This book review appeared in the December 14, 1984 issue of the Los Angeles Reader. For more on Wurlitzer, readers are invited to check out my reviews of Walker and Candy Mountain in the Chicago Reader, both available on this site, as well as a more comprehensive piece about his work as a novelist and screenwriter, published in Written By. — J.R.
By Rudolph Wurlitzer
Alfred A. Knopf: $13.95
By Jonathan Rosenbaum
The difference between the art novel and the Hollywood novel can be as vast as the reaches between the East coast and the West coast, and any effort to wed the two in a shotgun marriage is liable to blow up in one’s face. Slow Fade, while an exceptionally and deceptively easy read, is far from being an easy book — which is one of the best things about it. That’s probably what Michael Herr means by “dangerous” in his jacket-blurb patter: “Slow Fade comes out of the space between real life and the movies and closes it up for good. A great book: beautiful, funny, and dangerous.” Any novel that begins with one character losing an eye and ends up with another losing his index finger is bound to be fraught with scary Oedipal tensions, and Slow Fade goes out of its way to make the most out of them.… Read more »
From Monthly Film Bulletin, December 1984 (Vol. 51, No. 611). In retrospect, I’m rather proud of the synopsis here, which must have been a bitch to put together. -– J.R.
Colloque de chiens (Dogs’ Dialogue)
Director: Râúl Ruiz
Cert–AA. dist–BFI. p.c–Filmoblic/L’Office de la Création Cinématographique. p–Hubert Niogret. asst. d–Michel Such. sc–Nicole Muchnik, Raul Ruiz. ph—Denis Lenoir, Patrice Millet. In colour. still ph–Patrice Morère, Mario Muchnik. ed–Valeria Sarmiento. m–Sergio Arriagada. cost–Fanny Lebihan, Yves Hersen. sd. rec–Michel Villain. sd. re-rec–Paul Bertaud. English version/English commentary—Michael Graham. French version/French commentary–Robert Darmel. l.p–Eva Simonet, Silke Humel, Frank Lesne, Marie Christine Poisot, Hugo Santiago, Geneviève Such, Laurence Such, Michel Such, Pierre Olivier Such, Yves Wecker, the dogs of the Gramont refuge. 1,938 ft. 22 mins. (35 mm.)
The film alternates three kinds of material: footage of barking dogs, shots of streets and other locations, and the following story, illustrated chiefly by a series of stills (and occasionally by shots in motion) and narrated off-screen: Monique discovers in a school playground that the woman she believes to be her mother isn’t her mother. At home, she learns that her real mother is a woman named Marie, who doesn’t know who her father was.… Read more »