The 43rd Chicago International Film Festival is in full swing, and, like a swing, its motion has been backward and forward.
The weeks leading to the fest were filled with speculation as to whether the fest would proceed at all. The lack of public information was baffling. Schedule announcements and website updates were grossly delayed, as was vital industry-related information. Press accreditation applications were made available only a week before the fest opened--not a good move for an "international" festival that may want foreign press.
Many of these messes seem to have carried over into the festival run. Screenings change times and/or venues without staff knowledge; understaffed box offices back-up into endless queues of irritated patrons; sound drops, framing issues that obscure subtitles, and even simple tasks like turning the theatre lights off plague presentations. For a festival in its 43rd run, it often feels like an inaugural affair.
These gripes are small potatoes, however, when viewed against the backdrop of this year's programming, which is very strong. Cannes-winners/faves and buzz films (4 Months, 3 Weeks & 2 Days; Silent Light; Control; The Banishment), interesting Hollywood fare (The Kite Runner; The Savages; Michael Clayton; Gone Baby Gone; Before the Devil Knows You're Dead; Things We Lost in the Fire) and new entries from prestige directors (Jacques Rivette's The Duchess of Langeais; Catherine Breillat's The Last Mistress; Julian Schnabel's The Diving Bell and The Butterfly; Jiri Menzel's I Served the King of England; Bela Tarr's The Man from London; Mohsen Makhmalbaf's Scream of the Ants) abound, as do a mad slew of docs, retrospectives (Renoir's The River, is a highlight), anime titles, and intriguing features from new directors.
Among these new directors is Anton Corbijn, a music video veteran/photographer whose mesmerizing film Control examines the tragic life of Joy Division frontman Ian Curtis. Based on the memoir by his widow, the film follows Curtis' transformation from a glam-loving teenager into a post-punk icon who committed suicide at age 23.
Crisp B&W photography captures both the bleak and the beautiful exquisitely, lending the film a documentary air, at times. This sense is furthered by the film's silences. Control is the quietest of rock 'n' roll biopics. This may seem odd, but it is essential. The reserve parallels Curtis' behavior: internal, isolated and alienated, but explosive in incredible spurts.
Lead Sam Riley is uncanny as Curtis, embodying not only a physical resemblance, but also his haunted, creative aura. The performance is emotionally wrenching, but it keeps the viewer at a distance nevertheless, much as Curtis did with those closest to him. Though the film is about Ian Curtis, the real Ian Curtis is never fully revealed, only uncovered slightly through the somber verse he penned for Joy Division.
Riley is undoubtedly the star, but Control's heart belongs to Samantha Morton. Her portrayal of Curtis' wife--who remained devoted to her husband even in the face of his infidelity, medical problems and emotional unavailability--is crushing.
"Crushing" also describes the documentary selection, Becoming John Ford, but in every negative way. The film is billed as one that "traces the development of the legend’s career from a studio journeyman to an Oscar®- winning director who defined American cinema," but it does nothing of the sort. Instead, talking heads (a barely recognizable bunch, minus Peter Fonda) sit in a dark screening room discussing Ford's work, personality and relationship with producer Darryl F. Zanuck, while correspondence between Ford and Zanuck is read via voice-over. Clips and photos are at a minimum. Much of Ford's output is not even acknowledged, including The Searchers!
Director Nick Redman was present for a post-screening Q&A and, when pressed, explained many of the film's deficiencies. Becoming John Ford was created in a matter of months for inclusion in a large, multi-DVD box set of Ford's films to be released by Fox. Thus, no mention of Ford's non-Fox films. Redman also noted that other precious essentials that would have allowed for a more complete vision of Ford's career--interviews, photos, etc.--were included in additional box set features, so they were not put in the doc.
Becoming John Ford is a DVD extra, no more. To pump it as anything else in false advertising, plain and simple.
Stay tuned to Facets Features for much, much more coverage of the Chicago International Film Festival, including reviews of the Argentine film, An Aerial, Catherine Breillat's sexy period piece, The Last Mistress, Roy Andersson's superb, You, the Living, Carlos Reygadas' sublime Silent Light, the Hungarian feature, Opium: Diary of a Madwoman, and more.
- Phil Morehart
The weeks leading to the fest were filled with speculation as to whether the fest would proceed at all. The lack of public information was baffling. Schedule announcements and website updates were grossly delayed, as was vital industry-related information. Press accreditation applications were made available only a week before the fest opened--not a good move for an "international" festival that may want foreign press.
