Monthly Archives: February 2017

Movie Mutations: Letters From (and To) Some Children of 1960

These are the original letters published in French translation in Trafic no. 24, Winter 1997 and subsequently published in English in a 2003 book edited by Adrian Martin and myself, Movie Mutations: The Changing Face of World Cinephilia (London: British Film Institute). — J,R.

From Jonathan Rosenbaum (Chicago):

7 April, 1997

Dear Adrian,

 

Almost a year has passed since I wrote in Trafic* about “the taste of a particular generation of cinephiles — an international and mainly unconscious cabal (or, more precisely, confluence) of critics, teachers, and programmers, all of whom were born around 1960, have a particular passion for research (bibliographic as well as cinematic), and (here is what may be most distinctive about them) a fascination with the physicality of actors tied to a special interest in the films of John Cassavetes and Philippe Garrel (as well as Jacques Rivette and Maurice Pialat).” I named four members of this generation — Nicole Brenez (France), Alexander Horwath (Austria), Kent Jones (U.S.), and you (Australia). Each of you, I should add, I met independently of the other three, originally through correspondence (apart from Kent), although Kent and Alex already knew each other. By now, I’m happy to say, all four of you have become acquainted, either by letters or in person, which has opened up many possibilities of both testing my hypothesis and, even more, of extending, refining, qualifying, and better understanding it.… Read more »

Prologue to the Spanish edition of MOVIE MUTATIONS by Pere Portabella [2010]

The following English translation of Pere Portabella’s “Prologue” to the Spanish edition of Movie Mutations (published in October 2010), commissioned by Portabella himself, was recently sent to me by Portabella’s secretary Helena Gomà. I have added a footnote to the text that I originally wrote in February 2011.

Helena also wrote me, “We also would like to let you know that Pere is filming, since several months ago, a film that we could call  Informe General 2 – on the political, economic and social situation mostly in Spain but also [touching on]  global facts [such] as the climate change. Still have no release date, but probably in the fall.” I’ve subsequently been able to see this film (in Spring 2016), with the title Informe General II (General Report II), a fascinating look at Spain now that I hope North Americans (and others) will able to see shortly.  As described on Portabella’s web site, “This second Report is made in the context of a severe systemic crisis in the cultural, economic-financial, political and energy fields. Above all, it nevertheless bears witness to the way civil society is coming out of this crisis with a new prominence, consisting quite simply [of] ordinary people’s recovering politics.” — J.R.Read more »

Jarmusch Unlimited: THE LIMITS OF CONTROL

Even if he didn’t like Jim Jarmusch’s latest film, which I found immensely pleasurable and mesmerizing, I’m glad that Hollywood Reporter‘s Michael Rechtshaffen at least picked up on the fact that Bill Murray, who turns up very late in the film, is “channeling” Dick Cheney when he does. This is by no means a gratuitous detail. Trust a minimalist to make absences as important as presences. None of the characters in this movie is named, all of them are assigned labels in the cast list, and the only label assigned to Murray is “American”. Furthermore, unless I missed something, the European (specifically Spanish) landscape that Jarmusch and his cinematographer Chris Doyle capture so beautifully and variously, in diverse corners of Madrid and Seville, is otherwise utterly devoid of Americans of any kind — a significant statement in itself — until a foul-mouthed Murray makes his belated experience in a bunker, as ill-tempered as the American trade press is already being about this entrancing movie. Prior to that, we’re told repeatedly, in Spanish, by a good many others in the film, that he who tries to be bigger than all the others should go to the cemetery to understand a little bit better what life is: a handful of dust.… Read more »

Short Cuts [COFFEE AND CIGARETTES]

This appeared in the May 28, 2004 issue of Chicago Reader. Coffee and Cigarettes, incidentally, proved to be one of the surprise hits of Jarmusch’s career — not as commercially successful as the subsequent Broken Flowers (though I prefer it to that), but more popular than anticipated. The overhead shots of expresso cups in a more recent Jamusch feature, The Limits of Control, recall those in Coffee and Cigarettes — providing even more of a contrast with some of the weird, transgressive, and uncharacteristic camera angles in the more recent film, starting with the very first shot. (Note: the first photograph below is by Jean-Daniel Beley, who has requested a credit.)—J.R.

