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Make Your Move

With camerawork and editing that allows us to truly enjoy the footwork of its stars, "Make Your Move" is a vibrant, fun dance movie.

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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.

Emperor

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Since 1996 Yoko Ono has incorporated a wish tree into her work. Four years ago, my husband, who was only my dance partner at the time, and I went to her Wish Tree for Pasadena and filled out wishes on pieces of paper and tied them to a tree at One Colorado. I don't recall what I wished for, and the tags with string are more American than Japanese. I was reminded of those tags when I saw SDSU professor Wendy Maruyama's "The Tag Project." Keep both the wish trees and The Tag Project in mind when you see the movie "Emperor." Maruyama's project uses 120,000 paper identification tags—each representing an individual of Japanese descent who was imprisoned in one of the ten so-called relocation centers during World War II—and the tags are grouped by camp into an 11-foot-tall 100-pound hanging mass that resembles a trunkless tree. My relatives names would be included on those tags in at least two different internment camps. The Japanese wish trees are commonly seen at temples or shrines. People buy scraps of paper and write wishes before tying them to a tree. The strips of paper flutter in the wind. From afar, they could be white flower blossoms. In some cases you can read what other people wrote. On the Asian sweetheart's day, Tanabata, this act can be particularly romantic. Tanabata is a festival about star-crossed lovers and "Emperor" is also about ill-fated lovers. Based on the real Occupation of Japan, the movie uses romance to make the journey worth taking because we already know how history played out. The emperor of Japan, Hirohito, was not tried as a war criminal and was allowed to remain the figurehead of the Japanese government until his death in 1989. The Japanese Imperial House is the oldest continuing hereditary monarchy in the world. The movie takes and expands a vague notation from a real general, Bonner Fellers, about visiting an unnamed friend in Japan. Davis Klass and Vera Blasi's screenplay supposes that friend was female and the object of Fellers' affection. You might be tempted to dismiss this as another white man's exotic Oriental adventure in the same mold as Madame Chrysantheme (the French precursor to Madame Butterfly), but this movie displays more than the usual sensitivity toward Japanese attitudes on American policy. Yet these culture crossing ambitions aren't fully developed, leaving us with a love story that is more simplistic than simple and with a history lesson that has managed to raise some objections in the Los Angeles Japanese American community. While I understand "Emperor" is only based on a true story and I shouldn't expect it to be faithful to history, it is also not the story about being unfaithful. You'll see what I mean below. The movie starts with grainy black and white archival shots of "Little Boy," the atomic bomb that was dropped on August 6, 1945 on Hiroshima (Three days later "Fat Boy" was dropped on Nagasaki). The film shows us the devastation of Hiroshima, a stark treeless landscape. By the end of August, Douglas MacArthur (Tommy Lee Jones) is on a plane with his staff (including Fellers), going to Tokyo to set up the Occupation of Japan at the Dai Ichi Life Insurance Building. MacArthur's staff on the plane and, indeed, all the people at Dai Ichi are portrayed as white men and this sets up the first historical and logical problem. The military at the time was still segregated, but one possible exception to this was Military Intelligence Service members. MIS during World War II had two branches—one specializing in Japanese and the other in German. The Japanese branch was comprised predominately of Japanese American Nisei who helped military units with translation, interpretation and interrogation. Although they were a secret much like the Navajo Code Talkers and the female "computers," in 2010 the 6,000 Japanese Americans who worked as part of the MIS were awarded the Congressional Gold Medal. Yet you won't see any trace of the MIS Nisei service men in this movie. At the end of World War II, the victorious Allies had to decide who would be tried for war crimes and in Japan's case, MacArthur needed to decide if Japan's emperor would be found responsible for the war and tried as a Class A criminal. He puts Japanophile Fellers in charge. Through flashbacks we learn that Fellers (Matthew Fox) has an ulterior motive. After meeting a beautiful Japanese exchange student, Aya (Eriko Hatsune), at the fictional Douglaston College in 1932, he pursued her even after she suddenly returned to Japan. A member of the military already, he finagled an assignment in Japan to write about the psychology of the Japanese. Fellers based his article on conversations with Aya's military officer uncle. Not the best methodology, but dammit, we were on the brink of war and that's unfortunately how a lot of research materials on Japan was produced during that time period. The coming war forced the two apart. During the war, Fellers lost contact with Aya, and now