Jonathan Rosenbaum

The third and most enjoyable of Gilbert Adair’s Evadne Mount mysteries, just published in the U.K., is by all counts the least satisfying or conventional as a mystery—even though Adair, who features himself as first-person narrator, largely compensates for this by shoe-horning in a rather brilliant pastiche of a Sherlock Holmes tale in the fourth chapter, roughly a third of the way through.

Adair is a master of pastiche whose best-known previous novels (and even one of his non-fiction books, Myths and Memories) all derive from literary models, so that Alice Through the Needle’s Eye is a brilliant Lewis Carroll spinoff, The Key of the Tower is an hommage to Alfred Hitchcock, and even his two best-known books, both made into films, The Dreamers (known in an earlier version as The Holy Innocents) and Love and Death on Long Island, are derived respectively from Jean Cocteau’s Les Enfants Terribles and Thomas Mann’s Death in Venice.  The Evadne Mount novels, the first two of which are The Act of Roger Murgatroyd and A Mysterious Affair of Style, are all to varying degrees nods to Agatha Christie, to whom the latest is dedicated, but the postmodernist tricks and games with form, genre, and language tend to overtake the mystery elements—especially in the third, which gradually evolves into a rather merciless and scathing autocritique by Adair of his own literary narcissism as voiced by lady detective Mount, his own creation. Read more

A chapter from my book Film: The Front Line 1983 (Arden Press, 1983), still in print. — J.R.

Jacques Pierre Louis Rivette

Born in Rouen, France, 1928

Perhaps no single figure in this survey dramatizes the contradictions of the avant-garde film as an institution and social force better than Jacques Rivette — a major filmmaker who has consistently been denied credentials, recognition, or any sort of protection by the “official” avant-garde establishment, even though his work has generally been shunned just as consistently by the mainstream power structures. Who, then, gives a damn about Jacques Rivette? More people than either establishment cares to acknowledge or deal with. As someone who has written a good deal about Rivette, programmed his films in three countries, and edited the only book devoted to him in English (or French), I can report that everywhere I go, I meet passionate Rivette fanatics.

In London, I once met an American who dutifully translated most of Rivette’s old Cahiers du Cinéma reviews in his spare time, simply for his own amusement. I also once shared a Hampstead maisonette with a brilliant Israeli-born lecturer in philosophy of art whom I took to a screening of the four-hour Out 1: Spectre; he spent most of the rest of the night telling me why it was the greatest film ever made — only a sleepless day or so before he temporarily flipped his lid and tried to chop down part of our kitchen wall with a hatchet. Read more

From Film Comment (Spring 1972). — J.R.

According to the current issue of Pariscope – an indispensable guide to local moviegoing 260 films will have public screenings in Paris this week: 217 at commercial theaters, and 43 at the two Cinémathèques. By rough count, only 67 of these (about one fourth) are French. A hundred more are American, and the remaining 93 are split between fifteen other nationalities. Of the non-French films, approximately 40% are subtitled; except for a dozen or so at the Cinémathèques that will be shown without translation, the rest are dubbed.

It is possible that New York is beginning to surpass Paris in the number of interesting films that one can see. Yet the paradox remains that, if one excludes television – an incomplete form of film-watching at best – Paris maintains a decisive edge in narrative American cinema. To list only a dozen of the current undubbed features, is there anywhere else in the world where one can see ANATOMY OF A MURDER, ALL ABOUT EVE, DUCK SOUP, EASTER PARADE, MODERN TIMES, SALLY OF THE SAWDUST, THE SALVATION HUNTERS, SCARFACE, STAGECOACH, THE STRONG MAN, TABU, and THE WEDDING MARCH in a single week?

Aside from this particular kind of richness, there are pleasures, courtesies, and conveniences – as well as a few irritations – involved with Parisian moviegoing that one takes for granted here, but would not expect to find in the states. Read more

My interview with Alain Resnais in New York in December 1980 yielded three separate articles, written for Soho News, American Film, and Omni. This is an unedited draft of the latter; I can’t recall now whether or not it was ever published in some form, but I think it probably wasn’t. -– J.R.

From the 42nd floor of Manhattan’s elegant Park Lane Hotel, where French director Alain Resnais has been holding court, Central Park in the winter looks remote and unfamiliar, like the terrain of another planet. It resembles Resnais’ unexpected smash hit Mon Oncle d’Amérique -– a unique, original blend of art and science –- by resisting precise description  almost as confidently as it invites contemplation and wonder. And if the angle of vision that helps to account for this strangeness faintly suggests the vantage point of an amused yet saturnine deity, gazing down almost nostalgically, something of the same ambiance seems to inform the relation of the 58-year-old Resnais to his haunting comedy.

