This was written in December 2008, after Dana Linssen, the editor-in-chief of the independent Dutch film monthly de Filmkrant, sent out a request early that month for contributions to what she called a “Slow Criticism” dossier, to appear in their special English-language newspaper at the Rotterdam International Film Festival in late January. I revived it in 2011 as my own contribution to the avalanche of journalism that had been appearing about Pauline Kael, capped by Frank Rich’s lengthy piece in the New York Times; it’s also included in my most recent collection, Goodbye Cinema, Hello Cinephilia, where it concludes the book’s penultimate section, “Films,” just before its final section, “Criticism”. There isn’t a piece about Kael in the final section, but this broadside helps to explain why.
One aspect of recent journalism about Kael that seems to confirm the provinciality of American film criticism in general is the tacit assumption that “the world of film” in the U.S. is somehow (and automatically) coterminous and equivalent to global film culture — unless the assumption is simply that global film culture is too esoteric and inconsequential a subject to be worthy of discussion in the U.S. But it’s worth stressing that outside the English-speaking world, Kael’s critical status was and is pretty limited.… Read more »
From Monthly Film Bulletin, January 1975 (Vol. 42, No. 492). -– J.R.
Harry and Tonto
Director: Paul Mazursky
Harry Coombs, an elderly widower who lives with his cat Tonto, is evicted from his West Side Manhattan apartment when the building is slated for demolition. After spending some time in the suburban home of his son Burt, where he tends To sympathize with the vow of silence taken by his grandson Norman over the objections of the latter’s parents and more conventional brother, he decides to visit his daughter Shirley in Chicago. Quarrelling with security officials at the airport about his carrying case for Tonto, he decides to go to Chicago by bus, but leaves the vehicle en route when Tonto refuses to relieve himself in the bus toilet. He buys a used car and picks up Ginger, a runaway- teenager, who decides to accompany him and persuades him to look up an old flame, Jessie, in Fort Wayne, Indiana, where she is residing in an old folks, home. In Chicago he re-encounters Norman, dispatched by Burt to bring him back to New York; but after a short stay with Shirley, he decides to drive West with Norman and Ginger.… Read more »
From the December 1981 issue of American Film. I was quite unhappy with the way this article was edited at the time, but having discovered my original submitted draft quite recently (in mid-November 2011, 30 years later), I’ve decided to resurrect it here, including my own title. (Theirs was “Looking for Nicholas Ray”.)
My working assumption in restoring original drafts on this site, or some approximation thereof, isn’t that my editors were always or invariably wrong, or that my editorial decisions today are necessarily superior, but, rather, an attempt to historicize and bear witness to my original intentions. It was a similar impulse that led me to undo some of the editorial changes made in the submitted manuscript of my first book, Moving Places: A Life at the Movies (1980), when I was afforded the opportunity to reconsider them for the book’s second edition 15 years later (now out of print, but available online here) — not to revise or rethink my decisions in relation to my subsequent taste but to bring the book closer to what I originally had in mind in 1980. – J.R.
By and large, the last three decades in the life of film director Nicholas Ray can be divided fairly evenly into three distinct parts.… Read more »