Fictional Biography as Film Criticism: Two Videos by Mark Rappaport

Written for the 99th issue of Trafic (Fall 2016) — a revision and slight expansion of two previous essays. — J.R.

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The rapidly and constantly expanding proliferation of films and videos about cinema is altering some of our notions about film history in at least two significant ways. For one thing, now that it has become impossible for any individual to keep abreast of all this work, our methodologies for assessing it as a whole have to be expanded and further developed. And secondly, insofar as one way of defining work in cinematic form and style that is truly groundbreaking is to single out work that defines new areas of content, the search for such work is one of the methodologies that might be most useful. In my case, this is a search that has led to considerations of two recent videos by Mark Rappaport: I, Dalio — or The Rules of the Game (2014, 33 minutes), and Debra Paget, For Example (2016, 37 minutes). Both are highly personal works that also define relatively new areas of on-film film analysis, forms of classification that can be described here as indexing.

 

Rappaport was born in New York and he lived and (mostly) worked there until he moved to Paris in 2005, although his work with found footage started over a decade earlier with Rock Hudson’s Home Movies (1992), followed by Exterior Night (made in Germany for German television in 1993), From the Journals of Jean Seberg (1995), The Silver Screen: Color Me Lavender (1997), and his 2002 short John GarfieldRead more

Print the Legend: Media Manipulation in American Films: Try & Get Me, Ace in the Hole, Sweet Smell of Success

The following was written to accompany a film series put together by Ehsan Khoshbakht, Imogen Sara Smith, and myself for a tour in Turkey in late 2018 sponsored by the American Embassy. I don’t know if it was used in this form.  — J.R.

“Fake news”, the term paradoxically used by Donald Trump for journalism that exposes his own lies and corruption, evokes what George Orwell called New-speak in 1984, whose slogans included “war is peace” and “ignorance is strength”. Trump’s cleverness as a media manipulator consists of appropriating the very term that describes his own practice while reversing its meaning so that his opponents — including the people who put together this film program about “fake news,” my colleagues and myself — can no longer use it without speaking on Trump’s behalf. This is surely manipulation with a vengeance, where control over both language and presence becomes another form of class inequality. So when TV executives remark that Trump is bad for America but good for television, they’re only suggesting that these two latter entities have separate agendas and even separate owners, neither of which happens to be the American public.

Feeding public fears with worst-case scenarios is the principal form of press manipulation found in Try and Get Me! Read more

2001: A Space Odyssey

From the Chicago Reader (March 1, 2002). — J.R.

Seeing this 1968 masterpiece in 70-millimeter, digitally restored and with remastered sound, provides an ideal opportunity to rediscover this mind-blowing myth of origin as it was meant to be seen and heard, an experience no video setup, no matter how elaborate, could ever begin to approach. The film remains threatening to contemporary studiothink in many important ways: Its special effects are used so seamlessly as part of an overall artistic strategy that, as critic Annette Michelson has pointed out, they don’t even register as such. Dialogue plays a minimal role, yet the plot encompasses the history of mankind (a province of SF visionary Olaf Stapledon, who inspired Kubrick’s cowriter, Arthur C. Clarke). And, like its flagrantly underrated companion piece, A.I. Artificial Intelligence, it meditates at length on the complex relationship between humanity and technology — not only the human qualities that we ascribe to machines but also the programming we knowingly or unknowingly submit to. The film’s projections of the cold war and antiquated product placements may look quaint now, but the poetry is as hard-edged and full of wonder as ever. 139 min. (JR)

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Cul-de-sac

From the Chicago Reader (October 1, 1994). — J.R.

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Roman Polanski’s second British film (Repulsion was the first) is a mean little absurdist comedy (1966) set on a remote Northumberland island; it’s also one of the best and purest of all his works. An odd couple (Donald Pleasence and Françoise Dorleac) living in an isolated castle find their world invaded by two doomed gangsters on the run (Lionel Stander and Jack MacGowran), and the ensuing standoffs are funny, cruel, disquieting, and unpredictable, especially after various other unwelcome guests turn up. Stander is especially good — this may be the definitive performance of the blacklisted gravel-voiced character actor, best known for his 30s and 40s work. With Robert Dorning and Iain Quarrier; watch for Jacqueline Bisset as one of the guests. 111 min. (JR)

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Flash and Filigree [MINORITY REPORT]

From the Chicago Reader (June 28, 2002). — J.R.

