Jonathan Rosenbaum

From the Chicago Reader (March 9, 1990); revised in October 1995 for my collection Movies as Politics. — J.R.

THE PLOT AGAINST HARRY *** (A must-see)

Directed and written by Michael Roemer

With Martin Priest, Ben Lang, Maxine Woods, Henry Nemo, Jacques Taylor, Jean Leslie, Ellen Herbert, and Sandra Kazan.

I hate stars. There’s a part of our culture that devotes itself ceaselessly to producing, promoting, and consuming them, and a lot of people would have you believe that they rule our consciousness — our politics, our fantasies, our ideas, our conversation, our art and entertainment. But one of our best-kept and most precious secrets is that a great deal goes on in our culture and in our lives that has nothing, absolutely nothing, to do with stars and everything to do with ordinary people.

Insofar as we can distinguish between illusion and reality — and the popularity of someone like Reagan suggests that we neither can nor want to very much — ordinary people, not stars, form the fabric of our daily existence; and most movies, simply by virtue of the fact that they have stars, ignore, deny, and impugn that fabric. An inordinate amount of energy in our society is devoted to proving that stars (Reagan or Bush, Cruise or Streep, Madonna or Jagger, Trump or Warhol, Spielberg or Sontag) are ordinary people just like you and me, when it might be more useful to prove that ordinary people — the people we live with — are the stars that actually belong in our constellations. Read more

From the Chicago Reader (September 22, 2000). — J.R.

Almost Famous

Rating ** Worth seeing

Directed and written by Cameron Crowe

With Patrick Fugit, Billy Crudup, Frances McDormand, Kate Hudson, Philip Seymour Hoffman, and Zooey Deschanel.

Duets

Rating ** Worth seeing

Directed by Bruce Paltrow

Written by John Byrum

With Maria Bello, Andre Braugher, Paul Giamatti, Huey Lewis, Gwyneth Paltrow, Scott Speedman, Kiersten Warren, and Angie Dickinson.

Cameron Crowe’s first feature as writer-director, Say Anything… (1989), lost money, which broke my heart. His third feature, Jerry Maguire (1996), cleaned up, which broke my spirit. (In between was another romantic comedy, the 1992 Singles, which I barely remember.) You might conclude that I was out of step with the audiences that passed on Say Anything… — though I was hardly the only reviewer who fell for it — and with those who went to Jerry Maguire in droves. I prefer to believe that I was out of step with the publicity for each movie. Say Anything… didn’t get much. But Jerry Maguire was pushed hard, as a Tom Cruise movie rather than anything created by a mere writer-director, and much of it struck me as transparent Oscar mongering — with the film’s “Show me the money!” Read more

From the Chicago Reader (September 26, 2003). — J.R.

Anything Else

* (Has redeeming facet)

Directed and written by Woody Allen

With Jason Biggs, Christina Ricci, Allen, Stockard Channing, Danny DeVito, Jimmy Fallon, and Diana Krall.

The least valuable criticism we have of Charlie Chaplin maintains that he was a tremendously gifted comic until he started taking himself too seriously. My quarrel starts with the underlying assumption that the greatness of any comic artist can be measured with a laugh meter. I’ll readily grant that there’s more to laugh at in The Circus (1928) than in Monsieur Verdoux (1947), Limelight (1952), or A King in New York (1957), but that doesn’t make it a better movie. The other three offer some of the richest experiences in the history of cinema, and if quality of emotion counts for more than quantity, especially in comic works, they’re remarkable for their sharpness, depth, and complexity. They are all narcissistic reveries, yet none of them can be reduced to Chaplin assessing his own persona — though this is undoubtedly one reason they’re of interest.

I’d be prepared to make a similar case for the virtually impossible to find last feature of Preston Sturges, an independent effort known in French as Les carnets du Major Thompson and in English as The French They Are a Funny Race (1955). Read more

From the Chicago Reader (February 9, 1990). — J.R.

MYSTERY TRAIN

** (Worth seeing)

Directed and written by Jim Jarmusch

With Youki Kudoh, Masatoshi Nagase, Screamin’ Jay Hawkins, Cinque Lee, Nicoletta Braschi, Elizabeth Bracco, Joe Strummer, and Rick Aviles.

