From The Thousand Eyes, Fall 1978. -– J.R.
I can remember what it used to be like, living in New York ten years ago. New Godard movies and Beatles records were being consumed the moment they arrived, with the kind of impatient enthusiasm that must have greeted the latest installments of serialized Dickens novels when they hit the New York docks a century before.
During the same decade that saw the birth of the New Wave, our first glimpses through film of part of the Third World, the flowering of the North American avant-garde, and a corresponding leap forward in film criticism, one was witnessing the growth of a new kind of audience, a new cinema, and a new kind of thinking about movies that started from the bottom up.
From the looks of things, that bottom has dropped out. What has happened to this passionate complex of forces, this pluralism of tastes and possibilities? No film by Godard has been released in the U.S. since 1971, and the last movies by directors ranging from Jacques Tati, Robert Bresson, and Jacques Rivette to Chantal Akerman, Marguerite Duras, Jean-Marie Straub and Danièle Huillet remain undistributed. And we can see what’s happened to the legacy of the Beatles if we consider a typically cynical industry product like Sgt.… Read more »
From the San Diego Reader (June 15, 1978). Not one of my best reviews, and certainly not a favorite, but I’m reprinting it, after some hesitation, as part of the record, with only minor re-edits. I came to write this through my acquaintance with Duncan Shepherd, the film critic for the San Diego Reader from 1972 until late 2010 -– a protégé of Manny Farber who had followed him all the way from New York to southern California –- after I had been hired by Farber to return to the U.S. from London and take over his classes for two quarters in 1977 while he was on a Guggenheim fellowship, and then hadn’t been rehired there. Manny, as I recall, was mightily annoyed by this piece, and I can’t deny that some of our political arguments probably fueled the review, at least in part -– as well as some of the swagger in Farber’s prose, a regrettable influence on this occasion. (An afterthought: I was sharing a house with Raymond Durgnat around this time, and the “crazy mirror” metaphor in the final paragraph suggests to me now that he might have exerted some influence as well.) — J.R.
As a native of Alabama, I didn’t have to worry much about draft dodging in the late Sixties.… Read more »
From Monthly Film Bulletin, February 1978 (Vol. 45, No. 529). If memory serves, this was the last review I ever wrote for MFB, done on a trip back to London after I had moved to San Diego, although I believe I may have written a few features for the magazine after this, following its change of design and format somewhat later. (Postscript: This time, I’m afraid, my memory didn’t serve. I’ve just come across two more reviews I published in the MFB in 1984.) –- J.R.
White Buffalo, The
U.S.A., 1977Director: J. Lee Thompson
Cert–AA. dist–EMI. p.c–Dino De Laurentiis Corporation. p–Pancho Kohner. p. co-ordinator–Virginia Cook. p. manager–Hal Klein. location manager–R. Anthony Brown. asst. d–Jack Aldrvorth, Pat Kehoe. sc– Richard Sale. Based on his own novel. ph–Paul Lohmann. col–Technicolor; prints by Deluxe. process co-ordinator–Bill Hansard. ed—Michael F. Anderson. assoc. ed–Terence Anderson. p. designer–Tambi Larsen. set dec–James Berkey. sp. effects–Richard M. Parker. production sp. effects–Roy Downey. m/m.d–John Barry. cost–Eric Seelig. set cost– Dennis Fill. make-up–Phil Rhodes, Michael Hancock. titles–Dan Perri. sd. rec–Harlan Riggs. sd. re-rec–William McCaughey, Lyle J.… Read more »