From the Chicago Reader (July 10, 1998). — J.R.
Rating ** Worth seeing
Directed and written by Aki Kaurismaki
With Kati Outinen, Kari Vaananen, Elina Salo, Sakari Kuosmanen, Markku Peltola, and Matti Onnismaa.
It might be risky to generalize about national character after visiting a country for only a week, but the particular kind of self-deprecating humor in all six features I’ve seen by Aki Kaurismaki was equally apparent during my recent visits to both Helsinki and the Midnight Sun film festival in Sodankyla. Kaurismaki and his older brother Mika, also a filmmaker, are the founders and guiding spirits of this festival, and its artistic director is one of their best friends, so the humor I’m describing is probably a type that flourishes under their eccentric auspices.
Roughly speaking, this attitude derives in part from the belief that Finns are perceived as the Poles of Scandinavia. Their language shares more roots with Hungarian and Estonian than with Swedish, Danish, or Norwegian, and Helsinki, by virtue of being only a few hours from Saint Petersburg, may have more links with Russia than with its Nordic cousins. Since Scandinavia itself is already regarded as a remote neck of the woods, the Kaurismakian concept of Finnish urbanity involves an embrace of drabness and hillbilly traits relished more for their earthy pathos than for their cosmopolitan aspirations.… Read more »
This article, appearing here for the first time in English, was commissioned by the Torino Film Festival to accompany a John Cassavetes retrospective in November 2007, and was published there in a substantial catalogue/collection in Italian translation. I’m sorry I can’t do a better job of illustrating this: apart from some pictures of Cassavetes, Rowlands, and Carol Kane, there are no appropriate images available to me. I’m grateful, in any case, to Jim Healy and Emanuela Martini for asking me to write this. — J.R.
Cassavetes’ Prelude and Postscript: The Original Shadows and A Woman of Mystery
by Jonathan Rosenbaum
I consider myself unusually fortunate in having been able to see the original version of Shadows in January 2004. Shot in the spring of 1957 and screened publicly only four or five times, the first completed version of the first film of John Cassavetes had been considered irretrievably lost for almost half a century.
More specifically, I saw the first of two public projections at the Rotterdam International Film Festival of a good video transfer of the rediscovered 16-millimeter print, presented by Ray Carney, the man who rediscovered the print. After these two screenings, objections were raised by Cassavetes’ widow, Gena Rowlands, with the result that subsequent public screenings have been forbidden by her.… Read more »
My DVD column in Cinema Scope 44, Fall 2010. — J.R.
1. A confession
Since retiring from my job as a weekly reviewer in early 2008, I’ve been discovering that I usually prefer watching mediocre films of the past (chiefly from the 30s through the 70s) to watching mediocre films of the present — unlike some of my former readers, who irrationally conclude that I’ve stopped writing about movies because I no longer work for the studio airheads in implementing their latest ad campaigns. That is, I no longer train most of my attention on contemporary industry releases, as I was obliged to do for the preceding 20 years, because, in keeping with Raymond Durgnat’s apt observation that dated films sometimes have more to teach us than “timeless” classics, I’m looking for stuff I can chew on. (Try to imagine what literary criticism would be like if most or all of its practitioners decided that 2010 publications currently on sale at K-Mart comprised the bulk of all the literature ever published that was worthy of our close attention.)
This is why, for instance, I wound up picking up a copy of Delmer Daves and Philip Dunne’s sequel to The Robe, Demetrius and the Gladiators (1954), at a video store in Córdoba, Argentina in late July (although, as I later discovered, I could have picked it up on Amazon for roughly the same price): not because it’s any sort of masterpiece (though it’s probably a better movie than The Robe), but because I find it interesting from multiple vantage points, e.g., as one more example of Daves’ interracial utopianism (as also found in, say, Broken Arrow and Bird of Paradise a few years earlier), for the juxtaposition of Susan Hayward’s blood lust as Messalina with the virginal purity of Debra Paget as Lucia (mysteriously sustained even by her catatonia after Richard Egan tries to rape her), and for various rhyme effects between Michael Rennie’s Klaatu in The Day the Earth Stood Still and his Peter the Fisherman in both The Robe and Demetrius.… Read more »
From the Chicago Reader (April 1, 1990). — J.R.
With a running time of nearly four hours, Cecil B. De Mille’s last feature and most extravagant blockbuster is full of the absurdities and vulgarities one expects, but it isn’t boring for a minute. Although it’s inferior in some respects to De Mille’s 1923 picture of the same title (which used the story of Moses as an extended prologue to a contemporary tale) and some of the special effects look less plausible now than they did in 1956, the color is ravishing, and De Mille’s form of showmanship, which includes a personal introduction and his own narration, never falters. Simultaneously ludicrous and splendid, this is an epic driven by the sort of personal conviction one almost never finds in more recent Hollywood monoliths. With Charlton Heston, Yul Brynner, Anne Baxter, Edward G. Robinson, Yvonne De Carlo, Debra Paget, John Derek, Cedric Hardwicke, H.B. Warner, Judith Anderson, Vincent Price, John Carradine, and many other familiar faces, including Woody Strode as the king of Ethiopia. 220 min. (JR)
… Read more »