This was written in the mid-1970s for Cinema: A Critical Dictionary, a two-volume reference work edited by Richard Roud that wasn’t published until 1980 (by The Viking Press in the U.S. and Secker & Warburg in the U.K.), and reprinted in my collection Essential Cinema. — J.R.
Otto Preminger (born 1906) directed five films before Laura (1944) — one Austrian, four American — but since he disowns them, I haven’t seen them, and no commentator to my knowledge has ever spoken well of them, we might as well begin with the (false) assumption that a tabula rasa preceded his early masterpiece.
False assumptions — and clean slates that tend to function like mirrors — are usually central to our experience of Preminger’s work. His narrative lines are strewn with deceptive counter-paths, shifting viewpoints, and ambiguous characters who perpetually slip out of static categories and moral definitions, so that one can be backed out of a conventionally placid Hollywood mansion driveway by somebody and something called Angel Face (1952) (and embodied by Jean Simmons) only to be hurtled without warning over the edge of a cliff. As for tabulae rasae, there is Angel Face herself and her numerous weird sisters — among them Maggie McNamara in The Moon Is Blue (1953), Jean Seberg in Saint Joan (1957) and Bonjour Tristesse (1958), Eva Marie Saint in Exodus (1960) and, closer to the cradle, the almost invisible Bunny Lake in Bunny Lake Is Missing (1965) and Alexandra Hay in Skidoo (1968).… Read more »
My column for the Spring 2017 issue of Cinema Scope. – – J.R.
Probably the most important DVD release of last year, inexplicably overlooked by me when I made out my lists for Sight and Sound and DVD Beaver, is Josef von Sternberg: The Salvation Hunters (1925) and The Case of Lena Smith (fragment, 1929), a single all-region disc from www.edition-filmmuseum.com for 19.95 Euros. It includes a wonderful new 32-minute audiovisual essay on The Salvation Hunters by Janet Bergstrom, and a new score to Sternberg’s first feature by Siegfried Friedrich, but the real pièce de résistance here is the dazzling four-minute fragment from the otherwise lost The Case of Lena Smith, discovered by Japanese film historian Komatsu Hiroshi in a Chinese junk shop in Dalian in 2003. (See the Filmmuseum’s exhaustive 2007 book about The Case of Lena Smith for more details.) In Edgardo Cozarinsky’s 1995 Citizen Langlois, Langlois’ companion Mary Meerson is quoted as saying, “The Case of Lena Smith will reappear one day when mankind deserves it.” In the meantime, here is a fragrant glimpse of what undeserving mankind is missing.
Although most of the recent Blu-Ray releases of Olive Films have tended to steer clear of their previous auteurist commitments, Otto Preminger’s underrated if sometimes problematic 1969 Tell Me That You Love Me, Junie Moon is a very welcome exception.… Read more »
From Cineaste, Summer 2008 (Vol. XXXIII, No. 3). It’s gratifying that Such Good Friends has finally come out on DVD. — J.R.
The World and its Double: The Life and Work of Otto Preminger
by Chris Fujiwara. New York: Faber & Faber, 479 pp., illus. Hardcover: $35.00.
Otto Preminger: The Man Who Would Be King
by Foster Hirsch. New York: Alfred A, Knopf, 573 pp., illus. Hardcover: $35.00
Few film directors resist critical biography as much as Otto Preminger, given all the puzzling and intractable mismatches one encounters as soon as one tries to reconcile his very public life with his no less private body of work as an auteur. This is a difficulty acknowledged in the title and subtitle of Chris Fujiwara’s book, and one he essentially tries to resolve by splitting most of his chapters into two sections. But the overall disassociation of Preminger’s life and work, even though it’s addressed by this structure, still becomes a kind of structuring absence that haunts this biography as well as Foster Hirsch’s, which tries to integrate the two concerns more conventionally.… Read more »