From the Chicago Reader (July 2, 2004). — J.R.
Directed by Richard Linklater
Written by Linklater, Kim Krizan, Julie Delpy, and Ethan Hawke
With Delpy and Hawke.
“The years shall run like rabbits,
For in my arms I hold
The Flower of the Ages,
And the first love of the world.”
But all the clocks in the city
Began to whirr and chime:
“O let not Time deceive you,
You cannot conquer Time….
“O plunge your hands in water,
Plunge them in up to the wrist;
Stare, stare in the basin
And wonder what you’ve missed.”
– from W.H. Auden’s “As I Walked Out One Evening” (1937)
Richard Linklater, like Wong Kar-wai on the opposite side of the globe, is a lyrical and elegiac filmmaker. In many of his films, as in many of Wong’s, the subject is time — the romance and poetry of moments ticking by, the wonder and anguish of living through and then remembering an hour or a day.
Future generations may look back at Linklater and Wong as poets laureate of the turn of the century who excelled at catching the tenor of their times. In Days of Being Wild and Slacker, Ashes of Time and The Newton Boys, Happy Together and Dazed and Confused, and In the Mood for Love and Before Sunrise they’re especially astute observers of where and who we are in history.… Read more »
Written for Moving Image Source [movingimagesource.us], and posted there on October 9, 2008. — J.R.
“A writer’s reputation,” Lionel Trilling once wrote, “often reaches a point in its career where what he actually said is falsified even when he is correctly quoted. Such falsification — we might more charitably call it mythopoeia — is very likely the result of some single aspect of a man’s work serving as a convenient symbol of what other people want to think. Thus it is a commonplace of misconception that Rousseau wanted us to act like virtuous savages or that Milton held naive, retrograde views of human nature.”
Although Orson Welles is rightly regarded as someone whose creative work partially consisted of his own persona, he remains unusually susceptible to mythmaking of this sort. This is because he often figures as someone who both licenses and then becomes the scapegoat for vanity that isn’t entirely — or even necessarily — his own. Quite simply, many of those (especially males) who obsess on the “meaning” of “Orson” are actually looking for ways to negotiate their own narcissism and fantasies of omnipotence.
It’s part of the special insight of Richard Linklater’s Me and Orson Welles, which premiered last month at the Toronto International Film Festival, to perceive and run with this aspect of the Welles myth, which is already implied in its title.… Read more »