I’m still trying to figure out what I think of Rainer Werner Fassbinder (1945-1982), the German whiz kid who’s the focus of a nearly complete retrospective showing at the Film Center, Facets Multimedia Center, and the Fine Arts over the next couple of months. An awesomely prolific filmmaker (he turned out seven features in 1970 alone), Fassbinder became the height of Euro-American fashion during the mid-70s, then went into nearly total eclipse after his death from a drug overdose — reminding us that the fate of a fashionable filmmaker is often to be discarded (as, more recently, have been David Lynch and Quentin Tarantino).
As skeptical as I often was in the 70s about Fassbinder as a role model, I’ve been more than a little disconcerted by the speed with which he’s vanished from mainstream consciousness. Having now seen two dozen of his 37 features, one of his four short films, and one of his four TV series — though I haven’t seen many of them since they came out — I find much of his work, for all its deliberate topicality, as fresh now as when it first appeared.… Read more »
With Omar Seck, Mame Ndoumbe Diop, Thierno Ndiaye, Ndiawar Diop, Moustapha Diop, Marie-Augustine Diatta, Samba Wane, and Joseph Sane.
We like to think that the essential works of any art form are readily available to everyone; but when it comes to film we still aren’t within hailing distance of that goal, even if we agree to the debatable proposition that a film’s transfer to video equals its availability. The canons of film history taught in film departments across the country are based almost entirely on the titles that film, video, and laser disc companies choose to place or keep on the market, which is all that most film professors have seen in the first place. And now that 16-millimeter film distribution is already on its last legs, the history and breadth of the medium, even for most film students, is quickly being reduced to what can be found at local video stores.
Among the many key items that can’t be found there are virtually all the major African films, including the seven features and four shorts of Senegalese writer-director Ousmane Sembène, by most accounts the greatest African filmmaker.… Read more »
Chantal Akerman is a tough filmmaker to tangle with, make up one’s mind about or describe. One thing’s clear enough though: Les Rendez-vous d’Anna, her fifth feature, is the most assertive film by a woman that I’ve seen since Marguerite Duras’ Le Camion — and probably the most accessible that Akerman has made to date. It might wind up serving as a calling card for the rest of her work.
A film that assumes the ambition (and pretention) of taking the pulse of Western Europe while pursuing a narcissistic autobiographical meditation obviously isn’t going to win everyone over — particularly when every shot has the visual weight of a battleship and nearly every facial expression has enough glumness to sink one. Take that, Akerman seems to be saying, offering up yet another drab, anonymous hotel room or train station at night, each one lit with precise, uncanny radiance, and hammering these cold, elegantly symmetrical compositions into our skulls with an obstinate will to power that makes Milius and Peckinpah seem like frollicking pussy-cats in comparison.… Read more »
Written in November 2017 for my “En movimiento” column in Caimán Cuadernos de Cine. — J.R.
En movimiento: The Crimes of Harvey Weinstein
Although we routinely assume that social trends have a rational basis, the processes by which irrational forms of displacement also affect those trends are no less routinely ignored. For instance, it’s commonly thought that the Watergate scandal leading to Richard Nixon’s resignation as U.S. President was merely a matter of exposing his crimes, but it could also be argued that many of these crimes were already evident to U.S. citizens before Nixon won his last Presidential election. As Mary McCarthy would later theorize, it was because the public needed a scapegoat for the U.S. debacle in Vietnam that the Watergate crimes belatedly became important. And one might similarly theorize that the recent public exposure and condemnation of producer-distributor Harvey Weinstein as a sexual predator, which has led to many similar exposures of predatory sexual behavior by others in the film world (such as James Toback and Kevin Spacey) as well as in separate fields, has been a displaced response to the debacle of Donald Trump’s Presidency, not to mention his own primitive sexual politics, which were exposed by the release of a private tape during the Presidential campaign.… Read more »
Written in October 2011 for the Blu-Ray released by Music Box Films. It seems like the gift of Ruiz never stops giving: a film cosigned by him and his widow Valeria Sarmiento suggestively called The Wandering Soap Opera has turned up on a few South American ten best lists for 2017 as well as MUBI. – J.R.
It was disconcerting to see a passage from a 1997 article of mine about Raúl Ruiz (1941-2011) quoted in some of his mainstream obituaries: “Ruiz is the least neurotic of filmmakers; he doesn’t even seem to care whether what he’s doing is good or not.” Not because this was false when I wrote it but because it related to my earliest encounters with his work and its seeming challenges to film commerce, not to his better known big-budget efforts such as Marcel Proust’s Time Regained (1999) and Klimt(2006).
This is why some of these latter films disappointed me, pointing towards what Ruiz himself frankly described to me in a 2002 interview as a “capitulation”. But Mysteries of Lisbon shows that he may have gained as much from these bigger budgets as he lost, and I’m not speaking about pocket change. What he actually broadened was his film vocabulary, especially his employments of long takes and camera movements.… Read more »
“Doubtless this tale of spirit possession in Georgetown packs a punch, but so does wood alcohol,“ wrote Reader critic Don Druker in an earlier review of this. I wouldn’t be quite so dismissive: as a key visual source for Mel Gibson’s depiction of evil in T as well as an early indication of how seriously pulp can be taken when religious faith is involved, this 1973 horror thriller is highly instructive as well as unnerving. William Friedkin, directing William Peter Blatty’s adaptation of his own novel, aims for the jugular, privileging sensation over sense and such showbiz standbys as vomit and obscenity over plodding exposition. This 2000 rerelease runs 132 minutes, 11 minutes longer than the original; with Ellen Burstyn, Max von Sydow, Jason Miller, Linda Blair, and Lee J. Cobb. R. (JR)
Chen Kaige clearly intended this Chinese fantasy-action spectacle to top Zhang Yimou’s Hero, and I must admit that I prefer it to the earlier movie: the digital effects are sometimes excessive, yet Chen’s story of a loyal slave, his master, and a wealthy, seemingly doomed princess is more affecting, especially in the closing stretch. Chen’s original U.S. distributor, the Weinstein Company, ordered him to shorten the movie from its original running time of 128 minutes and then dropped it. (It’s worth recalling that his 1996 feature Temptress Moon was severely damaged by Miramax’s recutting.) Now Warner Independent Features is releasing the abbreviated, 102-minute version, and it’s well worth checking out. PG-13. Century 12 and CineArts 6, Esquire, Landmark’s Century Centre.