This originally appeared in the twelfth issue of Camera Obscura (Summer 1984). I’m delighted that a DVD of Sally Potter’s overlooked, neglected, and scandalously undervalued masterpiece is finally available, from the British Film Institute. I wrote a short essay for the accompanying booklet. –J.R.
The Gold Diggers: A Preview
By Jonathan Rosenbaum
Sally Potter’s much heralded British Film Institute production has been encountering a lot of resistance since it premiered at the London Film Festival late last year. When I saw it at the Rotterdam Film Festival in early February, its presence even there was regrettably nominal: screened only once, and in the Market rather than as a festival selection, it was received rather coolly, and many of the critics present left well before the end. Finding the film visually stunning, witty, and pleasurably inventive throughout, I can only speculate about the reasons for the extreme antipathy of my colleagues.
Historically, The Gold Diggers demands to be regarded as something of a proud anomaly. While it contains many familiar echoes of avant-garde performance art (including music, dance, and theater), its only recognizable antecedent in the English avant-garde film tradition appears to be Potter’s own previous Thriller. (An English language film which is international in conception as well as execution, it is marginal in the best and most potent sense of that term.) Beyond that, the formal and stylistic eclecticism of what Ian Christie aptly calls “a post-modernist musical” seems part and parcel of the film’s overt feminist aggression.… Read more »