Commissioned and published by Fandor in September 2010. — J.R.
Teaching silent film in the mid-1980s at the University of California, Santa Barbara, I was astonished to discover I was the first teacher there who had ever shown a film by Louis Feuillade. Sadly, there was a good reason: at that time, only one Feuillade film was in distribution in the U.S. — Juve contre Fantômas (Juve vs. Fantômas) — and few if any of my teaching colleagues had ever seen it.
My own introduction to Feuillade, one of the most memorable filmgoing experiences in my life, was attending, on April 3, 1969, a 35-millimeter projection of all seven hours of his 1918 crime serial, Tih Minh, at the Museum of Modern Art -– along with Susan Sontag, Annette Michelson, and other enrapt friends and acquaintances. Part of the shock of that experience was discovering that even though Feuillade was a contemporary of D.W. Griffith — born two years earlier, in 1873 — he seemed to belong to a different century. While Griffith reeks of Victorian morality and nostalgia for the mid-19th century, Feuillade looks forward to the global paranoia, conspiratorial intrigues, and technological fantasies of the 20th century and beyond.
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The year is 1921, the place Sylvia Beach’s celebrated Shakespeare and Company, publisher of the first edition of James Joyce’s Ulysses, Rue de l’Odéon, Paris. The figures, reading from left to right, are John Rodker, James Joyce, Sylvia Beach, and her younger sister Cyprian — the only one shown reading, to whom Sylvia dedicated the first edition of Ulysses.
In a review of Sylvia Beach’s letters by James Campbell in the March 19 issue of the Times Literary Supplement I learn that Cyprian “played `Belles Mirettes’ in the French silent film series Judex“. After some rummaging around, I discover that, in fact, `Miss Cyprien Giles’ played Gaby Belles Mirettes, a member of a criminal gang, in La Nouvelle Mission de Judex (1918), the only one of Louis Feuillade’s major crime serials I’ve never seen, and, according to the Internet Movie Database, appeared later in The Fortune Teller (1920), L’aiglonne (1921), and L’amie d’enfance (1922). And from Campbell’s review I learn that “she later lived with a somewhat better-known actress, Helen Jerome Eddy” (see photo below) — an actress who lived from 1897 to 1990 and who, according to the same IMDB, appeared in 130 films (not always credited) between 1915 and 1947, including The Bitter Tea of General Yen, Man’s Castle, and Bride of Frankenstein.… Read more »
This remains one of the most controversial reviews I ever published in the Chicago Reader (it ran in their September 17, 1993 issue) — occasioning many outcries, especially for my use of the term “drooling paisan” (although many others also quarreled with my point about apostrophes). No one, however, seemed to have had any quarrels with my treatment of Edith Wharton. — J.R.
THE AGE OF INNOCENCE
Directed by Martin Scorsese
Written by Jay Cocks and Scorsese
With Daniel Day-Lewis, Michelle Pfeiffer, Winona Ryder, Stuart Wilson, Miriam Margolyes, Geraldine Chaplin, Mary Beth Hurt, and Norman Lloyd.
Martin Scorsese clearly intends The Age of Innocence – his close adaptation of Edith Wharton’s 1920 novel about wealthy New York society in the 1870s — to earn him a bouquet of Oscars. But the high literary tone was somewhat blown for me by the opening title, immediately following a lush credits sequence of flower blossoms unfurling behind dainty fabric: “New York City, the 1870′s.” That superfluous apostrophe doesn’t exactly inspire confidence that Scorsese is the ideal interpreter of Edith Wharton.
Fortunately the movie improves after that, but never to the point that one can entirely forget that slip at the beginning. If the project winds up a noble failure, testifying throughout to Scorsese’s resourcefulness in plowing through an impossible mission — much better to my taste than Cape Fear, and considerably more likable (if less successful) than GoodFellas – it may be because the subject is diametrically opposed to what he usually does best as a filmmaker.… Read more »
Published under a different title in the online Barnes and Noble Review (May 18, 2010). — J.R.
