Reportedly the longest single film ever made, Edgar Reitz’s 13-part, nearly 26-hour “chronicle of a generation” (1992)–set in Munich during the 60s and only nominally a sequel to his 15-hour Heimat (1984)–mainly focuses on the experiences of one young man, a classical musician and composer named Hermann Simon (Henry Arnold) who moves from the small village of Shabbach (where Heimat was set) to find a new life and, echoing the title, a second home. Alternating masterfully between black and white and color, Reitz conveys a novelistic sweep as he deals with artistic and romantic ferment in 1960 and ’61 in the first two episodes, “The Time of the First Songs” and “Two Strange Eyes.” Among the other major characters are the hero’s best friend, a Chilean musician; a beautiful cellist they’re both drawn to; a lonely female law student; a couple of ambitious filmmakers; a jazz drummer; a crazed landlady and former singer; and two avant-garde composers. Reitz’s feeling for period and milieu are so good and his characters so rich and appealing one feels one could climb inside this movie and stay a long, long while. On the basis of the four hours I’ve seen so far, I suspect The Second Heimat offers the most comprehensive and persuasive grasp of the experience of the 60s we have on film, with the possible exception of Jacques Rivette’s nearly 13-hour Out 1, which has never been shown in the U.S.… Read more »
Monthly Archives: April 1994
Adapted from a successful play, this tense and effective Venezuelan political thriller (1992), directed with craft and discretion by Alejandro Saderman, follows the principled decision of a nun to shelter a fugitive from armed rebels during a state of civil war, the ambivalent cooperation she elicits from a fellow nun, and the price they both have to pay for their courage. Saderman sticks to the claustrophobic feeling I assume the original play had, while still conveying a detailed sense of the surrounding community, from mayor to bishop to shopkeeper. And wisely, he tends to veer away from close-ups when he wants certain dramatic points to register; indeed, many of this film’s finest moments–most of them related to the performance of Veronica Oddo, who plays the more committed nun–transpire in long shot. Three Penny, Saturday, April 23, 6:30; also Facets Multimedia, Monday, April 25, 7:00.… Read more »
From the Chicago Reader (April 2002). — J.R.
The whiff of amateur theatricals in The Phantom Menace, imparting a personalized clunkiness to the proceedings, is back in force in this aptly titled fifth installment, but this time the exposition is so thick that everyone except acolytes may tune out. Though the look aspires as usual to be both otherworldly and familiar, there’s nothing that doesn’t reek of southern California plastic, including the characters. Whatever showmanship director George Lucas brought to the earlier episodes has been paved over by calculation (Christopher Lee is about the only actor who looks comfortable). But Lucas is enough of a businessman to know that the earlier chapters helped foster the celebratory mood that greeted the previous gulf war (mainly by promoting the glee to be extracted from supposedly bloodless annihilation, delivered chiefly to faceless reptiles in desert settings), and the livelier final stretches here seem designed to help pave the way for more. PG, 138 min. (JR)
It’s a matter of some dispute whether Roman Polanski’s letter to the darker side of the romantic impulse–a French-English production made in 1992–represents him at his best or worst (I’d say the former), but there’s little question that this is his most emotionally complex movie to date. With its American, English, and French characters representing the three cultures Polanski has known since he left Poland, it’s also quite possibly his most personal film–and certainly his most self-critical. The major focus of the plot, told in flashbacks, is the perverse relationship that develops in Paris between a failed, well-to-do American writer (Peter Coyote) who becomes crippled and a young French dancer (Emmanuelle Seigner); their encounter with a British couple (Hugh Grant and Kristin Scott-Thomas) on a luxury liner on the Black Sea forms the present-tense story. This uneasy combination of comedy and tragedy, frank pornography and caustic antipornography, sexual fun and games and mental cruelty doesn’t allow the audience a comfortably detached viewpoint from which to judge the proceedings. Chances are you’ll either love it or despise it. Music Box, Friday through Thursday, April 15 through 21.… Read more »
From the April 8, 1994 issue of the Chicago Reader. When I reprinted this article in my 1997 collection Movies as Politics, I gave it a different title: “Polanski and the American Experiment”.
For me, The Ghost Writer is easily Polanski’s best film since Bitter Moon. And certainly his most masterful. — J.R.
**** BITTER MOON
Directed by Roman Polanski
Written by Polanski, Gerard Brach, John Brownjohn, and Jeff Gross
With Peter Coyote, Emmanuelle Seigner, Hugh Grant, Kristin Scott-Thomas, Victor Bannerjee, Sophie Patel, and Stockard Channing.
