From the August 17, 2001 Chicago Reader. –J.R.
Apocalypse Now Redux
Rating *** A must see
Directed by Francis Ford Coppola
Written by John Milius and Coppola
With Martin Sheen, Marlon Brando, Robert Duvall, Frederic Forrest, Albert Hall, Sam Bottoms, Laurence Fishburne, Dennis Hopper, G.D. Spradlin, Harrison Ford, Colleen Camp, Cynthia Wood, Christian Marquand, and Aurore Clement.
It’s hard to think of many movies where the great, the not so great, and the simply awful coexist quite as brazenly as they do in Apocalypse Now. This was true in 1979, when the movie clocked in at 150 minutes, and it’s true 22 years later, when the new version, Apocalypse Now Redux, runs a third longer.
If anything, the longer version — not so much a rethinking of the material as an expansion, with a minimum of reshuffling, by the adept Walter Murch, who also worked on the original — is better and worse, emphasizing both the ambitious scope and the fatal flaws of Francis Ford Coppola’s achievement. Among the more substantial additions are a ghostly sequence set on a French plantation (featuring Aurore Clement and the late Christian Marquand) that tries, with mixed results, to poeticize the futility of outsiders, French or American, getting involved in the Vietnam war and a silly and rather inconclusive sequence involving a couple of Playboy Playmates (Cynthia Wood and Colleen Camp) that adds nothing.… Read more »
Part of my 1987 application for the job of film reviewer at the Chicago Reader consisted of writing three long sample reviews for them in March and/or April — only one of which was published by them (Radio Days), although, as I recall, they paid me for all three. (Writing these pieces in Santa Barbara, I was limited in my choices of what I could write about.) I only recently came across the two unpublished reviews, of Platoon and Round Midnight, in manuscript, although I recall that I did appropriate certain portions of them in subsequent reviews. Otherwise, the first publications of these pieces are on this site. — J.R.
Written by Bertrand Tavernier and David Rayfiel
Directed by Tavernier
With Dexter Gordon, François Cluzet, Sandra Reaves-Phillips, Herbie Hancock, Bobby Hutcherson, and Martin Scorsese.
I just can’t take that bullshit, you dig? They want everybody who’s a Negro to be an Uncle Tom, or Uncle Remus, or Uncle Sam, and I can’t make it. It’s the same all over, you fight for your life — until death do you part, and then you got it made.… Read more »
From the July 26, 2002 Chicago Reader. –J.R.
*** (A must-see)
Directed by Adam Larson Broder and Tony R. Abrams
Written by Broder
With Christina Ricci, Hank Harris, Brenda Blethyn, Dominique Swain, Marisa Coughlan, Sam Ball, Harry Lennix, and Nina Foch.
When the New German Cinema started overtaking the French New Wave as a fashionable movement 30 years ago I felt alienated, as if someone had declared a major source of my moviegoing pleasure out-of-bounds. Taking the place of joie de vivre and jazzy invention were cynical disillusionment and cookie-cutter formal patterning — a new kind of style and content that its champions called subversive and its detractors (including me) called defeatist. Whether the mood was sarcastic (Rainer Werner Fassbinder), flamboyant (Werner Herzog), lyrical (Wim Wenders), or hieratic (Werner Schroeter), the overall message seemed to be that people and social conditions were doomed to remain mired in ruts and that hope was for suckers. The 70s were supplanting the 60s, and being glad you were alive was suddenly seen as wimpy and naive.
Little did I realize that this pessimism would remain in the culture while the German films heralding it would be forgotten even faster than the earlier French ones.… Read more »
An essay commissioned by Masters of Cinema in the U.K. for their DVD of Fritz Lang’s Spione, released in 2005. This is reprinted in my recent collection, Goodbye Cinema, Hello Cinephilia: Film Culture in Transition (University of Chicago, 2010). — J.R.
If Fritz Lang’s Die Nibelungen (1924) anticipates the pop mythologies of everything from Fantasia to Batman to Star Wars, his master spy thriller of four years later seems to usher in some of the romantic intrigues of Graham Greene, not to mention much of the paraphernalia of Ian Fleming, especially in their movie versions. No less suggestively, the employments of paranoia and conspiracy by less mainstream artists such as Jacques Rivette (Out 1) and Thomas Pynchon (Gravity’s Rainbow) seem rooted in the seductively coded messages, erotic intrigues, and multiple counter-plots of Spione.
