From The Chronicle of Higher Education, April 17, 1998. –- J.R.
Ever since a Barnes & Noble bookstore opened in my neighborhood in Chicago, I’ve been cultivating the habit of hanging out there, a bit like the way I used to frequent the public library in my hometown as a teenager. I often stop there not with a particular purchase in mind, but on my way to someplace else – a movie at the same shopping center, a nearby restaurant — or on my way home from work. The relaxed idleness offered by the roomy store and the various incentives to linger — the generous selection of hardcovers and paperbacks, the current magazines, the tables where you can spread your stuff out and read for as long as you want to, the Starbucks coffee bar, not to mention various appearances by authors and periodic meetings of discussion groups — create an alluring kind of community space.
It’s a kind of space that I haven’t found in public libraries in recent years, especially since the removal of card catalogues and easy chairs. Some younger people I know, who harbor no fond memories of public libraries, are enjoying visits to places such as Barnes & Noble as a new kind of experience altogether, a theme park that features words instead of rides.… Read more »
Originally published in Artforum (December 1982). — J.R.
The Toronto Film Festival, now in its seventh year, takes place over ten days every September. Proudly dubbing itself a “Festival of Festivals,” it actually deserves that moniker a lot more than the New York Film Festival does, and not only because it shows about five times as many films. Insofar as its giddy pluralism derives from an overlap of disparate and even antithetical individual tastes rather than from a distillation based on committee decisions, Toronto democratically permits those attending to select their own festivals out of an overflowing mixed bag. This year, apart from the main standbys –- nightly galas chosen by festival director Wayne Clarkson and a large international selection by David Overbey, a Paris-based American critic – the multiple events included retrospectives devoted to John Cassavetes and Gena Rowlands, Brazilian and New Zealand cinema and Berlin underground director Lothar Lambert, as well as a superb new package by Kay Armatage featuring a wide array of independently produced work. While Armatage rightly pointed to many of her own choices as films that take risks, her fellow programmer Overbey, operating from a somewhat different set of preferences, should also be credited with selecting both of the films that wound up locking horns with the prudish Ontario Censor Board – Lambert’s Berlin-Harlem 1974 and Pierre Rissient’s Cinq et la peau.… Read more »
Written for the May 2016 Artforum. — J.R.
Although Jacques Rivette was the first of the Cahiers du Cinéma critics to embark on filmmaking, he differed from his colleagues—Claude Chabrol, Jean-Luc Godard, Eric Rohmer, François Truffaut—in remaining a cult figure rather than an arthouse staple. His career was hampered by various false starts, delays, and interruptions, and then it abruptly ended in 2009 with the onset of Alzheimer’s disease, six years before his recent death. But his legacy is immense.
His career can easily be divided into two parts, although it’s not so easy to pinpoint a precise dividing line between them. And for those who knew him well or even casually, as I did, it’s hard to prefer the first portion to the second without feeling somewhat guilty.
Common to both parts is a preoccupation with mise-en-scène and the mysterious aspects of collective work, offset by the more solitary and dictatorial tasks of plotting and editing. Rivette’s own collective work was frequently enhanced by improvisation—with actors, with onscreen or offscreen musicians, or with dialogue written just prior to shooting (either by actors or screenwriters)—while the more solitary work of plotting and editing emulated the Godardian paradigm of converting chance into destiny.… Read more »