Posted on MUBI Notebook February 25, 2020. — J.R.
1. Written in 2007 for Sight and Sound’s annual “five best” poll: “The beautiful and exciting fifth feature of Catalan filmmaker Pere Portabella — the onetime coproducer of Viridiana who forged a memorable kind of clandestine experimental cinema under Franco with Vampir Cuadecuc (1970) and Umbracle (1972) — was made in 1989. But thanks to the overall scarcity of his work, I only caught up with it this year, at the first North American Portabella retrospective, held in Chicago in November. His work as a whole has been preoccupied with issues of continuity in almost every sense of that term — historical, political, thematic, narrative, poetic, musical, pictorial, sonic, stylistic, formal. And now that mainstream cinema has replaced Franco as the power to be subverted, continuities of narrative and those between sound and image are the principal orthodoxies to be played with.“
2. In between its opening shot (rain falling on pavement) and its final shot (a plane spraying artificial rain –- actually a torrential downpour—on what remains of a burnt forest), Warsaw Bridge is concerned with both flow and contact, movement and collision, agitation and stasis. What might be said to flow and move, apart from water, is different kinds of narrative and different forms of information.… Read more »
The following is a chapter from my book Film: The Front Line 1983 (Denver, CO: Arden Press) — which I’m sorry to say is only available now at ridiculously inflated prices (one copy at Amazon currently sells for $989.90). It probably remains the least well known of my books. I’m immensely grateful to Jed Rapfogel and Stephanie Gray at New York’s Anthology Film Archives for furnishing me with a document file of this essay so that I could post it here, originally to help promote their Mark Rappaport retrospective in March 2011, prior to the updated version of this held earlier this year. Readers should also consult my separate articles about Rappaport’s Rock Hudson’s Home Movies and From the Journals of Jean Seberg as well as my interview with Rappaport about the latter, all of which are also available on this site, along with a more recent piece about two of his videos. — J.R.
When the critic of a narrative film is feeling desperate, the first place that he or she is likely to turn to is a plot summary. Feeling rather desperate about my capacity to do justice to the last two features of the remarkable Mark Rappaport, I looked up the synopses and reviews of The Scenic Route and Impostors in the usually reliable Monthly Film Bulletin, which appeared precisely three years apart (February 1979 and February 1982), only to discover that each critic, Geoffrey Nowell-Smith and Simon Field, respectively, starts off with the admission that his own synopsis is misleading.… Read more »