Minority Report *** (A must-see)

Directed by Steven Spielberg

Written by Scott Frank and Jon Cohen

With Tom Cruise, Colin Farrell, Samantha Morton, Max von Sydow, Lois Smith, Peter Stormare, Tim Blake Nelson, Steve Harris, and Kathryn Morris.

Since my early teens I’ve been stubbornly clinging to a copy of the October 1953 issue of Galaxy Science Fiction magazine, featuring the first installment of Isaac Asimov’s The Caves of Steel, a mystery story set in a vast city of the future. I prize this particular issue not for anything inside but for the cover illustration by “Emsh,” the name future filmmaker Ed Emshwiller used to sign his artwork. In the foreground two transparent hands — one revealing human bones, the other metal ones — are shown in front of the vast reaches of an enclosed cityscape with pedestrians. This encouraged me to consider not only a future city but also how it might look to both a human and a robot detective.

No story, by Asimov or anyone else, could do as much for my imagination as that Emsh cover. The only thing that came close was a single sentence by Damon Knight in his review of Asimov’s novel, which may have been what led me to the novel and that issue of Galaxy in the first place: “Asimov has turned a clear, ironic, and compassionate eye on every cranny of the City: the games children play on the moving streets; the legends that have grown up about deserted corridors; the customs and taboos in Section kitchens and men’s rooms; the very feel, smell, and texture of those steel caves in which men live and die.” Read more

Les Valseuses (1975 review) 

From Monthly Film Bulletin, December 1975 (Vol. 42, No. 503). I think I must have permanently jinxed the possibility of ever becoming a friend of Pauline Kael’s by introducing myself to her after the New York Film Festival’s press screening of Get Out Your Handkerchiefs in 1978. Clearly enraptured, she promptly asked me what I thought of the film, and I replied, “Well, at least it’s better than Les valseuses,” which she deeply revered as well. — J.R.

France, 1974
Director: Bertrand Blier

After harassing a woman in the street and stealing her purse, Jean-Claude and Pierrot steal a Citroen for the afternoon; when they return it, the hairdresser owner holds them at gunpoint until they manage to escape during a scuffle, taking the hairdresser’s girlfriend Marie-Ange with them. Pierrot, however, is shot in the groin; the two force a surgeon to treat the wound and then take his money. When they abandon another stolen car to hop a train, Jean-Claude pays a young mother to suckle Pierrot before she gets off to meet her soldier husband. They take another train to the town of Briddle, where they break into a house whose owners are away but where they excitedly discover the underwear of teenager Jacqueline. Pierrot continues to fret about being impotent, and is annoyed when Jean-Claude forcibly sodomises him; they visit Marie-Ange and take turns having sex with her, although she remains frigid. Read more

On LINCOLN and ARGO : “Useful” Omissions

Written for the February 2013 issue of Caiman Cuadernos de Cine, as one of my bimonthly columns for that magazine (“En movimiento”). It continues to amaze me how American movies who preach the inescapable inevitability of corruption in American life   — Citizen Kane, the Godfather films, and now Lincoln and Zero Dark Thirty — are invariably regarded as more profound and much likelier to wind up as Oscar fodder than those that  are less resigned to accepting corruption. — J.R.

 

 

 

Two inordinately praised big-studio releases of the holiday season, Lincoln and Argo, seem to depend in part on the innocence of the American audience in order to score their ideological successes. The first of these, a high-minded art movie, starts with a familiar subject, while the second –- which, I must confess, I’ve only sampled — incorporates the relative unfamiliarity of Iranian culture as part of its action-thriller mechanics. That both films have been overpraised seems hard to dispute; “Long after its commercial run, Lincoln will remain an invaluable teaching tool,” Joe Morgenstern declared characteristically in the Wall Street Journal, while Rex Reed, no less typically in the New York Observer, called Argo, “A movie that defines perfection. Read more

Response to a Survey by Neil McGlone

A shorter version of these responses appeared with the responses of several other film critics in the November 2013 issue of Verite Magazine, a digital monthly. — J.R.

Film Criticism “Then and Now”:

1.How has film criticism and the role of a film critic evolved since you first started?

