Jonathan Rosenbaum

SIN: SELECTED POEMS BY FORUGH FARROKHZAD, translated by Sholeh Wolpé, Forward by Alicia Ostriker, Fayetteville: The University of Arkansas Press, 2007, 134 pp.

I came upon this book quite by chance yesterday, while browsing through a bookstore. Although    I have three earlier collections of Forugh Farrokhzad’s poetry in English (BRIDE OF ACACIAS, translated by Jascha Kessler with Amin Banani, Delmar, NY: Caravan Books, 1982; A REBIRTH, translated by David Martin, Costa Mesa, CA: Mesa Publishers, 1997; and REMEMBERING THE FLIGHT: TWENTY POEMS BY FORUGH FARROKHZAD, translated by Ahmad Karimi-Hakkak, Port Coquitlam, B.C., Canada: Nik Publishers, 1997), and one book in English about her poetry (A LONELY WOMAN: FORUGH FARROKHZAD AND HER POETRY by Michael C. Hillmann, Washington, D.C.: Three Continents Press and Mage Publishers, 1997), all these books have been and remain extremely difficult to come by, and apart from the Hillman (jn an earlier edition), none of these is even mentioned in the “Recommended Reading” at the end of this new volume.

It’s a sad fact that while apparently you can go into any good-sized bookstore in Iran and expect  to find translations of the major works of William Faulkner (or so I’ve been told by Iranian friends), finding any translated book by the most important Iranian woman poet of the 20th century (1935-1967) in even a large American bookstore has been virtually impossible up until now.… Read more »

Written for my En movimiento column for the September 2013 issue of Caiman Cuadernos de Cine. Reseeing The Hanging Tree tonight, I was fascinated to discover how much McCabe and Mrs Miller was indebted to its prostitutes and its fires, and how often Daves could use a crane as if it were a musical instrument.— J.R.

“Many of Delmer Daves’s films are beloved, but to say that he remains a misunderstood and insufficiently appreciated figure in the history of American movies is a rank understatement.” This is how critic Kent Jones begins the second of his two essays accompanying the simultaneous Criterion releases on DVD and Blu-Ray of Jubal (1956) and 3:10 to Yuma (1957), the first two in a string of three Westerns that Daves made with Glenn Ford. (The third was Cowboy in 1958.)

I saw the two Blu-Rays, in reverse order, on the same day, and I agree entirely with Jones that 3:10 to Yuma (ignoring its reportedly lamentable recent remake) is a remarkable achievement — as much for Glenn Ford’s performance as a charismatic villain as it is for the diverse dramatic and visual nuances of Daves, working in black and white and widescreen. Speaking as someone for whom Glenn Ford’s heroism in my youth was as important as that of James Stewart or Cary Grant, I was also astonished by the unpredictable and multileveled killer-hipster and delicate gangleader-womanizer he creates here (and also grateful for a fascinating interview with his son and biographer Peter Ford, included as a bonus).… Read more »

This is the 8th bimonthly column I’ve published in Cahiers du Cinéma España; it ran in their September 2008 issue. — J.R.

Ever since I retired from my twenty-year stint as a film reviewer at the Chicago Reader, I’ve been reluctant to see new releases, either as a freelance reviewer or as an ordinary spectator. One reason for this attitude is a reaction to having been obliged for so long to see many hundreds of films I had no personal interest in, many of which I gratefully forgot about shortly after submitting my reviews. Another motivation is that I’m usually so happy seeing or reseeing older films, most often on DVD, that it’s hard to find many new films that are equally enticing.

Undoubtedly my age and physical laziness both play roles in this bias, but I honestly think that the diminishing quality of commercial releases also has a significant influence. I’m not saying that there’s been a decline in cinema more generally — apart from such factors as the eclipse of the Hollywood studios or (for example) the increasing censorship in Iran — because I think it’s arrogant to make such sweeping generalizations on the basis of the tiny fraction of what gets made that one has access to.… Read more »

My sixth bimonthly column for Cahiers du Cinéma España, this ran in their April 2008 issue (No. 11). — J.R.

A personal highpoint for me at the 42nd annual voting session of the National Society of film Critics, held in early January, was successfully proposing two of the awards given that afternoon. One was for the best experimental film of 2007, which went to John Gianvito’s Profit Motive and the Whispering Wind — a beautiful 59-minute documentary about cemeteries and memorials in the U.S. commemorating political struggles, made by the writer-director of The Mad Songs of Fernanda Hussein (2001), a dedicated independent who might be described as an “amateur” filmmaker in the very best sense of the word (much as Jean Cocteau could be described in the same fashion). The other prize, the “Film Heritage Award,” went jointly “to Ford at Fox, a 21-disc box set from Fox Home Video” and “to Ross Lipman of the UCLA Film and Television Archive for the restoration of Charles Burnett’s Killer of Sheep and other independent films”. I should add that only the first of these two awards was my own idea; for the Film Heritage Award, I was simply conveying and arguing on behalf of the proposal of an absent member of the National Society of Film Critics, Dave Kehr (a critic who writes the excellent weekly DVD column for the New York Times).… Read more »

SPECIAL CITATION for a film awaiting American distribution: Sieranevada (Romania) Cristi Puiu

