Il Cinema Ritrovato DVD Awards 2017
Jurors: Lorenzo Codelli, Alexander Horwath, Lucien Logette, Mark McElhatten, Paolo Mereghetti, and Jonathan Rosenbaum. Chaired by Paolo Mereghetti.
Lorenzo Codelli: Norman Foster’s Woman on the Run (1950, Flicker Alley, Blu-ray). A lost gem rescued by detective Eddie Muller’s indefatigable Film Noir Foundation
Alexander Horwath: Déja s’envolé la fleur maigre (Paul Meyer, 1960, Cinematek/Bruxelles, DVD) and Il Cinema di Pietro Marcello: Memoria dell’immagine (2007-2015, Cinema Libero/Cineteca di Bologna, DVD). Regarding the latter: with this cinematheque-style DVD, subtitled in English and French, one of the greatest contemporary filmmakers, whose work is still under-appreciated outside Italy, receives his rightful chance for global recognition.
Tonka Šibenice (Karel Anton, 1930, Czech Republic, Národní filmový archiv/Filmexport Home Video, DVD)
One of the first Czech sound films. Like many great films of that era, it reflects several influences: expressionism, social realism, Kammerspielfilm, the art of Soviet photography, all used remarkably, without imitation. It contains all the great themes of the end of the silent period: the opposition between the city and the countryside, the misdeeds of modern society, frustrated loves ending in drama, themes served by an astonishing visual beauty.
Mark McElhatten: Kafka Goes to the Cinema (Munich, 4 DVD box set, Edition Filmmuseum).… Read more »
From the Chicago Reader (September 23, 1988). — J.R.
1. A front-page story in the August 24 Variety begins, “Last week’s Republican National Convention garnered the worst network ratings of any convention in TV history.” An interesting piece of information, but not, as far as I know, one that was noted in daily newspapers, weekly newsmagazines, or on TV. Why does one have to go to Variety to discover this morsel of recent history? Perhaps it has something to do with Variety‘s status as a trade journal. Mainstream print and TV journalism may be part of the entertainment business, but they’re not generally about entertainment in the sense that a publication like Variety is.
The story in Variety goes on to report that both of this summer’s political conventions significantly boosted video rentals; a couple of large video rental chains reported increases in business between 30 and 57 percent. Do we interpret this as an opting for entertainment over news coverage, or as a preference for one kind of entertainment over another? Do we read it as a sign of desperate cynicism, or as a sign of healthy liberation? Or, if we read it as the latter, was it liberation only from the standard TV shows that the conventions were preempting?… Read more »
Written for A Man Called Ermanno: Olmi’s Cinema and Works, published by Edições Il Sorpasso (in Lisbon) in May 2012. A French translation of this essay has been published in Trafic #91, automne 2014. — J.R.
For me, the cinema is a state of mind and a process of analysis from a series of detailed observations.
— Ermanno Olmi, from a 1988 interview (1)
Ermanno Olmi first became well known as a filmmaker during the period in the early 1960s when the Nouvelle Vague and, more specifically, François Truffaut’s formulation of la politique des auteurs, were near the height of their international influence. Yet it seems that one factor that has limited Olmi’s reputation as an auteur over the half-century that has passed since then is his apparent reluctance and/or inability to remain type-cast in either his choice of film projects or in his execution of them. Indeed, the fact that he repeatedly eludes and/or confounds whatever auteurist profile that criticism elects to construct for him in its effort to classify his artistry results in a periodic neglect of him followed by periodic “rediscoveries”. And these rediscoveries are confused in turn by the fact that each rediscovery of Olmi’s work seems to redefine his profile rather than build on the preceding one.… Read more »
Posted on Sight and Sound‘s web site 18 July 2013, and then expanded (by about 50%) at the request of Trafic‘s Raymond Bellour later that month for its French translation in Trafic #88, published in early December. This has also appeared in German translation in the September 2013 issue of Cargo, and a Spanish translation appeared in mid-August 2014 on Roger Koza’s web site. I’ve slightly updated the version here in a few particulars and added some photos.
I returned to Film.Factory for my fourth two-week stint to date on October 24, 2015, this time to teach a history of independent cinema around the world. – J.R.
First of all, what is film.factory?
