From the Chicago Reader (June 16, 1995). — J.R.
The Glass Shield
Rating *** A must see
Directed and written by Charles Burnett
With Michael Boatman, Lori Petty, Ice Cube, Elliott Gould, Richard Anderson, Don Harvey, Michael Ironside, Michael Gregory, Bernie Casey, and M. Emmet Walsh.
Rating * Has redeeming facet
Directed by Wayne Wang
Written by Paul Auster
With William Hurt, Harvey Keitel, Stockard Channing, Harold Perrineau, Giancarlo Esposito, Ashley Judd, and Forest Whitaker.
My dozen favorite films at Cannes this year? Terence Davies’s ecstatic wide-screen The Neon Bible, set in a perfectly imagined Georgia of the early 40s, with Gena Rowlands; Emir Kusturica’s Yugoslav black-comedy epic Underground; Hou Hsiao-hsien’s beautiful if difficult Good Men, Good Women; Jim Jarmusch’s transgressive western Dead Man; Jafar Panahi’s The White Balloon, an Iranian urban comedy about children that unfolds in real time; Zhang Yimou’s Shanghai Triad, a cross between Sternberg’s The Devil Is a Woman — with Gong Li taking the place of Marlene Dietrich — and Billy Bathgate; and Manoel de Oliveira’s The Convent (Ruizian metaphysics and theology with John Malkovich and Catherine Deneuve). Then there were such pleasures on the market as Gianni Amelio’s Lamerica, a mordant treatment of the collapse of communism in Albania; lively low-budget musicals by Jacques Rivette and Joseph P.… Read more »
Clint Eastwood movingly resurrects the star system, the Hollywood love story, classical Hollywood direction, middle-aged romance, the late jazz singer Johnny Hartman, and the mid-60s, but despite a great deal of craft and sincerity he and screenwriter Richard LaGravenese don’t quite turn all the cardboard in Robert James Waller’s popular novel into flesh and bone. The one big exception is Meryl Streep’s beautiful and fresh performance as an Italian-American Iowa housewife and mother resigned to a life that hasn’t lived up to her fantasies. Eastwood himself plays a dreamboat photographer for National Geographic who drops into her life for four days–a fantasy figure who only occasionally adds up to anything more than his sketchy profile. As long as these two are on the screen, one can forget the treacle that placed them there; their first moment of physical contact is exquisite and unforgettable, and the film as a whole makes a plausible conservative argument for adultery as a preserver of marriage. A flashback structure involving the housewife’s two kids and suggesting Wuthering Heights only fitfully transcends the Reader’s Digest aura this movie is so eager to honor and justify. But it’s tempting to overlook the shortcomings of a self-styled relic that’s so earnest about what it’s doing, and has the unfashionable courage to be slow, especially with so much wonderful jazz on the sound track.… Read more »