Daily Archives: October 5, 1990

Tales From the Winnipeg Film Group

If Guy Maddin’s Tales From the Gimli Hospital whetted your appetite for more comic/nostalgic/facetious strangeness–or if you haven’t seen the Maddin film but have such an appetite anyway–you’ll probably get a kick out of this entertaining assortment of shorts by Maddin’s neighbors and colleagues, all members of the Winnipeg Film Group of Manitoba, Canada; producer Greg Klymkiw will introduce and discuss their work. The ones I’ve been able to sample include Tracy Traeger and Shawna Dempsey’s We’re Talking Vulva, a funny rap-music video featuring performance artist Dempsey in a vulva suit; John Paizs’s hilariously deadpan evocations of 50s educational shorts in Springtime in Greenland and The Obsession of Billy Botski; and Lome Bailey’s memorable The Milkman Cometh, about a businessman who becomes so entranced by the Alpine landscape on a can of evaporated milk that his life gradually becomes overtaken by it. Also to be shown are films by John Kozak (Two Men in Search of a Plot) and the Winnipeg Film Group as a whole (Rabbit Pie). (Chicago Filmmakers, 1229 W. Belmont, Wednesday, October 10, 8:00, 281-8788) … Read more »

Red Desert

From the Chicago Reader (October 5, 1990). — J.R.

Michelangelo Antonioni’s first feature in color (1964) remains a watermark for using colors creatively, expressionistically, and beautifully; to get the precise hues he wanted, Antonioni had entire fields painted. A newly struck and restored print of the film makes clear why audiences were so excited a quarter of a century ago by his innovations, which include not only expressive uses of color for moods and subtle thematic coding but striking uses of editing as well. This film comes at the tail end of his most fertile period, immediately after his remarkable trilogy consisting of L’avventura, La notte, and L’eclisse; Red Desert may not be quite as good as the first and last of these, but the ecological concerns of this film look a lot more prescient today than they did at the time. Monica Vitti plays an extreme neurotic married to industrialist Richard Harris, and Antonioni does eerie, memorable work with the industrial shapes and colors that surround her, which are shown alternately as threatening and beautiful; she walks through a science fiction lunar landscape spotted with structures that are both disorienting and full of possibilities. Like any self-respecting Antonioni heroine, she’s looking for love and meaning — more specifically, for ways of adjusting to new forms of life — and mainly finding sex.… Read more »

Jaguar

Much as history is written by survivors, film history is frequently written by distributors. So the greatness of the serials of both Louis Feuillade and Jacques Rivette must remain a postulate for Americans who can’t see them, and the towering importance of the fascinating ethnographic filmmaker Jean Rouch is usually something U.S. viewers can only read about. Rouch was a pioneer in working with sync sound and in mixing fiction and narrative with documentary, usually through the creative intervention of the subjects being filmed–aspects that were to fundamentally influence the French New Wave. Fortunately, one of Rouch’s finest (and earliest) features–about three young men who leave Niger to find work in Ghana prior to its independence–has been unearthed for a rare screening. This film was made before sync sound was available, and Rouch invited the major characters to improvise a narrative over the footage, which is an amazing and often funny document in its own right. If you care about cinema and haven’t yet encountered Rouch, this shouldn’t be missed (1953). Chicago documentary filmmaker Judy Hoffman, a member of the Kartemquin collective who has worked with Rouch, will introduce the film and lead a discussion. (Chicago Filmmakers, 1229 W. Belmont, Friday, October 5, 8:00, 281-8788)… Read more »

Absence of Conscience [on GOODFELLAS]

From the Chicago Reader (October 5, 1990).  From the vantage point of  2013, The Wolf of Wall Street might be regarded in certain respects as an inferior remake of GoodFellas, with all the limitations of the original dutifully preserved. — J.R.

GOODFELLAS

*** (A must-see)

Directed by Martin Scorsese

Written by Nicholas Pileggi and Scorsese

With Ray Liotta, Joe Pesci, Lorraine Bracco, Robert De Niro, Paul Sorvino, Chuck Low, Frank Sivero, and Debi Mazar.

Greed, indiscipline and amorality drench the money-military culture, in its upper echelons and in its pits. Somebody destroyed the national superego. Does anyone have a plan to make one anew? — from a recent editorial in the Nation

The opening, white-against-black credits of Martin Scorsese’s GoodFellas whiz horizontally across the screen to the sounds of traffic in quick, isolated bursts, telling us at the outset that speed is of the essence. Using a cast of almost 150 players (including a delightful performance by Scorsese’s mother Catherine) and a sound track with about 40 pop singles that are both apposite and subtle in the way they comment on the action, Scorsese pushes the narrative along with a sense of gliding motion and legible fluidity that is often breathtaking.… Read more »