Daily Archives: April 8, 2019


From the Chicago Reader (June 19, 1998). — J.R.

Hav Plenty

Rating *** A must see

Directed and written by Christopher Scott Cherot

With Chenoa Maxwell, Cherot, Tammi Catherine Jones, Robinne Lee, and Reginald James.

Mr. Jealousy

Rating *** A must see

Directed and written by Noah Baumbach

With Eric Stoltz, Annabella Sciorra, Chris Eigeman, Carlos Jacott, Marianne Jean-Baptiste, Brian Kerwin, Peter Bogdanovich, and Bridget Fonda.

Two eclectic, youthful, and surprisingly upbeat romantic comedies open this week, both by writer-directors; both about blocked novelists, relationships, fear of commitment, jealousy, self-torturing neurosis, betrayal, and ultimate fulfillment; and both set in upscale, urban east-coast milieus. I had a good time at Christopher Scott Cherot’s Hav Plenty and Noah Baumbach’s Mr. Jealousy both times I saw them, though I couldn’t believe in either all the way through, and neither made me laugh out loud very often. Presented as hand-crafted self-portraits that have agreed to play by certain commercial rules and genre conventions, both teem with eccentric tics and personal energies, giving us the pleasure of contact with an individual intelligence — something that seldom happens with bigger-budget fare.

The eccentric tics in Hav Plenty begin with the title — which conflates the first name of heroine Havilland Savage (Chenoa Maxwell) and the last name of hero Lee Plenty (Cherot) — and include Philippians 4:12 (“I know what it is to be in need, and I know what it is to have plenty.… Read more »

Historical Meditations in Two Films by John Gianvito

This article appeared in the Winter 2008-2009 issue of Film Quarterly. I’m delighted that both of the films I write about here are available on DVD, although regrettably the current prices, at least on Amazon, are quite hefty. My suggestion is to keep looking for better deals elsewhere; The Mad Songs of Fernanda Hussein remains for me one of the key American independent American features of the past decade or so, and it’s hard for me to think of another that’s more personally important to me. — J.R.


by Jonathan Rosenbaum

It’s been gratifying to see the almost instant acclaim accorded to John Gianvito’s beautiful, fifty-eight-minute Profit Motive and the Whispering Wind (2007), especially after the relative neglect of his only previous feature-length film, the 168-minute The Mad Songs of Fernanda Hussein (2001).

The more recent film — a meditative, lyrical, and haunting documentary about grave sites that won the grand prix at the Entervues Film Festival in Belfort in 2007 and both a Human Rights Award and a special mention at the Buenos Aires Festival of Independent Film in 2008 — also received an award at the Athens International Film and Video Festival in Ohio and was named the year’s best experimental film by the National Society of Film Critics.… Read more »