I’ve been haunted lately by a very moving and eloquent comment made last Saturday at a panel discussion which I participated in, held at the Smithsonian. The occasion was a screening of a restoration of Hai Ninh’s lovely 1974 North Vietnamese feature The Little Girl from Hanoi, a film so scarce that I can’t find any stills from it on the Internet to illustrate this post. [Update, 6/13/12: Some stills have subsequently appeared and have been posted with my review of the film, here, as well as on this page.]
After one of my (American) copanelists remarked that even though “we [sic] lost the war in Vietnam,” the country had a thriving market economy today, and then either he or someone else alluded to America “winning” the Cold War (which provoked an angry riposte from me that if the Cold War had any “winners” at all, these were gangsters on both sides), a Vietnamese diplomat in the audience, who said he was speaking not as a diplomat but simply as a Vietnamese, stated that he thought it was inappropriate to claim that anyone “won” the war in Vietnam. He was right, of course, which got me thinking that the American compulsion to see all of life (and death) in the simplistic terms of sports and games has a lot to answer for.… Read more »
From the Chicago Reader (November 17, 1989). — J.R.
*** (A must-see)
Directed by Martin Donovan
Written by Donovan and David Koepp
With Colin Firth, Hart Bochner, Dora Bryan, Liz Smith, Fabrizio Bentivoglio, James Telfer, Mirella D’Angelo, Juan Vitali, and Francesca d’Aloja.
Although it qualifies technically as an American movie, Martin Donovan’s ambitious, disturbing thriller Apartment Zero is one of those international hodgepodges that are somewhat disorienting almost by definition. Set in Buenos Aires, made with actors and technicians from three continents, and filmed in English by an Argentinean director who has lived mainly in Italy and England since the 70s, it has the sort of multinational sprawl that only a strong script and a forceful style could hold together. Fortunately, Apartment Zero has both script and style in spades. It may not be to everyone’s taste, but to me it’s an exciting piece of controlled cinematic delirium.
I first encountered this movie at a midnight screening at the Berlin Film Festival last February, having been guided to it by a perceptive rave in Variety by Todd McCarthy. Ever since then I’ve been wondering when and how it would eventually turn up in Chicago. It lacks most of the usual commercial calling cards (big stars, lovable nerds, genre cliches, babies, body switches, Spielberg lighting), it was passed up by the New York and Chicago film festivals, and it didn’t seem the sort of picture that Vincent Canby would like.… Read more »