Written for and published in Outsider Films on India, 1950-1990, edited by Shanay Jhaveri, Mumbai: The Shoestring Publisher, 2009 –a very handsomely produced book that I can highly recommend. — J.R.
The Creation of the World: Rossellini’s India Matri Buhmi
In my mind, there isn’t as much distinction between documentary and fiction as there is between a good movie and a bad one. — Abbas Kiarostami
From the beginning, film has owed an important part of its fascination to ambiguous overlaps between documentary and fiction —- sometimes experienced as conflicts between the separate aims of showing the world and telling a story, and frequently associated with incorporating both unforeseeable and carefully planned elements in a given film. It’s a tendency that can already be seen in the contrived gags of the Lumière brothers films, the re-enactment of recent famous events in some films of Georges Méliès, and the coexistence of fantasy and on-location actuality in Louis Feuillade serials. Later, of course, the same mix becomes re-animated in Italian neorealism and in work by French New Wave directors (perhaps most notably Jean-Luc Godard and Jacques Rivette and some of their immediate successors, such as Luc Moullet and Jean Eustache), in the improvisational strategies of Robert Altman, in some of the ambiguities found in the films of Abbas Kiarostami, Mohsen Makhmalbaf, and Jafar Panahi, and in practically all the films of Pedro Costa and Pere Portabella.… Read more »
My column for the Summer 2016 issue of Cinema Scope. — J.R.
J.P. Sniadecki’s feature-length The Iron Ministry (2014), available on DVD from Icarus Films, is by far the best non-Chinese documentary I’ve seen about contemporary mainland China. (Just for the record, the best Chinese documentary on the same general subject that I’ve seen is Yu-Shen Su’s far more unorthodox—and woefully still unavailable — 2012 Man Made Place; a couple of snippets are available on YouTube and Vimeo.) Filmed over three years on Chinese trains, it’s full of revelatory moments, and not only in its surprisingly outspoken interviews: the non-narrative stretches, which compare quite favourably with the more abstract portions of Lucien Castaing-Taylor and Véréna Paravel’s Leviathan (2012), are pretty stunning as well. Skip this one at your peril.
Second Run’s very first Blu-ray — Pedro Costa’s Horse Money (2015) — is gorgeously transferred, and has splendid extras: Costa’s 2010 short film O nosso homem, essays by Jonathan Romney and Chris Fujiwara, an introduction to Horse Money’s introduction by Thom Andersen, and Laura Mulvey’s conversation with Costa at London’s ICA. The extras on Criterion’s Blu-ray of Jean-Luc Godard’s Band of Outsiders (1964) are too numerous to mention here, but suffice it to say that just about every intertextual reference in this cherished object are teased out in one way or another.… Read more »
From Monthly Film Bulletin, February 1976 (Vol. 43, No. 505). — J.R.
With an outsized budget estimated variously at $12,600,000 (Variety) and £10,000,000 (Daily Mirror), three box-office favourites and a script deliberately written, according to co-author Gloria Katz, as “the most commercial thing we could think up”, Lucky Lady is both conspicuously overproduced and undernourished.
The presence of Stanley Donen seems to count for little in a project that might more logically have been entrusted to a computer. All it has to express, quite simply, are its deliberations: to combine as many saleable features as can be packed on a screen within the space of two hours. A little of everything is thus tossed into the mixture; and a great deal of nothing emerges out of the isolation and autonomy of the assorted elements. For Cabaret-like nostalgia, Geoffrey Unsworth creates a hazy milk-of-magnesia look with a dull sheen that obscures the details of the expensive sets and sea battles, both of which seem to derive from other models.
As the leading lady, Liza Minnelli is dressed in a fright wig worthy of a nightmare dreamt by Robert Aldrich, given two unmemorable songs to sing, and encouraged or allowed to deliver each comic line (sample: “It’s so quiet you can hear a fish fart”) as if she were explaining it to a child of four, crushing gags like so many acorns in her wake.… Read more »