Jonathan Rosenbaum

This was organized by my dear friend Sunčica Fradelić, who was one of the mainstays of FilmFactory in Sarajevo (2013-2016), where I taught four times. She’s now working as the director of Kino Klub Split, where I’ve subsequently lectured and taught several times, and  the only reason why she couldn’t attend the Workshop’s final (and only) Zoom meeting, which was yesterday, is that her boiler broke. But because she belongs in the picture below, I’ve added a picture of her that I took at a panel at Split’s Kino Klub last year.

Even though not all of the seven students, located in different parts of Serbia and Croatia, made it to the end of the workshop –- which was conducted via emails shared by everyone before our 105-minute “in-person” gathering yesterday — I told the five who made it through that they were the brightest reviewers I’ve ever been lucky enough to teach, even though the English they wrote in was their second language.  The films they wrote about were Last Year at Marienbad, Rio Bravo, The Enchanted Desna, and Rear Window, and the reviews they read aloud and discussed yesterday will be posted later on Kino klub Split’s web site.[3/21/21] Read more

From the March 1, 1994 Chicago Reader. — J.R.

The year is supposed to be 1958, but because the filmmakers are Fargo’s Joel and Ethan Coen — the Beavis and Butt-head of starstruck independents, who clearly consider themselves better than history — what we get are various elements swiped from other movies made between 1929 and 1994, the year this was released. These massive borrowings, many from the screwball comedies of Frank Capra, Preston Sturges, Billy Wilder, and Terry Gilliam (plus a giant clock from Raoul Walsh’s The Horn Blows at Midnight), are mixed together with fancy sets to yield a jeering, dreamlike comedy with nothing much on its mind except how neat the Coen brothers are and how stupid or contemptible everybody else is, including everyone in the audience. This is a fantasy about the invention and mass marketing of the hula hoop as seen through the absurdist rise to executive power of a midwestern hayseed (Tim Robbins) gulled by both a cynical vice president (Paul Newman) and a cynical reporter (Jennifer Jason Leigh). At its best it’s a free-form fantasy with glitzy, well-executed effects and assorted metaphysical conceits but little feeling for any of the characters apart from derision (with a few touches of racism here and there). Read more

Written in March 2011 for Madman Entertainment, an Australian DVD company.

One couldn’t say that there’s any firm consensus that Frank Tashlin’s dazzling 1957 satire about advertising and television is his greatest film. Some Tashlin fans would opt for either of the two late Dean Martin and Jerry Lewis vehicles that he directed for Paramount, Artists and Models (1955) or Hollywood or Bust (1956), or else would select his earlier CinemaScope vehicle for Jayne Mansfield at Twentieth Century-Fox, The Girl Can’t Help It (1956). But there’s certainly no doubt that Will Success Spoil Rock Hunter? stands apart from the rest of his work, as the freest and the most deconstructive of all his comedies — and it’s worth adding that Tashlin himself cited it to Peter Bogdanovich (who interviewed him in 1962, during the shooting of It’$ Only Money) as the film he was “most satisfied with”. (In another interview, he suggested that The Girl Can’t Help It was his other personal favorite; it appears that the role played by executive producer Buddy Adler in granting Tashlin an unusual amount of freedom and leeway on both pictures had a lot to do with these judgments.) In keeping with George S. Read more

From the March 20, 2003 Chicago Reader. — J.R.

Marlon Brando is pitted against Anna Magnani in this 1960 adaptation by Tennessee Williams and Meade Roberts of Williams’s play Orpheus Descending, and as Dave Kehr once remarked in these pages, It’s the biggest grudge match since King Kong met Godzilla. Unfortunately, director Sidney Lumet, who’s sometimes out of his element when he leaves New York, seems positively baffled by the gothic south and doesn’t know quite what to do with the overlay of Greek myth either. With Joanne Woodward, Victor Jory, and Maureen Stapleton. 135 min. (JR)

From the Chicago Reader (November 7, 2003). — J.R.

Elephant

**** (Masterpiece)

Directed and written by Gus Van Sant

With Alex Frost, Eric Deulen, John Robinson, Elias McConnell, Jordan Taylor, Carrie Finklea, Nicole George, Brittany Mountain, Bennie Dixon, Nathan Tyson, Alicia Miles, Kristen Hicks, Timothy Bottoms, and Matt Malloy.

