Themes and Schemes
October 30, 2006
The Departed (Warner Bros.) Black Gold (California Newsreel) Of course Martin Scorsese has varied interests—remember The Age of Innocence and The Last Temptation of Christ—but it seems fair to say that his chief subject is crime. He was reared in Manhattan’s Little Italy, where, he has said, “There were two kinds of people who commanded respect, apart from parents. There were the mini-godfathers, who controlled the neighborhood, and the priests.” His films have dealt less with the priests.
October 16, 2006
All the King's Men (Columbia) 49 Up (First Run) Robert Penn Warren was a poet who also wrote novels. His poetry, much of which is lovely, won two Pulitzer Prizes, and he was the first U.S. poet laureate. But today he is probably best remembered for his novels, particularly All the King's Men, which was published in 1946, won a Pulitzer in 1947, was filmed in 1949, and has now been filmed again. To approach this second film with regard for Warren's poetry, which I certainly have, is to sit for two hours in moderate discomfort.
October 09, 2006
Wrestling with Angels: Playwright Tony Kushner (Balcony) Al Franken: God Spoke (Balcony) About Tony Kushner as a playwright, debate continues. About Kushner as a human being, the matter is settled. A new documentary, called Wrestling With Angels: Playwright Tony Kushner, presents the Jacob who wrestled with angels in America, now doing most of his wrestling with devils.
Parting of Ways
October 02, 2006
Old Joy (Kino International) The Beat movement in literature is said to have begun in 1952 with Jack Kerouac and John Clellon Holmes. No such specific date that I know is cited for the movement’s spread to films. (Underground film is something else.) The first Beat picture that I can remember didn’t come until almost forty years later, with Richard Linklater’s Slacker in 1991. Since then there has been a fairly steady stream. I’d dub them Listless Films, even though that term is easy to misunderstand. The people in these films, mostly in their twenties, are not dull or lazy.
July 31, 2006
The Devil Wears Prada (20th Century Fox) Heading South (Shadow) The title fixes the place and the tone: a film that is called The Devil Wears Prada must live in the world of fashion and its diabolics. The specific place is a slick magazine called Runway, and the air around it is filled with the slash of verbal rapiers and stilettos, lunging and parrying. The screenplay by Aline Brosh McKenna, derived from Lauren Weisberger's novel, begins with reminders of a previous picture about a fashion mag, Stanley Donen's Funny Face (1957).
Stanley Kauffmann on Films: Slums, Snobs
March 20, 2006
TSOTSI (Miramax) THE FILM SNOB’S DICTIONARY (Broadway Books) AN OLD MYTH TELLS OF A bird that had to press its breast against a thorn in order to sing, which it then did beautifully. Political troubles have served as that thorn for some writers, and the end of those troubles has, along with its benefits, deprived them of their singing. George Konrád, the Hungarian author of major novels about the travails of life under totalitarianism, has dwindled as a novelist since democracy reached Hungary.
Sorts of Truth
March 06, 2006
FATELESS (THINKfilm) CONVERSATIONS WITH THE GREAT MOVIEMAKERS OF HOLLYWOOD'S GOLDEN AGE AT THE AMERICAN FILM INSTITUTE (Knopf) MANY OF US HAVE reservations about the Holocaust as a subject for enacted films. Claude Lanzmann, who made the monumental documentary Shoah, said, "Fiction [about the Holocaust] is a transgression. I deeply believe that there are some things that cannot and should not be represented." Still, even if we too think that we believe this, when a Holocaust film is manifestly serious--one can almost say consecrated--it is hard to resist.
Stanley Kauffmann on Films: Fancy Free
February 20, 2006
IF THERE IS A HEAVEN FOR COMIC iconoclasts, Laurence Sterne is leaning out of it, smiling. The film made of his novel Tristram Shandy—more properly, the film instigated by his novel—has caused a stir because it juggles cinematic conventions just as he gamboled with the conventions of the novel. However, as he views things from his present perch, Sterne can see that, unlike his own daring, this picture had predecessors in wry film-consciousness.
February 06, 2006
Cachè (Hidden) (Sony Pictures Classics THE NEW FILM YEAR BEGAN in at least one heartening way: Daniel Auteuil arrived in a new picture. This French actor is so incredibly credible, so unostentatiously fine, that he makes his way from film to film without attracting the hoopla that attends more consciously virtuosic actors. I mention here only two of his many roles. In The Widow of Saint-Pierre, set on that French island, Auteuil was a nineteenth-century army captain whose spiritual tenor changes while he waits for the arrival of a guillotine to execute a murderer in his charge. In Apres Vous,
Stanley Kauffmann on Films: Spielberg's List
January 23, 2006
By now the filmgoing world knows that Steven Spielberg has three selves. First is the self most frequently summoned, the maker of superlative entertainments (Jaws, E.T. the Extra-Terrestrial). His second self applies his talent seriously to serious subjects (Schindler's List, Amistad). The third self produces hybrids, films that use both of the other two selves (Close Encounters of the Third Kind, Saving Private Ryan). Spielberg's new film, Munich, was made by the third self.