From The Soho News (September 22, 1981). – J.R.
Shock Value: A Tasteful Book about Bad Taste By John Waters Delta, $9.95
If conventional means wedded to conventions, then John Waters, amiable sleaze director of Pink Flamingos, Female Trouble, and Polyester. is as conventional as you or I, maybe even more so. The not-so-surprising thing about Shock Value, a “tasteful” (meaning cautious) memoir about his special brand of bad taste, is that it proves him to be literary, too — at least in a minor Mark Twain vein. Pithy aphorisms rub shoulders with sly asides and wry homilies. Here are a few jewels among gritty jewels:
All people look better under arrest.
I never watch television because it’s an ugly piece of furniture, gives off a hideous light, and, besides, I’m against free entertainment.
Since the character [in Female Trouble] turns from teenage delinquent to mugger, prostitute, unwed mother, child abuser, fashion model, nightclub entertainer, murderess, and jailbird, I felt at last Divine had a role she could sink her teeth into.
Sometimes I just sit on the street and wait for something awful to happen.
The more obscure a town I visit, the greater appeal it has for me, since I figure there’s an audience for anything in New York, but if you can get a following in, say, Mobile, Alabama, you really must be doing something right.… Read more »
From The Soho News (September 15, 1981). -– J.R.
Made in USA
By Jean-Luc Godard
Thalia, September 11 and 12
WHAT could be more timely than a Godard movie that repeatedly returns to the slogan, “The Left, Year Zero”? In point of fact, the beautiful, goofy, and explosive Made in USA was made in France in 1966. But for dispirited moviegoers, having to choose between Blow Out and Prince of the City (or the bossy rival senior critics pushing them) is like having to choose between the United States and the Soviet Union during the 50s (with bland Eisenhower and jocular Khrushchev at the respective helms). All things considered, Made in USA may well be the funniest and punchiest “new” movie around.
It’s the last feature that Godard ever shot with Anna Karina, who was never lovelier and never more made-up to seem at once Japanese and doll-like — in dazzling color and Scope. (Most of the close-ups of her in the movie are the kind of bold compositions you could hang on your wall.) In her off-screen film noir narration, she more or less accurately describes the formal and moral profile of the movie she’s in as ”a film by Walt Disney, but played by Humphrey Bogart — therefore a political film.… Read more »
From the Toronto Festival of Festivals program (September 10-19, 1981).
To quote from my long review of Pulp Fiction and Ed Wood (which can be accessed on this site), “Fourteen years ago, when the Toronto film festival still had a sidebar called ‘Buried Treasures,’ selected each year by a guest critic, I was invited to take over that slot. I put together a program called ‘Bad Movies,’ intending to play with the ambiguity of the word ‘bad’ — the only thing these films had in common, apart from the fact that I liked them, was that each of them had been pegged with that label at some point….
“This was the theory, at any rate — that all my selections were good movies that had wrongly been considered bad. But in practice, the single smash success of the series, in terms of both attendance and audience response, was Wood’s Glen or Glenda?, a film appreciated by the audience only for its badness. And since then, the evidence increasingly provided by movie fanzines — which by now far outnumber “serious” film magazines — is that among film cultists, bad movies are immensely more popular than good ones. Or, to put it in more concrete terms, at that festival the North American premiere of the penultimate, two-part masterwork of Fritz Lang, [The Tiger of Eschnapur and The Hindu Tomb], one of the greatest filmmakers who ever lived, was much less popular than the latest replay of a low-budget exploitation item by an inept amateur.… Read more »
From The Movie No. 82 (1981). — J.R.
The war in Vietnam created in the United States a national trauma unparalleled since the Civil War, and its after-effects may prove to be every bit as enduring in the American consciousness. It was a war fought not only with guns and napalm in Southeast Asia, but with placards and truncheons on campuses and streets in large cities throughout the western world. It became the largest, most crucial issue of a generation — virtually taking over such related matters as black protest and the youth-drug subculture — but Hollywood was afraid to deal directly with it, even on a simple level.
Hollywood has traditionally done its best to avoid contemporary politics and especially political controversy, largely for commercial reasons. There is always the danger that a shift in public opinions or interest, between the time of a film’s production and its release date, may render a film with a ‘timely’ subject unmarketable in the long run, or sooner; and few producers are ever willing to take such a risk. The profound divisions created by the Vietnam War in American life were too wide, in a sense, to be commercially exploitable — at least while America remained actively involved.… Read more »