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Top jonathanrosenbaum.net News

Brief Interview on the New Wave (Spring 2012)

Paris, France · Paris

Brief Interview on the New Wave (Spring 2012)

From The Cine-Files, Spring 2012, issue 2. — J.R. What for you makes the French New Wave such an exciting topic to study? Or… Is the French New Wave still an exciting topic to study? What can moviegoers of the 21st century take away from French New Wave films? For me, the greatness of the French New Wave stemmed directly from the fact that it was the first comprehensive film movement spearheaded by film critics who were well versed in film…Read Article

Workingman’s Death [R.I.P. Michael Glawogger, 2014]

Austria · Austria

Workingman’s Death [R.I.P. Michael Glawogger, 2014]

From the Chicago Reader (February 24, 2006). I was shocked and upset to learn that Michael Glawogger, the visionary Austrian filmmaker and world traveler, died from malaria in Liberia at age 54. The film of his that left the most lasting impression on me was the remarkable Megacities (1998, see first still below), which filmed people living on the edge in Mumbai, New York City, Moscow, and Mexico City — the first part of an epic documentary tril…Read Article

Not the Same Old Song and Dance (2014)

Rochefort, Nouvelle-Aquitaine · Rochefort

Not the Same Old Song and Dance (2014)

Written for the Criterion dual format (Blu-ray & DVD) edition of The Young Girls of Rochefort, released in a box set, “The Essential Jacques Demy,” in July 2014. This essay is also posted on Criterion’s web site. — J.R. Braque, Picasso, Klee, Miro, Matisse . . . C’est ça, la vie. — Maxence in The Young Girls of Rochefort Life is disappointing, isn’t it? — Kyoko in Yasujiro Ozu’s Tokyo Story Broadly speaking, Jacques Demy’s The Young Gir…Read Article

Obscure Objects of Desire: A Jam Session on Non-Narrative

This appeared originally in Film Comment, July-August 1978, and was reprinted by Saul Symonds in March 2005, with separate new prefaces by myself (reproduced below) and David Ehrenstein, in the online Light Sleeper (which is no longer up, alas). It’s also reprinted in my recent book Cinematic Encounters: Interviews and Dialogues (2018). — J.R. Obscure Objects of Desire: A Jam Session on Non-NarrativeBy Raymond Durgnat, David Ehrenstein and Jonat…Del Mar · Del Mar Read Article

The Lure of Crime: Feuillade’s FANTOMAS Films

Commissioned and published by Fandor in September 2010. — J.R. Teaching silent film in the mid-1980s at the University of California, Santa Barbara, I was astonished to discover I was the first teacher there who had ever shown a film by Louis Feuillade. Sadly, there was a good reason: at that time, only one Feuillade film was in distribution in the U.S. — Juve contre Fantômas (Juve vs. Fantômas) — and few if any of my teaching colleagues had eve…Santa Barbara · Santa Barbara Read Article

TENANTS OF THE HOUSE: A Conversation with Jonas Mekas (part one)

From Film: The Front Line 1983 (Denver, CO: Arden Press, 1983). Due to the length of this, I’ll be posting it in four installments. — J.R. Tenants of the house, Thoughts of a dry brain in a dry season. T.S. Eliot, Gerontion Preface: When I was approached last year about inaugurating a series of volumes surveying recent avant-garde film, I immediately starte…Denver, Colorado · Denver Read Article

The Kane Mutiny and Related Disputes

Two quotes from the Letters section of the February 3, 1977 New York Review of Books: John Bernard Myers: “It can easily be demonstrated that film directors created this art: Méliès, D.W. Griffith, Charlie Chaplin, Eisenstein, Pudovkin, G.W. Pabst, Fritz Lang, Abel Gance, René Clair, Robert Flaherty, Alfred Hitchcock, Louis Malle—the list is long.” Gore Vidal: “[Peter] Bogdanovich’s list of Welles’s post-[Herman] Mankiewicz films as compared to …Read Article

Two Death Scenes of Jean-Pierre Léaud

Commissioned by MUBI (I forget when). Given the size and variety of Jean-Pierre Léaud’s filmography, there must be other memorable death scenes of his apart from those in Jean-Luc Godard’s Made in USA (1966) and Albert Serra’s La mort de Louis XIV (2016), half a century apart. My reason for settling on these two is that they demonstrate his prodigious range. In the first — a very bizarre piece of anamorphic Pop Art self-described as “a pol…France · France Read Article

I’ll Undo Everything [I’LL DO ANYTHING]

From the February 18, 1994 Chicago Reader. I wrote this before I had a chance to see the film’s original rough cut, when it was still a musical, which I continue to regard as far and away James L. Brooks’ best movie, more than twice as good as what he finally released.. By contrast, the release version reminds me of Erich von Stroheim’s comment about the release version of his Foolish Wives: “They are showing only the skeleton if my dead child.”…Chicago, IL · Chicago Read Article

THE GOLD DIGGERS: A Preview

This originally appeared in the twelfth issue of Camera Obscura (Summer 1984). I’m delighted that a DVD of Sally Potter’s overlooked, neglected, and scandalously undervalued masterpiece is finally available, from the British Film Institute. I wrote a short essay for the accompanying booklet. –J.R. The Gold Diggers: A Preview Sally Potter’s much heralded British Film Institute production has been encountering a lot of resistance since it premiere…London, England · London Read Article

Mise en Scène as Miracle in Dreyer’s ORDET

Like my essay on Dreyer’s Day of Wrath, this essay was written for an Australian DVD, which came out in 2008 on the Madman label. (One can order these and many other DVDs, incidentally, from Madman’s site.) My thanks to Alexander Strang for giving me permission to reprint this. (It’s also reprinted in my most recent collection, Goodbye Cinema, Hello Cinephilia. —J.R. Mise en Scène as Miracle in Dreyer’s Ordet by Jonathan Rosenbaum Ordet (The W…Australia · Australia Read Article

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