Jonathan Rosenbaum

I can very happily report that since I first published this article, in the February 6, 2004 Chicago Reader, a few Barnet films have become available on DVD, including the two I wrote about, and a few more are reportedly on the way from Ruscico, a Russian label that has been issuing subtitled DVDs that I wrote about here. Earlier, Image Entertainment brought out Outskirts and The Girl with the Hatbox on a single DVD, and in France, www.bachfilms.com released both By the Bluest of Seas (under its French title, Au bord de la mer bleue), which Ruscico has subsequently released as well, and the 1943 A Good Lad/Men of Novgorod (again, under its French title, Un brave garçon). More recently, I showed clips from Okraina as well as other early Russian talkies (Deserter and Enthusiasm) in a course, “The First Transition: World Cinema in the 30s”, Kevin Lee has made a wonderful video about By the Bluest of Seas with a rapturous critical commentary written by Nicole Brenez, and in the summer of 2011, Il Cinema Ritrovato in Bologna presented a comprehensive Barnet retrospective, most of which I was able to attend.

Recently reseeing By the Bluest of Seas at the Arsenal in Berlin, as part of a program devoted to Frieda Grafe’s favorite films, I was more blown away than ever, and it struck me that the film could be viewed in some ways as an erotic view of collectivism and socialism, with the sea serving as a perfect emotional metaphor — and a perfect sort of reply to what Luc Moullet maintained in his review of Jet Pilot, which implied that eroticism, as in that film and The Fountainhead, was always tied in some fashion to right-wing thinking. Read more

From the Chicago Reader (June 9, 2000). — J.R.

The Edge of the World

Rating *** A must see

Directed and written by Michael Powell

With John Laurie, Belle Chrystall, Eric Berry, Finlay Currie, Niall MacGinnis, Grant Sutherland, Campbell Robson, and Powell.

In a recent review in the Times Literary Supplement, American sociologist and historian Richard Sennett examined the failure of socialism in the United States and argued that Americans seem to have a different take than people in England and continental Europe on collectivity itself. One reason he suggests for this difference — that slavery confused and perhaps even undermined our overall sense of the dignity of labor, ultimately altering our sense of collective labor — is both provocative and debatable. But whether or not one buys into his theory, it’s hard to deny that Americans practice and relate to groupthink somewhat differently than Europeans. “The herd of independent minds” was the late Harold Rosenberg’s memorable phrase describing us in all our paradoxical singularity.

I happened to read Sennett’s words a few hours after seeing the restoration of Michael Powell’s beautifully archaic and mystical 1937 epic about communal life on Foula — the Shetland island farthest from the coast of Scotland — which is playing this week at the Music Box. Read more

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

Diamond Men

*** (A must-see)

Directed and written by Daniel M. Cohen

With Robert Forster, Donnie Wahlberg, Bess Armstrong, Jasmine Guy, George Coe, Jeff Gendelman, Nikki Fritz, and Shannah Laumeister.

It’s astonishing how few Hollywood movies tell us anything about the way we spend a third or more of our lives — at work. Maybe this is because the standard industry perception is that people don’t like to think about that part of their existence when they go to movies, that people want to keep their professions and pleasures separate and mutually alienated. The assumption seems to be that work isn’t supposed to be fun but movies are.

Since I don’t have this bias, I found myself uncommonly excited watching Diamond Men, an independent first feature by writer-director Daniel M. Cohen that stars Robert Forster and is playing this week at the Music Box. I have no particular interest in the diamond trade, but I was thrilled to have the opportunity to see a movie that taught me something about what it’s like to drive through small towns in Pennsylvania selling diamonds to jewelry stores — especially since its lessons are being propounded by someone as knowledgeable about the subject as Cohen (who, reports Philadelphia Inquirer film reviewer Carrie Rickey, is a third-generation diamond man from Lancaster) and articulated by an actor as likable as Forster. Read more

From the January 26, 1996 issue of the Chicago Reader. — J.R.

Films by Robert Bresson

By Jonathan Rosenbaum

Two types of film: those that employ the resources of the theater (actors, directors, etc.) and use the camera in order to reproduce; those that employ the resources of cinematography and use the camera to create….Cinematography: a new way of writing, therefore of feeling.  — Robert Bresson, Notes on Cinematography

Among the people of my acquaintance who know a lot about film, most — perhaps all — consider Robert Bresson the greatest living filmmaker. Because he’s in his early 90s, the possibility of his making another movie — his last was L’argent (“Money”) in 1983 — is remote. (Most biographical sources place his birthdate in 1907, but reliable informants have told me that this very private individual shaved at least a couple of years off his age some time ago, apparently to extend his credibility as a working director with insurance companies.)

