This interview with Han Jian, reporter for the Bund Pictorial – a culture and lifestyle weekly based in Shanghai — was conducted for a cover story about American film critics planned for their February 17, 2015 issue. [Feb. 28: Now that I've been sent a link, it's clear that the Chinese version of this piece is somewhat longer, because of an added introduction.]– J.R.
1. How did you become a film critic? Do you still remember your first film review?
Much of this is described in my first book, an experimental memoir entitled Moving Places: A Life at the Movies (1980; second edition, 1995). I was the grandson and son of movie theater exhibitors in northwestern Alabama, which enabled me to grow up watching a great many movies for free. My father wrote a column for the local newspaper promoting the current releases, and shortly after my 14th birthday, I substituted for him one week, although this wasn’t actually a review. But the following year, I published my first actual film reviews — of The Astounding She-Monster, The Viking Women and the Sea Serpent, The Vikings, and a live TV drama called No Place to Run – in my high school newspaper.… Read more »
Written for Artforum (February 2015). — J.R.
Doomed by shifting postwar social and political agendas, the never-completed documentary German Concentration Camps Factual Survey — launched in April 1945 by the Supreme Headquarters Allied Expeditionary Force and shelved in September — might have been the key nonfiction film on the subject had it been finished and shown as originally planned, as required viewing for German prisoners of war. Shot by trained GI cameramen accompanying British, American, and Russian troops as they liberated the camps, it might even have served as the principal disclosure to the rest of the world of the hitherto unthinkable conditions these troops uncovered.
Produced by Sidney Bernstein — an old chum of Alfred Hitchcock’s who would later produce, uncredited, Hitchcock’s Rope (1948), Under Capricorn (1949), and I Confess (1953), and who persuaded Hitchcock to come to London to supervise the documentary’s postproduction — the film was halted by British embarrassment about the tangled fate of camp survivors (many of whom chose to remain in the camps, having nowhere else to go), combined with a reluctance to further demoralize the postwar German populace. But there was still enough of a desire to educate (or browbeat) the Germans to engage Billy Wilder to make a short film using parts of the atrocity footage, yielding Death Mills, which premiered in 1945 to five hundred viewers in Würzburg after a Lilian Harvey operetta, although only seventy-five or so remained to the end.… Read more »