Coffee and Cigarettes

*** (A must-see)

Directed and written by Jim Jarmusch

With Roberto Benigni, Steven Wright, Joie Lee, Cinqué Lee, Steve Buscemi, Iggy Pop, Tom Waits, Joe Rigano, Vinny Vella, Vinny Vella Jr., Renee French, E.J. Rodriguez, Alex Descas, Isaach de Bankolé, Cate Blanchett, Jack White, Meg White, Alfred Molina, Steve Coogan, GZA, RZA, Bill Murray, Bill Rice, and Taylor Mead.

At first Jim Jarmusch’s Coffee and Cigarettes, made over a span of 17 years, looks like a departure for him. It consists of 11 entertaining, mainly comic short films in black and white that show people mainly sitting around in coffeehouses mainly drinking coffee, mainly smoking cigarettes, and mainly talking.… Read more »

American Directors (1984 book review)

From Film Quarterly, Spring 1984. -– J.R.

 

AMERICAN DIRECTORS

 

Two volumes.  Edited by Jean-Pierre Coursodon, with Pierre Sauvage. New York: McGraw Hill, 1983. $21.95 per volume cloth, $11.95 per volume paper.

On the whole, Jean-Pierre Coursodon’s 874-page, two-volume American Directors is closer in genre to Richard Roud’s Cinema: A Critical Dictionary than it is to Andrew Sarris’s The American Cinema. Like both predecessors, it is an encyclopedia of opinions first and facts second — although, to its credit, it has many more facts per entry (in filmographies and career summaries) than either of the earlier monoliths. Like the Roud and unlike the Sarris, it attempts exhaustive surveys rather than suggestive critical miniatures, and is authored by many hands. Coursodon wrote 66 of the 118 essays and co-editor Pierre Sauvage, who furnished all the filmographies, contributed 13; the remaining 39 are by 20 other writers.

Again like the Roud, the Coursodon stands or falls as a compendium more than as a book with a sustained viewpoint; consecutive or continuous reading is neither recommended nor viable. Overall, the criticism is homogeneous, perhaps too much so: the standard auteurist form of career survey — already a bit fossilized — as developed out of Coursodon and Bertrand Tavernier’s Trente ans de cinéma américain (1970) and The American Cinema (1968) is so predominant here that other critical persuasions of the past two decades might as well have never existed.… Read more »

May the Force Leave Us Alone [on THE EMPIRE STRIKES BACK]

From The Soho News, May 21, 1980. — J.R.

The Empire Strikes Back

Story by George Lucas

Screenplay by Leigh Brackett and Lawrence Kasdan

Directed by Irwin Kershner

Let’s face facts. Whether you or I love, hate or feel indifferent to The Empire Strikes Back – or any of the seven sequels and “prequels” to Star Wars slated to interfere with our lives over the next two decades — doesn’t make the slightest bit of difference in the long run, on the cosmic scale of things. Nor does it matter all that much in the mundane short run, either. Even if you stay away from the movie, manage to shun the novel and T-shirt and comic, avoid the soundtrack album and toys and video cassette, you can bet that a skilled team of disinterested humanitarians and technocrats, working round the clock with computers has decided that it’s so good for you and your kids that there’s no way you can prevent it from being crammed down your throats, in one form or another.

You’d better grin and bear it, if you know what’s good for you. The celestial machinery that has already turned Star Wars into the biggest grosser to date (“of all time” might seem a little excessive in forestalling the future) isn’t taking any chances in its investment by branching our or experimenting much.… Read more »

Angels with Dirty Faces (review of Robert Sklar’s CITY BOYS)

 Published in New York Newsday (Sunday, May 31, 1992). -– J.R.

