I’m pretty sure that this was the first submitted draft of my commissioned Op Ed piece for the New York Times, written in late July, 2007. It comes far closer to what I felt at the time than the version that emerged after three separate rewrites were requested by my editor, Mark Lotto, which was published on August 4, and which I hadn’t much desire to reprint until mid-October 2018, when I decided to attach the printed version as an afterthought. Typically, the title that was run with the piece, “Scenes from an Overrated Career,” wasn’t mine, yet paradoxically (if understandably) this was what many readers seemed to find most objectionable.
I’m sorry that I haven’t been able to illustrate the attic scene that I describe in The Magician, so I’ve substituted a still from Sawdust and Tinsel at the head of this piece that suggests some spatial disorientation. [2015 postscript: a generous reader, Dan Roy, has helped me out with the attic scene.] –- J.R.
If memory serves, my first taste of Ingmar Bergman was The Magician, seen at the 5th Avenue Cinema in the spring of 1960, en route from a New England boarding school to my home in Alabama during spring break.… Read more »
From the Chicago Reader (September 15, 2000). It’s delightful to report that this film is now available in the U.S. from Icarus Films. — J.R.
One Day in the Life of Andre Arsenevich
Rating **** Masterpiece
Directed and written by Chris Marker.
Industry flacks claim that Hollywood movies have been dumbed down out of commercial necessity — they’re just giving audiences what they want. I don’t buy it. Audiences aren’t being offered intelligent movies, or at least those aren’t the ones getting multimillion-dollar ad budgets. This was especially the case during the past summer, though as usual, most of the press tolerantly excused the fare as standard silly-season stuff — as if we and not the industry and their advertisers were responsible. The flacks may love to shift the blame by telling us how dumb we all are, but their contempt finally may be causing a minor counterreaction.
Difficult, demanding, and incorrigibly serious art movies have been becoming more popular — though that may be less the result of a backlash against Hollywood than of a growing awareness that the makers of art movies are more respectful of the seriousness, intelligence, and spirituality of moviegoers. The first solid indication of this trend I noticed was the nationwide success of the Robert Bresson retrospective, which came to the Film Center in the spring of 1999 and drew enough crowds to warrant a partial revival of the series a few months later.… Read more »