Daily Archives: January 29, 1999

Faithless Re-creation

From the Chicago Reader (January 29, 1999). — J.R.

gloriakid

Gloria

Rating * Has redeeming facet

Directed by Sidney Lumet

Written by Steven Antin

With Sharon Stone, Jean-Luke Figueroa, Jeremy Northam, Cathy Moriarty, Mike Starr, Bonnie Bedelia, and George C. Scott.

gloria-longshot

I don’t much relish remakes, especially of movies I like — I’ve avoided seeing the new Payback, a retooling of John Boorman’s Point Blank (1967) — but the idea of Sidney Lumet remaking John Cassavetes’s Gloria (1980) with Sharon Stone seemed to offer possibilities. After all, Cassavetes wrote the script for MGM thinking someone else would direct it; he wound up directing it himself for Columbia only because his wife, Gena Rowlands, was the star and the studio asked him to. “Look, I’m not very bright,” he insisted in an interview. “I wrote a very fast-moving, thoughtless piece about gangsters. And I don’t even know any gangsters. Gloria has a wonderful actress and a very nice kid [John Adames] who’s neither sympathetic nor unsympathetic. He’s just a kid. He reminds me of me — constantly in shock, reacting to this unfathomable environment.” Later he added that when he began shooting Gloria, “I was bored because I knew the answer to the picture the minute we began….All my best work comes from not knowing.”

gloria-rowlands

Enjoyable hokum at best, Cassavetes’s movie draws a lot of confidence from old-fashioned Hollywood tropes.… Read more »

Affliction

Because most of the acting is authentic and powerful (especially that of Nick Nolte, Sissy Spacek, and Jim True), the source (a Russell Banks novel) is more than respectable, and the subjectan all-around fuckup (Nolte) in a dying New England town becomes even more fucked-upand winter setting are unrelentingly grim, one has to admire writer-director Paul Schrader for having the guts to make this picture. But I found it more punishing than edifying. A brave effort to stare down the specter of American failure, it gets off on the wrong foot by pretentiously turning the doomed hero into a Christ figurea traffic cop with arms extended in crucifixion modebefore the story even gets started. Flashbacks come in two subjective stylesgrainy and handheld to recount the meanness and violence of the hero’s awful father (James Coburn, a bit out of his depth), black-and-white to reconfigure the recent past. The hero’s brother (Willem Dafoe), daughter (Brigid Tierney), and ex-wife (Mary Beth Hurt) all have their say, but the narcissism of wounded macho gets in the last word, and it’s last year’s groceries. (JR)… Read more »

The Lovers of Pont-Neuf

The Lovers of Pont-Neuf

This 1992 French feature by Leos Carax (Boy Meets Girl, Bad Blood) could be the great urban expressionist fantasy of the 90s: like Sunrise and Lonesome in the 20s and Playtime and Alphaville in the 60s, it uses a city’s physical characteristics to poetically reflect the consciousness of its characters. Carax daringly and disconcertingly begins the film as a documentary portrait of the homeless in Paris, but it becomes a delirious love story between two people (Denis Lavant and Juliette Binoche) who live on one of Paris’s most famous bridges and experience the whole city as a kind of enchanted playground, a vision that reaches an explosive apotheosis during a bicentennial fireworks display over the Seine. To realize his lyrical and monumental vision, Carax built a huge set in the French countryside that depicted Pont-Neuf and its surroundings, making this one of the most expensive French productions ever mounted. So the film seems an ideal subject for a lecture by former Chicagoan Stuart Klawans, film critic for the Nation and author of Film Follies: The Cinema Out of Order, a new book with a witty and highly original sense of film history. The Lovers of Pont-Neuf is Carax’s best work to date; it’s slated to open here commercially later this year.… Read more »