Many of these messes seem to have carried over into the festival run. Screenings change times and/or venues without staff knowledge; understaffed box offices back-up into endless queues of irritated patrons; sound drops, framing issues that obscure subtitles, and even simple tasks like turning the theatre lights off plague presentations. For a festival in its 43rd run, it often feels like an inaugural affair.
These gripes are small potatoes, however, when viewed against the backdrop of this year's programming, which is very strong. Cannes-winners/faves and buzz films (4 Months, 3 Weeks & 2 Days; Silent Light; Control; The Banishment), interesting Hollywood fare (The Kite Runner; The Savages; Michael Clayton; Gone Baby Gone; Before the Devil Knows You're Dead; Things We Lost in the Fire) and new entries from prestige directors (Jacques Rivette's The Duchess of Langeais; Catherine Breillat's The Last Mistress; Julian Schnabel's The Diving Bell and The Butterfly; Jiri Menzel's I Served the King of England; Bela Tarr's The Man from London; Mohsen Makhmalbaf's Scream of the Ants) abound, as do a mad slew of docs, retrospectives (Renoir's The River, is a highlight), anime titles, and intriguing features from new directors.
Among these new directors is Anton Corbijn, a music video veteran/photographer whose mesmerizing film Control examines the tragic life of Joy Division frontman Ian Curtis. Based on the memoir by his widow, the film follows Curtis' transformation from a glam-loving teenager into a post-punk icon who committed suicide at age 23.Crisp B&W photography captures both the bleak and the beautiful exquisitely, lending the film a documentary air, at times. This sense is furthered by the film's silences. Control is the quietest of rock 'n' roll biopics. This may seem odd, but it is essential. The reserve parallels Curtis' behavior: internal, isolated and alienated, but explosive in incredible spurts.
Lead Sam Riley is uncanny as Curtis, embodying not only a physical resemblance, but also his haunted, creative aura. The performance is emotionally wrenching, but it keeps the viewer at a distance nevertheless, much as Curtis did with those closest to him. Though the film is about Ian Curtis, the real Ian Curtis is never fully revealed, only uncovered slightly through the somber verse he penned for Joy Division.
Riley is undoubtedly the star, but Control's heart belongs to Samantha Morton. Her portrayal of Curtis' wife--who remained devoted to her husband even in the face of his infidelity, medical problems and emotional unavailability--is crushing.
"Crushing" also describes the documentary selection, Becoming John Ford, but in every negative way. The film is billed as one that "traces the development of the legend’s career from a studio journeyman to an Oscar®- winning director who defined American cinema," but it does nothing of the sort. Instead, talking heads (a barely recognizable bunch, minus Peter Fonda) sit in a dark screening room discussing Ford's work, personality and relationship with producer Darryl F. Zanuck, while correspondence between Ford and Zanuck is read via voice-over. Clips and photos are at a minimum. Much of Ford's output is not even acknowledged, including The Searchers!Director Nick Redman was present for a post-screening Q&A and, when pressed, explained many of the film's deficiencies. Becoming John Ford was created in a matter of months for inclusion in a large, multi-DVD box set of Ford's films to be released by Fox. Thus, no mention of Ford's non-Fox films. Redman also noted that other precious essentials that would have allowed for a more complete vision of Ford's career--interviews, photos, etc.--were included in additional box set features, so they were not put in the doc.
Becoming John Ford is a DVD extra, no more. To pump it as anything else in false advertising, plain and simple.
Stay tuned to Facets Features for much, much more coverage of the Chicago International Film Festival, including reviews of the Argentine film, An Aerial, Catherine Breillat's sexy period piece, The Last Mistress, Roy Andersson's superb, You, the Living, Carlos Reygadas' sublime Silent Light, the Hungarian feature, Opium: Diary of a Madwoman, and more.
- Phil Morehart
3 comments:
I agree completely about Becoming John Ford. It was about as satisfying as a Beach Boys box set covering only the Bruce Johnston years, or "Babe Ruth: Pride of the Red Sox."
Another sign of the lame administration of this festival is the fact that for the screening of Makhmalbaf's "Scream of the Ants" last weekend, they screened a DVD reviewers copy! So, on the top right-hand part of the screen there was a little message saying "Property of such-and such Films."
The CIFF waited until the audience had bought tickets and the theatre was 3/4 full RIGHT BEFORE the screening to tell people about the fact that they didn't have the real copy.
They either should have cancelled the film or given audience members a free pass for another one.
Oh, and the film is NOT one of Makhmalbaf's best efforts.
thanks for the heads-up, anonymous. this news is distressing. it also seriously impacts my decision to see the Tuesday screening of the film.
I'll inquire if the DVD will be screened then and report back.
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