I’m still doping out what I think of The Curious Case of Benjamin Button and Gran Torino, although I did see the latter in time and liked it enough to slip into some of my end-of-the-year ten-best lists. (Since my thoughts and inclinations tend to change over time, I’m reluctant to keep recycling the same list every time I’m asked for one.)
Having just seen Benjamin Button, I still don’t know whether I might have included it in any of my lists, but I have to admit that I suspect I already prefer it to all of Fincher’s other films, with the possible exception of Se7en. It took me a while to warm to the weird premise and some of the grotesqueries it involves, but I think part of what impresses me is how nervy it is in playing out the poetry of the conceit for all that it’s worth and letting all the social-historical elements—from two world wars to Hurricane Katrina (and not overlooking the degree to which it sidesteps all the racial issues)–take a back seat to the love story. It’s also more impressive to me visually than Fincher’s other works. Whatever one concludes about the story and all its ramifications, he certainly knows how to fill a frame.… Read more »
Thanks to a post by Tom Brueggemann yesterday on Dave Kehr’s web site, I’ve just discovered the existence of a remarkable site cataloging almost 23,000 movie theaters around the world, including all nine of those in northwestern Alabama that were owned and/or operated by my grandfather between roughly 1919 and 1960, only a couple of which are still standing today (neither of which still shows movies). There’s also quite a lot of factual information about these theaters available on this site.
Cinema Treasures also features almost 1600 photographs of theaters, though, alas, not any of the nine run by my grandfather. It seems that the people in charge of this site got inundated with more photos of theaters than they could cope with, so they’re not currently adding any more, at least for the time being. But since a good many photos of my family’s former theaters are available in my first book, Moving Places: A Life at the Movies (1980), I’ve decided to reproduce a few here, restricting myself to exterior views of four of them. Directly overhead are the two that are still standing—the Shoals in Florence (which opened in 1948, and is seen here just after it opened) and the Ritz in Sheffield (which opened in 1928).… Read more »
I find it curious that the great Iranian prose writer Sadeq Hedayat (1903-1951) should remind me so much of Edgar Allan Poe, because their backgrounds couldn’t be more dissimilar. Poe (1809-1849) was poor his entire life and Hedayat came from a very wealthy and privileged background; Poe lived in several American cities but never left the U.S. whereas Hedayat lived for extended periods in Belgium, France, and India as well as Iran.
Before the recent publication of Three Drops of Blood, a collection of Hedayat stories, I’d read only his novella The Blind Owl (1936), one of the most terrifying and unsettling horror stories I know, as well as a few of his other stories in French. It seems that most of his work is (or at least has been) available in French, but until the appearance of this slim anthology, The Blind Owl–freely if brilliantly adapted by Raul Ruiz in one of his craziest features, La Chouette Aveugle (1987)–has been virtually the only thing of his available in English. (12/25 postscript: Adrian Martin has just informed me that one can access many Hedayat stories in English translation, including The Blind Owl, for free here.… Read more »
What a pleasurable experience it is to pass directly from a slew of end-of-the-year screeners, most of which I can’t watch to the end, to a 1933 King Vidor opus that still isn’t commercially available on DVD. (According to Scott Simmon, Raymond Durgnat’s coauthor on King Vidor, American , this is Vidor’s most underrated movie; Durgnat opts for Ruby Gentry.) A characteristic virtue of this character-driven adaptation of a Phil Stong novel set in farming country is a shot devoted to a dog wandering into a Sunday morning church service during the sermon, noticing that the place is full, and gradually sitting down under one of the pews. It’s the sort of inessential detail that I wouldn’t expect to find in any contemporary movie. I have no way of knowing whether or not this was scripted, but considering how little it has to do with the plot, I suspect it wasn’t—that Vidor happened on such a shot as an afterthought. Apart from the economy of 30s features, this sort of meandering poetry seems increasingly rare in today’s movies. [12/20/08]… Read more »
Given my overall admiration for Elizabeth Drew as a sensible and straightforward political commentator, I’m happy to have her account in The Huffington Post of what’s dishonorable about the historical distortions of the recent Frost/Nixon movie. Even though I enjoyed the latter as middlebrow entertainment in the Stanley Kramer mode, which goaded me into ordering and watching some of the original David Frost/Richard Nixon dialogues—generally finding Ron Howard as a director to be one of the abler purveyors of this kind of dubious material, which I sometimes have a weakness for—it’s always useful to have someone like Drew pointing out the various misrepresentations.
