This profile was published without title in the December 1983 issue of Omni, in a section simply called “The Arts”. -– J.R.
It makes perfect sense that Manuel De Landa, a thirty-year-old Mexican anarchist filmmaker who specializes in the aesthetics of outrage, inhabits a midtown Manhattan apartment so tidy and upstanding that it could almost belong to a divinity student. The point seems to be that if you want to shake the civilized world at its foundations, it helps your credibility if you wear a jacket and tie — especially if you speak with an accent that makes you sound like Father Guido Sarducci.For a talented artist who has an asocial image to sell and a highly social way of putting it across, it isn’t surprising that De Landa makes wild, aggressive films that leap all over the place while standing absolutely still. In The Itch Scratch Itch Cycle (1977) and Incontinence: ADiarrhetic Flow of Mismatches (1978),quarreling couples in tacky settings are subjected to all kinds of optical violence:The camera moves around them in the shape of a figure eight, or De Landa crazily cuts back and forth between two static shots of the principals screaming at each other — as if he were a mad scientist, controlling their shrieks with the twist of a knob.… Read more »
To celebrate the showing of the restoration of Sara Driver’s You Are Not I at the New York Film Festival this Thursday (October 6), here is the chapter of my still-in-print book Film: The Front Line 1983 devoted to Sara, this film in particular. I’m also happy to report that early next year (or thenabouts), Sara’s complete works to date will be released in a long-overdue DVD box set in Canada by Ron Mann’s Sphinx Productions. A video interview I did with her about When Pigs Fly will be one of the extras.– J.R.
SARA MILLER DRIVER
Born in New York, 1955
1979 –- Dream Gone Bad (16mm, b&w, 2 min., silent)
1980 -– Death in Hoboken (16mm, b&w, 3 min.) (unavailable)
Sir Orpheo (16mm, b&w, 18 min.) (unavailable)
1982 – You Are Not I (16mm, b&w, 48 min.)
If Sara Driver is the youngest filmmaker included in this survey, You Are Not I does not convey that impression. In this respect, it represents a quantum leap from a student exercise like Death in Hoboken, which is the only previous film by Driver that she’s been willing to show me.
A sketchy thriller chase ending in a murder, staged in and around the decrepit atmospherics of Hoboken’s Erie-Lackawanna Railway Terminal, the earlier effort, shot in high-contrast photography, resembles an arty fragment of something like Orson Welles’s The Trial, or, perhaps closer to the mark, Arthur Penn’s Mickey One.… Read more »
Excerpted from a chapter in my book Film: The Front Line 1983. — J.R.
Of all the films discussed at length in this book, Too Soon, Too Late (1981) is conceivably the one that has had the strongest impact on me, although I have seen it only twice. After having seen it the first time, in Spring 1982, I was sufficiently impressed to put the film at the end of my “all-time” top ten list for Sight and Sound’s international critics’ poll later the same year. Consequently, it seems paradoxical yet unavoidable that of all the films dealt with here, Too Soon, Too Late automatically qualifies as the most difficult and elusive to write about. My two previous efforts have yielded only a few inadequate and hastily conceived sentences in the introduction to my Straub-Huillet catalog, and a somewhat more reasoned paragraph in the conversation with Jonas Mekas which opens this book. The notes below cannot pretend to be more than an interim report; further and more extensive analysis will have to await a future date:
(a) First, a few concrete facts about the film. For the first time in a Straub-Huillet film, the texts used are all read off-screen, making separate versions in different languages possible without any recourse to dubbing. … Read more »
Another chapter from Film: The Front Line 1983. I can happily record that a good many of Breer’s films are available online, especially on YouTube. So even though he died last August and he remains flagrantly under-represented on DVD (although an excellent collection of 11 of his shorts, Recreation, was released some time ago on VHS, by Re:Voir in Paris), his art remains visible in some form, and Anthology Film Archives has prints of all or most of his works in 35mm. But I’m sorry I haven’t been able to find any online illustrations for my discussion of his film 77. — J.R.
All the major recent films of Robert Breer, an American who spent a crucial decade in Paris (1959-1969), are available in this country. But considering the fact that they’re independent animation, and that Breer is a one-man industry and not a Hollywood studio, they might as well be on the moon. They clearly inhabit a ghetto even more confining than that of the “foreign film,” because most critics lack an apparatus for dealing with them; hence, they find it easier to pretend that these works don’t exist. As uncontroversial as it might appear to be in most contexts, it is probably not irrelevant to note that when one of Breer’s most recent films, the characteristically brilliant Swiss Army Knife with Rats and Pigeons (1980) was screened at a New York Film Festival press show in 1982, it was rudely and audibly (if inexplicably) hissed. … Read more »
A chapter from my book Film: The Front Line 1983. Apart from integrating a footnote into the main body of the text and eliminating a long out-of-date filmography, I’ve kept this text pretty much as I wrote it.
