From The Soho News (October 27, 1981). — J.R.
It’s no surprise that My Dinner with André (loved by Vincent Canby), now on at the Lincoln Plaza, was one of the most popular films at the New York Film Festival — or that Lightning Over Water (hated by Canby), and now on at the Public, was one of the least popular. It isn’t just that the former movie says something that many of us want to hear, and says it well — nor that the latter says something that few of us want to hear, and says it problematically.
Each movie stars two artists who work in the world of make-believe, playing themselves, and yet the respective positions each pair takes in relation to playing this game couldn’t be more different. For André, director Louis Malle worked from a script by the two performers, playwright/.actor Wallace Shawn and stage director André Gregory. For Lightning, film directors Wim Wenders and the dying Nicholas Ray almost concurrently wrote and directed their own performances, after a fashion.
Having once played myself in a film (Peter Bull’s The Two-Backed Beast, or The Critic Makes the Film), at the same time that I was writing a critical memoir that allowed me to play myself in a book (Moving Places: A Life at the Movies), I can well appreciate the subjective factors that enter into any exercise in self- representation.… Read more »
From “Festival Journal,” The Soho News, October 13, 1981. Transes recently became available on a French DVD released by the World Cinema Foundation. –- J.R.
October 1: The best new movie I see all week is a particular favorite. I’ve been told, of Susan Sontag’s. I share much of her enthusiasm for the French/Moroccan coproduction Transes, directed by Ahmed El Maanouni, if only because this movie has some of the best sound-mixing and most infectious music I’ve heard in ages. Both of these are central aspects of its subject, the North African tour of an indigenous pop group called Nasa El Ghiwane, which comes from the Casablanca ghetto and sings about extreme poverty – a genuinely subversive male quintet whose popularity has spread like wildfire since the 60s. Originally banned from Moroccan radio and TV, they can automatically command an audience of 20,000 wherever they play in Algeria, Morocco, or Tunisia.
The movie starts wonderfully by establishing direct continuities between the music and the Casablanca ghetto (the latter traversed from a car window) -– a sequence that was almost cut by the local government until the powerful Nasa El Ghiwane group intervened; and the transitions throughout between both physical and aural subjects are handled with a remarkable ear and eye.… Read more »
From The Soho News, October 6, 1981. I’m embarrassed to confess that over three decades later, I have no recollection at all about Tighten Your Belts, Bite the Bullet apart from what I wrote about it, although I’m happy to report that the film is still in distribution, and available from Icarus Films. — J.R.
September 22: From a global or even a continental perspective, much of this year’s New York Film Festival belongs under the staunch division of Business as Usual. This basically means that the festival is involved in ratifying certain important discoveries (of ideas or filmmakers) that were made during the 60s or 70s, often by the very same members of the selection committee, rather than risking its self-image or self-composure in order to seek out many new challenges or talents.
This makes New York precisely the reverse of the more footloose, friendly, and unpredictable film festival in Toronto. There the specialty tends to be, rather, a flavorsome if occasionally warmed-over newness of look, sound, and/or signature: an underground movie about everyday life in the Watts ghetto (Charles Burnett’s Killer of Sheep), a corrosive and shocking black comedy about the mourning business in Israel in relation to war memorials (Yaky Yosha’s The Vulture), a flaky German film based on a French best seller about Proust by his maid, played by Fassbinder alumnus Eva Mattes (Percy Adlon’s Celeste).… Read more »