Gus Van Sant’s startling and brilliant Elephant — a film that follows the activities of several high school students before and during a massacre like the one at Columbine — has its flaws, yet its virtues so outshine them that the years he’s spent lost in the wilderness can be forgiven. His four previous features weren’t exactly dead on arrival, though his 1998 remake of Psycho came alarmingly close. But the filmmaker responsible for such fresh early shorts as The Discipline of DE (1978) and My New Friend (1987) and such exciting early features as Mala Noche (1985), Drugstore Cowboy (1989), and My Own Private Idaho (1990) was almost nowhere in evidence in Good Will Hunting (1997), Psycho, or Finding Forrester (2000) and only faintly discernible in the experimental feature Gerry (2001). (In between were two satirical features, the uneven 1993 Even Cowgirls Get the Blues and the more successful 1995 To Die For.) Read more

From the Chicago Reader (December 1, 1987). — J.R.

Woody Allen’s worst film and second pure noncomedy — a desperate low-energy recycling operation — features four (or, arguably, five) cases of unrequited love among six characters stagebound in a New England summer house for about 18 hours: a suicidal depressive (Mia Farrow), loved by both her flamboyant mother (Elaine Stritch) and a middle-aged widower (Denholm Elliott), loves only an unfulfilled writer (Sam Waterston), who loves only the suicidal depressive’s best friend (Dianne Wiest), who doesn’t know who or what she wants. To add a little contrast, the mother is happily married to a physicist (Jack Warden), but just to make sure that we don’t jump to any wrong conclusions about this, the latter imparts to us the helpful wisdom that the meaninglessness of the universe is more depressing than the threat of nuclear annihilation (perhaps the key to Woody’s no-sweat politics). Wiest remarks at another point that she’s married to a radiologist, but she won’t let him x-ray her because she doesn’t want him to know what’s inside her. Most of the writing is on this glib and wretched level, and the laws of diminishing returns and what James Agee once called rigor artis set in with a stultifying vengeance. Read more

From the Chicago Reader (November 1, 1992). Too bad that this hasn’t been made widely available either online or on disc–although I’ve just discovered that a Swedish DVD exists (see below).  I much prefer it to Sontag’s previous feature, Duet for Cannibals, which recently came out in both formats.  — J.R.

Susan Sontag’s seldom-seen second feature — filmed in Sweden like her first (Duet for Cannibals) but in English and with a cast of Swedish and French actors — shows the influence of Bergman’s Persona, Dreyer’s Ordet, and Whale’s Frankenstein as it depicts two tortured relationships, a suicide, and a miracle. The major characters include an unhappily married couple, a mainly mute former dancer (Laurent Terzieff) who occasionally suggests Nijinsky, and an autistic child. The results can’t exactly be called the work of a natural filmmaker, but they’re fascinating for anyone interested in following the themes and formal concerns of Sontag’s fiction as well as some of her essays, including “On Silence”. This is no masterpiece, but it certainly deserves more attention than it’s received (1971). (JR)

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From the Chicago Reader (January 14, 2005). — J.R.

Yasujiro Ozu Retrospective

at the Gene Siskel Film Center

It’s no longer controversial to assert that Yasujiro Ozu (1903-’63) is one of the greatest filmmakers ever — certainly one of the top dozen and possibly the greatest of those who’ve focused on family life. But getting a fix on his work remains far from easy. Only 34 of his 50-odd films appear to have survived, and two features exist only in fragments. The Gene Siskel Film Center’s retrospective, which started last week and runs through March 3, includes 25 features, and some of his other works, including a seldom-shown documentary short, might be screened later if the features draw big enough crowds.

One of the films showing this week, Tokyo Story (1953) — the first Ozu film to have been seen widely in the West, and still the best known and most highly regarded — is a good starting point for viewers unfamiliar with his work. (So are Equinox Flower and Good Morning, two gorgeous color films from the late 50s, showing later this month.) But it has led many critics to make unfair broad generalizations about Ozu’s style and content, to claim that his films are slow and conservative, his technique minimalist. Read more

From the Chicago Reader (March 9, 1990). — J.R.

Frank Capra’s very atypical drama about an American missionary (Barbara Stanwyck) being taken prisoner by a Chinese warlord (Nils Asther) is not only his masterpiece, but one of the great love stories to come out of Hollywood in the 30s–subtle, delicate, moody, mystical, and passionate. Joseph Walker shot it through filters and with textured shadows that suggest Sternberg; Edward Paramore wrote the script, adapted from a story by Grace Zaring Stone. Oddly enough, this perverse and beautiful film was chosen to open Radio City Music Hall in 1933; it was not one of Capra’s commercial successes, but it beats the rest of his oeuvre by miles. With Walter Connolly and Lucien Littlefield; Stanwyck and Asther, both extraordinary, have perhaps never been better. A newly struck 35-millimeter print will be shown. (Film Center, Art Institute, Columbus Drive at Jackson, Saturday and Sunday, March 10 and 11, 4:15, 443-3737)

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