Fairly late in What? (1973), Roman Polanski’s least seen and least critically approved feature — an absurdist, misogynist, yet oddly affectionate ‘Scope comedy filmed in the seaside villa of its producer, Carlo Ponti — the bimbo American heroine (Sydne Rome), an Alice set loose in a decadent wonderland belonging to a dying millionaire named Noblart, wanders for the second time into a living room where she encounters a middle-aged Englishman. Once again this Noblart employee bemoans his arthritis, cracks his knuckles, then sits down at a piano to play the treble part of a Mozart sonata for four hands. Immediately recognizing the piece, she joins him, performing the bass part. After a rose petal drops from a bowl of flowers on the piano onto the keyboard, which also happened before, the wide-eyed heroine has an epiphany:
“It’s so strange — this keeps happening to me more and more often.… Read more »
Perhaps the most intriguing fact about this clever, touching, and well-directed independent feature is that the script was written by the late Endre Bohem in 1935 and revised by his son Leslie only a few years ago–a form of generational continuity reflected in one of the delayed revelations of the plot as well. The story–set in the present, though one can imagine it set during the Depression–concerns the fate of a single $20 bill that’s dropped on a city street, picked up, spent, given away, lost, and pursued by many people for multiple reasons, always gaining new significance with each new setting. Most of the resulting miniplots are self-contained, but the script also gracefully brings back characters, making a roundelay exercise like the recent Chain of Desire look fairly crude by comparison. Documentary filmmaker Keva Rosenfeld has switched to fiction with a great deal of craft and assurance, never allowing the large number of characters to seem top-heavy or confusing. The able cast includes Linda Hunt, Elisabeth Shue, Christopher Lloyd, Steve Buscemi, Brendan Fraser, Gladys Knight, Melora Walters, and Kamal Holloway. Music Box, Friday through Thursday, April 8 through 14.… Read more »
With the possible exception of Kurosawa, Nagisa Oshima (In the Realm of the Senses, Empire of Passion, Merry Christmas, Mr. Lawrence) is the greatest living Japanese filmmaker. Unfortunately, the U.S. distributor of most of his early work has made very little of it available on video, which means that most Americans’ knowledge of the modernist Japanese cinema doesn’t include Death by Hanging, Boy, The Man Who Left His Will on Film, The Ceremony, and many other Oshima masterworks. Max Mon Amour (1986), his most recent feature, here receiving its belated Chicago premiere, isn’t as good as those movies, but then what is? This dry drawing-room comedy about an English diplomat’s wife (Charlotte Rampling) who has a “serious” affair with a chimpanzee was produced by Serge Silberman, producer of Bunuel’s last films, and written by Bunuel’s cowriter on the same films, Jean-Claude Carriere. Much of this film’s ongoing humor derives from the human couple’s sense of decorum; in a game effort to preserve his marriage, the diplomat (Anthony Higgins), who has a mistress of his own, arranges to have the chimp moved into their flat. Even for a filmmaker who essentially changes style with each picture–and has a reputation as a taboo breaker–this is uncharacteristic: the poker-faced surrealism of “civilized” people attempting to be mature about a woman’s passion for a chimp seems, not surprisingly, more like Bunuel than Oshima.… Read more »
From the Chicago Reader (April 1, 1994). — J.R.
