Jonathan Rosenbaum

From the Chicago Reader (March 3, 1989). — J.R.

NEW YORK STORIES

*** (A must-see)

“Life Lessons”

Directed by Martin Scorsese

Written by Richard Prince

With Nick Nolte, Rosanna Arquette, and Patrick O’Neal.

“Life Without Zoe”

Directed by Francis Coppola

Written by Francis Coppola and Sofia Coppola

With Heather McComb, Talia Shire, Giancarlo Giannini, Don Novello, and Selim Tlili.

“Oedipus Wrecks”

Directed and written by Woody Allen

With Woody Allen, Mae Questel, Mia Farrow, and Julie Kavner.

With the exception of the recent and disappointing Aria, there have been no films made of late that consist of thematically related sketches, compilations of episodes by one director or more. New York Stories may help make the form fashionable again. The arbitrariness of the standard running time of features, at least from an artistic standpoint, makes a good many movies needlessly padded and a few others shorter than they should be, while the difficulty in marketing shorts discourages most commercially established filmmakers from even attempting to work in the form. New York Stories came about because Woody Allen wanted to make a short and decided that incorporating it within an anthology would make it commercially feasible.

The usual argument made against sketch movies is that they’re invariably uneven — which is true enough but also rather beside the point. Read more

From the January 15, 1999 Chicago Reader. — J.R.

The Thin Red Line

Rating *** A must see

Directed and written by Terrence Malick

With Sean Penn, Adrien Brody, Jim Caviezel, Ben Chaplin, John Cusack, Woody Harrelson, Elias Koteas, Nick Nolte, John C. Reilly, Arie Verveen, Dash Mihok, John Savage, John Travolta, and George Clooney.

Last week the National Society of Film Critics voted Out of Sight the year’s best picture, also awarding it best screenplay and best direction. If this baffles or bemuses you, you should know that the awards in each category are chosen by multiple ballots listing three titles in order of preference. What now seems like a collective preference for a sexy thriller over more ambitious pictures was in effect a tie-breaker between two irreconcilable positions.

As a participant in the meeting I saw partisans of Steven Spielberg’s Saving Private Ryan square off against partisans of The Thin Red Line, Terrence Malick’s first film since Days of Heaven (1978). Practically no one voted for both — only Michael Wilmington of the Chicago Tribune comes to mind — so Steven Soderbergh lurched forward as a second choice, finally copping 28 votes while Spielberg and Malick tied for second place with 25 votes apiece. Read more

From the Chicago Reader (December 23, 1988). — J.R.

TORCH SONG TRILOGY

*** (A must-see)

Directed by Paul Bogart

Written by Harvey Fierstein

With Harvey Fierstein, Anne Bancroft, Matthew Broderick, Brian Kerwin, Karen Young, Ken Page, and Eddie Castrodad.

TALK RADIO

*** (A must-see)

Directed by Oliver Stone

Written by Eric Bogosian and Stone

With Bogosian, Alec Baldwin, Ellen Greene, Leslie Hope, John C. McGinley, and John Pankow.

As different as they are, Torch Song Trilogy and Talk Radio, both movie adaptations of plays, have several striking things in common. Each was written by and stars the author of the original play — Harvey Fierstein and Eric Bogosian, respectively. Both deal with marginal aspects of American life that seldom find their way into the commercial mainstream, which makes them new and vital in ways that most other recent releases are not. Both are effectively (if not literally) one-man shows whose auteurs are more their Jewish writer-stars than their directors, and the impact of each is directly tied to the uncommon theatrical skills of these individuals. And perhaps most significantly, both are a good deal more professional, entertaining, intense, and compelling than any other new Hollywood releases around, even if their commercial fates are substantially more precarious than those of most of their competitors. Read more

From the Chicago Reader (June 30, 1989). I reviewed the film a second time several weeks later, and this second piece will be reposted tomorrow (i.e., December 4, 2021).. — J.R.

