It’s not at all surprising that Abel Ferrara’s most recent feature (1998) has failed to find an American distributor or that some of his most eloquent defenders have labeled this transgressive adaptation of a William Gibson story the collapse of a major talent. A murky and improbable tale about prostitution, industrial espionage, and manufactured viruses, it works on the very edge of coherence even before the final 20 minutes or so, during which earlier portions of the film are replayed with minor variations and additions. On the other hand, few American films in recent years have been so beautifully composed and color coordinated shot by shot, and the overall experience of an opium dream is so intense that you might stop making demands of the narrative once you realize that none of the usual genre expectations is going to be met. Almost all the principal action occurs offscreen, and most of Ferrara and Christ Zois’s script concentrates on scenes between a corporate raider named Fox (Christopher Walken); his deputy, X (Willem Dafoe); and Sandii (Asia Argento, daughter of cult horror director Dario Argento), an Italian prostitute hired to seduce a Japanese scientist.… Read more »
My first meeting with Samuel Fuller is chronicled in this interview/essay published in the July 9, 1980 issue of The Soho News and was reprinted in my recent collection Cinematic Encounters: Interviews and Dialogues. Seven years later, while concluding my academic career at the University of California, Santa Barbara, where I was placed in charge of running the film studies summer school program, I was still crazy about Fuller, and invited him to serve as our “visiting artist”, which led to our becoming friends from that summer until his death a decade later. I did my best to try to capture his singular way of talking in this article. For my title, I’m using the headline on that issue’s front page, not the title given inside (“Sam Fuller Reshoots the War”). — J.R.
When I enter his suite at the plaza, he’s finishing lunch, expressing his regret about missing Godard at Cannes, remarking on the absurdity of prizes at film festivals, asking me what Soho News and Soho are. (The one he knows about is in London — he fondly recalls a cigar store on Frith Street.)
It isn’t hard to figure out why Mark Hamill affectionately calls him Yosemite Sam, or why Lee Marvin simply says he’s D.W.… Read more »
From The Soho News (August 4, 1981), very slightly tweaked on January 27, 2010. –J.R.
The Celluloid Closet:
Homosexuality in the Movies
By Vito Russo
Harper Colophon Books, $7.95
Want to read the first comprehensive study in English of homosexuality in the movies? Go hunt up Parker Tyler’s Screening the Sexes (1972). Prefer a more theoretical and political, less coterie-oriented approach? Try Richard Dyer’s first-rate Gays and Film (1975), which includes Caroline Sheldon on lesbians, Dyer on stereotyping, and Jack Babuscio on camp. Like something even more up to date, dealing with the “textual incoherence” of recent Hollywood movies like Cruising and Looking for Mr. Goodbar from a gay lib perspective? Check out Robin Wood’s interesting and fruitful article (no pun intended) in the current issue of Movie.
Where does this leave Vito Russo’s serious and ambitious The Celluloid Closet — which incidentally bears the same subtitle as Tyler’s book? Not so much in the lurch as the above list may imply. As the best researched and illustrated book on the subject — entertainingly and intelligently written in epigramatic journalese, and clearly backed up by years of patient fact-finding and interviewing — it deserves to be considered a significant reference point and a source of reference in the years to come.… Read more »
A “critic’s choice” from the Chicago Reader (November 8, 1996). — J.R.
This 1995 film is the only feature by Hal Hartley that has the same degree of formal playfulness as his overlooked short films — perhaps because it was made as if it were three separate shorts, all recounting the same story but set in different cities (New York, Berlin, and Tokyo) and told mainly in different languages, with certain differences regarding gender, race, ethnicity, and milieu. Though it lacks some of the behavioral charms of Hartley’s Trust and The Unbelievable Truth and even announces its own likelihood to fail as an experiment in the second episode, this is in some ways my favorite Hartley picture — not only because it takes the most risks, but also because it gives the mind more to do in the process. The actors include Martin Donovan and Parker Posey in New York, Dwight Ewell, Geno Lechner, and Elina Lowensohn in Berlin, and Miho Nikaidoh, Kumiko Ishizuka, and Hartley himself in Tokyo. The whole thing unfolds in an economical 85 minutes. Music Box, Friday through Thursday, November 8 through 14.
From the Chicago Reader (October 23, 1987). — J.R.
Genre specialist John Carpenter returns to the principle of confined space that he used as a disciplinary structure in Assault on Precinct 13 and The Thing in this horror thriller set in an abandoned church. The main difference here from earlier Carpenter films is the heavy metaphysical baggage: a team of graduate students and teachers (including Lisa Blount, Victor Wong, and Jameson Parker) in physics and science is summoned by a Catholic priest (Donald Pleasence) to study an ancient religious manuscript that proves to contain differential equations (long before such equations were developed), and a canister containing a green liquid that proves to be seven million years old. Mathematics combines with demonology to produce a variant on Night of the Living Dead, and while the church is playfully called Saint Godard’s, the pivotal use and significance of mirrors spawned by the canister liquid might make Saint Cocteau’s a more appropriate appellation. While the dense significations of the script (credited to one “Martin Quatermass”) may get a bit thick in spots, Carpenter’s handsome ‘Scope images generally make the most of them, and some haunting poetic notions — such as video images from the future that appear as recurring dreams dreamt by the church’s inhabitants — figure effectively in the plot.… Read more »