One is also tempted to speak of Alfred Hitchcock, who certainly learned a trick or two from Lang —- though in this case the conceptual and stylistic differences may be more pertinent than the similarities. One could generalize by saying that Hitchcock is more interested in his heroes while Lang is more interested in his villains, and the different approaches of each director in soliciting or discouraging the viewer’s identification with his characters are equally striking, especially if one contrasts the German films of Lang with the American films of Hitchcock.… Read more »
This final chapter in my book Discovering Orson Welles is a lecture delivered in Valencia, Spain, on November 17, 2005, at a conference, “Don Quixote and the Cinema,” held at San Miguel de los Reyes, a convent built during the seventeenth century, making it roughly contemporary with Cervantes’s novel. The same building was used as a prison during the Franco era and functions today as a municipal library, Biblioteca Valenciana.
Given my virtually nonexistent grasp of spoken Spanish, I regretted that the event wasn’t more international; as far as I know, my paper was the only one requiring the services of a translator. The only other non-Spanish participants in the three-day event were a French man and an Italian woman, both of whom seemed to be fluent in the language.
Thanks to the generosity of the conference’s organizer, Carlos F. Heredero (the cowriter of Orson Welles en el País de Don Quijote, cited in my introduction to chapter 15, and an academic scholar and critic whose specialties include Spanish cinema and Wong Kar-wai), I was able to route my trip to Spain through Madrid before the conference and then briefly through Barcelona afterwards. In Madrid I made arrangements to spend three days at the Filmoteca Española looking at the Quixote material mentioned in chapters 19 and 20, but I was severely disappointed to discover that the ten hours I’d arranged to see mainly consisted of material from the TV series Nella Terra di Don Chisiotte and/or bits and pieces of what might be called the wreckage left by Jesus Franco’s disposal of the other footage, not including anything shot in Mexico.… Read more »
Written for the February 2013 issue of Caiman Cuadernos de Cine, as one of my bimonthly columns for that magazine (“En movimiento”). It continues to amaze me how American movies who preach the inescapable inevitability of corruption in American life — Citizen Kane, the Godfather films, and now Lincoln and Zero Dark Thirty — are invariably regarded as more profound and much likelier to wind up as Oscar fodder than those that are less resigned to accepting corruption. — J.R.
Two inordinately praised big-studio releases of the holiday season, Lincoln and Argo, seem to depend in part on the innocence of the American audience in order to score their ideological successes. The first of these, a high-minded art movie, starts with a familiar subject, while the second –- which, I must confess, I’ve only sampled — incorporates the relative unfamiliarity of Iranian culture as part of its action-thriller mechanics. That both films have been overpraised seems hard to dispute; “Long after its commercial run, Lincoln will remain an invaluable teaching tool,” Joe Morgenstern declared characteristically in the Wall Street Journal, while Rex Reed, no less typically in the New York Observer, called Argo, “A movie that defines perfection.… Read more »
Here are ten of the 40-odd short pieces I wrote for Chris Fujiwara’s excellent, 800-page volume Defining Moments in Movies (London: Cassell, 2007). – J.R.
1990 / Close Up – The motorcycle ride of Makhmalbaf and Sabzian.
Iran. Director: Abbas Kiarostami. Cast: Mohsen Makhmalbaf, Hossein Sabzian. Original title: Nema-ye Nazdi.
Why It’s Key: A convicted imposter finally meets the man he’s been impersonating, and they set off together to visit the family that was fooled.
Hossein Babzian, a bookbinder, emerges from a jail sentence for having impersonated famous filmmaker Mohsen Makhmalbaf in order to ingratiate himself with the well-to-do Ahankhah family, pretending he was planning a movie about them. He’s greeted by the real Makhmalbaf, arriving on his motorbike to take him to visit the Ahankhahs, and filmmaker Abbas Kiarostami and his crew, who have arranged this meeting, are filming the entire encounter from a distance. We hear them saying that Makhmalbaf’s lapel mike is faulty, and notice that the dialogue between Makhmalbaf and Sabzian (“Do you prefer being Makhmalbaf or being Sabzian? I’m tired of being me”) periodically becomes inaudible — on the street, after Sabzian climbson the back of the motorbike, and when they stop briefly for Sabzian to buy flowers for the Ahankhans.… Read more »
From the Jewish Daily Forward (November 9, 2012, for their November 16 issue). — J.R.
My suspicion that Steven Spielberg can’t really do historical films isn’t anything new, although the fact that he keeps trying shows at least how ambitious he can be. Conversely, the fact that he keeps failing, at least in my opinion, may point to a wider incapacity on the part of his audience, meaning you and me — a failure to grasp and sustain Abraham Lincoln as a myth the way that John Ford and his audience could when Ford made “Young Mr. Lincoln” with Henry Fonda in 1939.