In spite of its importance, his work may have difficulty surviving, because most of it doesn’t “translate” to video. The reasons are complex, but for starters I would suggest that two central factors involved are sound presence and the framed image. Read more

From the Chicago Reader (January 9, 1998). — J.R.

Do movies come from the tooth fairy? When you consider the way that they’re often treated in this culture — in particular, what films are made available and are therefore considered “important” — the working hypothesis appears to be that movies magically appear and disappear. The general idea is that the designated tooth fairies of product flow — producers, directors, distributors, exhibitors, and critics — make things happen and the only thing viewers are supposed to do is show up for the movie, rent the video, or decide to do neither.

Most viewers understandably don’t want to be bothered with the machinations that determine which movies turn up and which don’t. To tell the truth, most critics don’t want to be bothered with these matters either. But sustaining such innocence may involve too high a price. Readers who complain that 1997 was a mediocre year for movies are probably counting only the multiplex entries, only one of which made it onto my ten-best list — though why anyone would eliminate everything else in a city like Chicago remains a mystery, perhaps explainable by saturation advertising, mass-media complicity in making everything but multiplex movies look unimportant, and the supposed inconvenient locations of some theaters. Read more

From the Chicago Reader (November 14, 1997). –J.R.

Fast, Cheap & Out of Control

Rating **** Masterpiece

Directed by Errol Morris

With Dave Hoover, George Mendonca, Ray Mendez, and Rodney Brooks.

To name an object is to suppress three-fourths of the enjoyment of the poem, which is composed of the pleasure of guessing little by little: to suggest…that is the dream. –Stéphane Mallarmé

If narratives are arrangements of incidents with precise beginnings, middles, and ends, then Errol Morris’s exciting and singular Fast, Cheap & Out of Control doesn’t really qualify. You can’t even call it a documentary in any ordinary sense, because you often can’t say exactly what’s being documented. I suspect that poetry offers a better model for what Morris is up to, particularly Mallarmé’s idea of what poetry should be: an obscure object shaped and defined in successive increments by the reader’s perception and imagination.

Four men are interviewed separately in Morris’s film — a lion tamer (Dave Hoover), a topiary gardener (George Mendonca), a mole-rat specialist (Ray Mendez), and a robot scientist (Rodney Brooks) — and they recount the origins as well as some of the development of their passion for their work. Who they are apart from their work almost never comes up. Read more

From the Chicago Reader (May 5, 1989). — J.R.

SCANDAL

*** (A must-see)

Directed by Michael Caton-Jones

Written by Michael Thomas

With John Hurt, Joanne Whalley-Kilmer, Bridget Fonda, Ian McKellen, Leslie Phillips, Britt Ekland, Daniel Massey, Roland Gift, and Jeroen Krabbe.

After applauding some of the forthright aspects of High Hopes and other recent English movies in this space two weeks ago, I’m happy to find my generalizations confirmed by a new English docudrama on the John Profumo-Christine Keeler sex scandal of 30 years back. Scandal, the first movie made on this subject, is good, clean, licentious fun.

While the titillating aspects of the story automatically place the film under the general rubric of “trash,” Scandal gleefully embraces its category without being unduly dumb or irresponsible about it. Starting off with an evocative period montage of the late 50s and early 60s, accompanied by the strains of Frank Sinatra’s recording of “Witchcraft,” the movie proceeds to unravel its complex narrative with a kind of polish that excludes any pretense of telling the “whole” story. (The project started out as a five-hour miniseries, and got boiled down to a feature after the BBC decided not to participate, but it is questionable whether the entire story could have been told even at miniseries length.) Read more

From the Chicago Reader (February 15, 2002). — J.R.

Kandahar

*** (A must-see)

Directed and written by Mohsen Makhmalbaf

With Nelofer Pazira, Hassan Tantai, and Sadou Teymouri.

“Shall I recite the Koran for the dead?”

“We are the dead; sing for us.”

— Kandahar

There are times in history when the aesthetic quality of a work of art appears to become secondary to the urgency and currency of the work’s subject matter. The era of Italian neorealism was arguably one of those times. Kandahar — a film in which the terrible and the wonderful, the gauche and the graceful, the beautiful and the ugly, and the smart and the not-so-smart rub shoulders — surely marks another.

In many ways the qualities of Kandahar that derive from actuality operate as art ordinarily does — so that, for instance, the bad acting serves as well as good acting would to bring us closer to the people we’re seeing. In some ways, the bad acting may even serve better, because it allows more of the actors’ personal characteristics to shine through. Yet once we become aware of this, our responses to the actuality become aestheticized. And even if we could overlook the quality of the acting altogether — no easy matter — writer-director Mohsen Makhmalbaf is too much of an artist to abandon the aesthetic parts of his sensibility. Read more

From the Chicago Reader, March 28, 2003. I was shocked learn on January 30, 2010 about the freakish and accidental death of Karen Schmeer, the gifted editor of The Same River Twice as well as many of Errol Morris’s films (including my favorite, Fast, Cheap, & Out of Control), in New York City, when she was hit by a car speeding away from a drugstore robbery — J.R.