John Baxter’s new Foreword to the 1956 novelization of Orson Welles’s Mr. Arkadin, aptly called “No Pilot Known,” correctly discloses on its penultimate page that the novel was actually written in French by one Maurice Bessy, who adapted Welles’s original screenplay. This fact is verified by the recent recovery in France of the correspondence between Welles and Arkadin’s producer, Louis Dolivet. But none of this has prevented the novel’s latest edition, like all the previous ones, from trumpeting the name of Orson Welles as sole author on its cover.
This should come as no surprise. How can a publisher expect to sell the uncredited English translation of a French novelization of an unfinished film, especially if the novel was written by a forgotten film critic? For starters, it has to assume, contrary to Welles, that the film is (or was) finished. This is also why the Criterion box set, released in 2006, insists on calling itself The Complete Mr. Arkadin, even though Welles wasn’t able to complete any single version of it.
The task of rationalizing Welles’s idiosyncratic working methods and fractured film career in consumerist, marketplace terms has invariably led to many obfuscations.… Read more »
From Cineaste (Summer 2010, Vol. XXXV, No. 3). — J.R.
Robert Bresson: A Passion for Film
By Tony Pipolo. New York: Oxford University Press, 2010. 407 pp. Hardcover: $125 and Paperback: $29.95.
“I do not like to show sex crudely on the screen,” Orson Welles declared in a 1964 interview, pursuing an argument that he also made on other occasions. “Not because of morality or puritanism; my objection is of a purely aesthetic order. In my opinion, there are two things that can absolutely not be carried to the screen: the realistic presentation of the sexual act and praying to God. I never believe an actor or actress who pretends to be completely involved in the sexual act if it is too literal, just as I can never believe an actor who wants to make me believe he is praying.”
It’s an argument that frequently comes to mind when I ponder a certain critical impasse that we often face in considering the films of Robert Bresson, largely due to the dearth of biographical information that we have about him. For a filmmaker whose erotic and spiritual preoccupations seem equally pronounced, Bresson frequently poses the conundrum of how we fill in certain psychological blanks in his characters as well as how we describe and understand matters of the flesh as well as the spirit, as we perceive these matters through what he liked to call his cinematography.… Read more »
From Chris Fujiwara’s 800-page collection Defining Moments in Movies (London: Cassell, 2007). – J.R.
2003 / Goodbye, Dragon Inn – The shot of the empty auditorium near the end.
Taiwan. Director: Ming-liang Tsai. Original title: Bu san.
Why it’s Key: A minimalist master shows what can be done with an empty movie-theater auditorium.
One singular aspect of Ming-liang Tsai’s masterpiece is how well it plays. I’ve seen it twice with a packed film-festival audience, and both times, during a shot of an empty cinema auditorium, where nothing happens for over two minutes, you could hear a pin drop. Tsai makes it a climactic epic moment.
Indeed, for all its minimalism, Goodbye, Dragon Inn fulfills many agendas. It’s a failed heterosexual love story, a gay cruising saga, a Taiwanese Last Picture Show, a creepy ghost story, a melancholy tone poem, and a wry comedy. A cavernous Taipei movie palace on its last legs is showing King Hu’s 1966 hit Dragon Inn to a tiny audience — including a couple of the film’s stars, who linger like ghosts after everyone else has left — while a rainstorm rages outside. As the martial-arts classic unfolds on the screen, we follow various elliptical intrigues in the theater, such as the limping cashier pining after the projectionist, whom she never sees.… Read more »
As much as I admire Ernest Lubitsch as a subversive force in 30s Hollywood, especially for The Man I Killed and Trouble in Paradise, I keep coming back to a particular anti-Lubitsch argument made to me by Elaine May, of all people, the one time I was lucky enough to meet her (in Bologna the summer before last). According to her argument, if I remember it correctly, Lubitsch pretended to be more daring, free, and worldly and less middle-class than his films actually were; her main example was Heaven Can Wait, which I suspect irked her in part on feminist grounds. When I asked her if she meant that Lubitsch was roughly akin to someone like H.L. Mencken, she said, “Exactly.”