Why, then, can’t I count on Drew to sidestep the grotesque Hollywood distortions about Nixon that automatically come with seeing him as “a tragic Shakespearean figure”—an absurd inflation that appears to have been invented by either Oliver Stone or his publicist (assuming that there’s a meaningful distinction to be made between the two) as part of the promotional campaign for his 1995 White Elephant Nixon starring Anthony Hopkins?
For me, there’s something unnerving about the way Nixon (the person) has been absurdly elevated and even validated in this cheesy fashion in order to sell a ridiculously overheated piece of merchandise, which Drew is all ready to buy into without blinking.… Read more »
The energetic and resourceful Gary Tooze at DVD Beaver has recently created a DVD Beaver Toolbar that, among many other useful features (such as listing the current temperature anywhere in the world–e.g., in Chicago right now, “25̊̊ F, few clouds, feels like 17̊̊”), includes a link to this web site, under Cinephilia (which so far includes only four other entries). You can also get notified about new emails, access some radio stations, and be routed to various film-related forums with this gizmo. [12/11/08]… Read more »
Commissioned in December 2008 by London’s National Film Theatre or the South Bank — I can’t recall now which of these appellations it was using then — for a small Burnett retrospective. These notes were written according to precise specifications, as indicated in the word lengths mentioned below. — J.R.
1. 35-word stand first
Versatile yet focused, Charles Burnett offers an in-depth portrait of the ghetto community he grew up in, South Central Los Angeles, in an oeuvre that’s both witty and tragic, continuing to expand and surprise us.
2. 350-word introduction
Born in Mississippi in 1944 but raised in Watts, Charles Burnett is a filmmaker as steeped in his community as William Faulkner was in his. But he hails from an invisible community, so it shouldn’t be surprising that one of the supreme living masters of American cinema should also be among the slowest to gain recognition.
That he’s worked memorably for both Miramax (The Glass Shield, 1994) and the Disney channel (Nightjohn, 1996) has only helped to give him a scattered and confused mainstream profile, typically omitting such bold independent experiments as The Final Insult (a 1997 digital video about the homeless, mixing documentary, fiction, and poetry) and Nat Turner: A Troublesome Property (a 2003 TV essay that fictionalizes and dramatizes many conflicting versions of its title figure — a Virginia slave who led a 1839 revolt that slaughtered 59 whites).… Read more »
Now that it’s winter, it shouldn’t be surprising that a large part of the American populace seems locked into some sort of hibernation mode–a state of mind that suggests that virtually all of the country’s problems can be blamed on George W. Bush and virtually none of them can be blamed on the people who voted for George W. Bush. But a more immediate problem is one that involves adjusting to the fact that the very long and recently concluded presidential campaign is no longer in operation. Milk addresses a mindset I would associate with campaign agitprop mode, a mindset that forsakes nuanced and complex analysis for the sake of immediate uplift; The Order of Myths addresses us in a more analytical mode. Of course, given the outlawing of same-sex marriage in California in the last election, an election-mode form of agitprop may be more functional at the moment, at least where homophobia is concerned, but this doesn’t necessarily entail more thoughtful filmmaking.