Mastery is a rare commodity in American movies these days, in matters both large and small, so when a poetic master working on a small scale comes into view, it’s reason to sit up and take notice. Jim Jarmusch’s second feature, Stranger Than Paradise, won the Camera d’Or at Cannes in 1984 and catapulted him from the position of an obscure New York independent with a European cult following — on the basis of his first feature, Permanent Vacation (1980) — to international stardom.

As the first — and so far only — filmmaker informed by the New York minimalist aesthetic to make a sizable mainstream splash, Jarmusch had a lot riding on his next films, and he has acquitted himself admirably. He hasn’t sold out to Hollywood or diluted his style, and, unlike most of the few other contemporary American independents to make it big, he has managed to maintain rigorous control over every aspect of his work, from script to production to distribution. Read more

From the Chicago Reader (March 23, 2001). — J.R.

15 Minutes ***

Directed and written by John Herzfeld

With Robert De Niro, Edward Burns, Kelsey Grammer, Avery Brooks, Melina Kanakaredes, Karel Roden, and Oleg Taktarov.

A first-rate Hollywood entertainment, 15 Minutes is more than a little schizophrenic, a shotgun wedding between two seemingly irreconcilable genres — the buddy/cop action thriller and the angry social satire. It can’t even be unambiguous about the reason for its title. Presumably to placate the action-thriller buffs — some of whom are bound to be pissed off because satire is what closes in New Haven — there’s a throwaway line toward the end of the movie in which a vengeful cop is told he’ll have custody of the killer of his slain colleague for 15 minutes. Far more important is the satirical reference the movie bothers to cite only in the press notes: Andy Warhol’s 1968 assertion that “In the future everyone will be world-famous for 15 minutes.”

I’m a satire buff, but I have to confess that I do like at least a couple of the straight-ahead and relatively mindless action sequences: several cops chasing a Czech killer through busy midtown Manhattan traffic, while the killer, Emil, and his simpleminded Russian sidekick, Oleg (who videotapes everything and whose hero is Frank Capra), flee toward Central Park; and a fire marshal and a murder witness trying to escape from her apartment after it explodes in flames. Read more

From the Chicago Reader (June 22, 1990). — J.R.

THE GANG OF FOUR

*** (A must-see)

Directed by Jacques Rivette

Written by Rivette, Pascal Bonitzer, and Christine Laurent

With Bulle Ogier, Benoit Regent, Laurence Cote, Fejria Deliba, Bernadette Giraud, Ines de Medeiros, and Nathalie Richard.

SANTA SANGRE

* (Has redeeming facet)

Directed by Alejandro Jodorowsky

Written by Jodorowsky, Roberto Leoni, and Claudio Argento

With Axel Jodorowsky, Blanca Guerra, Guy Stockwell, Thelma Tixou, Sabrina Dennison, Adan Jodorowsky, and Faviola Elenka Tapia.

In nearly half his films, 6 features out of 13, Jacques Rivette allows his characters only two possibilities. One is work in the theater, specifically rehearsals — an all-enveloping, all-consuming activity that essentially structures one’s life and assumes many of the characteristics of a religious order. The other, more treacherous possibility is involvement in a real or imagined conspiracy outside the theater — a plot or (the French term is more evocative) complot that is hard to detect yet seemingly omnipresent, sinister yet seductive for anyone who strays from the straight and narrow path offered by the rehearsals. Art versus life? Not exactly; a bit more like two kinds of art, or two kinds of life.

Both possibilities convey a sense of forging a fragile meaning over a gaping void. Read more

From the Chicago Reader (November 19, 2004). — J.R.

The Big Red One: The Reconstruction

**** (Masterpiece)

Directed and Written by Samuel Fuller

With Lee Marvin, Mark Hamill, Robert Carradine, Bobby Di Cicco, Stephane Audran, Christa Lang, Kelly Ward, Siegfried Rauch, and Fuller

“When I enter his suite at the Plaza, he’s finishing lunch, expressing his regret about missing Godard in Cannes, remarking on the absurdity of prizes at film festivals, asking me what Soho News and Soho are. (The one he knows about is in London — he fondly recalls a cigar store on Frith Street.)