CityBoys

CITY BOYS: Cagney, Bogart, Garfield, by Robert Sklar. Princeton University Press, 311 pp., $27.50.

CityBoys2

BY JONATHAN ROSENBAUM

Perhaps the most refreshing thing about this comparative study of the Hollywood careers of James Cagney, Humphrey Bogart and John Garfield is that it lacks the deference to the film industry that one has come to expect nowadays from movie books, journalistic as well as academic. Eschewing the puffery of popular star biographies and the equally dubious (and self-serving) idealism of such academic buzz terms as “the classical Hollywood cinema” and “the genius of the system,” Robert Sklar, professor of cinema studies at New York University, writes with the vernacular ease of a journalist without sacrificing the analytical rigor one expects from a prestigious university press. While he hasn’t always spread his net as widely as one might hope, he still offers a plausible portrait of three city boys and how they grew -– or didn’t.  

A social historian at heart, Sklar is basically interested in charting the diverse forces that molded and altered the screen images of Cagney, Bogart and Garfield. Their overlapping careers offer many instructive parallels: New York origins, theatrical training, evolving hard-boiled screen personalities, leftist sympathies, artistic and economic exploitation by the studios, struggles for independence (including the formation of their own production companies) with mixed results and elaborate enforced recantations of former political allegiances during the Hollywood witch hunts.… Read more »

Review of WE’LL ALWAYS HAVE CASABLANCA

Written for Sight and Sound (March 2017). — J.R.

Product Details

 

WE’LL ALWAYS HAVE CASABLANCA

The Life, Legend, and Afterlife of Hollywood’s Most Beloved Movie

_________________________________________________________________________________________________

 

By Noah Isenberg. W.W. Norton & Co., 334 pp. US$27.95. ISBN 9780393243123.

_________________________________________________________________________________________________
Reviewed by Jonathan Rosenbaum

 

 

I’ve never been asked to select my favourite ‘guilty pleasures’ in movies, but I suspect that if I were, Gone With the Wind and Casablanca — two highly accomplished and engrossing pieces of dubious Hollywood hokum — could easily head the list. Yet it’s one of the signal virtues of Noah Isenberg’s We’ll Always Have Casablanca to suggest that the true sources of Casablanca’s popularity place it well beyond the racial and racist subtexts of Gone With the Wind.

 

In the case of the latter film, we have the benefit of Molly Haskell’s Frankly, My Dear (2009), a superb critical and ideological unpacking of both the Margaret Mitchell novel and the David O. Selznick blockbuster. Isenberg, an academic and a scholar more than a critic — director of screen studies and professor of culture and media at New York’s New School, and best known among cinephiles as an Edgar G. Ulmer specialist — hasn’t given us the same sort of book as Haskell, although he’s produced a volume that’s equally accessible and nearly as valuable in explaining the appeal of a popular classic.… Read more »

The Holiday Glut: A Cautious Consumer Guide

From the Chicago Reader (December 21, 2001). — J.R.

The Affair of the Necklace

Rating * Has redeeming facet

Directed by Charles Shyer

Written by John Sweet

With Hilary Swank, Adrien Brody, Jonathan Pryce, Christopher Walken, and Joely Richardson.

Ali

Rating *** A must see

Directed by Michael Mann

Written by Gregory Allen Howard, Stephen Rivele, Christopher Wilkinson, Eric Roth, and Mann

With Will Smith, Jon Voight, Mario Van Peebles, Jamie Foxx, Ron Silver, Jeffrey Wright, and Giancarlo Esposito.

Kate & Leopold

Rating ** Worth seeing

Directed by James Mangold

Written by Steven Rogers and Mangold

With Meg Ryan, Hugh Jackman, Liev Schreiber, Breckin Meyer, and Philip Bosco.

Kiss Me Kate

Rating **** Masterpiece

Directed by George Sidney

Written by Sam and Bella Spewack and Dorothy Kingsley

With Howard Keel, Kathryn Grayson, Ann Miller, Bobby Van, Keenan Wynn, James Whitmore, and Bob Fosse.

