From the April 14, 2006 Chicago Reader. — J.R.
A powerful 1996 neorealist feature by the French Belgian brothers Luc and Jean-Pierre Dardenne that follows the instinctive, makeshift moral progress of a 15-year-old boy named Igor (Jerome Renier), the son of a slum landlord who rents to recently arrived immigrants, some of them illegal. One tenant, from Burkina Faso, falls from a scaffold and makes a dying request to the boy to take care of his wife (Assita Ouedraogo) and infant son; Igor spends the remainder of the movie trying to honor that request, even when it means breaking away from his own father and coping with the scorn and incomprehension of the widow. This is a beautifully realized, richly detailed story, full of humor as well as pathos, and part of the Dardennes’ strength in telling it is their openness to experience and the world around them without being hampered by didacticism. in French with subtitles. 93 min (JR)
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These are expanded Chicago Reader capsules written for a 2003 collection edited by Steven Jay Schneider. I contributed 72 of these in all; here are the second dozen, in alphabetical order. — J.R.
The Discreet Charm of the Bourgeoisie
Luis Buñuel’s 1972 comic masterpiece, about three well-to-do couples who try and fail to sit down and have a meal together, is perhaps the most perfectly achieved and executed of all his late French films. The film proceeds by diverse interruptions, digressions, and interpolations (including dreams, dreams within dreams, and tales within tales) that, interestingly enough, identify the characters, their class, and their seeming indestructibility with the very processes of narrative illusion and narrative continuity themselves — their rewards as well as their compulsions, their pleasures and their frustrations.
Frightening, funny, profound, and mysterious, the various episodes involving these and other characters (including Jean-Pierre Cassel and Paul Frankeur) are like an anthology of Buñuel’s themes, favorite gags, and recurring nightmares. The film was produced by Serge Silberman and coscripted by Jean-Claude Carrière, perhaps the two most essential friends and collaborators in the flowering of Bunuel’s late period, though Buñuel regulars Rey, Frankeur, and Julien Bertheau might also be cited.… Read more »
From the Chicago Reader (October 4, 1996); also reprinted in my collection Essential Cinema. — J.R.
Rating **** Masterpiece
Directed by Li Shaohong
Written by Ni Zhen and Li
With Wang Ji, Wang Zhiwen, He Saifei, Zgang Liwei, Wang Rouli, Song Xiuling, Xing Yangchun, Zhou Jianying, and Cao Lei.
The use of multiple perspectives in Chinese painting was not for the purpose of making a hologram, nor was the use of parallel perspectives for the purpose of retaining the true dimensions of the objects represented. What was desired was rather a point of view which transcended that of the individual. The apparent horizon and vanishing point employed by Renaissance perspective made the image seem concrete, but demanded substantial identification with a particular viewer. Such images were perceived as both individual and momentary, seen by a particular person at a particular time. Chinese painting strove for a timeless, communal impression, which could be perceived by anyone, and yet was not a scene viewed by anyone in particular.
Chinese paintings did not portray reality; the world which the viewer entered was the realm of literature or philosophy, a realm which transcended nature. To enjoy a long tableau with small figures, one must shift one’s line of sight left and right, or up and down, a necessary condition for the appreciation of Chinese visual representation.… Read more »