I’ve never regarded Stanley Donen’s romantic thriller Charade (1963) as a classic, but at least it has Cary Grant, Audrey Hepburn, Walter Matthau, and Paris. Jonathan Demme’s flat-footed remake has Mark Wahlberg, Thandie Newton, Tim Robbins, and Paris, none of them used very well. The various references to the French New Wave (appearances by Charles Aznavour, Anna Karina, and Agnes Varda, and a scene at Truffaut’s grave site) don’t help much either. But if Wahlberg in a beret is your idea of fun, don’t let me get in your way (at least no one ever says Ooh-la-la). The script, adapted from Peter Stone’s 1963 original, is by Demme, Steve Schmidt, Peter Joshua (Stone’s pseudonym), and Jessica Bendinger. 104 min. (JR)… Read more »
Monthly Archives: October 2002
Also known as Memory and Memorandum, this 2001 documentary by Mostafa Razzagh Karimi and Mojalal Varahram about the geography, history, and diverse cultures of Iran proceeds without narration or dialogue. It certainly offers an eyeful (as well as an earful, considering the striking music score), though there are times when one feels a propagandistic tourisman all-too-official rubber stamp of approvalcalling some of the shots. The running time is 97 minutes, though as I recall, the film ran somewhat longer when I saw it at the Fajr film festival. (JR)… Read more »
To understand the status of poet and filmmaker Forugh Farrokhzad in Iran, one would have to combine the mythologies of Maya Deren, Marilyn Monroe, Sylvia Plath, and Bessie Smith, but even that might not communicate her importance as a feminist martyr and literary pioneer. Nasser Saffarian’s two fascinating hour-long video documentaries about Farrokhzad (1935-’67), Forugh Farrokhzad: The Green Cold (2001) and The Mirror of the Soul, ultimately do more for her legend than for her work. Speaking to Farrokhzad’s mother, siblings, friends, and fellow poets (but not to Ebrahim Golestan, her friend, lover, fellow writer, and filmmaking mentoronly a son is interviewed), Saffarian presents a wealth of valuable material, though his tendency to cut between the shortest of sound bites often limits the discourse. I was grateful to hear Farrokhzad reading from her work, to see snippets of Bernardo Bertolucci’s TV interview with her, and to learn that filmmaker Darius Mehrjui once translated some of her work for the Paris Review. But practically every clip from her great short The House Is Black is mutilated in some fashion (usually by replacing the sound track with voice-over), and her poetry is mainly represented by scattered lines quoted out of context. (From this standpoint, The Mirror of the Soul is an improvement over The Green Cold.) It’s a continuing scandal that most bookstores don’t carry English translations of Farrokhzad, the greatest Persian poet of the 20th century, so these documentaries are an invaluable introduction to her work.… Read more »
Claire Denis’ first-rate documentary (1990) about filmmaker Jacques Rivette, produced for French television, has many things to recommend it. The main interviewer is the great critic Serge Daney, who, two years before his death, converses with Rivette while relaxing in a cafe and strolling around Paris (Denis interjects a few questions toward the end); since both men were former editors of Cahiers du Cinema, not to mention groundbreaking and highly articulate critics, they have a lot to discuss apart from Rivette’s filmmaking. Clips from many of Rivette’s major films (some of which remain difficult to see, like the legendary Out 1) are included, as are interviews with some of Rivette’s actors, such as Bulle Ogier and Jean-Francois Stevenin. Best of all, the film beautifully captures Rivette the man, as both solitary cinephile and exploratory filmmaker. Showing as part of the Block Museum’s invaluable series “Serge Daney: 10 Years After,” which started last month and ends in early December. In French with subtitles; to be projected from Beta SP video. 125 min. Northwestern Univ. Block Museum of Art, 40 Arts Circle Dr., Evanston, Saturday, October 26, 3:00, 847-491-4000. … Read more »
From the Chicago Reader (October 21, 2002). — J.R.
Much as A.I. Artificial Intelligence can be considered a posthumous message from Stanley Kubrick, conveyed by a sympathetic interpreter with a style of his own (Steven Spielberg), this can be regarded as the last word from Krzysztof Kieslowski, though delivered by German filmmaker Tom Tykwer (Run Lola Run) and true to his own manner. There aren’t many examples of this in film history — the posthumously realized film projects of Alexander Dovzhenko by his widow, Julia Solntseva, could be cited, but not George Hickenlooper’s extensive revamping of Orson Welles’s The Big Brass Ring – and it’s therefore an accomplishment to be applauded and treasured. Working with his usual cowriter, Krzysztof Piesiewicz, Kieslowski was planning a trilogy loosely inspired by Dante’s Divine Comedy when he died, and the script for Heaven was reportedly the only one close to completion. After the police refuse to heed her accusations, an English teacher in Turin (Cate Blanchett) plants a bomb in an office building to destroy a drug dealer she holds responsible for the death of her husband. Her plan goes awry; held for questioning, she insists on speaking English, and the young police officer (Giovanni Ribisi) who offers to translate her testimony immediately falls in love with her.… Read more »
From the Chicago Reader (October 18, 2002). — J.R.
