Photo: José María Castellví
By Ray Pride
When I finished gorging on Josh Karp’s “Orson Welles’s Last Movie: The Making of The Other Side of the Wind,” the late great director’s cryptic title was both fragrant poetry and flagrant prophecy, a sparky introduction to a film maudit no one would likely ever see. The book was released the Tuesday before Welles’ May 6 centenary, now amplified by May 7’s announcement of a $2 million Indiegogo campaign to complete a feature-length version of Welles’ long-in-the-not-finishing final film, drawing on a trove of 1,083 elements, including the immaculate negative, that reportedly weighs more than a ton-and-a-half.
Welles started his project forty-five years ago; he’s been dead for thirty of those. I recently asked Karp how long he’s been working on his often-rollicking, sometimes-detail-oriented tome on Welles’ parallel satire of Hollywood insiders and European art film of the era. “I think I signed the book deal in mid-2011 and the book was essentially done in Fall 2014,” the Northwestern lecturer and onetime Newcity contributor tells me, “So it was three years, give or take a few months. In my mind, it was going to take two years. I always think that, and it’s always three or three-and-a-half.” Read the rest of this entry »
A woman goes missing by the sea: the stuff of “L’Avventura,” Michelangelo Antonioni’s 1960 masterpiece, but also of contemporary Iranian master Asghar Farhadi’s 2009 “About Elly,” only now getting a U. S. release after clearing rights issues. As with his Oscar-winning 2011 “A Separation” and 2013’s “The Past,” Farhadi examines pressures on the modern middle class of Iran, but with visual fluidity and geometric acuity, and “Elly” is the best of these three. Farhadi’s statement of intention, that “a film must open a space in which the public can involve themselves in a personal reflection” is less lucid than any succession of frames in his film. Read the rest of this entry »
“Queen and Country,” the likely last testament of vibrant filmmaker John Boorman, at eighty-two, is a likeable, low-key sequel to his Oscar-nominated, autobiographical 1987 “Hope and Glory,” this time set in 1952 Britain during the Korean War. The episodic storytelling flows at the serene pace of a river, but the details of the landscape along the way are pungent and oft-surprising. Boorman has sustained a career of mountainous high points (the mid-Pop expressionist gangster hallucination “Point Blank”; the deep waters of male anxiety in “Deliverance”) to valleys of incomprehensibility (“Exorcist II: The Heretic”), yet there’s a muted calm to this lovingly cast, beautifully shot time capsule, capturing passing time instead of his recurrent project of undertaking the making of primal myth. Read the rest of this entry »
There’s a rumor that a major figure of the French cinema, retired from public view, now cannot even go to the movies in his waning days: four, five minutes would pass and he would shriek in bloody horror as if from waking terrors. He would not only have forgotten what he was watching or where he was but the very function of images advancing in the darkness. I began to forget the breathless, teetering, tottering, careening, catapulting “Avengers: The Age Of Ultron” about twenty minutes into its 141-minute running time, but slouched instead of shrieked. Zoom, quip, wham, smirk, quip, blam! Quip! Oh so much too-muchness on an inhumane scale. Read the rest of this entry »
The 2014 Foreign Language Oscar nominee with the lowest profile, the modest, graceful, glowingly shot Estonian-Georgian “Tangerines” (Mandariinid) is a splendid example of a narrative drawing the larger picture from a small one, capturing the effects of Eastern European civil wars on an average man after the fall of the Soviet Union. Writer-director Zaza Urushadze’s story is set in the separatist region of Abkhazia as war between Georgia and the region’s ethnic Estonians approaches, but the politics fade into smaller schemes, as a rural tangerine grower (graceful, poignantly expressive Lembit Ulfsak) takes two wounded fighters, one from each side of the conflict, into his home after a deadly battle. If they recover, they’ll likely try to kill each other. Read the rest of this entry »
By Ray Pride
The films are of differing stripes and strengths on the first of a promised series of “Chicagoland Shorts,” curated and compiled by filmmaker-producer Eugene Sun Park (a 2014 Newcity Film 50 alum), Beckie Stocchetti of Kartemquin Films and Park’s production associate Kayla Ginsburg. But just as interesting as the work on hand is the timing of the compendium of ten shorts from Park, Fawzia Mirza and Ryan Logan, Lydia Fu, Michael Paulucci, Valia O’Donnell, Fred Frederiksen and Dylan Jones, Amanda Taves, Robert Carnilius and Amir George (the latter two also listed in the 2014 Film 50.) We talked to Park about his intentions.
