From Film Comment (July-August, 2009). — J.R.
Kazan on Directing
Alfred A. Knopf, $30.00
This is a class act, given something like the Library of America treatment. The editor, Robert Cornfield, is similarly credited not on the title page but two pages later, and similarly provides a Chronology and Notes at the end (as well as an Introduction and Afterword). Extra boosts come from a canny Foreword (John Lahr) and fleeting Preface (Martin Scorsese). Virtually all the plays and films in Kazan’s oeuvre get entries, chronologically placed, apart from some of the less canonical items, accorded “Short Takes” at the end of each section.
But apart from some letters and notebook entries, this is a recycling operation — and that includes the final 40-page stretch, “The Pleasures of Directing”, the only portion not assembled by Cornfield (though no other editor gets mentioned). Even though this book was started by Kazan himself in the 1980s, it was always a paste-up job. On many occasions when the prose moves into high gear, a quick look at the Notes reveal that it comes from either Kazan’s autobiography (A Life) or An American Odyssey (a collection of his writing edited by Michel Ciment), both published in 1988.… Read more »
This appeared in the July 26, 1996 issue of the Chicago Reader. — J.R.
Up Down Fragile
Directed by Jacques Rivette
Written by Laurence Côte, Marianne Denicourt, Nathalie Richard, Pascal Bonitzer, Christine Laurent, and Rivette
With Côte, Denicourt, Richard, Anna Karina, André Marcon, Bruno Todeschini, Wilfre Benaiche, Enzo Enzo, and the voice of László Szabó
The inspiration of Up Down Fragile? The MGM low-budget films of the 50s that were shot in four or five weeks on sets left over from other films. In particular, a Stanley Donen movie, Give a Girl a Break , a simple film shot in next to no time with short dance numbers. — Jacques Rivette in an interview
Entertainment does not…present models of utopian worlds, as in the classic utopias of Sir Thomas More, William Morris, et al. Rather the utopianism is contained in the feelings it embodies. It presents, head-on as it were, what utopia would feel like rather than how it would be organized. — Richard Dyer, “Entertainment and Utopia”
Out of Jacques Rivette’s 17 features to date — in which I include his 12-hour serial Out 1 (1970) as well as both parts of his Jeanne la pucelle (1994) — 9 are set in contemporary Paris.… Read more »
From the Chicago Reader (March 1, 1991). — J.R.
Conceivably the best picture Sam Goldwyn ever produced, this 1955 blockbuster musical has an undeservedly bad rep, largely because the two leads — Marlon Brando as professional gambler Sky Masterson and Jean Simmons as Salvation Army recruiter Sarah Brown — aren’t professional singers. In fact, they both do wonders with Frank Loesser’s dynamite score because they perform their numbers with feeling and sincerity, and their efforts to live up to their material are perfectly in tune with the aspirations of their characters (as well as the songs themselves). In short, this may be the only Method musical. Joseph L. Mankiewicz does a creditable job with the stylized, stagy sets and the pungent vernacular of the original Damon Runyon material (which he also adapted). Also on hand, and at their very best, are Frank Sinatra (as Nathan Detroit), Vivian Blaine (as Adelaide), Stubby Kaye, B.S. Pully, Veda Ann Borg, and Johnny Silver. 150 min. (JR)
… Read more »