Daily Archives: February 22, 2020

En movimiento: Big History, Mixed Signals

Written in September 2014  for my December “En movimiento” column in Caimán Cuadernos de Cine. — J.R.

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Last September, I ordered from Amazon a three-disc DVD box set released by Lionsgate called Big History consisting of 17 episodes lasting almost seven and a half hours.  My curiosity was spurred by an article by Andrew Ross Sorkin in the New York Times Magazine about billionaire Bill Gates enthusiastically discovering this package — a college course taught by Australian professor David Christian — while working out in his private gym, and then deciding to use this TV series to try to revolutionize the teaching of history in both American high schools and colleges.

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To my amazement, and in spite of all my qualms, Big History proves to be one of the most exciting things I’ve seen this year — not as moral instruction or as a technical tour de force (unlike Steven Knight’s Locke, which resurrects the heroism  of the great Westerns, or Godard’s Adieu au langage, which reinvents 3-D) and not as distilled and hallucinatory poetry (unlike Pedro Costa’s Horse Money), but as a series of lucid pedagogical lessons, especially welcome for someone like me who has always been weak in science.… Read more »

Paris Journal (Spring 1972)

From Film Comment (Spring 1972). — J.R.

According to the current issue of Pariscope – an indispensable guide to local moviegoing 260 films will have public screenings in Paris this week: 217 at commercial theaters, and 43 at the two Cinémathèques. By rough count, only 67 of these (about one fourth) are French. A hundred more are American, and the remaining 93 are split between fifteen other nationalities. Of the non-French films, approximately 40% are subtitled; except for a dozen or so at the Cinémathèques that will be shown without translation, the rest are dubbed.

It is possible that New York is beginning to surpass Paris in the number of interesting films that one can see. Yet the paradox remains that, if one excludes television – an incomplete form of film-watching at best – Paris maintains a decisive edge in narrative American cinema. To list only a dozen of the current undubbed features, is there anywhere else in the world where one can see ANATOMY OF A MURDER, ALL ABOUT EVE, DUCK SOUP, EASTER PARADE, MODERN TIMES, SALLY OF THE SAWDUST, THE SALVATION HUNTERS, SCARFACE, STAGECOACH, THE STRONG MAN, TABU, and THE WEDDING MARCH in a single week?

Aside from this particular kind of richness, there are pleasures, courtesies, and conveniences – as well as a few irritations – involved with Parisian moviegoing that one takes for granted here, but would not expect to find in the states.… Read more »

Letter to VIDEO WATCHDOG (1992)

This was (mainly) published in Video Watchdog‘s July/August 1992 issue, with an accidentally deleted passage included in the errata section of their September-October 1992 issue.  -– J.R.

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A brief note of clarification about my liner notes to the Criterion laserdisc of CONFIDENTIAL REPORT -– cited and questioned by Tim Lucas at the beginning of his excellent article [VW 10: 42-60]. The only reason why I failed to mention a third and (in my opinion) better version of MR. ARKADIN in these notes –- a version discussed by Lucas elsewhere in this issue –- is that I was under strict instructions from Criterion not to bring this matter up. I reluctantly agreed to this suppression of information only because I knew I would be writing about this version elsewhere (in [the January-February 1992 issue of] Film Comment), and I’m mentioning this anecdote now because I think it dramatizes the thin line separating criticism from publicity in most liner notes -– a general problem that readers of this magazine should be alerted to.

I don’t wish to denigrate the often fine work done by Criterion in making many important works available, but I do believe that the level of scholarship that’s attainable in commercial enterprises of this sort varies considerably from case to case.… Read more »