From the Chicago Reader (May 1, 1989). — J.R.
Denzel Washington (Cry Freedom) stars in this new British thriller by Martin Stellman about a black veteran who returns from nine years in the British army to encounter poverty and racism in London. A West Indian by birth, he finds that he is unable to renew his passport because of a new law, and a series of other misfortunes and injustices gradually force him against his will into a life of crime. Effective radical agitprop, relentless in its anger, this film is more outspoken about contemporary racism in England than any other feature that comes to mind; the story is structured a bit like a Warner Brothers thriller of the 30s, and the script (by Stellman and Trix Worrell), direction, and performances all give it a powerful impact. With George Baker, Amanda Redman, Dorian Healy, Geff Francis, and Bruce Payne. (JR)
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From the Chicago Reader (January 25, 1991). — J.R.
THE SHELTERING SKY ** (Worth seeing)
Directed by Bernardo Bertolucci
Written by Mark Peploe and Bertolucci
With Debra Winger, John Malkovich, Campbell Scott, Jill Bennett, Timothy Spall, Eric Vu-An, and Paul Bowles.
Ever since the 60s the adjective “personal” has been frequently used in relation to commercial movies, and it has almost always been used as an expression of praise. As a reaction to the relatively “impersonal” directorial styles of a Fred Zinnemann, Stanley Kramer, or David Lean, the celebration of the “personal” styles of directors such as John Ford, Howard Hawks, and Alfred Hitchcock ushered in a critical bias that favored the director’s subjective involvement in his or her material — an involvement that is often autobiographical in its implications (such as Ford’s feelings for the Irish and the military, or Hitchcock’s sexual repression and his fear of imprisonment) — over the self-effacement that has often been regarded as both the norm and the ideal of conventional filmmaking.
But in order to argue that the films of supposedly “invisible” stylists like Hawks were highly personal, many auteurists wound up overstating their case, arguing in effect that any director with a discernible “personality” was automatically better than any director without one.… Read more »
Commissioned by the University of Chicago Press and written in September 2016; published in November 2017. — J.R.
For all the differences between the history of cinema and the history of the Internet, one disturbing point they have in common is the degree to which our canons in both film and film criticism are determined by historical accidents. Thus we’ve canonized F.W. Murnau’s third American film, City Girl (1930), ever since a copy was belatedly discovered in the 1970s, but not his second, The Four Devils (1928), because no known print of that film survives. Similarly, we canonize Josef von Sternberg’s remarkable The Docks of New York (1928), but not the lost Sternberg films that preceded and followed it, The Dragnet (1928) and The Case of Lena Smith (1929). And it’s no less a matter of luck that all my long reviews for the Chicago Reader, published between 1987 and 2008, are available online, but none of Dave Kehr’s long reviews for the same publication, published between 1974 and 1986—a body of work that, together with Kehr’s columns for Chicago magazine in the 1980s, strikes me as being the most remarkable extended stretch of auteurist criticism in American journalism.
I hasten to add that, unlike the missing films of Murnau and Sternberg, Kehr’s writing for the Reader and Chicago has never been lost.… Read more »