As nearly as I can remember, Mobile is the only city in Alabama of any significant size that I never visited during the first 16 years of my life, when I was growing up in that state—nor have I ever made it to Mobile since.… Read more »
“I just don’t think America’s ready for a black president. And I don’t mean that in a racial way whatsoever.” (McCain supporter, quoted by Matt Taibbi in “Requiem for a Maverick” in the November 27 Rolling Stone)… Read more »
It’s great to see D.W. Griffith’s scandalously underrated and neglected last feature (1931)–already available on VHS, finally just out on DVD–recognized, and for the right reasons, by Dave Kehr in his DVD column in the New York Times today. And on Dave’s web site, he’s thoughtfully featured the above lobby card. [11/18/08]… Read more »
Okay, this 1952 Leo McCarey melodrama is flawed, even deranged in its second half, when the combined difficulties of Robert Walker’s sudden death during the film’s production and McCarey’s crazed view of the Communist Menace yield a creepy form of paranoid hysteria and delirium. But this is also one of the most moving and complexly felt movies McCarey ever made — also one of the best acted, especially for Walker, Helen Hayes, and Dean Jagger. Writing about Robert Warshow many years ago, Donald Phelps wrongly accused him of overrating Monsieur Verdoux but rightly accused him of underrating this film. Its continuing unavailability on DVD is a disservice both to McCarey’s memory and to his audience. [11/16/08]… Read more »
We’ve finally elected a grownup.
John McCain’s concession speech was his finest moment.
The major triumph, at least potentially, isn’t left over right but unity over disunity. Which means that President Obama is bound to do some things that will distress his more progressive supporters as well as other things that will upset his detractors. His Lincolnesque brief—to end another Civil War, or at least to call a cease-fire—virtually guarantees this. But assuming that it’s still possible to think and act and feel together, it’s a hopeful start. [11/5/08]… Read more »
Far be it for me to invent wimpy liberal alibis for police corruption in 1928 Los Angeles, punitive electroshock, a pederast serial killer, and cosmic injustice in general, but the main thing wrong with Clint Eastwood’s view of evil in this movie is how childish it seems. I don’t care if he’s 78 and apparently has some fixation about innocent boys abducted by sex maniacs; even if the plot periodically suggests a remake of Mystic River, the cackling villains belong in a Hopalong Cassidy western, not to mention Dirty Harry. The opening intertitle calls this “a true story,” but whether it’s verifiable that Christine Collins was really saved from electroshock just in the nick of time by Hopalong (John Malkovich, in the film’s only interesting performance) coming to her rescue is a matter worthy of some skepticism. And even if that really happened, would it justify Angelina Jolie’s terrible Oscar-mongering performance and all the attendant grandstanding, gigantic close-ups, and directorial pretensions that this movie’s “dark” view of human existence is some form of maturity? All I could think about was the usual compulsive kid stuff–McCain and Palin fulminating about the “good guys” and “bad guys”. [11/2/08]… Read more »
Only about nine minutes into The Magnificent Ambersons, we enter the front door of the Amberson mansion along with a few guests to attend their grand ball, and the film not only moves into high gear; it leaps to a summit so high that in a way all that the remaining 70-add minutes of the film can do after this sequence is refer back to it, recall it, cross-reference it in numerous ways.
It’s almost 22 minutes into the 1954 A Star is Born when, along with Norman Maine, we enter the front door of a sleepy after-hours cabaret where swing musicians and a vocalist, Esther Blodgett, are performing exclusively for themselves. Esther casually slides into a chorus of “The Man Who Got Away”, and slowly she builds from there. Once again, a film suddenly leaps to such a high level of intensity , in this case for about four minutes, that all the remainder of the film—in this case, 150 minutes—can do is fitfully and wistfully remember that pinnacle, refer back to it musically and emotionally in a variety of ways.
Both films, of course, surivive today in the form of ruins, so we can’t speak about them as integral works with any confidence; even the “restored” A Star is Born is an incomplete similacrum.… Read more »
A tiresome film on an interesting subject, this 2007 documentary jives with fancy graphics and pop golden oldies as it profiles Barney Rosset, editor and publisher of the often scandalous Grove Press and Evergreen Review. The man who helped launch the career of Samuel Beckett is quickly overtaken by the one who operated a Soho literary salon while profiting as a porn merchant, and apart from noting Rosset’s wealthy Jewish-Irish origins, video makers Daniel O’Connor and Neil Ortenberg don’t give us much to differentiate him from someone like Hugh Hefner. A cable-TV interview of Rosset by Screw publisher Al Goldstein is given as much prominence as Rosset’s 1937 home movies of his trip through Europe, which suggests that swagger matters more than history or culture. There are more stupid sound bites than smart ones, but the directors don’t seem to care which is which. 97 min. (JR)… Read more »