Jonathan Rosenbaum

From the Chicago Reader (January 17, 1992). — J.R.

NAKED LUNCH **** (Masterpiece)

Directed and written by David Cronenberg

With Peter Weller, Judy Davis, Ian Holm, Julian Sands, Roy Scheider, Monique Mercure, Michael Zelniker, and Nicholas Campbell.

And some of us are on Different Kicks and that’s a thing out in the open the way I like to see what I eat and vice versa mutatis mutandis as the case may be. Bill’s Naked Lunch Room . . . Step right up. Good for young and old, man and bestial. Nothing like a little snake oil to grease the wheels and get a show on the track Jack. Which side are you on? Fro-Zen Hydraulic? Or you want to take a look around with Honest Bill?” — William S. Burroughs, introduction to Naked Lunch (1962)

The first time I read William S. Burroughs’s Naked Lunch—or at least large portions of it — was in 1959, a few months after its first printing, in a smuggled copy of the seedy Olympia Press edition fresh from Paris. As I recall it was missing most or all of the accompanying matter — the introduction (“Deposition: Testimony Concerning a Sickness”), “Atrophied Preface” (“Wouldn’t You?”), Read more

From the Chicago Reader (April 29, 2005); slightly tweaked in February 2014. — J.R.

Michael Cimino’s 1980 epic, about immigrant settlers clashing with native capitalists in 19th-century Wyoming, suffered a disastrous opening and was subsequently cut by 70 minutes; it became a legendary flop in the U.S., though the original 219-minute cut was widely applauded as a masterpiece in Europe. The longer version is impressive as long as the characters and settings remain in long shot; only when the camera gets closer do the problems start. The story is both slow moving and hard to follow, but the locations and period details offer plenty to ponder. Cimino’s handling of class issues is ambitious and unusually blunt, though it’s debatable whether this adds up to any sort of Marxist statement, except perhaps as a belated response to the (Oscar-winning) racism and xenophobia of his previous feature, The Deer Hunter. There’s no question that the same homoerotic — and arguably sexist — vision runs through both movies, as well as Thunderbolt and Lightfoot, the Cimino feature that preceded them. With Kris Kristofferson, Christopher Walken, Isabelle Huppert, Jeff Bridges, Sam Waterston, John Hurt, Joseph Cotten, and Brad Dourif. R. (JR)

Read more

This appeared in the Chicago Reader’s November 8, 2002 issue. –J.R.

Femme Fatale

*** (A must-see)

Directed and written by Brian De Palma

With Antonio Banderas, Rebecca Romijn-Stamos, Peter Coyote, Gregg Henry, Rie Rasmussen, and Eriq Ebouaney.

By my count, Femme Fatale is Brian De Palma’s 26th feature, and as I watched it the first time two months ago I found myself capitulating to its inspired formalist madness — something I’ve resisted in his films for the past 30-odd years. De Palma’s latest isn’t so much an improvement on his earlier work as a grand synthesis of it — as if he set out to combine every previous thriller he’d made in one hyperbolically frothy cocktail. So we get split-screen framing; bad girls; sweetie-pie male suckers; verbal and physical abuse; lots of blood; a melodramatic story stretched out over many years; slow-motion, lyrically rendered catastrophes; noirish lighting schemes favoring venetian blinds; it-was-all-a-dream plot twists; scrambled and recomposed plot mosaics; obsessional repetitions of sound and image; pastiches of familiar musical pieces (in this case Ravel and Satie); nearly constant camera movements; and ceiling-height camera angles. Best of all, we often get several of these things simultaneously. (One of the few De Palma movies for which he takes sole script credit, Femme Fatale is nothing if not personal.) Read more

This fairly recent (and much more recently updated) piece is a sequel to my earlier “À la recherche de Luc Moullet: 25 Propositions,” originally written and published in 1977.  –J.R.

