From the Soho News (August 20, 1981). — J.R.
Film India: Indian Film Festival Museum of Modern Art, through August 23
Buster Keaton Film Festival Lincoln Plaza, through September 19
Directed for Comedy Regency, through October 17
Honky Tonk Freeway Written by Edward Clinton
Directed by John Schlesinger, opens August 21
AUGUST 7: The first movie I see for this column isn’t a light comedy, but it sure puts me in a sunny mood. The prospect of a three-hour Indian film in Temil with no subtitles is a little off-putting, I would say -– wouldn’t you? On my way into the sparsely populated auditorium of the Museum of Modern Art this afternoon, I hear not one but two separate senior citizens crack jokes about what a nice opportunity this is for a nap.
And yet, just as Indian film buff Elliott Stein has predicted, I have surprisingly little trouble following the plot and action of Chandralakha (1948). The quaintly illusionistic charm of a black-and-white movie like this, about a good and bad brother vying for the throne in a mythical kingdom – with a large palace protected by a drawbridge –- is part of its primal pull from the beginning.
I’m struck, for instance, by the carefree crosscutting in the opening sequence between the hefty hero in exterior locations, participating in a robust Northwest Mounted Police sort of song, and the heroine he suddenly meets in front of a gorgeously painted backdrop -– as if the two were totally continuous (or at least contiguous) spatial realities.… Read more »
This appeared in The Soho News (August 18, 1981). – J.R.
An Enemy of the People
Directed by George Schaefer
Beatlemania — The Movie
Directed by Joe Manduke
A cherished personal project of Steve McQueen, who served as executive producer as well as lead actor, Henrik lbsen’s An Enemy of the People, scripted by Alexander Jacobs, is a lot more appealing and less forbidding than its cultural aura might suggest. That McQueen was unable to get this 1977 film released prior to his death is unfortunate yet unsurprising; given the absence of outlets for movies of this kind in the United States, I would have thought that cable might prove to be its ideal resting place. But at least for us Manhattan country folk, it’s once again thanks to the underappreciated services of the Public Theater that we’re able to see it at all.
McQueen made this movie when he knew that he was dying of cancer and decided that he wanted to be remembered for something more than his blue-eyed beefcake parts. An advocate of Laetrile cancer therapy -– banned by the FDA, and usually pegged as “controversial” in this country – McQueen had to go to a Mexican clinic to get the treatment he wanted and must have had plenty of reasons to identify with Ibsen’s persecuted, innocent, and idealistic hero.… Read more »
From The Soho News (August 4, 1981), very slightly tweaked on January 27, 2010. –J.R.
The Celluloid Closet:
Homosexuality in the Movies
By Vito Russo
Harper Colophon Books, $7.95
Want to read the first comprehensive study in English of homosexuality in the movies? Go hunt up Parker Tyler’s Screening the Sexes (1972). Prefer a more theoretical and political, less coterie-oriented approach? Try Richard Dyer’s first-rate Gays and Film (1975), which includes Caroline Sheldon on lesbians, Dyer on stereotyping, and Jack Babuscio on camp. Like something even more up to date, dealing with the “textual incoherence” of recent Hollywood movies like Cruising and Looking for Mr. Goodbar from a gay lib perspective? Check out Robin Wood’s interesting and fruitful article (no pun intended) in the current issue of Movie.
Where does this leave Vito Russo’s serious and ambitious The Celluloid Closet – which incidentally bears the same subtitle as Tyler’s book? Not so much in the lurch as the above list may imply. As the best researched and illustrated book on the subject — entertainingly and intelligently written in epigramatic journalese, and clearly backed up by years of patient fact-finding and interviewing — it deserves to be considered a significant reference point and a source of reference in the years to come.… Read more »
Tracy Young, my editor at Soho News in 1980-81, accorded me an unusual amount of freedom and a minimum of editing (which often amounted to the same thing), but she didn’t allow me to publish this article, written in July 1981. She approved it in principle when I proposed it, then refused it after it was written — the first and only time this happened during my year and a half on this weekly paper, where I was working as both a film and book reviewer. Later on, she wound up ripping out (or, in capitalist terms, salvaging) the reviews of Zorro, the Gay Blade and Heart to Heart, and running them on August 4, 1981 with Seth Cagin’s review of Victory, under the title “Transcendental Cuisine,” without explanation.
At the suggestion of Straub and Huillet themselves, this article was later included in a 20-page tabloid-size publication that I edited about their work to accompany the first (and, I believe, to date, only) full U.S. retrospective of their work, which I curated, at the Public Theater in New York, from November 2-14, 1982, which also included ten programs consisting of films by others that they selected to run with their own work, ranging from Blind Husbands to Antonio das Mortes to A King in New York to Civil War (the John Ford episode in How the West Was Won, shown with A Corner in Wheat and Land without Bread), and including several appearances by and discussions with Straub and Huillet.… Read more »