Daily Archives: January 20, 2020

The Road to Overload [NORTH ON EVERS]

From the Chicago Reader (October 2, 1992). — J.R.

NORTH ON EVERS

*** (A must-see)

Directed and written by James Benning.

A good many of the fine points of the film business elude me. But if I understand some of the current rules correctly, it’s poison to use black-and-white cinematography, letterboxing (for framing wide-screen formats on video), or subtitles –unless they appear in music videos or, in the case of subtitles, in Dances With Wolves or The Last of the Mohicans, when they automatically become commercially desirable.

I cite these ridiculous rules of thumb to show just how fanciful most such commercial “rules” turn out to be. Producers, distributors, and exhibitors often claim that their choices are dictated by the well-researched desires of audiences; of course audiences counter that they can only choose from what’s put in front of them. In other words everyone passes the buck when it comes to explaining why black-and-white features can’t get bankrolled in this country and why foreign-language films have a tough time — only 1 percent of all movies shown here are subtitled. And the industry takes enormous pains to ensure that we don’t see letterboxing on TV or video — except on MTV.… Read more »

Arizona Dream

From the December 1, 1994 Chicago Reader. — J.R.

arizonadream

The first English-language movie (1993) by Bosnian director Emir Kusturica. An orphan (Johnny Depp) working for the New York Department of Fish and Game is asked to serve as best man at the wedding of his uncle (Jerry Lewis), an Arizona Cadillac dealer marrying a Polish woman (Paulina Porizkova) less than half his age. A cousin who comes along (Vincent Gallo) is an aspiring actor whose performances consist of repeating lines and gestures in sync with classic movies. The orphan starts an affair with a widow (Faye Dunaway) nearly twice his age who lives with her neurotic stepdaughter (Lili Taylor). This goofy, disturbing piece of magical realism about dysfunctional families was picked up by Warners, cut by 23 minutes, unsuccessfully test-marketed, and then shelved — until someone got the great idea of releasing the original 142-minute cut. It illustrates the truism that the biggest difference between European and American directors using America as a site for fantasies is that the Europeans are likelier to know what they’re doing. (JR)

arizona-dream

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