The Same River Twice **** (Masterpiece)

Directed by Robb Moss.

Stevie **** (Masterpiece)

Directed by Steve James.

The first Chicago International Doc Film Festival is drawing to a close this weekend. Critics tend to make assumptions about the State of Cinema as if that were a knowable entity, generalizing on the basis of the few crumbs of pie the film industry and the media toss us. But we’re forced to face the inadequacy of those assumptions when something like this documentary festival demonstrates that the pie is a lot larger than we thought.

Two powerful documentaries screening this week — The Same River Twice, showing as part of the festival on Sunday at Facets Cinematheque, and Stevie, starting a regular run at Landmark’s Century Centre — make an instructive pair. Read more

From the March-April 1976 Film Comment. I’m somewhat irritated today by the hectoring tone of this, but I tend to think most of my arguments are sound — apart from my far-too-facile insistence that Barry Lyndon is a failure, which I would now dispute. — J.R.

So BARRY LYNDON is a failure. So what? How many “successes” have you seen lately that are half as interesting or accomplished, that are worth even ten minutes of thought after leaving them? By my own rough count, a smug little piece of engineering like a CLOCKWORK ORANGE was worth about five. I’m reminded of what Jonas Mekas wrote about ZAZIE several years ago: “The fact that the film is a failure means nothing. Didn’t God create a failure, too?”

Anyway, what most Anglo-American critics appear to mean by failure is that they were (a) bewildered and (b) bored by their bewilderment. To some extent, I was bewildered and befuddled too. So what? Who says we have to understand a film back to front before we can let ourselves like it? “The fault, dear Brutus, is not in our stars,/But in ourselves, that we are underlings.”

London critics got to see BARRY LYNDON at least a couple of weeks before their New York counterparts, so the contrasts and comparisons that were drawn were somewhat different: while most of the former chastised Kubrick for his beautiful images before going on to rave about HARD TIMES (known over here as THE STREETFIGHTER) or A WOMAN UNDER THE INFLUENCE, the latter were usually more equitable in establishing that BARRY LYNDON and LUCKY LADY were both failures, leading the unwary to suspect that they might as well be equivalents. Read more

From the March 26, 2004 Chicago Reader. This may help to explain, at least in part, why I had no desire to see the Coens’ other remake, True Grit. (Two other reasons that come to mind:  I didn’t like the original and I’m sick of American revenge plots, offscreen as well as onscreen.) — J.R.

The Ladykillers

** (Worth seeing)

Directed by Joel and Ethan Coen

Written by the Coens and William Rose

With Tom Hanks, Irma B. Hall, Marlon Wayans, J.K. Simmons, Tzi Ma, Ryan Hurst, Diane Delano, and George Wallace.

The day after I saw the Coen brothers’ remake I watched the original — the Ealing Studios’ The Ladykillers, a popular 1955 English classic directed by Alexander Mackendrick a couple of years before he directed Sweet Smell of Success in the U.S. I’d taped the original over a decade ago, long before American Movie Classics started recutting features and inserting commercial breaks. AMC may assume that any film in which English is spoken is somehow American, but The Ladykillers, scripted by William Rose, is so thoroughly English I doubt its humor could be fully understood without reference to the English character or 20th- century English history. Read more

From the Chicago Reader (January 12, 1990). I was disappointed to hear from one of the audio commentators on the Criterion DVD of Solaris that he regarded the lengthy highway sequence as one of the film’s “weaker” sections; for me it’s one of the highlights, both as a provocation and as a “musical” interlude that becomes an occasion for hypnotic drift. — J.R.

SOLARIS **** (Masterpiece)

Directed by Andrei Tarkovsky

Written by Friedrich Gorenstein and Tarkovsky

With Donatas Banionis, Natalya Bondarchuk, Yuri Jarvet, Vladislav Dvorzhetsky, Anatoly Solonitsin, and Sos Sarkissian.

“We take off into the cosmos, ready for anything: for solitude, for hardship, for exhaustion, death. Modesty forbids us to say so, but there are times when we think pretty well of ourselves. And yet, if we examine it more closely, our enthusiasm turns out to be all sham. We don’t want to conquer the cosmos, we simply want to extend the boundaries of Earth to the frontiers of the cosmos. For us, such and such a planet is as arid as the Sahara, another as frozen as the North Pole, yet another as lush as the Amazon basin. Read more