From Sight and Sound (Autumn 1976). -– J.R.
THE NEW WAVE
By James Monaco
OXFORD UNIVERSITY PRESS, £9.95.
A writer whose methods immediately evoke the mood and dynamics of an energetic classroom, JamesMonaco restricts The New Wave to the five film-making alumni of Cahiers du Cinéma most often identified with that label: Truffaut, Godard, Chabrol, Rohmer and Rivette. Considering the dearth of books in English on the subject (only Peter Graham’s anthology and Raymond Durgnat’s early monograph — both long out of print, and the latter unmentioned in the present book — qualify as predecessors), it is a fertile field for any critic interested in organizing a lot of diverse material, and this task is handled by Monaco with grace and assurance; for its bibliography alone, this over-priced volume is well worth having. Beginning with an evocation of Rivette’s first encounters with Godard and Truffaut (and later Chabrol and Rohmer) at the Avenue de Messine Cinémathèque in 1949 or 1950, he proceeds to the films of each until, some 320 pages later, he has burrowed his way through over a hundred features and shorts.
Lots of grist for the mill; but what kind of product is the Monaco factory manufacturing?… Read more »
From Sight and Sound (Autumn 1976). — J.R.
Behind the credits, a face peering out through a window; a downward pan revealing a vertiginous drop to the courtyard below; a pan back to the window and round the court to another face, a girl’s, which quickly turns into Roman Polanski’s; a continuing movement past a chimney, across more windows-down one side of the building, over a railing and up another side — eventually coming round to the door leading to the street, which Polanski enters . . . If the remainder of The Tenant were as impressive as the first shot, we conceivably might have had a masterpiece on our hands. Nearly as concise as the extended crane shot opening Touch of Evil, it differs from the latter by arranging its arsenal of elements into a non-narrative pattern — a set of materials which, except for the girl turning into Polanski, are related spatially but nor chronologically, until Polanski’s entrance through the street door launches the story proper.
A naturalised Pole named Trelkovsky is interested in seeing a flat, and the unfriendly concierge (Shelley Winters) gives him a hard time about it, agreeing to take him upstairs only after he slips her some money.… Read more »
From Monthly Film Bulletin , September 1976, vol. 43, no. 512. — J.R.
Goodbye, Norma Jean
U. S.A./Australia, 1975
Director: Larry Buchanan
Hollywood, 1941. Ogled by her foster father and despised by her foster mother, Norma Jean Baker is thrown out by the latter and takes work in a factory. Raped by a policeman whom she earlier persuaded not to give her a speeding ticket, she is comforted by Corporal Ralph Johnson. He prompts her on how to behave when she enters the Miss Whammo-Ammo contest (which she wins), photographs her in cheesecake poses, and advises her in her efforts to become a movie star. They drive to Tijuana and make love, although she admits that her former experiences with men have prevented her from enjoying sex. He next introduces her to model agent Beverly, who finds her work posing for pulp magazine illustrations and introduces her in turn to agent Irving Ollbach, who takes her to a party in Palm Springs. There she is sneered at by casting director Ruth Latimer, raped by actor Randy Palmer (who first offers to give her a screen test), and mocked by the party’s host, the wealthy Hal James, who none the less later arranges for her to have an interview at Lion-Rampant pictures.… Read more »