Jonathan Rosenbaum

From The Velvet Light Trap, spring 1996 (and reprinted in my 1997 collection Movies as Politics). Given all the screenings of Out 1 that have more recently taken place on both sides of the Atlantic, with (almost) concurrent Blu-Ray and DVD releases in France, the U.K., and the U.S., this seems like a good time to repost this article. My still lengthier reflections can be found on the Carlotta digital releases in France and the U.S.  — J.R.

On the Issue of Nonreception

What connections can be found between two French serials made almost half a century apart? Aside from the fact that both of them appear on my most recent “top ten” list (1), I’m equally concerned with the issue of why such pleasurable, evocative, enduring, multifaceted, and incontestably beautiful works should remain so resolutely marginal — unseen, unavailable, and virtually written out of most film histories except for occasional guest appearances as the vaguest of reference points. The problem isn’t simply an American or an academic one; although no print of either serial exists in the United States, it can’t be said that either film has received much attention in France either — or elsewhere, for that matter. Read more

From the Chicago Reader (April 15, 1994). — J.R.

** SERIAL MOM

(Worth seeing)

Directed and written by John Waters

With Kathleen Turner, Sam Waterston, Ricki Lake, Matthew Lillard, Scott Wesley Morgan, Walt MacPherson, Justin Whalin, Patricia Hearst, and Suzanne Somers.

“Outside it’s hot and muggy. I buy a carton of cigarettes, ever bitter that I’m taxed so highly (11) on the one purchase that actually brings me happiness. They ought to tax yogurt (12); that’s what causes cancer. A neighbor, who always seems too familiar for her own good, passes me and makes the mistake of saying, ‘Good morning.’ ‘Shut up!’ I snap, making a mental note of her hideous tube top (13) and ridiculous Farrah Fawcett hairdo (14), so popular with fashion violators. And then I see it, a goddam ticket on my car, even though the meter (15) has only been in effect ten minutes. I have to take my rage out on someone! I run toward this fashion scofflaw as she gets into the most offensive vehicle known to man, “Le Car’ (16), and yank her door open as she frantically tries to lock it. ‘Not so fast, miss,’ I bark. ‘There’s a certain matter of this ticket you’ll have to take care of — $16 for gross and willful fashion violations!’ Read more

From the Chicago Reader (October 14, 1988). — J.R.

TRACK 29

** (Worth seeing)

Directed by Nicolas Roeg

Written by Dennis Potter

With Theresa Russell, Gary Oldman, Christopher Lloyd, Colleen Camp, Sandra Bernhard, and Seymour Cassel.

As a rule, I tend to be favorably disposed toward non-American movie depictions of American life, at least as a source of fresh perspectives. If we accept the premise that the U.S. continues to function as a stimulus for fantasy projections all over the world, here as well as everywhere else, it stands to reason that European projections about America would at least have the virtues of relative distance and detachment. Consequently, movies as diverse as Bunuel’s The Young One, Antonioni’s Zabriskie Point, Passer’s Born to Win, Demy’s The Model Shop, Wenders’s Hammett and Paris, Texas, and even — to cite two recent and contentious examples — Konchalovsky’s Shy People and Adlon’s Bagdad Cafe have things to tell us about this country that we would never learn from the likes of John Ford or Frank Capra. The truths of these movies may be more oblique and specialized (and harder to encapsulate) than those of our semiofficial laureates, but at least they give us some notion of how we look to outsiders. Read more

From the August 1, 1989 Chicago Reader. — J.R.

The greatness of Carl Dreyer’s first sound film (1932, 83 min.) derives partly from its handling of the vampire theme in terms of sexuality and eroticism and partly from its highly distinctive, dreamy look, but it also has something to do with Dreyer’s radical recasting of narrative form. Synopsizing the film not only betrays but misrepresents it: while never less than mesmerizing, it confounds conventions for establishing point of view and continuity, inventing a narrative language all its own. Some of the moods and images conveyed by this language are truly uncanny: the long voyage of a coffin, from the apparent viewpoint of the corpse inside; a dance of ghostly shadows inside a barn; a female vampire’s expression of carnal desire for her fragile sister; an evil doctor’s mysterious death by suffocation in a flour mill; a protracted dream sequence that manages to dovetail eerily into the narrative proper. The remarkable sound track, created entirely in a studio (in contrast to the images, which were all filmed on location), is an essential part of the film’s voluptuous and haunting otherworldliness. (Vampyr was originally released by Dreyer in four separate versions — French, English, German, and Danish; most circulating prints now contain portions of two or three of these versions, although the dialogue is pretty sparse.) Read more

From the Chicago Reader (August 22, 1997). — J.R.