A master director who’s also a master of indirection -– always electing to tell a story in a different offbeat manner -– Resnais has never scripted any of his own features, But all of them are unmistakably personal reflections, generally about the past. Read more

From Video Times (February 1985). — J.R.

Mr. Hulot’s Holiday

(1953), B/W, Director: Jacques Tati. With Jacques Tati, Nathalie Pascaud, André Dubois, and Michelle Rolla. 96 min. Embassy, $59.95

Popular films that are also works of art are rare gems, and Mr. Hulot’s Holiday remains one of the artistic jewels in movie comedy. It is as great in its way as the best of Chaplin and Keaton. A radically different way of experiencing the world. it is such an unpretentious movie that it initially comes across as anything but radical. Even the set of instructions at the opening of the film are so laid-back and unassuming that they are hardly instructions at all: “Mr. Hulot is off for a week by the sea…Spend it with him…Don’t look for a plot, for holiday is meant purely for fun…If you look for it, you will find more fun in ordinary life than in fiction…So relax and enjoy yourselves…See how many people you can recognize. You might even recognize yourself.”

The preceding appears over waves crashing against the shore; director Jacques Tati, who also plays the title hero, Monsieur Hulot, then cuts to a shot of an abandoned boat on the beach. He holds on the boat until another succession of waves come in, then cuts to a crowded, noisy railroad station in France at the peak of the summer season. Read more

From American Film (December 1979). I’ve trimmed this a bit.  — J.R.

“Production alternatives, linguistic and symbolic mutations, new models of the entertainment spectacle, new forms of film consumption, the relation between various media, the financial state of various film industries…”

In the words of an introductory brochure, these were some of the topics and problems to be explored at an international conference, “Cinema in the 80s,” set in the midst of the Venice Biennale. For the thirty-odd speakers, myself included, who had been flown all the way to the Palazzo del Cinema on the Lido, there was plenty to think about while overcoming jet lag.

The conference’s three days were devoted to language, industry, and audience, in that order. Simultaneous translation (of a sort) over earphones offered versions of each speech in Italian, French, English, German, and Spanish. Despite these noble efforts, the conference inevitably evoked a Tower of Babel at times. Bringing together academics, critics, and filmmakers from half a dozen countries, thre sessions helped to clarify how far most members of each profession are today from speaking a common tongue. Specialists and experts on their elected turfs, they often respond like fish out of water when confronted with film people of different sorts. Read more

This review appeared in the January 1977 issue of Monthly Film Bulletin. The American title of this film was Jailbait.– J.R.

Wildwechsel (Wild Game)

West Germany, 1972
Director: Rainer Werner Fassbinder

Cert — X. dist –- Contemporary. p.c –- InterTel (West German TV). In collaboration with Sender Freies. p — Gerhard  Freund. p. sup -– Manfred Kortowski. p. manager -– Rudolf Gürlich, Siegfried B. Glökler. asst. d –- Irm Hermann. sc –- Rainer Werner Fassbinder. Based on the play by Franz-Xaver Kroetz.  ph –- Dietrich Lohmann. In colour. ed — Thea Eymèsz, a.d –- Kurt Raab, m -– excerpts from the work of Beethoven. songs -– “You Are My Destiny” by and performed by Paul Anka. l.p –- Eva Mattes (Hanni Schneider), Harry Baer (Hans Bermeier), Jörg von Liebenfels (Erwin Schneider), Ruth Drexel (Hilda Schneider), Rudolf Waldemar Brem (Dieter), Hanna Schygulla (Doctor), Kurt Raab (Factory Boss), El Hedi Ben Salem (Franz’s Friend), Karl Schedit and Klaus Michael Löwitsch (Policemen), Irm Hermann and Marquart Bohm (Police Officials). 9,180 ft. 103 min. Subtitles.

Hanni Schneider, fourteen, gets picked up by Franz Bermeier, nineteen, and loses her virginity with him in a hayloft. Read more

I believe that this essay was completed in spring 2010 — for a rather formidable book about Austrian experimental film edited by Peter Tscherkassky, Film Unframed: A History of Austrian Avant-Garde Cinema, available here and here and here.  — J.R.