Adynata exists on both film and DVD, but, discounting unofficial/pirated/underground sources, seems available, alas, only at institutional prices (from Women Make Movies and Electronic Arts Intermix — the latter of which also distributes X-Tracts and Jennifer, Where Are You?, both on video, along with Thornton’s subsequent works, 21 titles in all). One can, however, access her radically different and recent Novel City (2008), about seven minutes long, which draws on a few of Adynata‘s sounds and images and adds several others, here. — J.R.
X-Tracts (1975) and Adynata (1983) have one very interesting and crucial aspect in common: they are montage films structured around the possibility ofan auto-critique, the activity of reading one’s self. The fact that Thornton performs this work in X-Tracts is what gives the film interest; the fact that we are able to perform this work in relation to Adynata is what gives it an even greater interest and importance.… Read more »
A program note for the Pacific Film Archive, April 5, 1983, to launch a program I selected entitled “Institutional Qualities and Casual Relations: The Avant-Garde Film Today”, put together with the help of Edith Kramer. Most of the films in the series were related to both my book Film: The Front Line 1983, published around the same time (and still in print today), which includes separate chapters on both Sara Driver and Leslie Thornton, and the two courses I was teaching concurrently as visiting professor in the University of California Berkeley Film Studies Department. — J.R.
You Are Not I and Adynata 7:30
Two very different and accomplished films about female identity, Sara Driver’s You Are Not I (1981, 50 min.) and Leslie Thornton’s Adynata (1983, 30 min.) are both dialectically conceived; there the resemblance ends. The first is a very close adaptation of a Paul Bowles story written in the late 1940s, filmed in black and white [cinematography by Jim Jarmusch], about a psychic and territorial war fought between two sisters, one of them a schizophrenic. The second is a non-narrative film about the ideological configurations and semiotic constructions of the East as seen by and filtered through the West, particularly in relation to the female figure — articulated through many different kinds of found material and variable film stock.… Read more »
This critical memoir originally appeared in the Spring 1983 Sight and Sound; it was subsequently reprinted in my first collection (1995), Placing Movies: The Practice of Film Criticism. — J.R.
It was about ten years ago, in late November 1972, that I first took the No. 163 bus from Porte de Champerret in Paris to Jacques Tati’s office in la Garenne-Colombes, just around the corner from an unassuming street known as Rue de Plaisance. With his assistant Marie-France Siegler — a French- American in her thirties who, like me, hailed from Alabama, and had set up this interview — Tati occupied two offices in a modern building whose suburban neighborhood bore visible traces of both the contrasting quartiers in MON ONCLE: the chummy old lower-middle-to-working-class district where an unemployed Hulot lives, and the sterile, newly built upper-to-middle-class subdivision where his “successful” brother lives.
The modern building, fronted by a glass door with a disc-shaped brass knob, was no less suggestive of PLAYTIME, and Tati’s office contained other familiar emblems, such as the same synthetic black chairs. In fact, around the period of MON ONCLE (1958), his production company had commanded the entire floor; he had restricted himself to two modest rooms only after investing and then losing practically everything he had on PLAYTIME (1967), his most expensive film, the masterpiece that wrecked his career.… Read more »
From Sight and Sound (Spring 1983). -– J.R.
Wayne Wang: Chinese structures and American economies
Opening with a rousing Cantonese version of ‘Rock Around the Clock’ which is all about inflation — the rising cost of tea and rice — Wayne Wang’s remarkable, offbeat Chan is Missing neatly combines its concern about what it means to be Chinese-American with the current economic crisis. Praised in these pages by Richard Combs after its appearance at the 1982 London festival as a film that ‘answers nothing, but in a way satisfies one’s curiosity,’ this black and white mystery, about two Oriental cab drivers searching for their missing partner through San Francisco’s Chinatown, has done surprisingly well since its U.S. release last fall, especially for an independent feature costing under $20,000. A strong review from the New York Times‘ Vincent Canby, coupled with careful handling by New Yorker Films, helped to turn the film into something of a commercial sleeper. ‘After the first quarterly report, we were already in the black,’ Wang cheerfully told me on the phone from San Francisco early this year, adding that the cast and crew members, who had originally been partially paid off in points, were already just starting to get proceeds for work done in 1980.… Read more »
The following is a chapter from my book Film: The Front Line 1983 (Denver, CO: Arden Press, 1983), a volume commissioned as the first in a projected annual series that would survey recent independent and experimental filmmaking. (A second volume, Film: The Front Line 1984, by David Ehrenstein, appeared the following year, but lamentably the series never continued after that, for a variety of reasons, even though both volumes remain in print.) I have followed the format used in both books.