La promesse

Rating *** A must see

Directed and written by Luc and Jean-Pierre Dardenne

With Jérémie Renier, Olivier Gourmet, Assita Ouedraogo, Frederic Bodson, Rasmane Ouedraogo, and Hachemi Haddad.

I’d never heard of Luc and Jean-Pierre Dardenne before I saw La promesse (1996), an important and highly involving movie playing at the Music Box this week. But given that they’re regional filmmakers working in an unfashionable country, this isn’t surprising. Based in Liege — a city in French-speaking western Belgium — the two brothers, both in their mid-40s, started out in the 70s as assistants to Belgian director and playwright Armand Gatti. They then made leftist videos about local urban and labor issues, followed by documentary films for TV about local anti-Nazi resistance, local workers’ struggles in the 60s, and a history of Polish immigration between the 30s and early 80s. In 1986 they turned to fiction, filming a play called Falsch, and their film made the rounds of a few international festivals. In 1991 they did a more experimental feature, Je pense à vous (“I’m Thinking of You”), cowritten by the distinguished New Wave screenwriter Jean Gruault, that apparently sank without a trace after playing at a few French festivals and being slaughtered by the Belgian press. Read more

From the Chicago Reader (January 7, 1994). — J.R.

One of the funnier remarks in Variety late last year came from a Universal Pictures executive who noted that because of the special nature of Schindler’s List his company wasn’t really promoting the picture, but simply informing people it was out. I’d wager that if the other movies on my ten-best list had been given the same amount of “nonpromotion” — one of those modest multimillion-dollar campaigns — you would have heard nearly as much about them. As it happens, only about half the items on my list have had — or are having — a normal commercial run in Chicago. Still, Bitter Moon, which has so far had only one fleeting engagement here (in the fall, at the Polish film festival), is expected to have a belated U.S. release early this year, and Silverlake Life: The View From Here was aired nationally on PBS.

The limited number of Hollywood films on my list and the prominence of Chinese language ones demands some comment. It used to be a truism that American cinema excelled in unpretentious entertainment but faltered when it came to art movies, while the standard line about foreign films — meaning the foreign films Americans saw — tended toward the reverse. Read more

From the January 19, 1990 Chicago Reader. –J.R.

ENEMIES, A LOVE STORY

*** (A must-see)

Directed by Paul Mazursky

Written by Roger L. Simon and Mazursky

With Ron Silver, Anjelica Huston, Lena Olin, Margaret Sophie Stein, Alan King, Judith Malina, and Mazursky.

It’s a truism of film criticism that the best movie adaptations of novels usually aren’t taken from the best novels. A good novel, like a good movie, has its own raison d’être, and attempting to translate one person’s novel into another person’s movie usually entails removing the novel’s raison d’etre or at least transmogrifying it beyond recognition. A classic example of misplaced piety, in the sense of a movie trying to follow a novel too closely, is Joseph Strick’s Ulysses (1967): despite the fact that characters, settings, and entire textual passages from Joyce are all dutifully delivered and rendered, Joyce himself is absent from the movie. The personal, historical, and formal determinations of the book have nothing to do with those of the director of the film, working almost half a century later. The gap between Joyce’s reasons for writing Ulysses and Strick’s reasons for adapting it is so cosmically wide that the two sets of motivations aren’t even on speaking terms. Read more

This piece comes from the November 19, 1993 issue of the Chicago Reader. —J.R.

A STREETCAR NAMED DESIRE

*** (A must-see)

Directed by Elia Kazan

Written by Tennessee Williams and Oscar Saul

With Vivien Leigh, Marlon Brando, Kim Hunter, and Karl Malden.

FLESH AND BONE

** (Worth seeing)

Directed and written by Steve Kloves

With Dennis Quaid, Meg Ryan, James Caan, and Gwyneth Paltrow.

Depending on whose figures you believe, the recently released “director’s cut” of A Streetcar Named Desire is either 4 percent or 8 percent longer than the version released in 1951. All the originally censored elements — lines of “racy” dialogue and shots of lustful expressions — have been restored, and the fact that this once-scandalous 126-minute movie is now accorded a PG rating indicates the progress we’ve made in some areas.

But if you think people are getting more of the movie now than they could 42 years ago, you’re mistaken. The running time is longer, but thanks to current movie-projection habits, close to 25 percent of every frame is missing at most screenings. The aspect ratio of the original movie — the relationship between the height and width of the frame — is 1:1.38, the standard ratio of all Hollywood movies in 1951. Read more

From the September 3, 1999 Chicago Reader. It seems worth reposting because, I’m happy to report, both these films are now available on DVD. — J.R.

