mario Peixoto, who never completed another film, was seen by Orson Welles and won the admiration of everyone from Sergei Eisenstein to Walter Salles. But its status as a poetic narrative — about a man and two women lost at sea in a rowboat, whose pasts are conveyed in flashbacks — has kept it in the margins of most film histories, where it’s been known mainly as a provocative and legendary cult item. The remarkably luscious and mobile cinematography (for which cameraman Edgar Brazil had to build special equipment) alone makes it well worth seeing. 115 min. (JR)

Read more

From the January 16, 2004 Chicago Reader. — J.R.

Gillo Pontecorvo’s powerful and lucid 1965 docudrama about the Algerian struggle for independence in the 1950s was screened for Pentagon employees in 2003, though one wonders how helpful it might have been; the terrorists in this film aren’t suicidal or religiously motivated, and their orientation appears to be quite different from that of contemporary Middle Eastern terrorists in other respects. But that doesn’t mean you shouldn’t see this — it’s one of the best movies about revolutionary and anticolonial activism ever made, convincing, balanced, passionate, and compulsively watchable as storytelling. The French aren’t depicted as heavies, despite their use of torture, nor are the Algerian rebels, who set off bombs in cafes. In fact the French colonel here (Jean Martin, the only professional actor in the cast) expresses admiration for the rebels, who ultimately achieved their goals when Algeria won its independence. In French and Arabic with subtitles. 123 min. Music Box.

From the Chicago Reader (June 6, 2003). — J.R.

Monday Morning

** (Worth seeing)

Directed and written by Otar Iosseliani

With Jacques Bidou, Anne Kravz-Tarnavsky, Narda Blanchet, Radslav Kinski, Arrigo Mozzo, and Iosseliani.

Chihwaseon

** (Worth seeing)

Directed by Im Kwon-taek

Written by Kim Yong-oak and Im

With Choi Min-sik, Han Myung-goo, Yoo Ho-jung, Ahn Sung-ki, Kim Yeo-jin, and Son Yae-jin.

I haven’t attended the Cannes film festival in five years, but one thing that keeps it fascinating from a distance is the ideological tension that gets exposed there. The Americans display a sense of entitlement, which tends to irritate representatives of other countries. And the conflict is played out in the form of rants from both sides about what’s shown in competition and what wins prizes.

The usual hyperbolic level of the discourse was exacerbated this year by the war in Iraq. American critics — especially in the trade press, which tends to have the highest profile at Cannes — expressed the same sort of disdain for French critics as other American journalists had for French politicians just before and after the invasion. In turn the French and British media bashed Hollywood studios and their flacks, just as they’d bashed the U.S. Read more

This review was written in June 2004 for the Guardian — who paid me for the piece but then chose not to run it — before I read Nicole Brenez’s remarkable book on Ferrara, translated into English by Adrian Martin and published by the University of Illinois Press in 2007. (This same book came out in French, published by Cahiers du Cinéma.) The Stevens book is also still in print, and still very much worth reading and having. –-J.R.

Abel Ferrara: The Moral Vision
by Brad Stevens
367pp, FAB Press, £16.99

Reviewed by Jonathan Rosenbaum

I have to confess I’m a slow learner when it comes to Abel Ferrara — even though his talent is hard to shrug off, and the degree to which some of my smarter colleagues swear by him has made him impossible to ignore. For many of them, one sometimes feels Ferrara isn’t so much a major filmmaker as the major filmmaker. But this is a wild man whose first official feature, in which he plays the title role, a starving painter in lower Manhattan, is called The Driller Killer (1979) — and whose first unofficial feature, made three years earlier, is a porn item called 9 Lives of a Wet Pussy. Read more

From the Chicago Reader (January 1, 2000). — J.R.

