Daily Archives: September 6, 2016

Not the Same Old Song and Dance (2014)

Written for the Criterion dual format  (Blu-ray & DVD) edition of The Young Girls of Rochefort, released in a box set, “The Essential Jacques Demy,” in July 2014. This essay is also posted on Criterion’s web site. — J.R.

rochefort-title 

Braque, Picasso, Klee, Miro, Matisse . . . C’est ça, la vie.

— Maxence in The Young Girls of Rochefort

 

Life is disappointing, isn’t it?

— Kyoko in Yasujiro Ozu’s Tokyo Story

 rochefortsisters

rochefortcarnies

RochefortKelly 

Broadly speaking, Jacques Demy’s The Young Girls of Rochefort (1967) is loved in France but tends to be an acquired taste elsewhere. From a stateside perspective, its launch in the U.S. in April 1968 was relatively inauspicious and uncertain. In the New York Times, Renata Adler began her two-paragraph notice by saying, “The Young Girls of Rochefort, a musical that opened at the Cinema Rendezvous, is another of those strange, offbeat movies produced by Mag Bodard in which a conventional, gay form is structured over what would be, in its terms, a catastrophe.” (The three other Bodard films she had in mind were Agnès Varda’s Le bonheur, Michel Deville’s Benjamin, and Demy’s previous film, The Umbrellas of Cherbourg.) And almost a year later, in her famous essay “Trash, Art, and the Movies,” Pauline Kael noted in passing, “A movie like The Young Girls of Rochefort demonstrates how even a gifted Frenchman who adores American musicals misunderstands their conventions.”

 rochefortkellydorleac

Young Girls is, of course, a French musical, not simply an effort to duplicate a Hollywood one.… Read more »

A Handful of World: The Films of Peter Thompson, An Introduction and Interview

From Film Quarterly, Fall 2009. Note: Peter Thompson’s complete work as a filmmaker, along with many extras, is available here. There is also a web site devoted to his work at chicagomediaworks.com   — J.R.

It would hardly be an exaggeration to call Peter Thompson the best Chicago filmmaker you never heard of. His half a dozen films, four shorts and two features, span 28 years, and their continuities and discontinuities with one another seem equally important. Pertinent to all six films are diverse aspects of Thomson’s background: as a classical guitarist who studied with Andrès Segovia in Siena, as an undergraduate and graduate student in comparative literature (University of California, Irvine), as a onetime Navy photojournalist who teaches photography at Columbia College Chicago, and even as a first cousin of the special effects pioneer Douglas Trumbull.(Full disclosure: Thompson has been a friend for almost two decades — and a neighbor for roughly half that time — but it was my enthusiasm for his first two films that initially sparked our friendship.)

His shorts come in two pairs, each one a diptych. Two Portraits (1982, 28 minutes) is devoted to his parents and each portrait works with a minimalist expansion of limited footage juxtaposed with offscreen voices—those of Thompson and his late father in the first part, Anything Else, and those of his mother reading from her diaries in the second part, Shooting Scripts.… Read more »