Daily Archives: March 10, 2018

Jon Jost Turns a Corner

vlcsnap-2018-03-10-16h07m55s282

Now that I’ve seen three of the most recent half-dozen features of Jon Jost — Coming to Terms (2013, Butte, Montana), Blue Strait (2014, Port Angeles, Washington), and They Had it Coming: True Gentry County Stories (2015, Stanberry, Missouri), in that order — I find myself, unlike certain others (including Jost himself), preferring the third to the second and the second to the first. The reason why is that the basic theme of Jost’s narrative films for quite some time has been the tragic story of American men, some of them patriarchal, others simply burnt-out cases, losing their all-American souls — a theme that to my mind he already gave near-perfect expression to in his 1977 Last Chants for a Slow Dance (dead end) and which he has been spinning out periodically in diverse variations ever since. But to judge from the developments between these three recent features, this may be a story that Jost may finally be turning away from — for the sake of non-narrative meditations (especially in much of Blue Strait) and the stories of others (as in They Had it Coming), others whom in some cases may not even have discernible souls to lose. And for me, these are positive developments for a prodigious independent artist whose productivity is so difficult to chart that his eight separate blogs and two separate web sites make it even harder to track in its various forms and dispersals.… Read more »

THE GODFATHER PART II (1975 review)

From Sight and Sound (Summer 1975). I think I probably did a better job with The Godfather 33 years later, when I wrote something about it for Filmkrant. — J.R.

The Godfather Part II

‘I believe in America,’ declares an undertaker in portentous close-up at the start of The Godfather, appealing to Vito Corleone (Marlon Brando) to dispatch an act of vengeance on his behalf. The sequel begins and ends with close-ups of Michael (Al Pacino), Vito’s youngest son and successor: in the first his hand is being kissed off-screen by yet another supplicant; in the last he sits alone biting his knuckle, with his wedding ring clearly in evidence — an apt symbol of his solitary dominion, with the Corleone family virtually destroyed so that itshollow emblems and relics might be preserved. The most obvious achievement of The Godfather Part II (CIC) over its predecessor can be seen in the quiet authority of this framing device, which tells us everything we need to know about the fate of the Corleones without recourse to rhetorical hectoring; its most obvious limitation is that it essentially tells us nothing new.

Perhaps more than anyone else in Hollywood, Francis Ford Coppola epitomizes the man in the middle.… Read more »

Paris Journal (January-February 1974)

From Film Comment. — J.R.

JULIEN: Have you ever thought that the true reverse angle, as one says in cinematography, of [Magritte’s] Madame Récamier, is the public much more than the painter at work?

– From the script of L’AUTOMNE

All but the last eight minutes or so of Marcel Hanoun’s L’AUTOMNE (AUTUMN) is filmed from a single fixed camera angle, which corresponds to the viewing screen in an editing studio.… Read more »