1

The lessons available from Lisl Ponger’s cinema take many forms, but perhaps one could claim that most of them are separate versions of the same lesson — the lesson of coming to terms with our own ignorance. This is already apparent in the most elementary way in the earliest film of hers I’ve seen, Film — An Exercise in Illusion 1 (1980), a travelogue in which any precise sense of what it is that’s traveling — the camera? the camera’s aperture? the scenery? — becomes ambiguous. More specifically, if the essence of film in general and film illusion in particular is motion, these three minutes of silent, super-8 shots of Venice, filmed from a moving boat — or maybe it’s one shot and/or several moving boats — features movement within the camera as well as outside it, through extreme changes in light. Which is another way of saying that we don’t really know what we’re watching, even if it’s the nature of film illusion to persuade us that we think we know, conning us into superimposing some touristic narrative over whatever we’re seeing. Read more

From Film Comment, July-August 2001. I’m sorry that I haven’t been able to provide many illustrations for this that are tied to the films and videos discussed. Many of the ones I’ve used are drawn from earlier or later works by Saks, including paintings and photographs. — J.R.

It’s tempting to call Eric Saks’ preferred mode, in video and film alike, the pseudo-documentary — though there are times, mainly during my more apocalyptic moods, when I wonder if any other kind of American documentary currently exists. It’s less speculative to say that two of Saks’ main subjects are ecology and waste, but if you extend the meaning of those terms logically, you come up with just about the entirety of the sad American empire, President George W. Bush included.

Place Saks’ work in a drawer marked “weird stuff” or “marginal,” regardless of whether that drawer stays open or closed, and the gesture becomes the same kind of empty, self-fulfilling market judgment that his work laments — like the current functioning of national boundaries, simply a blind stab at demographics and market research rather than any valid estimation of universality. Yet Saks’ remarkable, neglected early 16mm feature Forevermore: Biography of a Leach Lord (89) and his more recent videos like Creosote and Dust breathe an everyday American desperation that we can all recognize, even when it comes wrapped (as it often does) in a literary tradition — a form of layered, weathered melancholy about American hunger that Thomas Pynchon captured perfectly (albeit in a more hippie-humanist register) on an early page of his 1966 novel The Crying of Lot 49. Read more

Here’s a piece by Serge Daney that I translated back in 1982, for a catalogue accompanying a Straub-Huillet retrospective that I curated in New York that fall. Danièle Huillet sent me the original review in French, suggesting that it be included. Too Early, Too Late, shot in 16mm, remains, for me, one of their two most beautiful landscape films, along with the much later Operai, Contadini (Workers, Peasants, 2001). — J.R.

What do John Travolta and Jean-Marie Straub have in common? A difficult question, I admit. One dances, the other doesn’t. One is a Marxist, the other isn’t. One is very well-known, the other less so. Both have their fans. Me, for instance.

However, one merely has to see their two films surface on the same day on Parisian screens in order to understand that the same worry eats away at both of them. Worry? Let’s say passion, rather — a passion for sound. I’m referring to BLOW OUT (directed by Brian DePalma) and TOO EARLY, TOO LATE (co-signed by    Danièle Huillet), two good films, two magnificent soundtracks.

The cinema, you may persist in thinking, is “images and sounds”. But what if it were the reverse? What if it were “sounds and images”? Read more

Written for a Portuguese exhibition catalogue in Fall 2016. My affectionate thanks to Nicole Brenez for both landing me this assignment and correcting a few of my imprecisions.– J.R.

1. On a film by Jean-Luc Godard

I’ll never forget the very strange sort of non-reception that appeared to greet the challenge of Jean-Luc Godard’s Numéro Deux when it first appeared in France, the United Kingdom, and the United States. The first time I saw the film, in the mid-1970s, soon after its unexpectedly wide commercial opening in Paris — a release apparently prompted by the misleading claim that it was a “remake” of A bout de souffle (premised on the fact that it had the same producer, Georges de Beauregard, as well as the same budget, without allowing for any inflation), plus the fact that it was being distributed by Gaumont — was at a large cinema just off the Avenue des Champs-Elysées, where I was startled to find myself the only person inside the auditorium. Communing all alone with that big screen containing many smaller screens was a singular experience in more ways than one.

When Numéro Deux was subsequently shown at the Edinburgh Film Festival, the key annual event of Marxist film theorists in the United Kingdom, many of the intellectuals associated with Screen magazine who had previously treated Le gai savoir and Vent d’est as exemplary manifestos for a political “counter-cinema”, quoting from its various speeches as if they were all graspable and teachable recipes for a revolutionary practice, abruptly dismissed Numéro Deux for its alleged “sexism” and “mystifications” (if they bothered to discuss it at all). Read more