Stanley Kauffmann On Films: Who Was Wagner?
July 01, 1985
When I took a college course in Wagner, our professor told us on the first day that the final exam would consist of one question: Who was Wagner? On exam day he wrote that question on the blackboard, then left the room. At the end of the three-hour exam period, some of us were still writing. So when I heard recently of a nine-hour film that attempted to answer our exam question, it didn't strike me as grotesque. I looked forward to it as eagerly as one can possibly anticipate spending nine hours in one seat from noon to something past 11 p.m.
Stanley Kauffman on Films: Now, About Rambo....
July 01, 1985
“Symbol of the American Spirit." That's the headline in the ads for Rambo, which is about its hero's foray into Vietnam today to rescue American POWs. The subject has been used before, in Uncommon Valor with Gene Hackman, in Missing in Action and Missing in Action II, with Chuck Norris: but Rambo outdistances them. Three facts: Rambo is the current box-office champion in the country. ("Rambo Ahead by a Mile," Variety, June 5.) Like the second Norris film, Rambo is a sequel.
January 17, 1983
Stingo comes back to his newly rented room in the Brooklyn boarding house bearing a carton of Spam packages on his shoulder, looking apprehensively at the ceiling of his room. The sounds of what is presumably a torrid sexual encounter are coming from above. The carton totters on Stingo's shoulder as he totters into his room. I hoped--in vain. The sounds so unnerve Stingo that he stumbles into cinematic cliche: he spills the packages, I'd hoped he wouldn't. The chandelier in his ceiling is shaking. Again I hoped--in vain--that the camera wouldn't go in for a close-up.
TNR Film Classics: ‘Sophie’s Choice’ (January 10, 1983)
January 10, 1983
Stingo comes back to his newly rented room in the Brooklyn boarding house bearing a carton of Spam packages on his shoulder, looking apprehensively at the ceiling of his room. The sounds of what is presumably a torrid sexual encounter are coming from above. The carton totters on Stingo’s shoulder as he totters into his room. I hoped—in vain. The sounds so unnerve Stingo that he stumbles into cinematic cliche: he spills the packages. I’d hoped he wouldn’t. The chandelier in his ceiling is shaking. Again I hoped—in vain—that the camera wouldn’t go in for a close-up.
TNR Film Classic: 'The Verdict' (1982)
December 20, 1982
The Verdict Twentieth-Century Fox Blessed be pluralism. Just when you’re feeling depressed by the gargantuan success of An Officer and a Gentleman, not because it’s a wretched picture but because it’s a throwback to a pre-Vietnam social perspective that glorifies military sentimentalities—pygmy John Fordism—along comes a picture out of a contrasting social perspective, the Common Man syndrome: Frank Capra with updated language and sexual frankness.
The Gospel According to St. Steven
July 27, 1982
Fervently, skillfully, seductively, Steven Spielberg evangelizes on. Close Encounters of the Third Kind (TNR, December 10, 1977) seemed to me “not so much a film as an event in the history of faith,” and that faith, I thought, was less in beings Out There than in the film medium’s ability to convince. Technology, at the behest of the culture that created it, had been called on to satisfy the culture’s deeper needs, to soothe its fears. If you discount the revised version of Close Encounters, which I hope has been withdrawn, then Spielberg’s next work in this line is E.T., The Extra Terrestria
April 04, 1981
All through City of Women I kept wondering what had been going through Federico Fellini's mind while he was making it. That's an unorthodox way to view a film--Intentional Fallacy is only one of the canonical errors--but a few directors are so close to me that I feel personally involved in their new films. Some of their past works are so tightly knitted into my experience and fantasy that I can't escape a proprietary, even nervous feeling when a new film by one of them comes along.
Hope From The Past?
February 28, 1981
What's going to happen in film? The question recurs--and not only in this column--for assorted reasons, econommic and cultural. It's not arbitrarily a gloomy question: possibly, in the long run, we're just going to have to ask it under different aspects, toward different ends. But in a shorter long-range view, we ask it in terms of directors.
May 19, 1979
The chief impediment of Manhattan (UA) is the hype. It's as if the media had been braiding laurel wreaths in advance, hoping for a minimal excuse to hail Woody Allen, as if they badly needed a U.S. filmmaker to garland, especially since their last genius, Robert Altman, is in disarray. The media's nature abhors a vacuum, and Allen has in fact given them a bit more than a minimal excuse to fill the genius-vacancy.
Arts and Lives
July 29, 1978
The Films in My Lifeby Francois Truffaut(Simon & Schuster, $12.50) In 1954, Francois Truffaut was 22 and a critic on Cahiers du Cinema. He was asked to review a new film by George Cukor because he liked Cukor's work. "But," he said in his review, "the trouble is that Cukor isn't the kind of director you write about: he's someone to talk about with friends on the street or sitting in a cafe." No cute epitome will sum up so complex a man as Truffaut: still that line sets the tonality--the cafe-conversation tonality--of much of his collected critcism.