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A Letter to Momo

Even scenes that work, such as a climax on a rain-soaked bridge, feel like they could have been trimmed by a few hand-drawn frames. Maybe…

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Cannibal

Visually striking and confident but frustratingly hollow in terms of character and narrative.

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Ballad of Narayama

"The Ballad of Narayama" is a Japanese film of great beauty and elegant artifice, telling a story of startling cruelty. What a space it opens…

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Monsieur Hire

Patrice Leconte's "Monsieur Hire" is a tragedy about loneliness and erotomania, told about two solitary people who have nothing else in common. It involves a…

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* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.

Eastwood, now and Hereafter

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When I stepped up to buy my ticket for "Hereafter," the woman in the booth (who has worked there for many years) said, "This movie's directed by Clint Eastwood." I know, I said. "He's not in it," she said. "I guess it hasn't been getting very much publicity."

I don't know if it has or hasn't, but it got me to thinking: I'm not sure I could identify a Clint Eastwood movie on sight. Is there an identifiable Eastwood directorial vision or style, apart from a certain willfully "classical" gloss applied to a professional reserve that sometimes borders on indifference? Is he like a William Wyler or a Robert Wise, a journeyman, capable of making some very good movies, whose sensibility is identifiable primarily through the combined talents of his collaborators? Who is Clint Eastwood, the director?

Eastwood hires top-of-the-line folks (after all, he can), has them do their things, and prides himself on shooting the script as written, on time and on (or under) budget. Some very good directors I know don't consider what he does to be direction so much as project management, because they don't see anything particularly distinctive in the results, film after film. Still, Eastwood can get movies made that perhaps nobody else could, based on the strength of his commercial reputation and long association with Warner Bros.

Some critics I greatly admire find his work impressive and moving. Many of those who've worked with him describe the atmosphere Eastwood fosters on the set as his greatest contribution to the picture: He creates the conditions he needs to get the movie he wants from he people he's hired -- which is, to a lesser or greater extent, what all good directors must do. (See Robert Altman for a striking example.) But, when watching a post-"Unforgiven" Eastwood picture, I frequently detect a peculiar detachment, a feeling that I'm watching something coasting along on auto-pilot without any particular human or artistic vision to guide it.¹ I respond to directors who have been accused of glacial misanthropy -- from Antonioni to Kubrick -- and that is integral to their worldview. With Eastwood, I simply sense an almost mechanical disengagement from his material. Parts of some of these movies seem to have been made by robots.

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Cannes #8: Sex, awards & film

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CANNES, France – It probably won’t happen this way, but wouldn’t everyone be pleased if Gerard Depardieu won the best actor award at Cannes this year. The festival’s awards are given out Sunday night (12:30 p.m. CDT), and Depardieu received a tumultuous ovation Friday as the star of “Quand j’etais Chanteur,” or “The Singer.” Depardieu’s character reminded many audience members of the actor himself: A beefy middle-aged artist still slugging away at a job he loves, smoking too much, adamantly on the wagon, given new hope by his feelings for a much younger woman (Cecile De France). “I’ve been written off a lot of times,” he tells her, “but I always bounce back.”

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