This third compilation of clips from MGM musicals — introduced, like its predecessors, by many of the leading performers (June Allyson, Cyd Charisse, Lena Horne, Howard Keel, Gene Kelly, Ann Miller, Debbie Reynolds, Mickey Rooney, and Esther Williams) — has so much pleasure to offer that any purist quibbles seem minor. Not only have writers-directors-producers Bud Friedgen and Michael J. Sheridan, who worked as editors on the two previous films, come up with heaps of wonderful and fascinating new material (excluded numbers from Singin’ in the Rain, The Band Wagon, Cabin in the Sky, The Harvey Girls, Easter Parade, and even I Love Melvin); they’ve also introduced a welcome critical note into the proceedings, demonstrating how dubious some of MGM’s aesthetic decisions were and allowing Horne to voice some of her own misgivings about the bigoted policies that limited her activity. Indeed, after Horne introduces her own clips, her terse introduction to an unused Judy Garland number from Annie Get Your Gun, “I’m an Indian Too,” doesn’t have to allude to the number’s racism because in the context she’s established the evidence speaks for itself. The original screen ratios of the films are generally respected — the rule apparently is broken only when the filmmakers are doing a montage or want the dramatic benefits of a full screen even if it means cropping the image.… Read more »
It’s a matter of some dispute whether Roman Polanski’s letter to the darker side of the romantic impulsea French-English production made in 1992represents him at his best or worst (I’d say the former), but there’s little question that this is his most emotionally complex movie. With its American, English, and French characters representing the three cultures Polanski has known since he left Poland, it’s also quite possibly his most personal filmand certainly his most self-critical. The major focus of the plot, told in flashbacks, is the perverse relationship that develops in Paris between a failed, well-to-do American writer who becomes crippled (Peter Coyote) and a young French dancer (Emmanuelle Seigner); their encounter with a British couple (Hugh Grant and Kristin Scott Thomas) on a luxury liner forms the present-tense story. This uneasy combination of comedy and tragedy, frank pornography and caustic antipornography, sexual fun and games and mental cruelty doesn’t allow the audience a comfortably detached viewpoint from which to judge the proceedings. Chances are you’ll either love it or despise it. (JR)… Read more »
James Whale’s brilliant and surprisingly delicate 1936 rendition of the Kern and Hammerstein musical, which was based on an Edna Ferber novel, is infinitely superior to the dull 1951 MGM Technicolor remake and, interestingly enough, less racist. The rendition of Old Man River by Paul Robeson, magnificent throughout, is a high point, occasioning a montage sequence that shows Whale at his most expressionistic and inventive. With Irene Dunne, Allan Jones, Helen Morgan, and Charles Winninger. 112 min. (JR)… Read more »
The usual stuff. Some promising material about totalitarian maximum-security imprisonment in the year 2022 is quickly succeeded by OK action a la The Road Warrior on a remote island; the all-male cast begins to pall after a while, though Ray Liotta (hero), Stuart Wilson (villain), Lance Henriksen (father figure), and various others (Kevin Dillon, Kevin J. O’Connor, Ernie Hudson, Ian McNeice) do their best to keep you from nodding off. Martin Campbell directed from a screenplay by Michael Gaylin and Joel Gross that’s based on Richard Herley’s novel The Penal Colony. (JR)… Read more »
Two wartime propaganda shorts in French, directed by Alfred Hitchcock for the unoccupied French colonies: Bon Voyage and Aventure Malgache (both 1944). Neither was shown much at the time, but both are interesting as period pieces and minor Hitchcockian narrative exercises. 57 min. (JR)… Read more »
A Harvard senior on scholarship (Brendan Fraser) has a rude encounter with a homeless wino (Joe Pesci) camped out in the basement of the campus library. The student and his three roommatesMoira Kelly, Patrick Dempsey, and Josh Hamiltonlearn a lot about how the other half lives, while the hero winds up with a surrogate for the father he never had. A good deal of this can be read as a Clinton-administration update of The Paper Chase (a Nixon-administration movie), with Gore Vidal enlisted to do a rough equivalent of John Houseman’s cameo in the earlier picture; otherwise, it’s a fairly effective tearjerker with a smidgen of social conscience, despiteor is it because of?the compulsive Hollywood gloss. Truth or Dare’s Alek Keshishian directed (with distinction if not honors), which helps explain why Madonna furnishes the movie’s theme song, and the better-than-average script is credited to William Mastrosimone, though both playwright Israel Horowitz and novelist Rafael Yglesias (Fearless) are said to have worked on it. (JR)… Read more »
It’s been suggested by the editor of the Budapest Daily News that one reason this 1993 Hungarian comedy, set during the 60s, was the most popular local movie ever released in Hungary is that Hungarian audiences are tired of films that are forever digging up the policies and social issues of the past. There’s clearly no threat of that happening here. This is a jaunty account of a wooden-hanger salesman (played by director and cowriter Robert Koltai, his first feature) taking along his awkward teenage nephew on trips to various trade fairs and the racetrack, and cluing him in to the facts of life, sexual and otherwise. The uncle has been compared to a life force like Zorba the Greek and Auntie Mame, and if you love those characters I guess you’ll enjoy this too; I was much more intrigued by the ambiguous nature of the character’s ethnic background. (JR)… Read more »
By reputation at least, this is a seminal early work (1978) by Peter Greenaway45 minutes long, involving the jokey reconstruction of an imaginary film. (JR)… Read more »