In Praise of Love
Directed and written by Jean-Luc Godard
With Bruno Putzulu, Cecile Camp, Claude Baignieres, Remo Forlani, Audrey Klebaner, Mark Hunter, and Jeremy Lippmann.
Berthe: “When did the gaze collapse?”
Edgar: “Before TV took precedence.”
Berthe: “Took precedence over what? Current events?”
Edgar: “Over life.”
Berthe: “Yes. I feel our gaze has become a program under control. Subsidized….The image, monsieur, the only thing capable of denying nothingness, is also the gaze of nothingness on us.”
— In Praise of Love
Let feelings bring about events, not the contrary. — Robert Bresson, Notes on Cinematography, quoted in In Praise of Love
Six years ago, when Jean-Luc Godard was presenting his feature For Ever Mozart in Toronto, he described Eloge de l’amour (In Praise of Love) as his next project — a play he would stage in Switzerland. So it seems appropriate that his film with the same title opens with a young man, Edgar, planning a project called Eloge de l’amour that might be a film, a play, a novel, or an opera. (During the first hour of the film only two intertitles are used: “something” and “about love.”)
Eloge de l’amour translates literally as “eulogy of love,” but the funereal tone of the film might make “elegy” — “a song or poem expressing sorrow or lamentation, especially for one who is dead” — seem closer to the mark at first.… Read more »
It’s been over a quarter of a century since I saw Robert Kramer and John Douglas’s epic 16-millimeter feature about the American counterculture (1975, 195 min.) at the New York Film Festivalfar too long ago for me to summon up a coherent account or opinion of it today (which is why, contrary to the Block Museum schedule, I won’t be introducing this rare screening). But at the very least, this highly ambitious political film on 60s communal lifestyles should be a provocative and revealing period piece. A radical independent influenced in part by Jacques Rivette, Kramer wound up living in Paris when his early films (In the Country, The Edge, Ice) had a much bigger impact there than in the U.S. He returned home on occasion to make some of his most memorable work, such as Route One (1989), though tragically his films are scarcely known here. The great French critic Serge Daney was especially taken with Milestones, calling it the anti-Nashville; this program is part of a series related to Daney and his work, which continues next weekend with several precious and rarely screened films. (JR)… Read more »
Jean-Luc Godard’s best feature since Nouvelle Vague (1990) is in some respects as difficult as that film, though visually it’s stunning and unique even among Godard’s work. The first part, set in contemporary Paris, was shot in black-and-white 35-millimeter, while the second, set in Brittany two years earlier, is in floridly oversaturated color. A young man (Bruno Putzulu) interviews men and women for an undefined project called Eloge de l’Amour, which will involve three couples (young, adult, and old) experiencing four stages of love (meeting, physical passion, separation, and reconciliation). One young woman he spends time with is the granddaughter of a couple he’s met earlier, former members of the French resistance negotiating to sell their story to a Hollywood studio. As in his magnum opus, Histoire(s) du Cinema, Godard is centrally concerned with the ethics of true and false representation and with the lost promise of cinema, which leads to some anti-American reflections ranging from reasonable to over-the-top. This is a twilight film, dark and full of sorrow, yet lyrical and beautiful as well (2001). In French with subtitles. 94 min. (JR)… Read more »
Adapted by Mel Dinelli from a Cornell Woolrich story, this is one of the most underrated B pictures of the 40s, perhaps because neither its director (Ted Tetzlaff) nor its stars (Bobby Driscoll, Barbara Hale, Arthur Kennedy, Ruth Roman, and Paul Stewart) are strong calling cards today. Driscoll won a special Oscar for his performance as a little boy known for telling fibs who witnesses a murder from a fire escape one night but can’t get anyone to believe him. This taut thriller (1949, 73 min) is almost as close to neorealism as to noirthe details of working-class city life are especially fine. (JR)… Read more »
Despite a mainstream thrust that suggests Hollywood in its conventional blandness, this first feature by writer-director Nasser Refaie has a prototypical Iranian art movie orientation. It’s a comedy about a crowd of young women waiting to take a university entrance exam that never strays outside its schoolyard locationa graceful tour de force that’s limited by a reluctance to move beyond predictable character types. Unfolding over 80 minutes of real time, it evokes the modernist style of The White Balloon, and the focus on women determined to receive higher education is mildly feministthough the propensity of recent Iranian features for staging all their action in exteriors is at least partially a consequence of censorship laws requiring women in film interiors to wear chadors, however implausible. The giggles and prankishness of many of the exam takers are refreshing, yet it’s symptomatic of the overall mildness that the liveliest moments ensue when someone’s pet monkey gets loose and climbs a tree. In Farsi with subtitles. 80 min. (JR)… Read more »
From the Chicago Reader (October 11, 2002, and then again on June 24, 2005, when Roger introduced it and led a discussion about it). Happily, this film is still available from Amazon and on YouTube, and in memory, it seems to get better and better all the time. — J.R.