It’s usually thought of and referred to as a film school that’s been recently set up in Sarajevo, housed at the Sarajevo Film Academy. But Béla Tarr, who created it, isn’t happy with this classification. He’d rather call it a workshop or, as its name suggests, a factory that produces films in which he serves as a producer. And he’d rather speak of the sixteen filmmakers he selected late last year from fourteen countries (Austria, the Czech Republic, France, the Faro Islands, Iceland, Iran, Japan, Mexico, Poland, Portugal, Serbia, Spain, the U.K., and the U.S.) and hundreds of hours of film-viewing for his three year-program — all between the ages of 22 and 38 — as “colleagues” rather than as students.… Read more »
Written for the Viennale’s catalogue accompanying its Jerry Lewis retrospective in October 2013, where it appears in German translation. — J.R.
1. Why Did — and Do — the Americans Love Jerry Lewis So Much?
…Jerry Lewis’s face, where the height of artifice blends at times with the nobility of true documentary. — Jean-Luc Godard on Hollywood or Bust, July 1957 (1)
The usual question — and by now a completely tiresome one — is, “Why do the French love Jerry Lewis so much?” People have been asking this question — mainly rhetorically rather than with any genuine curiosity about the answer — for over half a century, yet if it was ever worth asking in the first place, this was only for roughly the first two decades of that period. As far as I can tell, this was a love that was first fully declared in detail (though it was far from being universally accepted even in France, then or later) in December 1957, when Robert Benayoun published an article in Positif entitled “Simple Simon ou l’anti-James Dean”, although earlier appreciations, Godard’s among them, had already appeared by then.
This was only about a month before Lewis, having ended his partnership with Dean Martin a year and a half earlier, and subsequently become his own producer on Rock-a-Bye Baby, purchased a mansion in Bel Air that had formerly been owned by the late Louis B.… Read more »
Ahmad Jamal Complete Live at the Spotlite Club 1958 (2-CD set, Gambit Records 69265).
You may have to be an Ahmad Jamal completist like myself to take notice of this 2007 expanded edition, which adds three 1958 Chicago studio cuts, totaling about eight minutes, to the 25 live ones that have already been available. The latter tracks appeared on two well-known Jamal LPs, Ahmad Jamal and the two-disc Portfolio of Ahmad Jamal, both recorded in September 1958 at Washington, D.C.’s Spotline Club in September 5 and 6, 1958.
If memory serves, the first of these was the first Jamal record I ever bought, when I was 15 or 16, and it’s never gone stale for me —- despite the scorn heaped on Jamal by sophisticated jazz critics such as Martin Williams in Downbeat. There’s always been a curious split between the Jamal idolatry of Miles Davis –- who joined forces with Gil Evans on their first joint album to virtually steal (rather than simply play homage to) two tracks from Jamal’s 1955 Chamber Music of the New Jazz, “New Rumba” and “I Don’t Wanna Be Kissed,” and based his Quintet’s arrangement of “All of You” in ‘Round Midnight on Jamal’s on the same LP —- and the disdain of most jazz critics, who seemed to regard Jamal’s popularity with seething resentment, much as they resented Dave Brubeck during the same period.… Read more »
This originally appeared in Film Comment (September-October 1974).
I was shocked in December 2011 to learn of the death of Gilbert Adair, a close friend during the mid-70s (when both of us were living in Paris, and then for some time later, after I moved to London ahead of Gilbert). Although I can’t swear to this, it’s possible that this collaborative interview may be the first thing that Gilbert ever published; at least it’s the earliest piece of his that I know about. With Michael Graham — also, alas, no longer alive — Gilbert and I had subsequently collaborated on a lengthy production piece for Sight and Sound about Rivette’s Duelle and Noroît, recently reprinted in Arrow’s DVD box set devoted to Rivette, available here and here. — J.R.
Last June, I invited two of my friends — Gilbert Adair and Lauren Sedofsky — to join me in an interview with Jacques Rivette. All three of us had been dazzled by Céline et Julie vont en Bateau (Celine and Julie Go Boating), to the point of considering it the most important new film we’ve seen in years, and it seemed exciting to extend our folie à trois to a meeting with the director.… Read more »
Not so long ago, A.O. Scott and Manohla Dargis decided to name their 25 favorite films of this millennium so far. More recently, J. Hoberman decided to play the same game.
I’ve decided to play as well. My only rule in this game, not followed by Hoberman, was to restrict my favorite filmmakers on the list to only one film each –- not always easy, and sometimes downright agonizing. (How, for instance, could I have left out Costa’s Where Lies Your Hidden Smile?, Jarmusch’s Coffee and Cigarettes, Jia’s Platform and Still Life, Linklater’s Waking Life?)
