PBS has refused to show Randy Holland’s powerful, illuminating feature-length documentary video (1993) about South Central Los Angeles, no doubt because it offers an analysis of unemployment and oppression that implies an active conspiracy–an analysis offered mainly by people who live there. If this sounds dubious in a few particulars, it’s still the most cogent and persuasive portrait of this ghetto and its determinations that I’ve seen, and unless the Republicans come up with a better explanation this one will have to stand, with or without PBS’s dubious seal of approval. The video traces the rise of the ghetto gangs to the destruction of Black Panther leadership by the police and the FBI in the 60s, to the continuing preference of the white community for building prisons (the one government program they still support) rather than hospitals, schools, parks, or recreation centers, and to the refusal of local building crews to employ qualified blacks. It’s worth adding that the gang members argue that the ready availability of drugs and firearms is largely attributable to the police and that the unvoiced agenda of the white middle class is that ghetto residents should destroy one another. This agenda is remarkably close to that of conservative filmmaker John Carpenter in his SF thriller They Live.… Read more »
Daily Archives: November 25, 1994
From the Chicago Reader (November 25, 1994). — J.R.
* MARY SHELLEY’S FRANKENSTEIN
(Has redeeming facet)
Directed by Kenneth Branagh
Written by Steph Lady and Frank Darabont
With Kenneth Branagh, Robert De Niro, Helena Bonham Carter, Tom Hulce, Aidan Quinn, Ian Holm, Richard Briers, and John Cleese.
(Has redeeming facet)
Directed by Ivan Reitman
Written by Kevin Wade and Chris Conrad
With Arnold Schwarzenegger, Danny DeVito, Emma Thompson, Frank Langella, Pamela Reed, and Judy Collins.
Through a perverse coincidence, Kenneth Branagh and his wife, Emma Thompson worked simultaneously, on separate continents, on two lousy features about men usurping the reproductive roles of women. In many respects, these movies are radically different: Branagh’s pre-Thanksgiving turkey, misleadingly titled Mary Shelley’s Frankenstein, is the umpteenth screen adaptation of what is arguably one of the greatest feminist novels and perhaps the first serious example of science fiction. Thompson’s movie, a Thanksgiving release, is a Ivan Rietman “family-values” fantasy-comedy about Arnold Schwarzenegger becoming pregnant — a high-concept obscenity that seems inspired by the combined successes of Twins (which also starred Schwarzenegger and Danny DeVito) and Tootsie (which also contrived to show how men make better women than women, a project also taken up by The Crying Game).… Read more »
This 1991 Argentine-Uruguayan production by Argentinean writer-director Adolfo Aristarain, nominated for an Academy Award before being disqualified on a technicality, is better than most foreign Oscar nominees. Aristarain compares the plot, which involves the recollected adolescence of a boy growing up in Argentina’s Bermejo Valley, to that of Shane, but this hardly does it justice. The boy’s parents are an idealistic Jewish doctor (Cecilia Roth) and sociology professor turned schoolteacher (Federico Luppi) who’ve helped found a cooperative of poor shepherds with an outspoken and committed nun. The Shane figure is a Spanish geologist-mercenary hired by the principal landowner in the region. All these characters, along with the illiterate daughter of a local foreman the boy falls in love with, are treated with a novelistic density and ambiguity, and you’re likely to remember them afterward as you would real people. Music Box, Friday through Thursday, November 25 through December 1.… Read more »