The year before I started my Paris Journal for Film Comment, in late 1970 and/or early 1971, I wrote a couple of prototypes for it for a short-lived magazine, On Film, that didn’t survive long enough to print either one of them. In fact, On Film never made it past its lavishly glossy first issue, which was devoted mainly to Otto Preminger. Not all of either of these columns has survived either, but here is the first entry in the second of these columns, which did. — J.R.
November 6: Howard Hawks’s FIG LEAVES at the Cinémathèque.
Twenty days ago, I concluded my previous column with remarks about Ozu’s TOKYO STORY. Since then, I’ve seen or reseen a dozen films; Mizoguchi’s SISTERS OF THE GION and THE CRUCIFIED WOMAN, Franju’s THOMAS L’IMPOSTEUR, Kramer’s ICE, Malraux’s L’ESPOIR, Tati’s PLAYTIME, Demy’s THE YOUNG GIRLS OF ROCHEFORT, Minnelli’s CABIN IN THE SKY, Mankiewicz’s THERE WAS A CROOKED MAN, Godard’s MASCULIN-FEMININE, Ray’s BIGGER THAN LIFE, and now Hawks’s second film, a comedy made in 1926.… Read more »