I remembered this conversation when I recently went through Criterion’s excellent two-disc edition of Lubitsch’s Design for Living (1933), including an interesting interview with Joseph McBride about the script that I saw before reseeing the feature, and William Paul’s superb analysis of both Trouble in Paradise (1932) and Design for Living, which I saw just afterwards. McBride is very good about Lubitsch’s collaboration(s) with Ben Hecht (screenwriter) and Noel Coward (playwright), and Paul is especially acute about the way the usual terms of praise heaped on Lubitsch (such as “sparkling” and “frothy”), which often relate to food and drink metaphors, are actually instruments for undermining the seriousness beneath his playfulness.… Read more »
The following was written for CITIZEN PETER, a very handsomely produced and multilingual 476-page book celebrating the late Peter von Bagh’s 70th birthday, in late August 2013, coedited by Antti Alanen and Olaf Möller. — J.R.
Peter von Bagh is the man who convinced me to purchase my first multiregional VCR in the early 1980s. So he has a lot to answer for — including, just for starters, my DVD column in Cinema Scope.
We’ve met at various times in Paris, London, New York, Southern California, Chicago, Helsinki, Sodankylä, and Bologna — and probably in other places as well, although these are the ones I currently remember. The first times were in Paris in the early 1970s, when he looked me up, and it must have been either in San Diego in 1977 or 1978 or in Santa Barbara between 1983 and 1987 that he convinced me to buy a multiregional VCR. Most likely it was the latter, where I was mainly bored out of my wits apart from my pastime of taping movies from cable TV, and Peter maintained that if we started swapping films through the mail, a multiregional VCR would allow me to play some of the treasures he could send me.… Read more »
From the February 24, 2006 Chicago Reader. — J.R.
Directed by Mikio Naruse
Written by Sumie Tanaka and Toshiro Ide
With Haruko Sugimura, Sadako Sawamura, Chikako Hosokawa, Yuko Mochizuki, Ken Uehara, Hiroshi Koizumi, and Ineko Arima
Depressing movies with unhappy endings are often seen as offering a bracing contrast to the standard Hollywood fare. This may help explain the appeal of Brokeback Mountain, whose drafts of misery are seen by some people as daringly honest and authentic.
I wonder. Some lives are full of misery, but this doesn’t mean movies that reflect them are automatically more truthful. If the shepherds played by Heath Ledger and Jake Gyllenhaal had sustained a happy, loving relationship over several decades in spite of everything, Brokeback Mountain might have been truly daring — and it wouldn’t have been less believable. The impulse to privilege the dark is hardly new; in prerevolutionary Russian cinema, tragic plots ending in suicide were so common and popular that some Hollywood imports with happier endings were revised to make them more “commercial.” I would argue that a certain complacency surrounds some of these doom-ridden scenarios, especially ones that suggest social change is impossible — a vested interest in the status quo, even conservatism, seems to lurk behind the apparent apoliticism.… 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 »
From the Chicago Reader (June 5, 2008). — J.R.
A director and writer of fiction films (The Thing About My Folks, Two Family House) as well as a jazz pianist, Raymond De Felitta tracked down the great, forgotten bebop singer Jackie Paris, befriended him, and in this documentary tries to get to the bottom of why his promising career never clicked, despite tours with Charlie Parker and Lenny Bruce. What emerges is inconclusive and sometimes awkward — especially when Peter Bogdanovich, Frank Whaley, and Nick Tosches get enlisted to recite news stories and reviews — yet also haunting and heartbreaking for what it shows about the scuffling disorder of some jazz careers. When the voice-overs don’t compete with the music, Paris is a spellbinder even at 79 (though I didn’t learn as much as I wanted to about his guitar playing and tap dancing), and his classic singing of Skylark sent shivers up my spine (2006). 100 min. (JR)
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From the Chicago Reader (September 1, 2000). — J.R.
The Tic Code
Directed by Gary Winick
Written by Polly Draper
With Gregory Hines, Draper, Christopher George Marquette, Desmond Robertson, Carol Kane, Carlos McKinney, Dick Berk, John B. Williams, and Tony Shalhoub.
Writing about Finnegans Wake, James Joyce’s most musical book, the late William Troy had the perspicacity to point out that “a word, in the terminology of modern physics, is a time-space event. It is not too much to say that for the poet no word in a language is ever used twice exactly in the same way.” Since a musical note is also a time-space event — repeatable on paper, CD, or tape but not in live performance — existentially speaking an improvised jazz solo is a journey, a dramatic and social act that can happen only once.