DO THE RIGHT THING **** (Masterpiece)

Directed and written by Spike Lee

With Danny Aiello, Ossie Davis, Ruby Dee, Richard Edson, Giancarlo Esposito, Sam Jackson, Joie Lee, Spike Lee, Bill Nunn, Rosie Perez, John Savage, and John Turturro.

I can’t say that I’ve been an unqualified Spike Lee fan. His flair for publicity has tended to overwhelm his talents as a writer-director-actor, and the fact that he remains better known to the general public for his TV commercials than for either She’s Gotta Have It (1986) or School Daze (1988) points to an adeptness at working both sides of the street that has made it difficult to assess his work. Read more

From the Chicago Reader (December 10, 1993). — J.R.

THE PIANO

*** (A must-see)

Directed and written by Jane Campion

With Holly Hunter, Harvey Keitel, Sam Neill, Anna Paquin, Kerry Walker, Genevieve Lemon, Tungia Baker, and Ian Mune.

Given how sexy and volatile it is, it’s no surprise that The Piano is a hit. It’s also no surprise, given the strong-arm tactics of the distributor and the hype of some reviewers, that a certain critical backlash is already setting in, as evidenced by a lucid and considered dissent by Stuart Klawans in the Nation and a rather lazy dismissal by Stanley Kauffmann in the New Republic. People like myself who are passionate fans of Jane Campion’s previous work may be somewhat churlish that many other people are finding their way to her work only after it has become juiced up, simplified, and mainstreamed — like the people who bypassed the dreamy finesse of Eraserhead on their way to the relative crudeness of Blue Velvet. It’s certainly regrettable that viewers who weren’t interested in seeing Campion’s 1989 film Sweetie until after they saw The Piano now have to contend with a lousy video transfer that doesn’t begin to do justice to Campion’s colors and compositions. Read more

From the Chicago Reader (May 25, 2007). — J.R.

OUT 1 ****

DIRECTED BY JACQUES RIVETTE | WRITTEN BY RIVETTE AND SUZANNE SCHIFFMAN WITH PIERRE BAILLOT, JULIET BERTO, MICHEL DELAHAYE, JACQUES DONIOL-VALCROZE, FRANCOISE FABIAN, HERMINE KARAGHEUZ, BERNADETTE LAFONT, MICHELE MORETTI, AND ERIC ROHMER

WHEN Sat 5/26, 2:30 PM (episodes 1 and 2) and 7 PM (episodes 3 and 4); Sun 5/27, 2:30 PM (episodes 5 and 6) and 6:45 PM (episodes seven and eight)

WHERE Gene Siskel Film Center, 164 N. State

PRICE $30

INFO 312-846-2600

MORE Box meals from Whole Foods will be available during dinner breaks for $10, but must be ordered by Thu 5/24.

***

QUESTION: Why did you choose the title Out?

RIVETTE: Because we didn’t succeed in finding a title. It’s without meaning. It’s only a label. — from a 1974 interview

Jacques Rivette has made several good films and four great ones, consecutively: L’Amour Fou (four hours, 1968), Out 1 (12 hours, 1971), Out 1: Spectre (four hours, 1972), and Celine and Julie Go Boating (three hours, 1974). It’s not their epic length that sets these apart from the rest of his filmography — there are others by Rivette that are plenty long — but their improvisatory nature. Read more

From the Chicago Reader (February 16, 1996). — J.R.

My Life and Times With Antonin Artaud

Directed by Gerard Mordillat

Written by Mordillat and Jerome Prieur

With Sami Frey, Marc Barbe, Julie Jezequel, Valerie Jeannet, and Charlotte Valandrey.

Gerard Mordillat’s 1993 French feature My Life and Times With Antonin Artaud, showing this week at the Music Box, can be regarded only nominally as a biopic. Adapted from the diary of an obscure poet, En compagnie d’Antonin Artaud (which is also the film’s original, superior title), it tells the story of the poet’s relationship with Artaud over a two-year period, from May 1946 to March 1948, when Artaud died at the age of 52. In 1946 Artaud had just returned to Paris after nine years in an insane asylum, and Jacques Prevel befriended him and procured drugs for him, mainly laudanum, opium, and chloral. But the film has relatively little to say about Artaud’s work, except in passing, and virtually nothing about Prevel’s writing apart from his diary. Shot in beautiful, crisp high-contrast black and white, the movie certainly has something to do with the “life and times” of this bohemian duo — and Sami Frey and Marc Barbe do creditable jobs as Artaud and Prevel. Read more

From the Chicago Reader (March 5, 1999). — J.R.