Mr. Zhao

Rating *** A must see

Directed by Lu Yue

Written by Shu Ping

With Shi Jingming, Zhang Zhihua, Chen Yinan, and Jiang Wenli.

All The Little Animals

Rating *** A must see

Directed by Jeremy Thomas

Written by Eski Thomas

With John Hurt, Christian Bale, Daniel Benzali, James Faulkner, and John O’Toole.

Two of the best movies of 1998 are opening in Chicago this week — which makes them two of the best movies of 1999 — but the odds of either making much of a splash are just about nil. For one thing, they don’t appear to have opened previously anywhere else in the U.S., ruling out any advance buzz. For another, the budget for publicity in both cases appears to be about 15 cents; by contrast, the advertising budget for Austin Powers: The Spy Who Shagged Me was between $35 million and $40 million, not counting the Time Warner tie-ins (the entire production budget was $33 million). As a consequence, information about both films is hard to come by — I can’t even determine whether the screenwriter of Mr. Read more

From the April 17, 1998 Chicago Reader. — J.R.

Eighteen Springs

Rating ** Worth seeing

Directed by Ann Hui

Written by John Chan

With Leon Lai, Wu Chien-lien, Anita Mui, Ge You, Annie Wu, and Huang Lei.

I don’t know exactly what I think about Ann Hui’s 12th feature, playing twice this weekend at the Film Center. At this point I don’t think it’s a masterpiece — though that doesn’t necessarily mean you shouldn’t see it. Arriving at these two conclusions is something of a professional necessity for me, because whenever I write a long review for this paper I have to assign the film a certain number of stars; if you look at the box headed “film ratings” the meaning of those ratings is spelled out, from “masterpiece” (four stars) to “worthless” (none). But sometimes this necessity presents me with a dilemma, because my better instincts tell me that it’s often impossible to know immediately after seeing a film whether it’s a masterpiece or not. And while I’m at it, let me confess to another doubt, one that relates to the general inflation of rankings that infects my profession, whether critics are reviewing a Hollywood blockbuster or a Hong Kong art movie: I fear that if I tell people that Ann Hui’s Eighteen Springs (or the Coen brothers’ The Big Lebowski) is only “worth seeing,” a lot of them won’t bother to go — even if maybe some of them should, for their benefit, not mine. Read more

From the Chicago Reader (March 30, 1990). I must confess that  I was disappointed for a long time that none of Campion’s subsequent films lived up to the promise of Sweetie, in spite of the virtues of some of them, at least until her wonderful 2014 miniseries Top of the Lake, which I’ve just belatedly caught up with. (I’ll never forget a bitter comment Jean-Luc Godard made to me in Toronto in 1996, citing Campion as a perfect example of a talented filmmaker “completely destroyed by money”.) But then again, to cite someone cross-referenced in this review (and also significantly cross-referenced in Top of the Lake, a kind of feminist response to Blue Velvet and Twin Peaks), it’s also hard to think of many David Lynch films that have lived up to the promise of Eraserhead, at least prior to Inland Empire….I suspect that the collaboration of writer Gerard Lee on Passionless Moments, Sweetie, and Top of the Lake has something to do with what makes all three of them stand out so vividly in Campion’s oeuvre.– J.R.

SWEETIE

**** (Masterpiece)

Directed by Jane Campion

Written by Gerard Lee and Campion

With Genevieve Lemon, Karen Colston, Tom Lycos, Dorothy Barry, Jon Darling, Michael Lake, and Andre Pataczek. Read more

From the Chicago Reader (March 4, 1994). — J.R.

* ACE VENTURA: PET DETECTIVE

(Has redeeming facet)

Directed by Tom Shadyac

Written by Jack Bernstein, Jim Carrey, and Shadyac

With Carrey, Sean Young, Courteney Cox, Tone Loc, and Dan Marino.

Why go back to a movie that affected me the first time like a piece of chalk squeaking across a blackboard? Well, for one thing, neither I nor any other reviewer I know of came anywhere close to predicting that Ace Ventura: Pet Detective would not only find an audience but sail to the top of the box-office charts. How did we all miss the boat? “An appallingly bad movie, a certain candidate for worst of the year,” begins Gene Siskel’s capsule review in the Tribune; it concludes, “Don’t ask how this was financed.” These were my sentiments exactly at the press screening — a sort of stupefied horror at the manic leers and terminally stupid gags of star and cowriter Jim Carrey, coupled with disbelief that anyone could possibly go for them. But when the movie opened it soon became clear that at least some financiers knew exactly what they were doing. What did they understand that the rest of us grown-ups missed out on? Read more