A gorgeous mirage of a movie, Claire Denis’ reverie about the French foreign legion in eastern Africa (1999, 90 min.), suggested by Herman Melville’s Billy Budd, Foretopman, benefits especially from having been choreographed (by Bernardo Montet, who also plays one of the legionnaires). Combined with Denis’ superb eye for settings, Agnes Godard’s cinematography, and the director’s decision to treat major and minor elements as equally important, this turns some of the military maneuvers and exercises into thrilling pieces of filmmaking that surpass even Full Metal Jacket and converts some sequences in a disco into vibrant punctuations. The story, which drifts by in memory fragments, is told from the perspective of a solitary former sergeant (Denis Lavant, star of The Lovers on the Bridge) now living in Marseilles and recalling his hatred for a popular recruit (Gregoire Colin) that led to the sergeant’s discharge; the fact that his superior is named after the hero of Godard’s Le petit soldat and played by the same actor almost 40 years later (Michel Subor) adds a suggestive thread, as do the passages from Benjamin Britten’s opera Billy Budd. Most of all, Denis, who spent part of her childhood in Djibouti, captures the poetry and atmosphere–and, more subtly, the women–of Africa like few filmmakers before her.… Read more »
Daily Archives: June 2, 2000
From the Chicago Reader (June 2, 2000). Last weekend (October 5, 2014) I had the pleasure of introducing The Sandwich Man at the Museum of the Moving Image’s exhaustive Hou retrospective in Astoria. — J.R.
Films by Hou Hsiao-hsien
By Jonathan Rosenbaum
We are what we pretend to be, so we must be careful about what we pretend to be. — Kurt Vonnegut Jr., Mother Night
How significant is it that neither of the two greatest working narrative filmmakers is fluent in English? Not very. But it might be logical. After all, most of the people in the world, including those in Iran and Taiwan, don’t speak English, even though that places them, in American eyes, in the margins, outside even the on-line global culture.
If being in the margins means being in the majority, it stands to reason that Abbas Kiarostami and Hou Hsiao-hsien, as chroniclers of what’s happening on the planet at the moment, should both be poet laureates of the sticks — though they don’t have much in common beyond a taste for filming in long shot, pioneering direct sound recording in their national cinemas (in both cases to honor the speech patterns of nonprofessional actors), and a general sense of philosophical detachment.… Read more »