Posted Fri, Dec 8, 2006 at 11:21 AM
It’s interesting to see how some of the most difficult and challenging examples of art cinema have become increasingly popular over the past decade. Back in the 60s and 70s, Robert Bresson was virtually a laughing-stock figure to mainstream critics, and someone whose films characteristically played to almost empty houses. Yet by the time that he died, a retrospective of his work that circled the globe was so successful in drawing crowds that in many venues—including Chicago’s Film Center — it had a return engagement. Much the same thing has happened with Andrei Tarkovsky — another uncompromising spiritual filmmaker, and one whose films are even tougher to paraphrase or even explain in any ordinary terms.
I’m just back from a trip to the east coast where I was gratified to find, when I turned up to introduce a screening of Jacques Rivette’s 252-minute L’amour fou (1968) in Astoria’s Museum of the Moving Image, that the film was playing to a nearly packed house. (Incidentally, this galvanizing love story about the doomed relationship between a theater director and his wife, played by Jean-Pierre Kalfon and Bulle Ogier, has never looked better to me, though I’ve been a big fan since the early 70s.) Virtually everyone stayed to the end, and there was a lively and enthusiastic discussion afterwards.… Read more »