It’s worth adding that De Landa abandoned filmmaking not long after this article appeared –- after planning, as I recall (but not shooting), a film starring his penis, to be entitled My Dick — and went on to pursue a distinguished academic career as a professor of art, architecture, and philosophy in New York, Pennsylvania, and Switzerland, with at least four books to his credit: War in the Age of Intelligent Machines (1991), A Thousand Years of Nonlinear History (1997), Intensive Science and Virtual Philosophy (2002), and A New Philosophy of Society (2006). For this reason, I couldn’t originally illustrate this piece with any images from his films, as I did in Film: The Front Line 1983, until some frame enlargements were recently made from Incontinence,a month after this article was originally posted, by Georg Wasner of the Austrian Film Museum, to use in a catalogue for a retrospective that I programmed (see below).Most of the other illustrations either come from more recent periods or are used to illustrate some commercial films that crop up in my discussion, e.g.… Read more »
A chapter from my book Film: The Front Line 1983 (Arden Press, 1983), still in print. — J.R.
Jacques Pierre Louis Rivette
Born in Rouen, France, 1928
Perhaps no single figure in this survey dramatizes the contradictions of the avant-garde film as an institution and social force better than Jacques Rivette — a major filmmaker who has consistently been denied credentials, recognition, or any sort of protection by the “official” avant-garde establishment, even though his work has generally been shunned just as consistently by the mainstream power structures. Who, then, gives a damn about Jacques Rivette? More people than either establishment cares to acknowledge or deal with. As someone who has written a good deal about Rivette, programmed his films in three countries, and edited the only book devoted to him in English (or French), I can report that everywhere I go, I meet passionate Rivette fanatics.
In London, I once met an American who dutifully translated most of Rivette’s old Cahiers du Cinéma reviews in his spare time, simply for his own amusement. I also once shared a Hampstead maisonette with a brilliant Israeli-born lecturer in philosophy of art whom I took to a screening of the four-hour Out 1: Spectre; he spent most of the rest of the night telling me why it was the greatest film ever made — only a sleepless day or so before he temporarily flipped his lid and tried to chop down part of our kitchen wall with a hatchet.… Read more »
A book review published in the Village Voice (January 25, 1983). The version below restores some of the details deleted by an editor. — J.R.
JERRY LEWIS IN PERSON
By Jerry Lewis with Herb Gluck
As a longtime Lewis fan who has lived in Paris, I have less curiosity about the French passion for him than most Americans. The unbridled sweep of the all-American ego at its most infantile and traumatized has always been an object of awe and fascination for the French; think of their celebrations of Poe and Faulkner, H.P. Lovecraft and Orson Welles. Call Jerry Lewis “America” (or vice versa) and you have a recognizable psychosexual object that signifies something more than slapstick and telethons. You also have an explanation for why some part of us despises the man — for rubbing our noses into potential traumas we claim to have outgrown, postulating his hysterical comedy as the literal cutting edge of our equilibrium.
One doesn’t ordinarily turn to an as-told-to show-biz memoir for extended self-analysis. But Jerry Lewis In Person exudes an uncomfortable candor that may actually endear Lewis to some of his detractors, while making admirers like me squirm a bit. The childhood sections which predictably dominate depict not only the lonely New Jersey misfit I expected, but also the street-smart chutzpah of a semi-abandoned tough guy who dreamt of murdering his grandfather, killed his cat in a rage when he was five, hated his show-biz parents for not even showing up to his bar mitzveh, and habitually socked anti-Semites and other wise guys (including his high school principal) in the mouth.… Read more »
This is the second of two interviews I’ve had with Michael Snow. (The first, “The `Presents‘ of Michael Snow,” can be found elsewhere on this site.) Commissioned by Simon Field, it ran in the Winter 1982/83 issue (no. 11) of the excellent English magazine Afterimage, a special issue called “Sighting Snow,” and it concerns both So Is This and Presents. I’ve incorporated some but not all of the additions from the version of this article that was reprinted in my book Film: The Front Line 1983 (Arden Press). I regret some of the hectoring tone of my political rhetoric here, and it became clear to me after Film: The Front Line 1983 was published that Snow objected to some of this rhetoric in the book even more, thus curtailing some of our friendship that had prevailed beforehand. – -J.R.
Snowbound: A Dialogue with a Dialogue
By Jonathan Rosenbaum
A few specifics about what follows. Last September 15th, I taped an interview with Michael Snow at his home in Toronto.… Read more »