From the Chicago Reader (January 24, 1992). — J.R.
HEARTS OF DARKNESS: A FILMMAKER’S APOCALYPSE
** (Worth seeing)
Directed by Fax Bahr, George Hickenlooper, and Eleanor Coppola
Written by Bahr and Hickenlooper.
A little over a decade ago in an English film magazine I made a rather foolish prediction: “Perhaps by the 90s a sufficient time gap will have elapsed to allow [American] filmmakers to approach the subject of Vietnam in a more detached, balanced, and analytical manner.” Cockeyed optimist that I was, I reasoned that some historical distance would allow certain blank spots in our knowledge and understanding of Vietnam to be filled — not doused in amber and framed in gold while remaining blank spots. I took to heart Ernest Hemingway’s famous declaration in a Paris Review interview: “If a writer omits something because he does not know it then there is a hole in the story.” I reasoned that the gaping holes in our Vietnam cover story would finally reduce that protective garment to tatters and permit some light to shine through.
Little did I know that the holes themselves would come to be defined as points of illumination — a bit like George Bush’s “thousand points of light” — and would decorate our consciousness like Christmas trees.… Read more »
This was originally posted on November 22, 2010. Seeing the excellent, informative, and often moving documentary Chasing Trane, which curiously includes more interview material with Bill Clinton than with McCoy Tyner, led me to repost this. — J.R.
On volume 2 of this superb two-disc set (One Down, One Up: Live at the Half Note), recorded on Alan Grant’s “Portraits in Jazz” radio show on May 7, 1965, is a spectacular 13-minute piano solo by McCoy Tyner on “My Favorite Things” that covers well over half of the number’s almost 23 minutes. This solo is incidentally bracketed by some of Coltrane’s loveliest soprano-sax glisssandos on disc, but what amazes me about Tyner’s cascading tour de force is not only how he keeps it going in unforeseeable directions, but also how many different directions this consists of — tonal and atonal, rhythmic and melodic, calm and frenzied — and how steadily it builds to Coltrane’s second solo.
What follows is the final draft of a treatment for a documentary about Tyner that I coauthored via email with cinematographer John Bailey in late 2001 and early 2002, at the behest of producer Rick Schmidlin, with and for whom I’d worked as a consultant on the 1998 re-edit of Orson Welles’s Touch of Evil.… Read more »
From the August 17, 2001 Chicago Reader. –J.R.
Apocalypse Now Redux
Rating *** A must see
Directed by Francis Ford Coppola
Written by John Milius and Coppola
With Martin Sheen, Marlon Brando, Robert Duvall, Frederic Forrest, Albert Hall, Sam Bottoms, Laurence Fishburne, Dennis Hopper, G.D. Spradlin, Harrison Ford, Colleen Camp, Cynthia Wood, Christian Marquand, and Aurore Clement.
It’s hard to think of many movies where the great, the not so great, and the simply awful coexist quite as brazenly as they do in Apocalypse Now. This was true in 1979, when the movie clocked in at 150 minutes, and it’s true 22 years later, when the new version, Apocalypse Now Redux, runs a third longer.
If anything, the longer version — not so much a rethinking of the material as an expansion, with a minimum of reshuffling, by the adept Walter Murch, who also worked on the original — is better and worse, emphasizing both the ambitious scope and the fatal flaws of Francis Ford Coppola’s achievement. Among the more substantial additions are a ghostly sequence set on a French plantation (featuring Aurore Clement and the late Christian Marquand) that tries, with mixed results, to poeticize the futility of outsiders, French or American, getting involved in the Vietnam war and a silly and rather inconclusive sequence involving a couple of Playboy Playmates (Cynthia Wood and Colleen Camp) that adds nothing.… Read more »