Some of this, of course, can be accounted for by the radical changes in mainstream film-going over 73 years: an audience that has been subdivided by targeting strategies and ancillary markets, reduced mainly to kids, artificially inflated by advertising budgets and split among homes, computers and theaters on screens of different sizes, shapes and textures. But it’s also a sign that in “Lincoln,” we’re much further away from our historical roots than American moviegoers were in 1939, even when a master storyteller and myth-spinner is in charge.
Leaving aside “The Adventures of Tintin” and “War Horse” (neither of which I’ve seen), the diverse cavorting of Indiana Jones and the cartoon extravagance of “1941,” I think my troubles with Spielberg as a historian started with his ignorance about Jim Crow prohibitions in the Deep South involving the front seat of a car in “The Color Purple” (1985).… Read more »
Posted on the Chicago Reader‘s blog, February 16, 2007. It’s nice to report that both Pete Kelly’s Blues and Too Late Blues are now readily available, on both DVD and Blu-Ray. — J.R.
The market value of a missing movie
Don’t ask me how, but I recently had a chance to resee Jack Webb’s Pete Kelly’s Blues (1955), a terrific, atmospheric, period noir in Cinemascope and WarnerColor about a cornet player (Webb) in a Dixieland band in 1927 Kansas City (after an evocative prologue in 1915 New Orleans and 1919 Jersey City showing us where and how Pete Kelly came by his cornet). It’s got an amazing cast: Edmond O’Brien, Janet Leigh, Peggy Lee, Lee Marvin, Andy Devine (in a rare and very effective noncomic role), Ella Fitzgerald, and even a bit by Jayne Mansfield as a cigarette girl in a speakeasy. The screenplay, which deservedly gets star billing in the opening credits, is by Richard L. Breen, onetime president of the Screen Writers Guild and apparently a key writer on Webb’s Dragnet, and it’s full of wonderful and hilarious hardboiled dialogue and offscreen narration by Webb. (When a flapper played by Leigh says to Kelly that April is her favorite month, he replies, “If you like it so much, I’ll buy it for you.”)
It seems that Webb was as passionate a jazz buff as Clint Eastwood, and this movie is at least as much of a labor of love as Bird.
… Read more »
This appeared in the Chicago Reader‘s February 3, 2006 issue. Tommy Lee Jones’ subsequent feature, The Homesman, confirms the talent, originality, and boldness of Jones as a director, even if it may also come across at certain junctures as less lucid than its predecessor. — J.R.
The Three Burials of Melquiades Estrada
Directed by Tommy Lee Jones
Written bu Guillermo Arriaga
With Jones, Barry Pepper, Julio Cesar Cedillo, Dwight Yoakam, January Jones, and Melissa Leo
At last year’s Cannes film festival, The Three Burials of Melquiades Estrada walked off with the prizes for best actor (Tommy Lee Jones) and best screenplay (Guillermo Arriaga). It’s often hard to disentangle story, acting, and direction when they’re working together as well as they are here, but I would have honored Jones for his direction. That prize went to Michael Haneke for Caché, his eighth theatrical feature. This is Jones’s first, though he directed (and cowrote and starred in) a made-for-TV western, the 1995 The Good Old Boys.
Both Haneke’s and Jones’s films are political. The Three Burials of Melquiades Estrada, a western, protests the abusive treatment of Mexican immigrants in west Texas, and Caché, an anxiety-ridden crime thriller, protests the abusive treatment of Algerians in France.… Read more »
This originally appeared in the January 10, 2001 issue of the Chicago Reader. It seems worth reprinting as a kind of adjunct to my overview piece about Oshima, written for Artforum in 2008 and also available on this site. –J.R.
Directed and written by Nagisa Oshima
With Beat Takeshi (Takeshi Kitano), Ryuhei Matsuda, Shinji Takeda, Tadanobu Asano, and Yoichi Sai.
By Jonathan Rosenbaum
Mark your calendars. Over the next six weeks, the Music Box is offering three eye-popping masterpieces from Asia. This is a welcome sign–-as is the popularity of the breezy Crouching Tiger, Hidden Dragon in the multiplexes–-that American theaters and audiences are finally recognizing that a lot of the best movies come from the other side of the planet and that there’s as much diversity among them as there is among ours.
Yi Yi, which opens March 2, is a three-hour feature set in contemporary Taiwan. It was just voted best picture of the year by the National Society of Film Critics, the first foreign-language picture to receive this honor since Akira Kurosawa’s Ran 15 years ago. Its writer-director, Edward Yang, is one of the two or three undisputed masters of Taiwanese cinema, and the Film Center gave us a full retrospective of his work in 1997.… Read more »
I was shocked to learn today that Harun Farocki (January 9, 1944 – July 30, 2014) died yesterday, at the age of only 70. According to Artnet, he made over 90 films. He will be sorely missed.
