Monthly Archives: May 2016

Two Off-the-Charts DVD Box Sets (Hou & Hanoun)

HHHEarly Works

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Since I’m about to leave in a few days for visits to Madrid and Lisbon — to be followed, only four days after I return, to a separate trip to Bologna, Paris, Potsdam, and Frankfurt, in that order — I can’t pretend to do justice to either of these exceptional releases, apart from telling you that they exist, where they come from, and a little bit about them. The two excellent labels responsible for them — Cinematek in Brussels, Re:Voir in Paris — were kind enough to send me review copies at my request in each case. Ordinarily, I would (and should) have covered both in my “Global Discoveries on DVD” column in Cinema Scope, and the only excuse I can offer about why I haven’t is that both of them are sufficiently special to seem daunting. In fact, so far I’ve only sampled each package long enough to glimpse some of the riches that I’m still looking forward to savoring in detail later.

In other respects, I hasten to add, they’re really quite different from one another, apart from the fact that both have suggested to me, from disparate angles, the postulate that being regarded as an auteur qualifies in certain ways as a class privilege.… Read more »

APOCALYPSE NOW (catalogue entry)

Written for the catalogue of Il Cinema Ritrovato, June-July 2016. — J.R.

Apocalypse Now

 

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Like much of Coppola’s best work -– The Conversation, the Godfather trilogy, Bram Stoker’s Dracula –- Apocalypse Now teeters on the edge of greatness, and perhaps it wouldn’t teeter at all if greatness weren’t so palpably what it was lusting after. To my mind it functions best as a series of superbly realized set pieces bracketed by a certain amount of pretentious guff, some of which could be traced back to Joseph Conrad’s novella Heart of Darkness, the movie’s point of departure, as well as some powerful voiceover narration written by Michael Herr, whose book Dispatches offered some authentic glimpses of the war from the American side. Much of the guff, I would argue, stems from the fact that Coppola never quite worked out what he wanted to say, a fact he often acknowledged at the time. Indeed, Coppola’s continuing doubt is a major element of the saga being celebrated here: the Passion of the Artist writ large, made to seem far more important than the mere suffering and deaths of a few hundred thousand nameless and faceless peasants (and American soldiers) across the South China Sea.… Read more »