One very striking change is the inordinate number of surveys of this kind that exist now as opposed to then. Even after I factor in the frequency with which I’m asked to participate nowadays, because of being better known today than I was in the 1970s, I think the interest in film criticism as a topic has grown quite a bit.

Thanks to academia, the Internet, and other factors, there are many more forms of criticism and outlets for its dissemination now. We also have more ways of discovering these forms and outlets in the present, at least if we’re interested. The conversations and exchanges begin more quickly and can travel much greater distances. There’s much more good stuff and much more bad stuff, which means the task of determining and then focusing on what one is looking for becomes much more complicated — unless one is passive and simply follows the industry’s discourse, which of course is what most people tend to do, one way or another, and what most people also tended to do half a century ago. Read more

Brief Interview on the New Wave (Spring 2012)

From The Cine-Files, Spring 2012, issue 2. — J.R.

 

 

What for you makes the French New Wave such an exciting topic to study? Or… Is the French New Wave still an exciting topic to study?  What can moviegoers of the 21st century take away from French New Wave films?

For me, the greatness of the French New Wave stemmed directly from the fact that it was the first comprehensive film movement spearheaded by film critics who were well versed in film history — an education that came about specifically through the efforts of Henri Langlois, the cofounder and director of the Cinémathèque Française in Paris, a very inspired and creative film programmer. And this was a critical appreciation that became closely tied to their filmmaking, not so much as a series of hommages as a kind of critical understanding. I’m not talking about tips of the hat to favorite movies or moments in movies, which is what we usually get in Woody Allen, Peter Bogdanovich, Francis Coppola, Brian De Palma, Martin Scorsese, and Quentin Tarantino; I’m talking about critical insights that change our sense of the movies.

Not all of the French New Wave filmmakers were critics or writers—the most notable exceptions that come to mind are Jacques Demy, Alain Resnais, Jean-Marie Straub and Danièle Huillet, and Agnès Varda (and perhaps, reluctantly, one could add Louis Malle to this list)—but I think it would be safe to say that all of them had a critical grasp of film history thanks to the programs of Langlois, and this critical grasp of film history is plainly visible (and audible) in their films. Read more

That’s Entertainment! III

From the Chicago Reader (April 1, 1994). — J.R.

This third compilation of clips from MGM musicals — introduced, like its predecessors, by many of the leading performers (June Allyson, Cyd Charisse, Lena Horne, Howard Keel, Gene Kelly, Ann Miller, Debbie Reynolds, Mickey Rooney, and Esther Williams) — has so much pleasure to offer that any purist quibbles seem minor. Not only have writers-directors-producers Bud Friedgen and Michael J. Sheridan, who worked as editors on the two previous films, come up with heaps of wonderful and fascinating new material (excluded numbers from Singin’ in the Rain, The Band Wagon, Cabin in the Sky, The Harvey Girls, Easter Parade, and even I Love Melvin); they’ve also introduced a welcome critical note into the proceedings, demonstrating how dubious some of MGM’s aesthetic decisions were and allowing Horne to voice some of her own misgivings about the bigoted policies that limited her activity. Indeed, after Horne introduces her own clips, her terse introduction to an unused Judy Garland number from Annie Get Your Gun, “I’m an Indian Too,” doesn’t have to allude to the number’s racism because in the context she’s established the evidence speaks for itself. The original screen ratios of the films are generally respected — the rule apparently is broken only when the filmmakers are doing a montage or want the dramatic benefits of a full screen even if it means cropping the image. Read more

Paris Journal, Fall 1971 (Cahiers du Cinéma, Positif, Jerry Lewis)

When I previously reprinted on this site my first Paris Journal for Film Comment, from their Fall 1971 issue, I omitted the entire opening section, largely because of its embarrassing misinformation (both naive and ill-informed) in detailing the background of the ongoing feud at the time between Cahiers du Cinéma and Positif. But for the sake of the historical record, I’ve decided to reprint it now, along with a lengthy letter from Positif’s editorial board and my reply to it two issues later. — J.R.

