Jonathan Rosenbaum

From the June 1982 American Film. — J.R.

Fans of the brilliant, eccentric, and pioneering film critic Manny Farber who have been regretting his recent absence from the scene simply haven’t been looking in the right places. In fact, the sixty-five-year-old writer, teacher, and former carpenter has been a painter even longer than he’s been a critic, and over the past few years he’s been doing what he calls “auteur” paintings — canvases that recast the subjects and methods of his criticism in a number of fascinating ways.

Using a bird’s-eye view of small objects on a stagelike platform, his paintings, paens to such directors as Howard Hawks [see Howard Hawks II, 1977,  472 x 500, above], Sam Peckinpah, Marguerite Duras, and William Wellman illuminate the filmmakers’ styles and themes. “The compositions and structures are always always based on my take on the directors,” Farber says. “And they’re critical in the fact that I’m usually going away from what I think is known territory, in painting as well as in movies.”

One example of Farber’s oddball approach is his Stan & Ollie, which is full of references to the comedies of Laurel and Hardy, but scarcely uses their faces at all. Read more

Le gamin au vélo/The Kid with a Bike

I’ve recently been thinking that a considerable portion of what I find the most detestable in contemporary commercial filmmaking can be summed up in a single trend: exploitation movies that go out into the world as “serious” art movies,. Admittedly, two very early examples of this trend in talkies, Lang’s M and Hawks’ Scarface, are two of the greatest movies ever made, though neither of these can be accused of stroking and glorifying the audience’s hypocrisy. But ever since the Godfather pictures, it seems, artiness has been working overtime as a kind of built-in alibi for many of the baser impulses in the audience –- various kinds of cynicism viewing corruption as inescapable, everyday, and deeply profound (e.g., Avatar, The Girlfriend Experience, Contagion), extreme violence as a function of specious and hypocritical morality (or, even worse, “sensitivity,” as in Drive — or, for that matter, The Passion of the Christ), gimmicky temporal structures (e.g., Tarantino, Memento, Babel) or fatuous psychologizing that are somehow supposed to dignify various forms of boorishness or nastiness (ranging from McQueen’s sexist complacencies and brutalities in Shame to von Trier’s dubious and ongoing validation of his own depression as a practical tool for coping with glitzy catastrophes and atrocities of his own making), and even the sort of Oscar-mongering that can cast a liberal activist (Woody Harrelson) as a racist thug (Rampart) to show us how “complex” the modern world is supposed to be. Read more

The degree to which contemporary cinema has become a desperate recycling operation was pain fully evident in Berlin this year, where even the better films seemed mired in familiar habits. Aki Kaurismaki’s Ariel, a hard-luck story of an unemployed miner pushed into a life of crime, is basically a Warners B-film of the 1930s, cleanly told and decked out with a few 80s ironies, but really nothing new. Martin Donovan’s Apartment Zero, a baroque male-bonding thriller set in Buenos Aires, superbly acted by Colin Firth and Hart Bochner, offers a chilling and complex view of the American abroad, yet its precise genre positionings would be unthinkable without its cues from Hitchcock, Chabrol and Polanski.

For many colleagues, a major disappointment in the competition was Chantal Akerman’s first English-language feature, Food, Family and Philosophy in French (or Histoires d’Amérique in French), a string of monologues and jokes by Jewish immigrants, delivered against Brooklyn exteriors within hailing distance of the Manhattan skyline over what appears to be a single night. Read more

It seems that I wrote (or completed) this in October 1999, for the American Movie Classics monthly magazine (I don’t recall which issue). — J.R.

The Nutty Professor (1963) — Jerry Lewis’s fourth and in some ways best constructed feature as writer-director-performer — is one of the finest versions of the Dr. Jekyll and Mr. Hyde story that we have, and not only because it happens to be the funniest. (It’s also the one with the best music: Les Brown’s band, and memorable versions of both “Stella by Starlight” and “That Old Black Magic”.) A good deal subtler than the raucous Eddie Murphy remake (1996), it illustrates the troubling perception that most of us prefer egotistical bullies to shy, sweet-tempered klutzes. It also provides us with an excellent opportunity for reassessing a multifaceted artist who has seldom received his due in this country.

