Daily Archives: January 5, 2001

The Hit Parade

By Jonathan Rosenbaum

I’ve been getting increasingly suspicious of ten-best lists–maybe because the studios have been treating them as increasingly important. I’ve always regarded such list making as a critical activity, a form of stocktaking that benefits critics and audiences alike. But it’s becoming obvious that studios value the lists only as a part of their ad campaigns, and they seem to arrange their multiple end-of-the-year screenings and mail out their numerous “screener” videos for the press accordingly. Why else are so many reviewers implausibly claiming that most of the best movies of 2000 came out during the last two weeks of the year or haven’t even surfaced yet? Are they suffering from amnesia? Or are they simply going for the bait?

The studios define the year according to when movies open in New York and Los Angeles, where they’re often first screened in November and December so that they qualify for that year’s Oscars. As a consequence, critics in what the studios see as the hinterlands, including Chicago, are being encouraged to put movies on their ten-best lists that their readers can’t see for some time.

If studios cared about the services performed by criticism–which range from providing background information and an overall context for new releases to launching discussions about their subjects and explaining why these movies matter–they’d try to let critics see films shortly before they have to review them.… Read more »

Mes petites amoureuses

Jean Eustache’s color follow-up to his black-and-white masterpiece The Mother and the Whore (1973), detailing his adolescence in the south of France, has never been distributed in the U.S., but some devotees of the director’s work actually prefer this 123-minute feature to its lengthy predecessor, and there’s no question that it seems to get better and better over time. Writing in these pages, Dave Kehr called its unsubtitled version “an original and disturbing treatment of that most commercial of themes, a young boy’s coming of age. Eustache’s protagonist (Martin Loeb) is a dark, lonely child who is taken from his grandmother’s home in the country to live with his mother (Ingrid Caven) and his Spanish stepfather in the city; he discovers not only sexuality but work, boredom, isolation, and–as in The Mother and the Whore–the unbreachable otherness of women. Photographed in summer colors by Nestor Almendros, the film is quiet and visual where Mother was verbal.” This 1974 feature also has one of the most memorably erotic film references in the cinema–a showing of Albert Lewin’s terminally romantic Pandora and the Flying Dutchman in a movie house. Facets Multimedia Center, 1517 W. Fullerton, Saturday, January 6, 4:00 and 8:30, and Wednesday, January 10, 9:00, 773-281-4114.… Read more »