Jonathan Rosenbaum

From the Chicago Reader (February 20, 2004). — J.R.

The Dreamers

** (Worth seeing)

Directed by Bernardo Bertolucci

Written by Gilbert Adair

With Michael Pitt, Eva Green, Louis Garrel, Robin Renucci, and Anna Chancellor.

Nostalgia is highly selective, abridging the past and adjusting it to fit the terms of the present — and often becoming an ideological con job in the process. Those who wax nostalgic about the radicalism of their youth usually imply that the values that made it so attractive back then also make it impossible to hold on to today.

Bernardo Bertolucci’s The Dreamers, set in Paris over three months in early 1968, focuses on an American student, Matthew (Michael Pitt), who becomes intimately involved with a French brother and sister, Theo (Louis Garrel) and Isabelle (Eva Green), whom he meets at the Cinémathèque. Invited into the siblings’ flat just before their parents leave on vacation, he gets drawn into their perverse and vaguely incestuous games, which combine charades involving movies, sex, and ultimately politics. Their interactions run parallel to the French government’s firing of the disorderly director of the Cinémathèque, Henri Langlois, and the ensuing outcry among cinephiles and filmmakers. Street demonstrations led to clashes with the police — and turned out to be dress rehearsals for the student demonstrations and workers’ strikes that May, which came dangerously close to shutting the country down. Read more

From the November 1, 1994 Chicago Reader.

In retrospect, Bernardo Bertolucci’s highly influential fifth feature (1969) — ravishing to the eye but less than fully satisfying to the mind — can be regarded as the lamentable turning point in an extremely promising career that ultimately chose stylishness over style and both over content. Following on the heels of his much superior The Spider’s Strategem and adapted from an Alberto Moravia novel set in 1938, this political thriller follows an Italian professor (Jean-Louis Trintignant) who’s recoiling from his own homosexual impulses as he agrees to work as a police agent during his honeymoon in Paris and assist in the assassination of his former mentor, now a dedicated antifascist. With Stefania Sandrelli, Dominique Sanda, Gastone Moschin, and Pierre Clementi. In Italian and French with subtitles. 115 min. (JR)

From the Chicago Reader (August 15, 2003). — J.R.

“Rene Fontaine” and “Sergei Petrov,” the credited screenwriters of this mannerist fantasy, are pseudonyms for star Bob Dylan and director Larry Charles, a veteran of Seinfeld. In fact, every character talks like Dylan, and his character, a legendary singer called Jack Fate who turns up between prison terms to perform a benefit concert, is a fanciful but recognizable version of his own persona. Set in a contemporary America that suggests an endless skid row, with such Latin American trimmings as an ongoing civil war and a dying dictator whose likeness hangs everywhere, this is at once a spin on Dylan’s mythology, an excuse to feature as many of his songs as possible, and an unblinking look at American greed, corruption, and self-absorption. And for all its pretensions and avant-garde narrative dislocations, the star-studded cast — including Jeff Bridges, Penelope Cruz, John Goodman, Jessica Lange, Luke Wilson, Angela Bassett, Val Kilmer, Mickey Rourke, and many others in cameos — keeps this buzzing. 106 min. Music Box.

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From the Chicago Reader (May 30, 2003). — J.R.

The Decay of Fiction

*** (A must-see)

Directed by Pat O’Neill.

Truly original art tends to defy generic categories, and Pat O’Neill’s 35-millimeter, 73-minute The Decay of Fiction (2002), which Chicago Filmmakers is presenting this Saturday night at Northwestern University’s Block Cinema, is no exception. Inarguably an experimental work, it also reeks of classic Hollywood. The credits list O’Neill as producer, director, and editor and George Lockwood as cinematographer and sound designer, but no one is credited as the screenwriter — even though the film contains as much dialogue as any commercial feature, most of it apparently original. Forty-five cast members are cited alphabetically in those same credits, with no indication of who plays the most significant roles. Eight years in the making, the film partakes equally of the past (roughly the 1920s through the 1960s) and a disquieting version of the present.