The Lord of the Rings: The Fellowship of the Ring

*** A must see

Directed by Peter Jackson

Written by Fran Walsh, Philippa Boyens, and Jackson

With Elijah Wood, Ian McKellen, Liv Tyler, Viggo Mortensen, Sean Astin, Cate Blanchett, and John Rhys-Davies.

The Majestic

Rating  0  Worthless

Directed by Frank Darabont

Written by Michael Sloane

With Jim Carrey, Martin Landau, Laurie Holden, David Ogden Stiers, James Whitmore, and Jeffrey DeMunn.… Read more »

Snowbound: A Dialogue with a Dialogue

This is the second of two interviews I’ve had with Michael Snow. (The first, “The `Presents‘ of Michael Snow,” can be found elsewhere on this site.) Commissioned by Simon Field, it ran in the Winter 1982/83 issue (no. 11) of the excellent English magazine Afterimage, a special issue called “Sighting Snow,” and it concerns both So Is This and Presents. I’ve incorporated some but not all of the additions from the version of this article that was reprinted in my book Film: The Front Line 1983 (Arden Press). I regret some of the hectoring tone of my political rhetoric here, and it became clear to me after Film: The Front Line 1983 was published that Snow objected to some of this rhetoric in the book even more, thus curtailing some of our friendship that had prevailed beforehand. – -J.R.

Snowbound: A Dialogue with a Dialogue

By Jonathan Rosenbaum

A few specifics about what follows. Last September 15th, I taped an interview with Michael Snow at his home in Toronto.… Read more »

Introduction: Some Noises from an Unquiet American

This is my Introduction to The Unquiet American: Transgressive Comedies from the U.S., a catalogue/ collection put together to accompany a film series at the Austrian Filmmuseum and the Viennale in Autumn 2009. — J.R.

I cannot tell a lie: the initial concept and impulse behind this retrospective weren’t my own. More precisely, they grew out of a series of email exchanges between myself and Hans Hurch and/or Alexander Horwath last April. Everything started when Hans proposed that I select a program devoted to American film comedy, “not as a history or anthology of the genre but in a more open and at the same time more concrete way…not [to] just dedicate it to comedy as such but to various aspects, different forms, ideas, and functions of the comic – from the earliest works of American cinema to recent films.”

Over three months later, I think it’s safe to say that I’ve fulfilled this proposal, at least if one can accept a fairly loose definition of “earliest” (i.e., 1919 –- which is already a good quarter of a century into what might be described as the history of American film, describing my own limitations better than the limits of my subject.) As for the most recent films in the list, technically these are Idiocracy (2005) and My Son’s Wedding to My Sister-in-Law (2008), but psychologically and existentially I would probably pick Mr.Read more »

The Taste of Ashes [SARABAND & BROKEN FLOWERS]

From the Chicago Reader (August 5, 2005). — J.R.

Saraband

** (Worth seeing)

Directed and written by Ingmar Bergman

With Liv Ullmann, Erland Josephon, Borje Ahlstedt, Julia Dufvenius, and Gunnel Fred

Broken Flowers

*** (A must see)

Directed and written by Jim Jarmusch

With Bill Murray, Julie Delpy, Jeffrey Wright, Sharon Stone, Alexis Dziena, Frances Conroy, Christopher McDonald, Chloe Svigny, Jessica Lange, Tilda Swinton, and Mark Webber

Ingmar Bergman’s Saraband and Jim Jarmusch’s Broken Flowers are two minimalist features about burned-out individuals picking over the wreckage of relationships they can barely remember and about the special art of not really giving a shit. (A third is Gus Van Sant’s Last Days, scheduled to open here next week.) With its sprawling and far from symmetrical plot, Saraband, made in 2003 for Swedish television, is stark and economical, with a small cast of characters and sparse rural settings, and it seems like an apocalyptic endgame in terms of Bergman’s own career — the end of the world as he knows it. It was shot in digital video, and at Bergman’s insistence is being projected as such — and his peculiar use of that medium is what makes this work compelling.