What’s the virtue of having theatrical runs and DVD and Blu-ray releases of these short films?
The purpose of the theatrical release is to create a public event, or a series of events, so people can come together as a community to watch and celebrate these films. Fewer and fewer people are going to movie theaters these days [to see non-mainstream movies], and something is clearly being lost. In order to preserve the theatrical experience, my feeling is that filmmakers have to do more to create added value to that experience. In other words, make the theatrical experience something that truly needs to be experienced in person, something that cannot simply be downloaded and viewed on your iPad. As for the DVD release, that’s focused on the film geek who wants to go deeper into the films. The DVD release is packed with extra features, including exclusive interviews with the filmmakers, cut scenes, storyboards, and additional films and videos that are not part of the main collection. Read the rest of this entry »
Once while interviewing the now-sober, not-then-sober Abel Ferrara, we reminisced on a particular moment in the “Bad Lieutenant” when Harvey Keitel’s so-bad cop displayed himself to a couple of young girls he’d pulled over in a traffic stop. “Heh-heh,” Ferrara said, “The L-T was rockin’ it!” Whenever Ferrara finds moments to pull from the fire, especially in his erratic recent work, I just think of that heh-heh. With “Welcome to New York,” Ferrara is indeed again rockin’ it, with a theme-and-variation on the facts of the alleged sex crimes committed by banker and former International Monetary Fund head and once-potential French president Dominique Strauss-Kahn. It’s a deeply disturbing, calibrated unhinged, compulsively careering portrait of entitlement. Read the rest of this entry »
Courtesy Nicolas Genin via Creative Commons license.
By Troy Pieper
Growing up in Modesto, California, George Lucas fell in love with building cars and “didn’t do that well in high school.” After surviving a car crash while racing in 1962 the elder filmmaker had a “touch of understanding about the world” that would serve him through the long career ahead of him. “Life is an illusion. You make it be what you want it to be, but you have to actually believe it… maybe there’s a reason why I survived.”
The grey-bearded survivor gave a talk to students at a closed event on April 15 at the School of the Art Institute, interviewed by Walter Massey, the school’s president, as well as a theoretical physicist. Lucas said it was chance that led him to the University of Southern California, which was one of the country’s first film schools. Lucas’ first film, a sixty-second montage of iconic 1960s youth culture photographs set to a percussive soundtrack, won at film festivals around the country. “I thought, hey I know how to do this,” Lucas said. He called his fellow students “misfits” because their chances of working in the Hollywood of that era were zero. But that was all right with Lucas and his fellow misfits: ”All we wanted to do was make movies; we weren’t interested in a career.”
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Former Chicagoan Joe Angio’s long-in-the-making sophomore documentary, “Revenge of the Mekons” is a lean, cheery ninety-five-minute portrait of almost four decades in the lives and careers since the 1977 formation of the vital, genially haunted punk-to-rock band that Lester Bangs called “the most revolutionary group in the history of rock ’n’ roll.” Angio’s conversations with frontman Jon Langford and frontwoman Sally Timms, among other members of the group, are lucid about their ongoing rise to nearly the middle. (As Timms retorts from stage to a heckler mentioning “sell-outs,” “Sold out is a term that never comes into our lives.”) “ROTM” is humble, raggedy and proud, just like the endlessly productive, self-reinventing band itself. Read the rest of this entry »
For his directorial debut, “Ex Machina,” novelist and screenwriter Alex Garland (“28 Days Later,” “Sunshine”) crafts a deceptively simple social comedy deeply invested in ideas about artificial intelligence, the nature of desire and the mind-body divide. But cheekily glib, oft-vulgar banter between its two male characters—a billionaire inventor (Oscar Isaac) and the so-bright employee/programmer (Domhnall Gleeson) he’s chosen for a one-man Turing Test—and a female robot (Alicia Vikander) that can flirt, think and scheme—likably mask the hoped-for profundity. (“Ex Machina” could have easily been called “The Imitation Game.”) Read the rest of this entry »