From the Chicago Reader (February 14, 1992). — J.R.
FILMS BY HARUN FAROCKI
The paradox is that Farocki is probably more important as a writer than as a filmmaker, that his films are more written about than seen, and that instead of being a failing, this actually underlines his significance to the cinema today and his considerable role in the contemporary political avant-garde. . . . Only by turning itself into “writing” in the largest possible sense can film preserve itself as “a form of intelligence.”
— Thomas Elsaesser, 1983
The filmography of Harun Farocki — a German independent filmmaker, the son of an Islamic Indian doctor — spans 16 titles and 21 years. To the best of my knowledge, only one of his films (Between Two Wars) has ever shown in North America before now. A traveling group of 11 films put together by the Goethe-Institut began showing in Boston last November and this April will reach Houston, the last of the tour’s ten cities.… Read more »
From the Chicago Reader (July 19, 1996). — J.R.
Rating * Has redeeming facet
Directed by Ben Burtt
Written by Susanne Simpson, Burtt, and Tom Friedman
Narrated by John Lithgow.
Rating * Has redeeming facet
Directed by Harold Ramis
Written by Ramis, Chris Miller, Mary Hale, Lowell Ganz, and Babaloo Mandel
With Michael Keaton, Andie MacDowell, and Harris Yulin.
Rating — Worthless
Directed by Peter Jackson
Written by Fran Walsh and Jackson
With Michael J. Fox, Trini Alvarado, Peter Dobson, John Astin, Jeffrey Combs, Dee Wallace Stone, and R. Lee Ermey.
The Nutty Professor
Rating ** Worth seeing
Directed by Tom Shadyac
Written by David Sheffield, Barry W. Blaustein, Shadyac, and Steve Oedekerk
With Eddie Murphy, Jada Pinkett, James Coburn, Larry Miller, Dave Chappelle, and John Ales.
Looking around at the big summer movies, I see reason to assume that the state of the art of film art now equals the state of the art of special effects. The belief in capitalist growth as spiritual progress that permeates this culture seems to have been given particular currency: as film technology becomes more and more sophisticated, the art of film can only rise accordingly.
But does the development of morphing automatically make the Eddie Murphy Nutty Professor more artistic than the Jerry Lewis Nutty Professor (1963)?… Read more »
From the Chicago Reader (January 8, 1993). — J.R.
A few years ago, world cinema received a shot in the arm from so-called glasnost movies from the former Soviet Union — pictures that had been shelved due to various forms of censorship, mostly political, and were finally seeing the light of day thanks to the relaxation or near dissolution of state pressures. The thought of an American glasnost may seem a little farfetched. But if we start to look at the awesome control exerted by multinational corporations over what we see, particularly in mainstream movies, the definition of what is and isn’t permissible — or, in business terms, what is “viable,” which in this country often comes to the same thing — may seem comparably restricted.
The best movies of 1992 weren’t exactly censored; but given the profound lack of media attention they received they would have achieved much more reality in most people’s minds if they had been. And nothing short of an American-style glasnost would give these films the cultural centrality they deserve. Only three of them received extended theatrical runs in Chicago, and perhaps only one or two got so much as a mention on Entertainment Tonight or in Time, Newsweek, or Entertainment Weekly.… Read more »
For the first part of this article, go here. For the second part, go here.
Unfortunately, Richie’s division of Ozu into successive stages of ‘creation’ inevitably leads to the erection of a Platonic ideal, an all-purpose model of ‘the’ Ozu film — an unrigorous model indeed when what one concretely has to contend with are films, each with its own peculiar set of conditions and stresses. Since Richie has more production details about the later films, these tend to dictate most of the dimensions of the model, and the lost films implicitly become subsumed in the same homogenising process whenever Richie speaks about the entire body of the work. The usual approach is to lump together examples of certain aspects or procedures, leading to the formulation of such generalities as ‘the Ozu family’. This results in a profusion of catalogues, some quite nonsensical in presumed meanings and applications: ‘Another pastime to which the Ozu family is addicted is toenail cutting, an activity which seems worth mentioning because it occurs possibly more often in Ozu’s pictures (Late Spring, Early Summer, Late Autumn) than in Japanese life.’ In the long run, individual works are made to seem important or unimportant insofar as they help or fail to exemplify the hypothetical model.… Read more »