Cruel Intentions

Rating ** Worth seeing

Directed and written by Roger Kumble

With Sarah Michelle Gellar, Ryan Phillippe, Reese Witherspoon, Selma Blair, Christine Baranski, Sean Patrick Thomas, Louise Fletcher, and Swoosie Kurtz.

Cruel Intentions is the fourth movie adaptation I’ve seen of Choderlos de Laclos’ Les liaisons dangereuses, possibly the best French novel of the 18th century. It’s also the third version in English — though the first to reconfigure the plot as a contemporary teenage sex comedy. Will it be the last? Considering how serviceable the story is, it’s easy to imagine it being dusted off every decade or so for use in that dubious genre. The substitution of teen yuppies for 18th-century aristocrats isn’t a precise match — as some awkward carryovers of characters’ names makes clear — yet surprisingly, writer-director Roger Kumble comes close to pulling this off. (A writer on such comedies as Dumb and Dumber, Kingpin, and National Lampoon’s Senior Trip, Kumble’s art-movie profile appears to be nonexistent.) He sets the story in and around Manhattan, Sin City itself, and makes the scheming protagonists, Kathryn Merteuil (Sarah Michelle Gellar) and Sebastian Valmont (Ryan Phillippe), stepsiblings enrolled at an exclusive prep school just outside the city. Read more

From the September 20, 1994 Chicago Reader. –J.R.

This new comedy by writer-director Michael Tolkin (The Rapture), which reunites the leads of Naked Lunch, Peter Weller and Judy Davis, as fashion-plate yuppies in Los Angeles who have spiritually lost their way, keeps promising to be a great satire. But the promise is only half kept; each time one expects some follow-through on a fruitful conceit (e.g., the couple opening a new boutique called Hipocracy, Patrick Bauchau as a mysterious guru), the movie stops dead in its tracks, just like the woeful couple. This is still great fun as far as it goes;, and serious as well; just don’t expect any structure. With Adam West as Weller’s father, John Diehl, Paula Marshall, and Samuel L. Jackson. (JR)

Thanks to Mark Rappaport for recommending Sergei Loznitsa’s extraordinary 2018 Donbass, available for $5 (a one-day pass) at https://easterneuropeanmovies.com/drama/donbass, which offers the most gripping and elucidating portrait of what’s happening now in Ukraine that I’ve encountered anywhere. Many of us have already encountered Loznitsa’s expertise as a documentary storyteller, but this film is a veritable eye and ear-opener. [5/6/22]

Read more

From the Chicago Reader (November 18, 1997).

With this 1997 drama, producer-director Clint Eastwood continued his welcome practice of trying something different on every picture, turning this time to a best-seller very different from The Bridges of Madison County, the source material for his previous film. The liberties taken by John Lee Hancock in adapting John Berendt’s atmospheric nonfiction novel move the original story even closer to fiction: four murder trials are collapsed into one, the author-narrator is replaced with a made-up hero (John Cusack), and a lot of languid local color is distilled into a meandering story line. But Eastwood finds good ways of honoring the book: shooting on location in Savannah, using a very tasteful selection of tunes by Johnny Mercer (a Savannah native) on the sound track, and even getting local drag queen Lady Chablis to play an expanded version of her own part in the original story. (She’s not exactly a film actor, but there’s something in the way that Eastwood turns her loose that makes the movie come alive.) The results are more leisurely and character driven than most contemporary movies are encouraged to be, and positively drip with juicy southern ambience. Kevin Spacey is at his best playing the millionaire antiques specialist who shoots his rough-trade lover and employee (Jude Law). Read more