It’s possible to capture certain aspects of jazz performances in words, as critic Whitney Balliett and novelist Rafi Zabor (in the wonderful The Bear Comes Home) have amply demonstrated. But what film can do poetically with jazz solos is much less certain. It might be argued that most films and most jazz solos have stories to tell, but getting their stories to coincide is not an easy task.… Read more »
From the Chicago Reader (February 10, 1989). — J.R.
** (Worth seeing)
Directed and written by Nick Castle Jr.
With Gregory Hines, Suzzanne Douglas, Savion Glover, Joe Morton, Dick Anthony Williams, “Sandman” Sims, Bunny Briggs, and Sammy Davis Jr.
One of the more poignant effects of contemporary Hollywood has been the virtual extinction of at least two of the major genres that served as industry staples during the 30s, 40s, and 50s: the western and the musical. When attempts are made to resurrect these old standbys, a certain self-consciousness often makes itself felt. Such “last westerns” as Once Upon a Time in the West and McCabe and Mrs. Miller, and such “last musicals” as All That Jazz and Pennies From Heaven tend to wear their obsolescence on their sleeves, representing themselves as last-ditch attempts to revivify forms that are no longer part of the present tense, but only nostalgic emblems of an earlier era.
Other recent approaches, however, have avoided such self-consciousness, and behaved as if the genres in question never really left us. Young Guns was a fairly forgettable attempt to bring back the western that populated a conventional example of the genre with several youthful male stars.… Read more »
From the Chicago Reader (September 29, 1989). — J.R.
Directed and written by Jon Jost
With Jon A. English, Barbara Hammes, Jim Nisbet, Nathaniel Dorsky, Janet McKinley, Kate Dezina, and Jerry Barrish.
“The essence of Jean-Luc Godard’s La femme mariée,” John Bragin wrote in the mid-60s, “is the transmutation of the dramatic into the graphic.” While this formula doesn’t account for everything in Rembrandt Laughing, Jon Jost’s ninth feature, I think it provides a helpful clue to the overall direction taken by this masterful, elliptical account of a little over a year in the lives of a few friends in San Francisco.
For all his mastery and originality as a maverick independent, Jost has often alienated audiences with the harshness of his themes and the apparent distance from which he views his subjects and his characters. A 60s radical who spent over two years in federal prison for draft resistance, he has lived without a fixed address for most of his 26-year career as a filmmaker, and the alienation as well as the clarity stemming from his wanderlust has seeped into many of his fiction features. These have often centered on isolated individuals: a private detective in Angel City (1977), a drifter out of work in Last Chants for a Slow Dance (1977) [see two images below], a drug dealer in Chameleon (1978), a Vietnam vet in Bell Diamond (1987).… Read more »
From the Chicago Reader (April 1, 1994). — J.R.
This third compilation of clips from MGM musicals — introduced, like its predecessors, by many of the leading performers (June Allyson, Cyd Charisse, Lena Horne, Howard Keel, Gene Kelly, Ann Miller, Debbie Reynolds, Mickey Rooney, and Esther Williams) — has so much pleasure to offer that any purist quibbles seem minor. Not only have writers-directors-producers Bud Friedgen and Michael J. Sheridan, who worked as editors on the two previous films, come up with heaps of wonderful and fascinating new material (excluded numbers from Singin’ in the Rain, The Band Wagon, Cabin in the Sky, The Harvey Girls, Easter Parade, and even I Love Melvin); they’ve also introduced a welcome critical note into the proceedings, demonstrating how dubious some of MGM’s aesthetic decisions were and allowing Horne to voice some of her own misgivings about the bigoted policies that limited her activity. Indeed, after Horne introduces her own clips, her terse introduction to an unused Judy Garland number from Annie Get Your Gun, “I’m an Indian Too,” doesn’t have to allude to the number’s racism because in the context she’s established the evidence speaks for itself. The original screen ratios of the films are generally respected — the rule apparently is broken only when the filmmakers are doing a montage or want the dramatic benefits of a full screen even if it means cropping the image.… Read more »