I haven’t provided links here to my writing about these films, but using this site’s search engine should turn up texts about practically all of them. (The only exception that comes to mind is The Clock.)
The order below is alphabetical.
A.I. Artificial Intelligence (Spielberg/Kubrick)
Certified Copy (Kiarostami)
The Circle (Panahi)
The Clock (Marclay)
*Corpus Callosum (Snow)
The Day I Became a Woman (Meshkini)
Down There (Akerman)
Down with Love (Reed)
Farewell to Language (Godard)
Horse Money (Costa)
Howl’s Moving Castle (Miyazaki)
Inland Empire (Lynch)
Los Angeles Plays Itself (Andersen)
The Mad Songs of Fernanda Hussein (Gianvito)
Operai, Contadini (Straub-Huillet)
Pistol Opera (Suzuki)
The Silence Before Bach (Portabella)
Son of Saul (Nemes)
The Trap (Curtis)
The Turin Horse (Tarr)
The World (Jia)
You Ain’t Seen Nothin’ Yet (Resnais) [6/21/17]… Read more »
An email interview with Federico Casal for the online Uruguayan film magazine Revista Film. Casal has kindly provided me with this English version. — J.R.
EXCHANGE WITH JONATHAN ROSENBAUM
“I miss the experience of communal and theatrical filmgoing.”
Jonathan Rosenbaum (born February 27, 1943 in Alabama, United States) is an American film critic with more than 50 years of experience. He has written thousands of articles and reviews, as the head critic of the Chicago Reader between 1987 and 2008, and collaborator in The Village Voice, Film Comment, Sight & Sound, Cahiers du Cinéma, Trafic, Film Quarterly, Criterion Collection, among others. He studied literature at Bard College in New York—there he met his most influential teacher, Heinrich Blücher, the German philosopher and second husband of Hanna Arendt. In 1969 he moved to Paris, shortly after which he became Jacques Tati’s assistant for a while and appeared as an extra in Robert Bresson’s Four nights of a dreamer (1971). From Paris he moved to London and then to California. Currently, he lives in Chicago. He has published numerous books on cinema, most recently Goodbye Cinema, Hello Cinephilia, Essential Cinema: On the Necessity of Film Cannons and Movie Wars: How Hollywood and the Media Limit What Films We Can See, and others about Orson Wells, Jacques Rivette and Abbas Kiarostami.… Read more »
This is the first review I ever did for Monthly Film Bulletin, around the same time that I started working for the magazine (at the British Film Institute, then on 81 Dean Street) as assistant editor, in late summer 1974; this ran in their September issue. –J.R.
Italy/France, 1973 Director: Federico Fellini
A small Italian town, during the Fascist period. The end of winter is announced by the arrival of manine, a white fluffy substance that blows into the province. That night, a large bonfire is built in the city square to celebrate the beginning of spring; a local resident recounts some of the town’s history. Volpina, the village whore, walks along the beach and flirts with construction workers, including Aurelio Biondi. At a stormy family dinner, Aurelio screams at his teenage son Titta for not working, and Titta is later sent b y his mother, Miranda, to the priest for confession. Asked whether he masturbates, he recalls and imagines several encounters with women in the town. A fascist rally is held to greet a visiting dignitary. That night, the police shoot down a gramophone from a church tower when they hear it playing a “subversive” song; prevented by Miranda from attending the rally, Aurelio is brutally interrogated by the police.… Read more »
Written for the 40th anniversary issue of the French quarterly magazine Trafic (Winter 2011). I subsequently introduced a screening of this film at the Centre Georges Pompidou on January 12, 2012 as part of a film series built around this issue, and my introduction (in French and English) can be accessed on video here. For my original review of this film, go here. — J.R.
Am I weeping for the death of David’s mother, for the death of humans, for the death of photography, or for the death of movies?
James Naremore, On Kubrick
The scene in question, the final one in A.I. Artificial Intelligence, features a robot boy, David (Haley Joel Osment), and a cloned duplication of a human woman, Monica (Frances O’Connor), who died centuries before and whom David was still earlier programmed by Monica to love as a mother. These characters are shown going to bed together and falling asleep, the robot for the first time and Monica for the last time, after spending a happy day together.… Read more »
From the January 25, 2007 issue of the Chicago Reader. — J.R.
