Jonathan Rosenbaum

Mitchell Leisen’s 1934 Death Takes a Holiday, based on a 1924 Italian play hy Alberto Cassella, doesn’t regard itself as a comedy. But its realization is founded on what I take to be an unconsciously comic premise: the notion that Death, as played by Fredric March–who comes to Earth as a human for three days to enjoy a holiday in a mansion full of wealthy guests–is a foreigner. Admittedly, Death is actually impersonating a deceased foreigner, Prince Sirki,, in order to consort with humans, but March already has a foreign accent even before he assumes this disguise.

Why? Arguably this is because Death as a metaphysical reality is both exotic and romantic in the movie’s terms, which is apparently part of what makes the Prince so alluring to Grazia (Evelyn Venable). By the same token, whenever March seems to periodically lose his foreign accent and become as American or as pseudo-English as the other swells is when we’re asked to perceive him as a mortal.

In short, Death taking a holiday gives our mortality a reprieve and Death returning is something like a foreign invasion. [3/20/21] Read more

From the Chicago Reader (November 18, 2005). Click on the second photo below. — J.R.

Arguably Louis Malle’s best work (1960). Based on Raymond Queneau’s farcical novel about a little girl (Catherine Demongeot) left in Paris for a weekend with her decadent uncle (Philippe Noiret), this wild spree goes overboard reproducing Mack Sennett-style slapstick, parodying various films of the 1950s, and playing with editing and color effects (Henri Decae’s cinematography is especially impressive), though gradually it becomes a rather disturbing nightmare about fascism. Forget the preposterous claim by a few critics that the movie’s editing influenced Alain Resnais, but there’s no doubt that Malle affected Richard Lester — and was clearly influenced himself by William Klein, whom he credited on the film as a visual consultant. A rather sharp, albeit soulless, film, packed with ideas and glitter and certainly worth a look. In French with subtitles. 93 min. Sun 11/20, 3 and 5 PM, Facets Cinematheque.

A column for Caiman Cuadernos de Cine, submitted in May 2021. — J.R

One of my major recent activities, probably shared by most of my readers during the pandemic, is finding “new” (that is to say, unfamiliar) films to watch online. So, after reading a 1970 interview with the usually publicity-shy Elaine May in the New York Times, where she cited “Holiday for Henrietta” (La fête à Henriette, 1952), a film I’d never heard of, and Anchors Aweigh (1945), an MGM musical I only dimly recalled from childhood, as particular favorites, along with The Wizard of Oz (1939), I treated the first two of these idle references as recommendations, meanwhile wondering if they might also provide certain clues to or predictions of May’s own filmmaking practices in A New Leaf (1971), The Heartbreak Kid (1972), Mikey and Nicky (1985), and/or Ishtar (1987).

Well, Anchors Away at least offers some predictions. It costars Gene Kelly and Frank Sinatra as sailors on leave in San Diego and Hollywood—Kelly a brash extrovert and womanizer, Sinatra a shy introvert, anticipating the respective male duos of Nicky (John Cassavetes) and Mikey (Peter Falk) in May’s third feature, and even the blatant casting-against-type of Chuck (Dustin Hoffman) and Lyle (Warren Beatty) in her fourth. Read more

From the Chicago Reader (February 1, 1988). — J.R.

Like William Wyler’s 1939 adaptation of the Emily Bronte novel, as well as Jacques Rivette’s Hurlevant, Luis Buñuel’s 1954 Mexican version discards the original novel’s framing strategy of telling the story from the viewpoint of two outsiders—a regrettable elision in all three cases, because much of the novel’s power and meaning stem from this crucial distancing strategy. Yet Buñuel’s low-budget melodrama has a certain gothic ferocity that’s missing in the other versions; the results are mixed, but seldom unworthy of the master. With Iraseme Dilian, Jorge Mistral, and Lilia Prado; in Spanish with subtitles. 91 min.

–

At Il Cinema Ritrovato in Bologna in the summer of 2015, Ehsan Khoshbakht and I launched  a “Jazz Goes to the Movies” program, and reproduced below are our catalogue descriptions of what we showed. Late in June, Ehsan and I will be presenting a sequel to this program, with shorts featuring Duke Ellington.– J.R.

Jazz Goes to the Movies

Now that jazz is no longer assumed to be automatically synonymous with decadence and the forces of darkness, it can finally be experienced and evaluated on its own terms, and we can begin to look back on a century-long partnership of jazz and film with a certain objectivity. Both are relatively new arts roughly contemporaneous with the 20th century, having grown out of socially disreputable origins and having fought for serious recognition.