FILM HERITAGE AWARD: Kino Lorber’s 5-disc collection “Pioneers of African-American Cinema”

BEST ACTOR

*1. Casey Affleck (65) – Manchester by the Sea

2. Denzel Washington (21) – Fences

3. Adam Driver (20) – Paterson

BEST ACTRESS

*1. Isabelle Huppert (55) – Elle and Things to Come

2. Annette Bening (26) – 20^th Century Women

2. Sandra Hüller (26) – Toni Erdmann [tied with Bening]

BEST SUPPORTING ACTOR

*1. Mahershala Ali (72) – Moonlight

2. Jeff Bridges (18) – Hell or High Water

3. Michael Shannon (14) – Nocturnal Animals

BEST SUPPORTING ACTRESS

*1. Michelle Williams (58) – Manchester by the Sea

2. Lily Gladstone (45) – Certain Women

3. Naomie Harris (25) – Moonlight

BEST SCREENPLAY

*1. Manchester by the Sea (61) – Kenneth Lonergan

2. Moonlight (39) – Barry Jenkins

3. Hell or High Water (16) – Taylor Sheridan

BEST CINEMATOGRAPHY

*1. Moonlight (52) – James Laxton

2. La La Land (27) – Linus Sandgren

3. Silence (23) – Rodrigo Prieto

BEST PICTURE

*1. Moonlight (54)

2. Manchester by the Sea (39)

3. La La Land (31)

BEST DIRECTOR

*1. Barry Jenkins (53) – Moonlight

2.… Read more »

This was published as my ninth one-page column in  Cahiers du Cinéma España; it ran in their January 2009 issue (No. 19). — J.R.

It’s by no means unusual for a “retired” film scholar such as myself to find more work as a freelancer since my retirement late last February than I did for most of the previous two decades as a staff reviewer for the Chicago Reader. Two of my contemporaries, both former academics and both friends of mine — the slightly younger David Bordwell and the slightly older James Naremore — have told me that they’re busier nowadays than they were when they were teaching. But what seems more surprising, at least to me, is how much of my time recently has been consumed by my participation in panels and symposia, both in print and in person, about the alleged death of film criticism. The October issue of Sight and Sound is full of ruminations on this subject, under such headings as “Who needs critics?” and “critics on critics”; so is the Autumn issue of Cineaste, where the stated topic is “Film Criticism in the Age of the Internet: A Critical Symposium”. A week from now, I will be flying from Chicago to the New York Film Festival to speak on a panel called “Film Criticism in Crisis?”… Read more »

A column for the Spanish magazine Caimán Cuadernos de Cine. I believe it was written circa May 2014-.  J.R.

En movimiento: Welles in Woodstock

Jonathan Rosenbaum

I’ve recently returned from Woodstock Celebrates Orson Welles, a delightful two-day event in Illinois (16-17 May) organized by Kathleen Spaltro and commemorating the 80^th anniversary of the Todd Theatre Festival held at the Woodstock Opera House in 1934, orchestrated by Welles at the age of 19 and sponsored by his mentor and one of his lifelong best friends, Roger Hill — headmaster of the Todd School for Boys, which Welles attended from 1926 to 1930.

When Welles graduated from Todd, Hill wanted him to attend Harvard while Welles’ guardian, Dr. Maurice Bernstein (whom Everett Sloane’s character in Citizen Kane was named after), hoped he would go to Cornell. But Welles, still under the spell of an article published by one of Chicago’s leading drama critics, Ashton Stevens (who wrote for the Chicago Herald-American, a Hearst newspaper, and was the model for Jed Leland in Kane), predicting that the young genius was destined to become a major actor, didn’t want to go to college. So a compromise was struck:  Welles would travel to Scotland, Ireland, and England on a sketching tour before embarking on any formal education, writing letters home to chart his progress and his adventures.… Read more »

This was written in May 2014 for an Italian volume about fantastique cinema between 1980 and 2010 coedited by Antonio Gragnaniello. — J.R.

Speaking to Tom Milne and Richard Combs in Monthly Film Bulletin, the director of Aspern, Eduardo de Gregorio (1942-2012), avowed that “it was never meant to be a fantastique film”— which isn’t surprising given that its source, Henry James’ novella The Aspern Papers, has no relation to that genre either. But it was regarded by several French critics as having some relation to fantastique, apparently for two reasons: because fantastique as opposed to fantasy is often regarded as a matter of style and/or atmosphere rather than content, and because the better known works of de Gregorio — such as his scripts for Jacques Rivette’s Céline et Julie vont en bateau, Duelle, and Noroît and his own Sérail and Tangos volés—clearly belong to fantastique, while his work as a whole has clear links to both the 19^th century Gothic tradition and the so-called “magical realism” of 20^th century Latin American literature.

Even though much of Henry James’ dialogue is carried over into Aspern (translated into French), its basic plot — an obsessive literary scholar (the narrator in James’ tale) insinuates himself into the Venice household of an aged woman cared for by her lonely spinster niece with the aim of procuring her love letters from Aspern, a long-deceased romantic poet she was once involved with — undergoes several decisive changes in de Gregorio’s version, scripted by his partner at the time, Michael Graham.… Read more »