This vulgar Billy Wilder comedy scandalized the Legion of Decency and large segments of the American public when it came out in 1964. At the time Wilder pointed out that the film is about human dignity and the sanctity of marriage, but its undisguised contempt for the American hinterlands and the success ethic makes the sexual element seem dirtier than it actually is. Dean Martin plays a carousing parody of himself, stranded in the godforsaken town of Climax, Nevada, while a desperate songwriter (Ray Walston), hoping to sell him a tune, tries to get him shacked up with a prostitute (Kim Novak) impersonating the songwriter’s wife (Felicia Farr). This restoration includes the original ending, which originally played only in Europe, followed by the forced ending that played in the U.S. Both Martin and Novak are at their near best, and the undertone of small-town desperation in Wilder and I.A.L. Diamond’s script is effectively captured by Walston and his sidekick, Cliff Osmond. Shot in black-and-white ‘Scope. 126 min. (JR)

From the Chicago Reader (January 1, 2000). — J.R.

When I heard that Aki Kaurismaki was making a silent black-and-white feature, I expected something arch and postmodernist. Yet in spite of a few flashes of mordant humor, some wonderfully spare sound effects, and a few minimalist lighting schemes that suggest 50s Hollywood, this 1999 film is a moving pastiche whose strength is its sincerity and authenticity. A fallen-woman story set in the present, featuring a farm couple and an evil playboy from the city who lures the wife away, it conveys the sort of purity and innocence associated with silent cinema storytelling, including a love of nature and animals, a taste for stark melodrama, and an emotional directness in the acting — evocative at various times of Griffith in the teens and Murnau in the 20s. Accompanied by a live orchestra at the Berlin film festival, the film is now furnished with a music track featuring the same score and musicians that’s essential to its power. No other film by Kaurismaki has affected me as much as this one, but if you don’t love silent movies it may come across as a pointless exercise. With subtitled Finnish intertitles. 76 min. (JR)

Read more

From the Chicago Reader (August 11, 2000). — J.R.

Luis Bunuel’s 1972 comic masterpiece about three well-to-do couples who try and fail to have a meal together is perhaps the most perfectly achieved and flawlessly executed of all his late French films, produced by Serge Silberman and coscripted by Jean-Claude Carriere. The film proceeds by diverse interruptions, digressions, and interpolations (including dreams and tales within tales) that, interestingly enough, identify and associate the characters, their class, and their seeming indestructibility with narrative itself. One of the things that makes this film as charming as it is, despite its radicalism, and helped Buñuel win his only Oscar, is the perfect cast, many of whom bring along the nearly mythic associations that they acquired in previous French films (Delphine Seyrig, Stephane Audran, Bulle Ogier, Jean-Pierre Cassel), as well as many Buñuel regulars (Fernando Rey, Paul Frankeur, Julien Bertheau). Frightening, funny, profound, and mysterious. A restored 35-millimeter print will be shown (101 min.). Music Box, Friday through Thursday, August 11 through 17.

— Jonathan Rosenbaum

Read more

From the Chicago Reader (September 15, 2000). — J. R.

One festival brochure describes this 1986 feature as a “dazzling film noir thriller,” yet the distinctive talents of French director Leos Carax have relatively little to do with storytelling. The vaguely paranoid plot concerns a couple of thieves (Michel Piccoli, Hans Meyer) hiring the son (Denis Lavant) of a recently deceased partner to help them steal a cure to an AIDS-like virus, but the noir and SF trappings are so feeble that they function at best as a framing device, a means for Carax to tighten his canvas. The real meat of this movie is his total absorption in the wonderful leads, Lavant and Juliette Binoche, which comes to fruition during the former’s lengthy attempt to seduce the latter, an extended nocturnal encounter that the various genre elements serve only to hold in place. The true source of Carax’s style is neither Truffaut nor Godard but the silent cinema, with its melancholy, its innocence, its poetics of close-up, gesture, and the mysteries of personality. Bad Blood uses color with a sense of discovery similar to that found in the morbidly beautiful black and white of Carax’s Boy Meets Girl, and its naked emotion and romantic feeling are comparably intense. Read more