Part of this partnership has yielded the “jazz film,” a subgenre basically devoted to the recording of performances. But there are also successful collaborations between the expressive possibilities of jazz and film. And the ways in which jazz has been used in movies invariably tells us a great deal about the social, ethnic, aesthetic, and cultural biases of diverse societies and periods. The various responses of film producers to integrated jazz groups in the thirties, forties, and fifties, provide a kind of thumbnail social history. Read more

From the Chicago Reader (November 18, 1994). — J.R.

You can figure out a lot about the differences between our culture and French culture by comparing two current series of low-budget TV features about teenagers. The French series, Tous les garcons et les filles de leur age (“All the Boys and Girls of Their Age”), produced by the French “cultural” channel Arte, has yielded half a dozen features, most of them first-rate. The idea is for the filmmaker to make a fictionalized version of his or her own teenage years set in the appropriate period (different in each film) and to include at least one party scene in which pop songs of that era are used. (The series is financed in part by Polygram, which has furnished the appropriate recordings.) The first of these, Patricia Mazuy’s Travolta and Me, showed at last year’s Chicago International Film Festival; four others were programmed at the festival last month — Olivier Assayas’ Cold Water, André Téchiné’s Wild Reeds, Cedric Kahn’s Too Much Happiness, and Chantal Akerman’s Portrait of a Young Girl From Brussels — but unfortunately the first and best of these was canceled at the last minute. One more, Claire Denis’ Boom Boom [later retitled U.S. Read more

From Monthly Film Bulletin, October 1974 (vol. 41, no. 489). –- J.R.

Drummer of Vengeance

Great Britain, 1974

Director: Robert Paget

The American West, shortly after the Civil War. A rebel soldier who goes over to the Union army returns home to find his Indian wife and his son murdered — the former after having been raped — and their house burned to the ground by vengeful Confederates. Coming upon a wind-up toy drummer in the ruins, he vows to track down and kill all the men responsible. His usual method of revenge is to wind up the toy, place it on the ground, and ask his victim to make his play — whether armed or unarmed – before shooting him. He pays a carpenter to make the necessary coffins in advance and quickly dispatches six of the men he is after. The angry townsfolk, eager to be rid of the avenger (known only as the Stranger) and anxious for Sheriff Mason to apprehend him, are spurred on by the fanatical Bible-spouting of the town’s gravedigger — actually the Stranger in disguise. The Stranger also impersonates an Indian in a lance-throwing act in O’Conner’s Travelling Show in order to kill his next victim. Read more

A column for the Spanish monthly Caiman Cuadernos de Cine, submitted on February 16, 2021. — J.R.

I can’t decide which is more depressing — the capitalist suppression of Woody Allen’s latest comedy (Rifkin’s Festival) in the U.S. for stupid reasons or the stupid film itself and all that it doesn’t have to say (i.e., as little as possible) about Spain, the Basque country, San Sebastian, sex, romance, growing old, cinema, publicity, film festivals, Fellini, Bergman, Buñuel, Welles, Godard, and Truffaut — to mix metaphors, a veritable flood of empty holes. Film historian Joseph McBride, who like me sneaked an unauthorized look, finds “pleasurable” and “relaxed” what I find juiceless and inert. (What other film removes most of Gina Gershon’s sex appeal?) 

The fact that some colleagues can find fun in Rifkin’s Festival epitomizes for me a particular American pathos — a sadness akin to labeling some of Donald Trump’s Republican slaves heroic martyrs if they briefly broke away from his directives after spouting and supporting his dangerous nonsense for months. But I’m susceptible to the same sort of foolishness when I pass some post-surgery recovery time enjoying the audiobook of Mark Harris’ Mike Nichols: A Life (over 20 hours long), as undemanding in its professional polish as all the Nichols films I’ve wasted my time watching. Read more

From the Chicago Reader (August 1, 1997). — J.R.

Though light-years away from anything resembling political correctness, this 1932 horror thriller is often magnificent, imaginative stuff — bombastic pulp at its purple best. Boris Karloff stars as the archvillain of the Sax Rohmer novels, a Chinese madman menacing an expedition to the tomb of Genghis Khan. Charles Brabin directed; with Lewis Stone, Karen Morley, Jean Hersholt, and Myrna Loy (as Karloff’s daughter). 72 min. On the same program, chapter seven of the 1938 serial Flash Gordon’s Trip to Mars. LaSalle Theatre, LaSalle Bank, 4901 W. Irving Park, Saturday, February 16, 8:00, 312-904-9442.

Read more