This appeared in Take One, July 15, 1979 (vol. 7, no. 8). Check out Dave Kehr’s recent column on 70s Akerman in the New York Times for some other reflections. —J.R.
Chantal Akerman is a tough filmmaker to tangle with, make up one’s mind about or describe. One thing’s clear enough though: Les Rendez-vous d’Anna, her fifth feature, is the most assertive film by a woman that I’ve seen since Marguerite Duras’ Le Camion — and probably the most accessible that Akerman has made to date. It might wind up serving as a calling card for the rest of her work.
A film that assumes the ambition (and pretention) of taking the pulse of Western Europe while pursuing a narcissistic autobiographical meditation obviously isn’t going to win everyone over — particularly when every shot has the visual weight of a battleship and nearly every facial expression has enough glumness to sink one. Take that, Akerman seems to be saying, offering up yet another drab, anonymous hotel room or train station at night, each one lit with precise, uncanny radiance, and hammering these cold, elegantly symmetrical compositions into our skulls with an obstinate will to power that makes Milius and Peckinpah seem like frollicking pussy-cats in comparison.… Read more »
From Film Quarterly (Summer 1979). Sad to say, the Aldrich and Ophüls books are now so scarce that I couldn’t even find their jacket illustrations on the Internet. –- J.R.
ROBERT ALDRICH. Edited by Richard Combs. London: British Film lnstitute, 1978. $3.25.
POWELL, PRESSBURGER AND OTHERS. Edited by Ian Christie. London: British Film lnstitute, 1978. $4.50.
OPHÜLS. Edited by Paul Willemen. London: British Film lnstitute, 1978. $3.50.
Perhaps the most striking difference between the current batch of British Film Institute monographs and the previous series issued under the now-defunct aegis of Cinema One (a joint effort of the BFI and the English publisher Secker & Warburg) is the relation of each to academic film studies. The Cinema One books, designed as popular laymen’s introductions to relatively obscure subjects, were lavishly illustrated with stills and frame enlargements, appeared both in paperback and hardcovers, and rarely proceeded beyond the format of one critic per subject.
The new line of BFI books, which appear only in paperback, are much closer to academic “casebooks”: the texts are usually longer, illustrations are omitted (apart from black-and-white stills on the covers), and the critical perspectives in most cases are multiple. There is more than one way of editing a casebook, however; and a closer look at the three titles under review offers some notion of the diversity of positions possible within this overall strategy.… Read more »