This fruitful collaboration between Chicago independent Joseph Ramirez and Illinois poet Paul Hoover is a major advance over Ramirez’s attempt to yoke cinema with poetry in his first feature, Descent. Shot with a Chicago cast and crew in rural Iowa, Viridian follows the painful adjustments of a divorced young woman and her little boy as they move from one rented farmhouse to another, focusing on her dreams as well as her waking thoughts. Though the plot is minimal, the gorgeous cinematography (by Sean Culver, who also served as editor) and Hoover’s writing, most of which figures as the woman’s offscreen narration, mesh with and complement each other in arresting and mysterious ways. The marriage of lonely figures and landscapes occasionally recalls some of the best features of Jon Jost, and the functional performances by Diane Weyerman, Mathew Brennan, and James Larkin allow Ramirez as well as us to weave meditative moods and reflections around the evocative words and images. Ramirez, Hoover, Culver, and Weyerman will all be present at this world premiere to discuss their work. Film Center, Art Institute, Columbus Drive at Jackson, Friday, November 18, 8:00, and Saturday, November 19, 6:00 and 8:00, 443-3737.… Read more »
Daily Archives: November 18, 1994
From the Chicago Reader (October 21, 2007). — J.R.
I haven’t seen David Mamet’s controversial two-character play on the stage, but his own film adaptation (2007) is easily his best movie since House of Games. The two characters are a pontificating, bullying male college professor (William H. Macy) up for tenure and his initially cowed, eventually empowered female student (Debra Eisenstadt), who winds up charging him with sexual harassment. The stage versions have often been attacked for siding with the professor, but what seems most impressive about the movie, which may have benefited from certain refinements in the material, is that the two characters are so evenly matched by the dramaturgy that they become Strindbergian antagonists in a life-and-death struggle — equally odious in their authoritarian reliance on institutions to define their own identities and equally crippled by what might be described as their political impotence, which drives them to reach desperately for whatever institutional weapons are available to them. Within this context, education becomes as much an alibi as political correctness, and the most telling aspect of the struggle is that the two characters, even in their carefully coded sexual roles, become two different versions of the same blocked individual.… Read more »