“It isn’t hard to figure out why Mark Hamill affectionately calls him Yosemite Sam, or why Lee Marvin simply says he’s D.W. Griffith. Bursting with the same charismatic, comic book energy that skyrockets through most of his movies, old crime reporter, novelist, war hero, writer-director and sometime producer Samuel Fuller, almost 69, still moves and talks like his daffy action flicks — like the wild man from Borneo — in quick, short, blocky punches, like two-fisted slabs of socko headline type.”

The purple prose was mine, the year was 1980. Fuller was promoting his semiautobiographical war picture The Big Red One, even though the studio had just cut half of it — something he wasn’t making any effort to hide. Read more

From the Chicago Reader (April 11, 2003). — J.R.

10

*** (A must-see)

Directed by Abbas Kiarostami

With Mania Akbari, Amin Maher, Roya Arabshahi, Katayoun Taleidzadeh, Mandana Sharbaf, Amene Moradi, and Kamran Adl.

In my mind, there isn’t as much of a distinction between documentary and fiction as there is between a good movie and a bad one. — Abbas Kiarostami in an interview

One way to identify the world’s greatest filmmakers is to determine which ones have found it necessary to reinvent the cinema from the ground up. The names that quickly come to my mind are Antonioni, Bresson, Chaplin, Dreyer, Eisenstein, Godard, Griffith, Kubrick, Mizoguchi, Renoir, Tati, and Welles — a far from exhaustive list of mercurial artists who rethought the nature of the medium not once but repeatedly, most often to their commercial disadvantage.

Not all of these figures qualify as “difficult,” though even such crowd pleasers as Chaplin, Griffith, and Kubrick were called that at some points during their careers. Whether people wound up seeing them as old-fashioned or unfashionable, these artists refused to turn themselves into commodities, alienating even their most passionate fans by confounding expectations and changing the rules of the game, and at times scaring off potential investors. Read more

From the Chicago Reader (May 28, 1993). — J.R.

THE STORY OF QIU JU

**** (Masterpiece)

Directed by Zhang Yimou

Written by Liu Heng

With Gong Li, Lei Lao Sheng, Liu Pei Qi, Ge Zhi Jun, and Yang Liu Chun.

For a comedy that takes bureaucratic negotiation as one of its overriding themes, Zhang Yimou’s The Story of Qiu Ju has negotiated quite a bit for its director from the Chinese government, bureaucracy and all. This is only one of the film’s many ironies. Another is that in the course of showing us much more of China’s particularity than ever before Zhang has realized his most universal and accessible film to date, offering a virtual reproach to the artiness of its predecessors.

Until this feature was made, Zhang’s previous two films, Ju Dou (1990) and Raise the Red Lantern (1991), both huge international successes, were banned in China. Zhang was widely regarded as both a dissident and a scandalous figure, thanks to his adulterous relationship with his leading lady, Gong Li (who has played in all five of his features), which was given much publicity in abusive newspaper articles under the byline of his estranged wife. At least one semireliable commentator thinks it may have been this scandal more than the political meanings of Ju Dou and Raise the Red Lantern (dramas about the persistence of Chinese feudalism set in the early part of this century) that led to their suppression. Read more

From the Chicago Reader (December 15, 1989). — J.R.

THE WAR OF THE ROSES

*** (A must-see)

Directed by Danny DeVito

Written by Michael Leeson

With Michael Douglas, Kathleen Turner, DeVito, Marianne Sagebrecht, Sean Astin, and Heather Fairfield.

The proper tone for Danny DeVito’s second feature is set by a very short Matt Groening cartoon that precedes every print. A brief cadenza on familial hatred and violence is played out in a therapist’s office, where most of the hatred and violence is directed at the therapist, uniting the family in the process. The War of the Roses opens with another sort of therapist — Danny DeVito as high-priced lawyer Gavin D’Amato — talking to a client in his office. The landscape outside D’Amato’s office looks unusually fake, and DeVito’s delivery seems as self-consciously overarticulated as some of Woody Allen’s recent performances — to mix a metaphor, one can almost see the chalk marks in his verbal punctuation — but both of these oddities actually serve the story he is about to tell about a marriage and its demise.

Unlike the therapist in the Groening cartoon, D’Amato stands mostly outside the story he is telling, and he clearly represents the voice of reason rather than part of the problem. Read more