INLAND EMPIRE ****
DIRECTED AND WRITTEN BY DAVID LYNCH WITH LAURA DERN, JUSTIN THEROUX, JEREMY IRONS, KAROLINA GRUSZKA, HARRY DEAN STANTON, AND GRACE ZABRISKIE
David Lynch’s first digital video, almost three hours long, resists synopsizing more than anything else he’s done. Some viewers have complained, understandably, that it’s incomprehensible, but it’s never boring, and the emotions Lynch is expressing are never in doubt. Asked many years ago about the origins of the nightmarish Eraserhead (1978), his first and best feature, he forthrightly replied, “Philadelphia.” If asked the same thing today about the no less nightmarish Inland Empire, he might say, “Hollywood.”
Many of my colleagues believe Lynch’s best early feature is Blue Velvet (1986), which I regard as a gripping but limited piece of designer porn. Like his more offensive Wild at Heart and his more charming TV series Twin Peaks (both 1990), Blue Velvet offers a vivid illustration of how a man can turn his most lurid puritanical obsessions into clout and big money — and get an audience to wallow in those obsessions without thinking about them very hard. It has little of the meditative integrity and private intensity of Eraserhead, but then little in his work before Inland Empire did.… Read more »
The following article, which originally appeared in the April 20, 1990 issue of the Chicago Reader, without any star rating, is the only time I can recall writing at length in the Reader about an American TV series. (An edited version of this piece appears in a 1995 collection edited by David Lavery for Wayne State University Press, Full of Secrets: Critical Approaches to Twin Peaks, under the title “Bad Ideas: The Art and Politics of Twin Peaks“.) From a vantage point of almost two decades later, I wouldn’t be as quick today to insist that David Lynch’s work is devoid of any social commentary. What he has to say about the Hollywood community alone, especially in Inland Empire (2006), shows that he’s no longer as detached as he was.
Another invaluable tool for re-evaluation is the recent and superbly appointed Blu-Ray box set devoted to Twin Peaks. Despite some misgivings abiut the show’s second season (see, for instance, Martha Nochimson’s demurrals in her 1997 The Passion of David Lynch about some of the ways the show “perverted” Lynch’s original designs and conceptions), I continue to find much of it very absorbing. The same is true, so far, about the so-far uneven third season, despite the brilliance of the third episode.… Read more »
Commissioned by the French quarterly Trafic for its 102nd issue (Summer 2017). — J.R.
1. Jarmusch as dialectician
For some time now, Jim Jarmusch has been operating as an
autocritical dialectician in his fictional features. Politically as
well as commercially, The Limits of Control offers a sharp
rebuke to his preceding film, Broken Flowers, by following
Bill Murray as a protagonist — a bored and diffident Don Juan
roaming across the United States to visit four of his former
lovers, in order to discover which one he impregnated with
a son — with Isaach de Bankolé as a protagonist, a hired
assassin in Europe pursuing Bill Murray in the role of Dick
Cheney as he hides out in a bunker until the assassin
finally strangles him with a guitar string. But even more
striking is the radical contrast between Jarmusch’s most
elitist feature (and in many ways my least favorite), Only
Lovers Left Alive, about a romantic, middle-aged married
couple played by Tilda Swinton and Tom Hiddleston –
vampires named Adam and Eve who evoke junkies, rock
stars, and Pre-Raphaelite artists, living on separate
continents in Tangier and Detroit — and Jarmusch’s
most populist feature (and one of my favorites),
Paterson, about a younger romantic couple living together
in Paterson, New Jersey, a bus driver named Paterson
(Adam Driver) who writes poetry in his spare time and a
housewife named Laura (Golshifteh Farahani) who cooks,
specializes in creating black and white décor and clothing,
and is learning to play the guitar.… Read more »
From the Chicago Reader (March 27, 2000). — J.R.
A very curious and eclectic piece of work — fresh even when it’s awkward — that’s built around an unsolved mystery, like Picnic at Hanging Rock. Adapted from a Jeffrey Eugenides novel by director Sofia Coppola, and set in small-town Michigan a quarter of a century ago, it focuses on five teenage sisters as perceived by some of their male classmates; James Woods and Kathleen Turner play the girls’ parents and Giovanni Ribisi narrates. With Kirsten Dunst, Hanna R. Hall, Chelsea Swain, A.J. Cook, Leslie Hayman, Josh Hartnett, Danny DeVito, and Scott Glenn. 96 min. (JR)
… Read more »