Monthly Archives: August 2013

Jerry Lewis on TV

Sight and Sound commissioned the following from me for its “Home Cinema” feature in its September 2013 issue, but then, without telling me (or explaining why), decided not to use it. — J.R.

/wp-content/uploads/2013/08/martin5.jpg

I haven’t yet caught up with Jerry Lewis’ spotty directing for TV, such as his episodes for Ben Casey (1964) and The Bold Ones (1970) or — more intriguing — L’uomo d’oro, fifteen two-minute sketches made for Italian TV in 1971. But there’s no doubt that his main creative bond with television is from live broadcasts — chiefly appearances with Dean Martin between 1948 and the mid-1950s in which the cascading, anarchic improvs, significantly erupting during one of America’s most repressive periods, made the whole notion of any plotted mise en scène superfluous. Luckily, I did get to see a late manifestation of this tendency in the mainly live segments of the 90-minute L’invité du dimanche in 1971, when Lewis, using hardly a single word of French, held a large audience captive (including Jean-Pierre Cassel, Louis Malle, and Pierre Etaix, virtually at his feet) with his prolonged and highly inventive antics. Just as no one turns to Jo Jo Dancer, Your Life is Calling (1986) for proof of Richard Pryor’s genius, or even cares about who directed Richard Pryor Live in Concert, Lewis’s distinction as an auteur, both dangerous and enduring, is founded on the threat of his physical presence.… Read more »

BLUE JASMINE: Woody Allen Catches Up with Hal Wallis

It seems that class anxiety has become Woody Allen’s key and obsessive theme ever since his movies started to become “serious”, and it’s usually around in some form even in the purer comedies. Indeed, almost all of the cultural concerns of his work wind up having something to do with class issues — almost as if Allen really believed the crazy American myth that espresso and wealth are inextricably interconnected. The main fantasy about expatriate American bohemians in Midnight in Paris isn’t really about art; it’s about Hemingway or somebody like that stepping into a cab and not worrying about having to pay the driver (which F. Scott Fitzgerald or T.S. Eliot can always take care of), and if Gertrude Stein likes your novel, the bottom line is social acceptance and approval, not artistic license or accomplishment.

 

From this point of view, Blue Jasmine represents Allen’s coming-out film, by virtue of placing his class anxieties front and center, not through embarking on any themes that are significantly new for him. The vague use of A Streetcar Named Desire (movie and play) as a loose model, with Cate Blanchett serving as a sort of Yankee Blanche DuBois, parallels the vague uses of A Place in the Sun and An American Tragedy in Match Point.Read more »