Moullet retrouvé

Almost thirty years have passed between my extended defense of Luc Moullet in Film Comment and the long-overdue launch of the first American retrospective devoted to this mainly comic French filmmaker, who’s also a critic. But it was worth the wait. In the spring of 2006, “Luc Moullet: Agent Provocateur of the New Wave,” including eight of his 32 films, showed up at Chicago’s Gene Siskel Film Center. And three years later, a complete Moullet retrospective was shown in Paris, accompanied by much fanfare, including the publication of a DVD featuring ten of his best short films, Luc Moullet en shorts, and three separate books: a lengthy interview with Emmanuel Burdeau et Jean Narboni (Notre Alpin Quotidien, 130 pages) and a long-overdue collection of his film criticism (Pige Choisies [De Griffith à Ellroy], 372 pages), both published by Capricci, and a study of King Vidor’s The Fountainhead (Le Rebelle de King Vidor: les arêtes vives),  published by Yellow Now.

Moullet started out in the mid-1960s as a neoprimitive, brandishing his lack of technique while reflecting some of the tenderness of Francois Truffaut’s films of that period as well as some of the boorish satirical humor of Jean-Luc Godard’s. Read more

In my original review of this documentary, I cited and recommended some writing by Eliot Weinberger that three of my editors regarded as irresponsible and unreliable and therefore something that shouldn’t be mentioned, along with some of my own pronouncements. Readers who would like to judge this matter for themselves can read my unedited draft, which I’ve added below the published version. The edited version appeared in the February 7, 2003 issue of the Chicago Reader. — J.R.

Power and Terror: Noam Chomsky in Our Times

*** (A must-see)

Directed by John Junkerman.

As a work of cinema, John Junkerman’s documentary about Noam Chomsky doesn’t set the world on fire. The film is a prosaic compilation of interview footage of the linguist and political analyst in his office at MIT intercut with footage of him speaking in Palo Alto, Berkeley, and the Bronx last spring. He’s also shown chatting with students about U.S. foreign policy, the “war on terrorism,” and representations of both in the American media. Unlike Mark Achbar and Peter Wintonick’s Manufacturing Consent: Noam Chomsky and the Media (1992), a Canadian film that’s well over twice as long, Power and Terror: Noam Chomsky in Our Times doesn’t try to offer a comprehensive portrait of its subject or a wide-ranging survey of his thought. Read more

The following article appeared in the February 23, 1990 issue of the Chicago Reader. –J.R.

ART OF MUSIC VIDEO

For people like myself who have conflicted feelings about music videos as an art form, the four-part series Art of Music Video — playing for the second time at the Film Center this weekend — offers lots of material to consider. Even so, this presentation of a hundred videos assembled by Michael Nash of the Long Beach Museum of Art involves a number of curatorial decisions that I have problems with. Before considering the videos themselves, let me list these problems; some of them are overlapping rather than consecutive, but putting them in list form will help to give some idea of how many boats this particular series is missing:

(1) Historical. Although Nash’s selection is media-specific—that is, generally limited to videos—one of his four programs, “Vanguard Re-visions,” has a subcategory called “Experimental Film: Invention and Intervention,” consisting of films made by Bruce Conner, James Herbert, and Jem Cohen between 1961 and 1989.

While I have no quarrel with the inclusion of these figures, it’s clear that this attempt to give a foreshortened art-history perspective rules out a lot more of the history of music videos and their precursors than it includes. Read more

From the Chicago Reader, June 20, 1997. — J.R.

The Big Sleep

Rating **** Masterpiece

Directed by Howard Hawks

Written by William Faulkner, Leigh Brackett, and Jules Furthman

With Humphrey Bogart, Lauren Bacall, John Ridgely, Martha Vickers, Dorothy Malone, Pat Clark, Regis Toomey, Charles Waldron, Sonia Darrin, and Elisha Cook Jr.