I wouldn’t dream of contesting Bergman’s status as a film master.… Read more »

Zhangke Jia, Poetic Prophet

This was written for a brochure to accompany a retrospective held

by Northwestern University’s Block Cinema in January 2008.


 

ZHANGKE JIA, POETIC PROPHET

by Jonathan Rosenbaum

What is it about Zhangke Jia that makes him the most exciting

mainland Chinese filmmaker currently working? It might be

oversimplifying matters to describe this writer-director, born in

1970, as a country boy. But the fact that he hails from the small town

of Fenyang in northern China’s Shanxi province clearly plays an

important role in all his features to date. (I’m less certain about what

role it plays in his two recent documentaries, Dong [2006] and

Useless [2007].) Like William Faulkner and Alexander Dovzhenko,

Jia is a hick avant-gardist in the very best sense — someone whose

outsider/minority status enhances both his humanity and his art.

Working in long, choreographed takes, and mixing realistic accounts

of working-class life with diverse forms of cultural shock and fantasy

ranging from animation to SF to rock, he already qualifies as a poetic

prophet of the 21st century, and not only for China.

 

 

He attended the Beijing Film Academy, where he

completed his first film, the one-hour Xiao Shan

(Going Home, 1995).Read more »

The Paradoxes of BERNIE

Commissioned by a Spanish-language retrospective catalogue devoted to Richard Linklater. — J.R.

 

A prefatory caveat

Bernie & Marge both versions

My favorite Richard Linklater feature, Bernie (2011), is many different things at once, some of which are in potential conflict with one another. How we ultimately judge it depends on either reconciling or suspending our separate verdicts on how we judge it as fiction (and art) and/or how we judge it as fact (and justice). Because I’ve chosen to suspend my judgment on how we can judge the film as fact, for reasons that will be dealt with below, I can enjoy the luxury of celebrating the film as fiction and as art at the same time that I would maintain that it opens up factual questions about truth and justice that it can’t pretend to resolve in any definitive manner.

jack-black-bernie-and-shirley-maclaine-marjorie

 

1. Background

The film was inspired by a lengthy article, “Midnight in the Garden of East Texas” by Skip Hollandsworth, that appeared in the January 1998 issue of Texas Monthly, about the confessed murder of Mrs. Marjorie Nugent, an 81-year-old widow and the wealthiest woman in town, by 39-year-old Bernie Tiede, a former assistant funeral director in the same town (Carthage, with a population of 6,500) who had become her paid companion and the sole inheritor of her considerable fortune.… Read more »

RAISING CAIN

raisingcain01

I’m of two minds about Brian De Palma’s Raising Cain (1992), thanks to

Arrow Video’s spiffy three-disc dual format edition—specifically, about

what’s called Raising Cain: The Director’s Cut on disc #3 (“limited edition

Blu-Ray exclusive”), “a De Palma-endorsed recreation of the film by Peet

Gelderblom, re-ordered as originally planned”.

 

raisingcain9

 

One of my minds agrees with Gelderblom that this is a

(slightly) more satisfying edit of a film I reviewed in the

Chicago Reader as follows: “Brian De Palma’s 1992 thriller

perform stylistic pirouettes around a void, it’s full of sleek

and pleasurable moments. If I’m right about the story,

which is mainly composed out of loose pieces of Psycho

and Peeping Tom, a warped child psychologist (John

Lithgow) kidnaps his own granddaughter to avenge the

adultery of his son’s wife (Lolita Davidovich), and

frames her lover (Steven Bauer) for the crime. But

maybe I’ve got it all wrong and it’s the son’s evil twin

who’s doing the kidnapping; Lithgow also plays this

character, along with the son and other personalities

too numerous and obscure to fathom. Produced by

De Palma’s wife Gale Anne Hurd (The Abyss); with

Frances Sternhagen, Gregg Henry, Tom Bower, and

Mel Harris.… Read more »