Movie news on your iPhone today!
Advertisement
Coverage of what is truly interesting in the film world

TOP STORY:

FOR THE LOVE OF MOVIES and The Problem of Film Critics on Film

FOR THE LOVE OF MOVIES and The Problem of Film Critics on Film

erickohn
By Eric Kohn posted 7 months ago
  • del.icio.us
  • Technorati
  • Reddit
  • Ma.gnolia
  • YahooMyWeb
  • Facebook
  • StumbleUpon

Here’s what I would like to learn from a movie about film critics: What makes them pertinent to the needs of society? Has the self-empowering progress of the blogosphere endangered the future of the profession? Most importantly, what kind of a fascinating loon do you have to be to watch movies all the time?

You will find answers to none of these provocative questions in Gerald Peary’s For the Love of Movies: The Story of American Film Criticism, a light, impact-free survey of talking heads that adds absolutely nothing new to the general perception of the practice. Those viewers whose interest in watching critics talk about themselves parallels the curiosity behind, say, wanting to see an Asian elephant at the zoo won’t find themselves disappointed. (I can see it now: “Oh, so that’s what an A.O. Scott looks like…”) Everyone else may find the content lacking a much-needed edge.

…Read more

Richard Schickel & ‘You Must Remember This’, Telluride 2008

Richard Schickel & ‘You Must Remember This’, Telluride 2008

Karina Longworth
By Karina Longworth posted 1 year ago
  • del.icio.us
  • Technorati
  • Reddit
  • Ma.gnolia
  • YahooMyWeb
  • Facebook
  • StumbleUpon

This may qualify as hyperbole, but Richard Schickel’s You Must Remember This––which premiered at Cannes in May, screened here at Telluride as part of a tribute to Schickel and will debut on PBS in slightly different form this fall––is maybe the most appropriately titled made-for-TV Classical Hollywood documentary directed by a working film critic I’ve seen this year.

“You must remember this,” is, of course, a lyric from “As Time Goes By,” the signature song from Warner Brothers’ Casablanca. From the opening montage of a tour through the WB backlot, set to a soundtrack of memorable lines from maybe a dozen and a half classic productions from that studio, Schickel’s film is devoted to anecdotal recall of Warner Brothers’ various signatures, from experts and witnesses who are dishy and not uncritical, but still often as sentimemtal as the song that Rick commands Sam to play again.  From silent doggie star Rin Tin Tin (who, snarked writer and eventual head of production Daryl Zanuck,  had the biggest brain on the lot) to the Busby Berkeley musicals that not so subtly told the viewer that “Dick Powell and Ruby Keeler are gonna get laid, and we’re all part of it,” to the social issue films of the 30s which carried “a vision of the world that was darker, more cynical, and more problematic than any other studio’s,” Schickel finds a surprisingly rich balance between behind-the-scenes trivia and multi-layered criticism. Access to talking heads including Molly Haskell, Neal Gabler, Jeaninne Basinger and former WB contract player Ronald Reagan certainly helps with the gravitas.

Also surprising was the slightly salty candor that ran through Schickel’s Special Medallion acceptance chat, which both the honoree and the audience seemed to find too brief. Still, Schickel managed to get out som zingers involving Manny Farber, Pauline Kael, the youth of America and John McCain. Some highlights after the jump.

…Read more

Moving Image Institute: Andrew Sarris & Molly Haskell

Karina Longworth
By Karina Longworth posted 1 year ago
  • del.icio.us
  • Technorati
  • Reddit
  • Ma.gnolia
  • YahooMyWeb
  • Facebook
  • StumbleUpon

andrew sarris and molly haskell

image via Stop Smiling.

“I’ve been struggling to try to do a memoir,” said Andrew Sarris at the beginning of the Moving Image Institute session with he and fellow critic/wife Molly Haskell. “I haven’t made much progress, so don’t hold your breath.” Not to brag, but anyone who was in that room won’t have to. The Haskell/Sarris Hour (actually, several hours––the discussion continued over dinner, including wine for many of us and a vodka tonic for Sarris) was, for me, both the most purely pleasurable session of the Institute, and the portion of the program that gave me the strongest dose of film cultural-historical education. It all came down through Andrew and Molly’s candid storytelling. MOMI’s David Schwartz more than once credited Sarris for having mastered the lecture-as-stand up comedy, but in our small group, with Haskell at his side snarkily finishing sentences, it felt more like lecture-as-autobiography. With jokes.

…Read more