For all its reputation as a classic, and despite the greatness of Howard Hawks as a filmmaker, The Big Sleep has never quite belonged in the front rank of his work — at least not to the same degree as Scarface, Twentieth Century, Only Angels Have Wings, To Have and Have Not, Red River, The Big Sky, Monkey Business, Gentlemen Prefer Blondes, and Rio Bravo, to cite my own list of favorites. Unlike To Have and Have Not (1944) — Hawks’s previous collaboration with Humphrey Bogart and Lauren Bacall, writers Jules Furthman and William Faulkner, cinematographer Sid Hickox, and composer Max Steiner — it qualifies as neither a personal manifesto on social and sexual behavior nor an abstract meditation on jivey style and braggadocio set within a confined space, though it periodically reminds one that exercises of this kind are what Hawks did best. Read more

From The Soho News (September 22, 1981). — J.R.

Shock Value: A Tasteful Book about Bad Taste By John Waters Delta, $9.95

If conventional means wedded to conventions, then John Waters, amiable sleaze director of Pink Flamingos, Female Trouble, and Polyester. is as conventional as you or I, maybe even more so. The not-so-surprising thing about Shock Value, a “tasteful” (meaning cautious) memoir about his special brand of bad taste, is that it proves him to be literary, too — at least in a minor Mark Twain vein. Pithy aphorisms rub shoulders with sly asides and wry homilies. Here are a few jewels among gritty jewels:

All people look better under arrest.

***

I never watch television because it’s an ugly piece of furniture, gives off a hideous light, and, besides, I’m against free entertainment.

***

Since the character [in Female Trouble] turns from teenage delinquent to mugger, prostitute, unwed mother, child abuser, fashion model, nightclub entertainer, murderess, and jailbird, I felt at last Divine had a role she could sink her teeth into.

***

Sometimes I just sit on the street and wait for something awful to happen.

***

The more obscure a town I visit, the greater appeal it has for me, since I figure there’s an audience for anything in New York, but if you can get a following in, say, Mobile, Alabama, you really must be doing something right. Read more

Written for Frank Tashlin, edited by Roger Garcia (Éditions du Festival international du film de Locarno in collaboration with the British Film Institute [London]/Editions Yellow Now [Crisnée, Belgium], 1994). -– J.R.

Will Success Spoil Rock Hunter?

Clearly Tashlin’s most avant-garde feature, and probably his most political, thus his most misunderstood. Retaining the title, Jayne Mansfield, and advertising from George Axelrod’s Broadway play, but reportedly little else, Tashlin mounts a thoughtful and multifaceted polemic against the success ethic itself. (A key line: “Success will fit you like a shroud.”) The consequences are dazzling for his art but disastrous for his career. Made at Fox on the heels of The Girl Can’t Help It, the film provides a textbook illustration of George S. Kaufman’s maxim, “satire is what closes in New Haven.” Fortunately, before the balance sheets are counted, 50s America receives one of its two most devastating caricatures on film; the other is Chaplin’s A King in New York, made the same year. Paraphrasing Rossellini, both are the films of free men; fully anticipating Godard’s journalistic directive that you can – and must – place everything in a film, both filmmakers hit on nightmarishly topical New York dystopias set in the present, where, thanks to TV and advertising (rightly perceived as synonymous), the divisions between public and private are now fully obliterated. Read more

Written shortly after the Rotterdam Film Festival in February 2004 for Cinema Scope. It’s too bad that it hasn’t been possible for anyone (except for Ray Carney and his students, apparently) to see the first version of Shadows again since that festival, apart from the three short clips that Carney posted here. (The reasons for this have been discussed by Carney on his web site, but not, alas, by Gena Rowlands, Al Ruban, and/or the late Seymour Cassel in any comparable public forum, as far as I know. I should add that all the photographs here, apart from production stills, are from the second version.)  — J.R.

In many respects, the most interesting movie I saw at the Rotterdam Film Festival last month was neither new nor a Golden Oldie, at least in any ordinary sense of either term, but a work that had been considered lost for almost half a century —- the original version of Shadows, John Cassavetes’ first feature, shot in the spring of 1957. Extensively reshot by Cassavetes two years later and re-edited into the film as we now know it, this shorter and rougher version was heralded by Jonas Mekas in 1960 as not only superior to the second, but a major aesthetic breakthrough, and we’ve had to wait 40-odd years to test the merits of his claim. Read more