Posted Fri, Dec 8, 2006 at 11:21 AM
It’s interesting to see how some of the most difficult and challenging examples of art cinema have become increasingly popular over the past decade. Back in the 60s and 70s, Robert Bresson was virtually a laughing-stock figure to mainstream critics, and someone whose films characteristically played to almost empty houses. Yet by the time that he died, a retrospective of his work that circled the globe was so successful in drawing crowds that in many venues—including Chicago’s Film Center — it had a return engagement. Much the same thing has happened with Andrei Tarkovsky — another uncompromising spiritual filmmaker, and one whose films are even tougher to paraphrase or even explain in any ordinary terms.
I’m just back from a trip to the east coast where I was gratified to find, when I turned up to introduce a screening of Jacques Rivette’s 252-minute L’amour fou (1968) in Astoria’s Museum of the Moving Image, that the film was playing to a nearly packed house. (Incidentally, this galvanizing love story about the doomed relationship between a theater director and his wife, played by Jean-Pierre Kalfon and Bulle Ogier, has never looked better to me, though I’ve been a big fan since the early 70s.) Virtually everyone stayed to the end, and there was a lively and enthusiastic discussion afterwards.… Read more »
From the Chicago Reader (March 29, 1996). — J.R.
Directed by Krzysztof Kieslowski
Written by Kieslowski and Krzysztof Piesiewicz
With Henryk Baranowski, Krystyna Janda, Aleksander Bardini, Daniel Olbrychski, Maria Pakulnis, Adrianna Biedrzynska, Janusz Gajos, Miroslaw Baka, Krzysztof Globisz, Jan Tesarz, Grazyna Szapolowska, Olaf Lubaszenko, Anna Polony, Maria Koscialkowska, Teresa Marczewska, Ewa Blaszczyk, Piotr Machalica, Jerzy Stuhr, and Zbigniew Zamachowski.
Directed by Joel Coen
Written by Ethan Coen and Joel Coen
With Frances McDormand, William H. Macy, Steve Buscemi, Peter Stormare, Kristin Rudrud, Harve Presnell, Steven Reevis, John Carroll Lynch, and Steve Park.
One way of judging the importance of filmmakers is by looking at the kind of talk they generate among their audiences. Since the recent death of the 54-year-old Krzysztof Kieslowski during open-heart surgery, one of the key points of speculation about him is whether he knew when he announced his retirement a couple of years ago that he had a heart condition. As evidence that he did, one could cite the fact that the “twin” Polish and French heroines of his The Double Life of Veronique (1991) suffer from heart conditions, and one ultimately dies from hers; as evidence that he didn’t, one could note that Kieslowski was a heavy smoker and continued to smoke after his announcement (though he may have been simply reckless).… Read more »