There are so many curves and anomalies in this unpredictable low-budget independent feature (2001) by Chicago actor Michael Gilio that I’m tempted to call it an experimental film masquerading as something more conventional. If it’s a comedy — and I’m not sure it is — there are far too many close-ups, though this is also very much an actors’ film. If it’s a road film — and I’m not sure it is — it never gets very far on any given route, though that’s surely deliberate. Two characters (played by Gilio and Bullet on a Wire‘s Lara Phillips) are opaque — they meet at a convenience store where she’s shoplifting, then go on a cross-country trip toward LA, until things start to get weird — and two (played by Karin Anglin and the charismatic Rich Komenich) have backstories. This movie is about the interactions between these characters, and though I’m still trying to figure out what all the pieces mean, there’s no way I can shake off the experience.… Read more »
Adapted by Milton Krims from a novel by Lloyd C. Douglas (whose work also inspired Magnificent Obsession and The Robe), this 1937 feature stars Errol Flynn as a dedicated doctor who abandons his practice. Frank Borzage (A Farewell to Arms) directed, which may be the best reason for seeing this; with Anita Louise. 85 min. (JR)… Read more »
Film festivals are a lot like travel, in that they can greatly enhance our sense of the world as a diverse yet interactive community in a relatively short time. But I’ve just returned from a spate of actual travel (some of it film-related, some of it not) during which it became more apparent to me than ever that this community is livid about the direction Bush’s so-called war on terrorism is taking–and this is already starting to have an impact on the important cultural exchanges that the festivals foster.
In New York, where I was attending a conference on Iranian cinema at Lincoln Center, word came through that Abbas Kiarostami would not be able to attend the New York Film Festival, which is running concurrently with Chicago’s: he had been told in Paris that because he’s from an Islamic country, under new U.S. security measures a three-month background check would be required before his visa could be approved. While I was in London, an estimated third of a million people–about as many as read this paper–turned out to demonstrate against a U.S. invasion of Iraq. And then, on a brief vacation in Paris, I ran into my old friend Peter von Bagh, a Finnish film critic and programmer, who told me that Finnish filmmaker Aki Kaurismaki had just refused to attend the New York festival himself as a gesture of solidarity with Kiarostami.… Read more »
From the Chicago Reader (October 4, 2002). — J.R.
The fourth feature of writer-director Paul Thomas Anderson (after Hard Eight, Boogie Nights, and Magnolia) is a stridently wacky romantic comedy that stands or falls on whether you find Adam Sandler funny as a small businessman working out of a warehouse in greater Los Angeles. He didn’t make me laugh once, and neither did his costar Emily Watson, though Philip Seymour Hoffman, in what amounts to a cameo, made me laugh once or twice. I tend to like quirkiness, but this arch effort is so eager to be quirky nearly everything winds up willfully mannered, from Jon Brion’s flashy percussive score to the hyperbolically absurdist plot. Still, I wouldn’t have minded the Hollywood schlock lurking behind the studied weirdness if I’d believed in any of the characters on any level. With Luiz Guzman. 91 min. (JR)
A movie about two Italian immigrant brothers (Tony Shalhoub and Stanley Tucci, both in fine form) who open a New Jersey restaurant called the Paradise; Shalhoub plays the artistic and temperamental chef, Tucci the more practical-minded manager (1996). Tucci wrote the script with his cousin, Joseph Tropiano, and directed it with one of his costars, Campbell Scott. Apart from offering what may well be the best advertisement for Italian cooking in movies, this little picture charms by virtue of its craft and patience; it moves at times more like a European movie than an American one, allowing its characterizations to grow on us, and the effort pays off. It also succeeds as a story about art and idealism and cultural assimilation. Others in the cast include Isabella Rossellini, Minnie Driver, Ian Holm, Marc Anthony, and Allison Janney. R, 107 min. (JR)… Read more »