I recently came across this bilingual publication for the first time at academia.edu. It appeared originally in Fotocinema no. 14 (2017). I’ve taken the liberty of improving some of the English (mainly mine). My thanks to Sara Donoso for her careful and thoughtful work. — J.R.
FOTOCINEMA, nº 14 (2017), E-ISSN: 2172-0150 321 REVISTA CIENTÍFICA DE CINE Y FOTOGRAFÍA
THE EXPANSION OF CRITICISM. AN INTERVIEW WITH JONATHAN ROSENBAUM
LA EXPANSIÓN DE LA CRÍTICA. UNA ENTREVISTA CON JONATHAN ROSENBAUM
Universidad de Santiago de Compostela, España
Crítico, ensayista y teórico de cine, la pluma de Jonathan Rosenbaum es de aquellas que practican el ejercicio de la resistencia; que se oponen a la clasificación, las etiquetas, al mundo del mainstream y a la cultura del espectáculo. Podríamos decir que es uno de esos críticos tal vez aprecian el séptimo arte. Tras trabajar como principal crítico del Chicago Reader entre 1987 y 2008, actualmente sigue ejerciendo el ejercicio de la escritura cinematográfica a través de su página web, en la que no solo postea periódicamente reseñas de libros o películas sino que cuenta además con un archivo de publicaciones anteriores.
Como autor y editor, ha contribuido a través de diferentes proyectos a la difusión y dignificación del cine más allá de los circuitos comerciales, siendo responsable de títulos como Movie Mutations: The Changing Face of World Cinephilia (2003), Essential Cinema: On the Necessity of Film Canons (2004) o Goodbye Cinema, Hello Cinephilia: Film Culture in Transition (2010).… Read more »
Perhaps the closest I’ve come to writing theater criticism are the two reviews I did of the “American Film Theatre” productions of The Homecoming and The Maids in successive issues of the Monthly Film Bulletin in 1976 — a good filming and adaptation of a good play and a terrible filming and adaptation of what I consider an even greater play. So I’m reproducing these two reviews back to back. — J.R.
U.S.A./Great Britain, 1973
Director: Peter Hall
An attempt, largely successful, to approximate Peter Hall’s original stage version of The Homecoming in London (1965) and New York (1967), with only two cast changes: Cyril Cusack as Sam in place of John Normington, and Michael Jayston as Teddy in place of two previous Michaels –- Craig (New York) and Bryant (London). The outsized living room continues to function as a sort of masterpiece of hyper-realism, and the cast remains uniformly superb; if memory serves correctly, Paul Rogers has made Max somewhat nastier this time around while Ian Holm’s Lenny has become marginally more charismatic, and both of these changes seem to work to the play’s advantage in terms of overall balance. The only concessions to “opening out” the action are a few establishing or continuity shots of the street outside, some pointless glimpses of Ruth taking her walk, and brief forays into the kitchen.… Read more »
This appeared in The Soho News (August 18, 1981). – J.R.
An Enemy of the People
Directed by George Schaefer
Beatlemania — The Movie
Directed by Joe Manduke
A cherished personal project of Steve McQueen, who served as executive producer as well as lead actor, Henrik lbsen’s An Enemy of the People, scripted by Alexander Jacobs, is a lot more appealing and less forbidding than its cultural aura might suggest. That McQueen was unable to get this 1977 film released prior to his death is unfortunate yet unsurprising; given the absence of outlets for movies of this kind in the United States, I would have thought that cable might prove to be its ideal resting place. But at least for us Manhattan country folk, it’s once again thanks to the underappreciated services of the Public Theater that we’re able to see it at all.
McQueen made this movie when he knew that he was dying of cancer and decided that he wanted to be remembered for something more than his blue-eyed beefcake parts. An advocate of Laetrile cancer therapy -– banned by the FDA, and usually pegged as “controversial” in this country – McQueen had to go to a Mexican clinic to get the treatment he wanted and must have had plenty of reasons to identify with Ibsen’s persecuted, innocent, and idealistic hero.… Read more »