It was filmed in and around LA’s Ambassador Hotel, which closed in 1989 and was slated for demolition at the time the film went into production in 1994 (although it was still standing when the film premiered last fall). The Decay of Fiction is both a color documentary about that crumbling edifice (where the first Academy Awards ceremony was held in 1929, and where Robert F. Read more

From the Chicago Reader. — J.R.

Japanese director Seijun Suzuki has called this 2001 feature a sequel to his 1967 stylistic exercise Branded to Kill. But that was a hit-man thriller in black and white; this is a sensual explosion in color, a surreal, deliriously balletic pop fantasy that defies most forms of narrative description. Shot for shot, it ranks as the most beautiful movie I’ve seen in years. The characters are four or five generations of women, most of them dressed to kill, with one, a determined hit woman named Stray Cat (Makiko Esumi), trying to shoot her way from third to first place in a hierarchy of assassins managed by an inscrutable and invisible “Guild.” The striking settings are industrial, urban, or rural locations, diverse theatrical stages, and otherworldly studio sets; the dialogue, in Japanese with subtitles, occasionally shifts to English (including recitations of Wordsworth and “Humpty Dumpty”); and the musical accompaniment periodically sounds like Miles Davis in an echo chamber. 112 min. Music Box.

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From the Chicago Reader (July 11, 2003). — J.R.

Andrei Konchalovsky’s feature — about inmates in a Russian insane asylum near the Chechnyan border who become further disoriented when Chechen soldiers take over the establishment as their temporary headquarters — is said to be based on a true story, but the writer-director is clearly pursuing some higher, allegorical truth. His lead actress, the freckle-faced Yuliya Vysotskaya, is good as a delusional patient who believes herself engaged to Canadian pop singer Bryan Adams (who plays himself in her dreams) and later transfers her fixation to one of the occupying soldiers, but her performance can’t compensate for all the pat ironies of the plot. Still, this is obviously a sincere undertaking, and there’s a certain homemade charm to the special effects used in the combat scenes (2002). 104 min. In Chechen and Russian with subtitles. (JR)

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From the Chicago Reader (May 14, 2003). — J.R.

The controversial, highly charged 1960 masterpiece that put Michelangelo Antonioni’s name on the international map. It’s a work that requires some patience — a 145-minute mystery that strategically elides any conventional denouement — but more than amply repays the effort. The ambiguous title adventure begins on a luxury pleasure cruise. The disconsolate girlfriend (Lea Massari) of a successful architect (Gabriele Ferzetti) mysteriously disappears on a remote volcanic island, and the architect and the woman’s best friend (Monica Vitti) set out across Italy looking for her, becoming involved with each other along the way. In the course of their epic travels, Antonioni paints a complex portrait of a crisis in contemporary values and relationships. His stunning compositions and choreographic mise en scene, punctuated by eerie silences and shots that linger expectantly over landscapes, made him a key Italian modernist director of the 50s and 60s, perhaps rivaled only by Rossellini. This haunting work — the first in a loose trilogy completed by La Notte and L’eclisse — shows him at the summit of his powers. In Italian with subtitles. (JR)

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According to my rough calculations, based partially on scrapbook entries, I’ve published over 9,000 items since the late 60s. And according to my former technical adviser and helper Benjamin Coy back in May 2008, when jonathanrosenbaum.com was launched, over 5,500 of these appeared in the Chicago Reader. As of March 22, 2023, 8,776 items have been posted on this site, now located at jonathanrosenbaum.net.

In some cases, if one looks up a particular film title, one may even find shorter and longer versions of the same capsule — a reflection of the Reader’s practice in recent years of trimming some of its longer capsules to conserve space. (J.R. Jones informed me that this trimming is no longer done; after I left in paper in early 2008 and Mara Shalhoup came in as editor, longer versions of the capsules appear on the Reader‘s website and shorter versions appear in print.)

In a few cases, due to some computer glitch, capsule reviews have been transported from the Reader web site in incomplete form. In those cases, I would advise going to the Reader’s own web site for the full version of the capsule, and would appreciate it if readers who encounter this problem could email me about it (at jonathanrosenbaum at earthlink dot net) so that I can restore the full version of the review on this site. Read more

From the Chicago Reader (November 4, 2005). — J.R.

Jarhead

* (Has redeeming facet)

Directed by Sam Mendes

Written by William Broyles Jr.

