I’ve lost track of when I originally posted this, but it may have been on March 21, 2012. –J.R.
This book has clearly been a long time coming. Like Pedro Costa and (the otherwise very different) Alain Resnais, Jean-Marie Straub and the late Danièle Huillet should be regarded as film critics and film historians who aren’t really writers in any ordinary sense. (Resnais’ critical and historical gifts, I would argue, are mainly apparent in his films rather than in his interviews.) When I curated the last American retrospective of Straub-Huillet’s work to date almost thirty years ago, the accompanying catalogue of essays that I put together to accompany this event, partially with their advice and assistance, included a lengthy section entitled “Straub and Huillet on Filmmakers They Like and Related Matters,” drawn from a dozen separate sources and translated, when necessary, by me — not always gracefully, I’m sorry to say. (I’ll be posting my lengthy Introduction to this catalogue a couple of days from now.)
Although it’s beyond my current means to reproduce the entirety of “Straub and Huillet on Filmmakers They Like and Related Matters” here (I wish I could), I can offer a sampling from it below, some of which appears in their original French in Écrits (e.g., the texts on Lubitsch and Dreyer), and some of which is drawn from interviews and public appearances in English (e.g., the texts on Tati, Renoir, Buñuel, Hawks, and Nicholas Ray), which don’t appear there.… Read more »
Written for the 11th issue of the bilingual, online La Furia Umana (January-March 2012) to introduce a Joe Dante dossier. — J.R.
One of the problems inherent in using the term “cult” within a contemporary context relating to film, either as a noun or as an adjective, is that it refers to various social structures that no longer exist, at least not in the ways that they once did. When indiscriminate moviegoing (as opposed to going to see particular films) was a routine everyday activity, it was theoretically possible for cults to form around exceptional items — “sleepers,” as they were then called by film exhibitors — that were spontaneously adopted and anointed by audiences rather than generated by advertising. But once advertising started to anticipate and supersede such a selection process, the whole concept of the cult film became dubious at the same time it became more prominent, a marketing term rather than a self-generating social process.
Joe Dante deserves a special place in what I would call the post-cult cinema because he is one of the few commercial American directors I know who has refused to hire a personal publicist, and for tactical reasons — someone, in short, who chooses to be recognized at best only by initiates (that is, by fellow cultists or would-be cultists, his comrades-in-arms) rather than by the public at large.… Read more »
From Film Comment (March-April 2012). — J.R.
Ever since Gilbert Adair died three weeks short of his 67th birthday, in London, I’ve been rereading him compulsively. And I’ve had a lot to choose from — not only many online articles (including pieces written for this magazine and for Sight & Sound), but all but one of the 18 books listed on the flyleaf of his nineteenth and last, And Then There Was No One: The Last of Evadne Mount (Faber and Faber, 2009) — the final volume in his inspired trilogy of Agatha Christie pastiches, which somehow manage to combine his taste for pop entertainment with his more avant-garde impulses, to riotous effect. Even though I eventually lost touch with Gilbert as a friend — whom I’d met in the early 1970s as a fellow habitué of the Paris Cinémathèque, and who years later was kind enough to broker my friendship with Raúl Ruiz (with whom he worked on several projects, including three that were filmed [see photo from Le territoire below, second still from bottom], and who tragically and prematurely died just a few months earlier) — I remained a steadfast fan who collected all his books.
For Film Comment, Gilbert made his first appearance in an interview with Jacques Rivette, conducted jointly with myself and Lauren Sedofsky for the September-October 1974 issue, available online at both http://www.jonathanrosenbaum.net/1974/09/phantom-interviewers-over-rivette-with-gilbert-adair-and-lauren-sedofsky/ and jacques-rivette.com.… Read more »
Written to introduce a dossier in Farsi on Alain Resnais prepared by Ehsan Khoshbakht in March 2012. — J.R.
Alain Resnais is clearly one of our greatest living filmmakers. But he’s also one of the most elusive, for a number of reasons. He started out as the most international of all the French New Wave artists, at least in his early features (especially Hiroshima mon amour,Last Year at Marienbad, La Guerre est finie,Je t’aime, je t’aime, and Providence), but then went on to become the most French of French directors (not only in obvious cases such as Mon oncle d’Amérique, Stavisky…, Mélo, Same Old Song, Not on the Lips, and Wild Grass, but even in films derived from English or partially American sources, such as I Want To Go Home, Smoking, No Smoking, and Private Fears in Public Places). Even before he got around to making features, he made by far the greatest films in the history of cinema about racism and colonialism (Statues Also Die), the Holocaust (Night and Fog), plastic (La Chant du Styrène), and libraries (Tout la mémoire du monde).Among the most personal of modern filmmakers, he never signs his own scripts, always preferring, as Claire Denis once pointed out to me, to hide behind his screenwriters.… Read more »
I was delighted to discover just now that the Raymond Durgnat web site — relaunched about half a year ago, and one of my favorite movie-related web sites (which, even better, includes a lot of material about things other than movies, including some rare poems), has been growing and expanding lately; see, especially, Articles, Poems, and Additional Resources and Links for some of the new additions. It’s also worth recalling that Ray’s pioneering A Mirror for England came out in a second edition late last year, with a new Introduction by Kevin Gough-Yates, his literary executor, and this was about a year after the publication of a second edition of A Long Hard Look at ‘Psycho’, with a new Introduction by Henry Miller. (May 21 update, wonderful news: Miller has also edited a superb Durgnat collection of previously uncollected pieces that the British Film Institute plans to bring out in December 2012.)…On the web site, I haven’t found any activity yet on the Forum, but I’m hoping that this will start to grow soon as well. [3/11/12]
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Written in early February 2012 for “En Movimiento.” my bimonthly column for Caiman Cuadernos de Cine. — J.R.
The unexpectedly huge acclaim accorded to Asghar Farhadi’s A Separation in the U.S, appears to be motivated by something more than an appreciation for a better-than-average feature. Is this a sufficient reason for it to be the most successful Iranian film to be released in America to date? Why was it named the best foreign language film of 2011 by the Golden Globes, the National Board of Review, and the New York Critics Circle, and the best picture of the year by the most popular American film critic (Roger Ebert), meanwhile placing third as the best picture by the National Society of Film Critics (which rarely considers films for this category in any language but English, and included only one other such film in its latest top ten, Ruiz’s Mistérios de Lisboa)? Why was it nominated for two separate Academy Awards?
I suspect that an important reason for this sort of enthusiasm is the desire of many Americans — or at least Americans who see foreign-language films — not to go to war again, shortly after the (very) belated return of American troops from Iraq, and during the incessant and frightening beating of war drums by all of the Republican candidates for President except for Ron Paul (who still isn’t taken seriously by the mainstream media–and not because of his radical economic positions, but, to all appearances, because he refuses to support another American invasion in the Middle East).… Read more »