From the Chicago Reader (March 10, 1989). It’s sad to hear that the great and irreplaceable Jackie Burroughs passed away on September 22, 2010. — J.R.
A WINTER TAN
*** (A must-see)
Directed by Jackie Burroughs, Louise Clark, John Frizzell, John Walker, and Aerlyn Weissman
Written by Burroughs
With Burroughs, Erando Gonzales, Javier Torres, and Diana d’Aquila.
A Winter Tan is startling because it mainly succeeds in its aims though they’re based on at least three dubious premises. The first is that a volume of letters can be adapted into a plausible dramatic film. The second is that the letters in question — an American woman’s descriptions of her sexual adventures in Mexico, written before she was murdered, probably as a result of a sexual escapade — can be seen as exhilarating and life-enhancing instead of just depressing. And the third dubious premise is that a film made collectively by five directors can come across with a singular voice and style, a consistent meaning and purpose.
I haven’t read Maryse Holder’s book Give Sorrow Words, which was published posthumously some years ago, first by Grove Press in hardcover and then by Avon in paperback, and is currently out of print in both editions.… Read more »
Published in New York Newsday (Sunday, May 31, 1992). -– J.R.
CITY BOYS: Cagney, Bogart, Garfield, by Robert Sklar. Princeton University Press, 311 pp., $27.50.
BY JONATHAN ROSENBAUM
Perhaps the most refreshing thing about this comparative study of the Hollywood careers of James Cagney, Humphrey Bogart and John Garfield is that it lacks the deference to the film industry that one has come to expect nowadays from movie books, journalistic as well as academic. Eschewing the puffery of popular star biographies and the equally dubious (and self-serving) idealism of such academic buzz terms as “the classical Hollywood cinema” and “the genius of the system,” Robert Sklar, professor of cinema studies at New York University, writes with the vernacular ease of a journalist without sacrificing the analytical rigor one expects from a prestigious university press. While he hasn’t always spread his net as widely as one might hope, he still offers a plausible portrait of three city boys and how they grew -– or didn’t.
A social historian at heart, Sklar is basically interested in charting the diverse forces that molded and altered the screen images of Cagney, Bogart and Garfield. Their overlapping careers offer many instructive parallels: New York origins, theatrical training, evolving hard-boiled screen personalities, leftist sympathies, artistic and economic exploitation by the studios, struggles for independence (including the formation of their own production companies) with mixed results and elaborate enforced recantations of former political allegiances during the Hollywood witch hunts.… Read more »