With Jake Gyllenhaal, Peter Sarsgaard, Jamie Foxx, Lucas Black, Chris Cooper, and Skyler Stone

When Apocalypse Now opened in 1979 people argued over its politics. I always thought it was mainly prowar, so I got some satisfaction from seeing an early scene in Jarhead that shows marines at their Mojave Desert base in 1990 watching the movie on video. Itching for the gulf war to start, they whoop it up during the famous “Ride of the Valkyries” sequence, in which the cartoonish Lieutenant Colonel Kilgore ecstatically launches an air attack on a Vietnamese village to the strains of Wagner. Director Francis Ford Coppola, a known liberal, plainly saw the scene as disturbing, but screenwriter John Milius, a known hawk, has often suggested that he saw it as a hoot.

Like most of the good things in Jarhead — a somewhat muddled adaptation by writer William Broyles Jr. (Cast Away) and director Sam Mendes (American Beauty) of Anthony Swofford’s best-selling 2003 memoir — the reference to Apocalypse Now comes from the book, which alludes to movies in its first paragraph. Read more

From the Chicago Reader (June 11, 2004). It’s worth adding that Control Room can be seen now in its entirety on YouTube, which also has excerpts from Route 181; and further information about the latter film, go here. — J.R.

“We’re human, unlike the Arabs,” says an Israeli soldier in Route 181: Fragments of a Journey in Palestine-Israel (2003), which screens this week — along with Writers on the Borders: A Voyage in Palestine(s) (see separate listing) — as part of the Chicago Palestine Film Festival. The remark sums up the bias of Western media in covering Baghdad and the West Bank, a bias that makes both Route 181 and Control Room, a new documentary that isn’t part of the festival, eye-opening experiences. The first film, named after United Nations Resolution 181 (which divided Palestine into two states in 1947), is a road diary following the two directors, Michel Khleifi of Palestine and Eyal Sivan of Israel, along the resulting boundary; it gets closer to the everyday facts of Arab-Jewish relations in all their complexity than any other documentary I’ve seen. Its three discrete parts — covering the south, the center, and the north — run 84 minutes each and can be seen in any order (separate admissions apply, but a rebate is offered to those who view all three). Read more

From 1001 Movies You Must See Before You Die (2003). — J.R.

The Double Life of Véronique 
Krzysztof Kieslowski’s first feature after his Decalogue, launching the European coproduction mode of making films that would lead to his trilogy Three Colors(Blue, White, and Red), is an exquisite enigma following the parallel lives of two 20-year-old women, one in Poland and one in France, both played by the beautiful Irene Jacob. As in Three Colors, European coproduction becomes not only a means of financing, but part of the formal and thematic conceptualization of the project. The Polish Veronika is a talented singer with a heart condition; the French Veronique quits her voice lessons and gets involved with a puppeteer who writes children’s books. Masterfully directed, this rather dreamlike 1991 production is simultaneously an effort on Kieslowski’s part to hold onto to his Polish identity and an equally determined effort to move beyond it — almost as if the filmmaker were dreaming of a resurrected artistic identity for himself as Polish state financing went the route of Polish communism. With Philippe Volter, Halina Gryglaszewska, Kalina Jedrusik, and Aleksander Bardini. (JR)

From the Chicago Reader (October 22, 2003). — J.R.

Shot on a shoestring and none the worse for it, Jean-Luc Godard’s gritty and engaging first feature had an almost revolutionary impact when first released in 1960. It lays down most of the Godardian repertoire that the later films would build upon: male bravado spiced with plug-ugly mugging and amusing self-mockery (brought to perfection in Jean-Paul Belmondo’s wonderful performance); a fascination with female beauty and treachery (the indelible Jean Seberg as the archetypal American abroad); an emulation of the American gangster movie, and a love-hatred for America in general; radically employed jump cuts that have the effect of a needle skipping gaily across a record; and a taste for literary, painterly, and musical quotations, as well as original aphorisms. Less characteristic of Godard’s later work are the superb jazz score (by French pianist Martial Solal), a relatively coherent and continuous narrative, and postsynchronized dialogue. In French with subtitles. 89 min. (JR)