Critical opinion has often described the overbearing Buddy Love, Lewis’s Mr. Hyde, as a reincarnation of Dean Martin, six years after the decisive breakup of the Martin and Lewis duo. Superficially this sounds like an ingenious notion, but in fact it misses the mark. Part of what’s so disturbing about Buddy Love — making his belated entrance about a third of the way through The Nutty Professor as a romantic stand-in for Julius Kelp, Lewis’s bumbling version of Dr. Read more

From Nashville Scene (cover story), March 10, 2011. This essay was commissioned by the late Jim Ridley, whose unexpected death was a grievous loss.

I’m sorry that I forgot to mention The Young One, surely one of the most neglected and overlooked of all great Southern films, explored in detail elsewhere on this site. — J.R.

In certain respects, the “Visions of the South” series of Southern

movies being launched in Nashville this week at The Belcourt deserves

to be applauded for its omissions as well as its inclusions. The most

conspicuous of these omissions is probably Robert Altman’s Nashville

(1975), which Brenda Lee once aptly described as “a dialectic collage of

unreality.” (Altman, at least, proved better at handling Mississippi —

in Thieves Like Us the year before Nashville, and in Cookie’s

Fortune a quarter of a century later.)

We all know, of course, that Hollywood and even some of its maverick

celebrities have been guilty of fostering and/or perpetuating false images

of the South from the very beginning. A few other prominent and

dubious examples might include Jean Renoir’s The Southerner

(1945), Martin Ritt’s The Sound and the Fury (1959), Richard

Brooks’ Sweet Bird of Youth (1962), Otto Preminger’s Hurry

Sundown (1967), John Frankenheimer’s I Walk the Line

(1970), and, surely the most bogus of all, Alan Parker’s

Mississippi Burning (1989), with its outlandish errors

involving both Jim Crow and the FBI, just to get started. Read more

From The Financial Times (Friday, July 2, 1976). This was the second and last time that I took over Nigel Andrews’ weekly film column while he away. — J.R.

Bambi (U)

Odeon, St. Martin’s Lane

Lifeguard (AA)

Ritz

When the Leaves Fall

National Film Theatre

Thirty-four years have passed since Walt Disney’s Bambi first hit the screen. Yet barring only its quaintly dated musical score – six unremarkable tunes by Frank Churchill and Edward Plumb that are well below the usual Disney standard – an unsuspecting child who can’t read Roman numerals might assume that it was made yesterday. It is no small irony that a movie only slightly more than half as old, Silk Stockings (1957), gets treated like a museum piece worthy of nostalgia in the recent That’s Entertainment Part II, while this animated feature gets born afresh for each new generation – not so much like a phoenix rising out of its ashes as like a display of calendar art circulated periodically, with only the dates changing. Read more

Written in 2007 for Criterion, as the commentary for a DVD extra. — J.R.

“As a critic, I already thought of myself as a filmmaker” Godard said in 1962. “Today I still consider myself a critic, and in a sense, I’m even more of one than before. Instead of criticism, I make a film, but that includes a  critical dimension. I consider myself an essayist, producing essays in the form of novels or novels in the form of essays: only instead of writing, I film them.”

Three years before he said this, Godard made the first shot in his first feature, appearing just before the title, the explicit declaration of a film critic: “This film is dedicated to Monogram Pictures.”

Why Monogram? Godard never reviewed anything from that studio, which lasted from 1931 to 1953 and mainly produced cheap westerns and series like the Bowery Boys. But shooting on the fly and without sync sound, he wanted to express an alliance to an aesthetic related to impoverished budgets. So this wasn’t any sort of fan’s homage, as it would have been if it had come from one of the American movie brats; it was a critical statement of aims and boundaries. Read more

From Cineaste, Vol. XXXI, No. 4, September 2006. — J.R.

Spoilers ahead: The title heroine (Silvia Pinal) of

Luis Buñuel’s masterpiece, a Spanish novice

about to take her final vows, is ordered by her

mother superior to visit her rich uncle (Fernando

Rey), Don Jaime, who’s been supporting her over

the years but whom she barely knows. A

necrophiliac foot fetishist, he’s preoccupied with

how closely his beautiful niece resembles his

late wife, who died tragically on their wedding night,

and somehow manages to persuade Viridiana

to put on her wedding dress, which he’s

faithfully preserved. With the help of his servant

Ramona (Margarita Lozano), he then drugs her with the

intention of raping her, but deeply mortified by

his behavior, ultimately holds back and hangs

himself instead, using the skipping-rope he

previously gave to Ramona’s little girl.

If this opening strongly evokes the horror of a

Gothic novel — a form of literature Luis