Of all the gang wars waged over the past thirteen years between Cahiers du Cinéma and Positif, the latest appears to be the most extensive and the least illuminating. When Truffaut ridiculed Positif for anti- intellectualism and self-serving vanity in 1958, Cahiers‘ orientation was Catholic-conservative while its leading rival was surrealist and leftist; the former enshrined Hollywood while the latter denigrated it as imperialist. When Positif launched a lengthy counter-offensive in 1962 (amply documented in Peter Graham’s anthology, The New Wave), the terms of the equation had already begun to shift: many Cahiers critics were already beginning to veer away from their backgrounds as they became filmmakers, and Positif was starting to develop a stable of its own Hollywood auteurs, like John Huston and Jerry Lewis. Read more

Vinyl

From the Chicago Reader (June 1, 1989). — J.R.

After paying $3,000 for the rights to Anthony Burgess’s novel A Clockwork Orange, Andy Warhol made this very loose adaptation (1965) using direct sound, with such Warhol regulars as Ondine and Edie Sedgwick, Gerard Malanga performing a whip dance, and music by the Velvet Underground. It’s one of Warhol’s very best — and most painterly — films, more interesting for what it does with crowded space than for the S and M. 64 min. (JR)

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Hollywood Low (The Best Movies of 1992)

From the Chicago Reader (January 8, 1993). — J.R.

A few years ago, world cinema received a shot in the arm from so-called glasnost movies from the former Soviet Union — pictures that had been shelved due to various forms of censorship, mostly political, and were finally seeing the light of day thanks to the relaxation or near dissolution of state pressures. The thought of an American glasnost may seem a little farfetched. But if we start to look at the awesome control exerted by multinational corporations over what we see, particularly in mainstream movies, the definition of what is and isn’t permissible — or, in business terms, what is “viable,” which in this country often comes to the same thing — may seem comparably restricted.

The best movies of 1992 weren’t exactly censored; but given the profound lack of media attention they received they would have achieved much more reality in most people’s minds if they had been. And nothing short of an American-style glasnost would give these films the cultural centrality they deserve. Only three of them received extended theatrical runs in Chicago, and perhaps only one or two got so much as a mention on Entertainment Tonight or in Time, Newsweek, or Entertainment Weekly. Read more

Moving (May-June 1977)

Written as a column for the May-June 1977 Film Comment. Some of the details here are dated, I think, in an interesting manner — especially the discussion of “Disco-Vision”. I should add that the only version of MIKEY AND NICKY that had been released in the mid-70s was an unfinished edit by Elaine May that the studio had taken away from her and put out without her consent. -– J.R.

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The world had gone crazy, said the crazy man in his cell. What was nutty was that the movie folk were trafficking in illusions in the real world but the real world thought that its reality could only be found in the illusions. Two sets of maniacs.

– Walker Percy, Lancelot

 

Compare the ads for NETWORK and CARWASH. The former conjures up a hot exposé, a “real” behind-the-scenes glimpse of What Goes On behind the moneyed façade of big-time broadcasting; the latter suggests a frivolous, “irresponsible” fantasy to be seen for fun, not edification. Moving back to the U.S. after over seven years abroad — a sudden shift from reflective Paris chrome and ashen London gray to La Jolla baby-blue, from cinema to some medieval state of pre-cinema or post-Cinema — the foreignness and familiarity of the country both seem epitomized by the absurdity of that cockeyed distinction, which virtually gets it all backwards. Read more

En movimiento: The Season of Critical Inflation

Written in late November 2013 for Caiman Cuadernos de Cine. — J.R.

En movimiento: The Season of Critical Inflation

Jonathan Rosenbaum

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Am I turning into a 70-year-old grouch? Writing during the last weeks of 2013 — specifically a period of receiving screeners in the mail and rushing off to various catch-up screenings, a time when most of the ten-best lists are being compiled — I repeatedly have the sensation that many of my most sophisticated colleagues are inflating the value of several recent releases. And my problem isn’t coming up with ten films that I support but trying to figure out why so many of the high-profile favorites of others seem so overrated to me. All of these films have their virtues, but I still doubt that they can survive many of the exaggerated claims being made on their behalf.

Such as:

Gravity, hailed by both David Bordwell and J. Hoberman as a rare and groundbreaking fusion of Hollywood and experimental filmmaking, and not merely an extremely well-tooled amusement-park ride, is now being touted as a natural descendent of both Michael Snow’s La région central as well as 2001: A Space Odyssey, as if its metaphysical and philosophical dimensions were somehow comparable. Read more