back in Japan, he searches for her during the ten days the Supreme Commander of the Occupation, Douglas MacArthur, has given him to decide if the emperor will be charged as a Class A Criminal in the Tokyo War Crimes Trials. Fellers is well aware that while MacArthur wants to show Japan "old-fashioned American swagger" and declares that his mission is to rebuild Japan, MacArthur also intends to enlarge his legend and potentially run for the White House. Bonner Fellers's investigation and his search for his beloved Aya are assisted by his English-speaking Japanese chauffeur, Takahashi (Masayoshi Haneda). This is not exactly shades of the Green Hornet's Kato, but this single role eliminates the need for any MIS Nisei. Yet would U.S. military really trust a Japanese national to facilitate these top secret actions, particularly after forcing the American-born ethnic Japanese to sign loyalty oaths during their incarceration at internment camps? What Klass and Blasi's script does provide is a small historical counterpoint. Aya's uncle mentions the pre-Pearl Harbor oil embargo in 1941 (Pearl Harbor was bombed in December of the same year). Consider what the U.S. has been willing to do in recent years for oil. Further, the former prime minister Fujimaro Konoe (1940-1941) asks what is different about Japan's imperialism (the motto then was "Asia for the Asians") compared to what the British, French and Americans had been doing. "We are simply following your fine examples," he comments. Contrasting aspects of imperialism could have made this movie more complex and increased understanding of the Tokyo Trials but this thread isn't pursued. Yet "Emperor" gives us the impression that except for one bad egg, the U.S. Forces in Japan were an impressively upstanding and fair bunch. Fox as Fellers has that anxious integrity he also displayed in the TV series "Lost." Fox also has real chemistry with the willowy Hatsune, but that alone is not enough to create a believable torrid romance. When Hatsune's Aya tells Fox for a Japanese woman, she's quite daring the only evidence we have is her hairstyle. Her courage rationalizes her risk at having an affair with a foreigner but director Peter Webber doesn't draw out much more than that. In the movie, what prevents Fellers and Aya from getting married are her dead father's request that she not marry a foreigner and the Japanese military propaganda which encourages kids and others to hate foreigners. The Japanese propaganda is only half of the story. In the real world, prior to the militarization of the Japanese government and the oil shock, anti-foreign sentiment in Japan was also stirred up by the unequal treaties forced on Japan by Western nations (U.S., Great Britain, Netherlands, France and Russia), and biased laws in other countries such as the U.S. that treated Japanese nationals poorly. Similar treaties had been forced on China (China's Century of Humiliation) and Korea (by Japan first and then Western nations including the U.S., France, Germany, Italy and the U.K.). The U.S. and other countries portrayed East Asians as the yellow peril. Some U.S. states had miscegenation laws that included Asians, Native Americans and Filipinos as well as blacks. Then there were the anti-immigration acts aimed at the Chinese and Japanese. This reality is left out and in the movie, in the flashback sequences where Fellers romances Aya, the U.S. seems dreamily peaceful, even for East Asians. The real Fellers had a longer deadline to accomplish his mission and historians such as Herbert Bix and John W. Dower concluded that MacArthur's headquarters and Fellers worked almost as a defense team for the emperor. Then there's that one detail which could kill the romantic storyline and make the love story flutter into "Madame Butterfly" territory: In 1925, Fellers married Dorothy Dysart. She was not, like the MIS, a secret that the writers could have easily overlooked. He wrote letters to her about his relationship with MacArthur at a critical time when Fellers and Dwight Eisenhower were both on his staff. She died in 1981. This movie doesn't mention her, and Fellers and Aya's love isn't tainted by adultery. Of course, other movies have conveniently removed wives from the story such as the 1989 "Glory," which looked at the 54th Massachusetts Volunteer Infantry—the first all African American formal infantry unit. To my memory, Matthew Broderick's Colonel Robert Gould Shaw wasn't portrayed as married although the real Shaw was. But that movie was about race and war, not star-crossed lovers separated by war. "Emperor" attempts to treat this moment in history as if race didn't matter. The Tokyo War Crime Trials and the conviction of Japanese American Iva Toguri D'Aquino, the reputed Tokyo Rose, were plagued by questions of law and racism. Consider the judges of the Tokyo Trials. One of the 11 judges, Delfin Jaranilla, was a Bataan Death March survivor. The Chinese justice, Mei Ju-ao, had no experience as a judge at all. The judge from the U.S.S.R., I. M. Zaryanov, didn't speak either of the two official languages of the tribunal. The designated president of the tribunal, Australian William Webb, had investigated Japanese Imperial Army actions in New Guinea. Despite this Webb was against the death penalty for conspiring to wage, or planning, preparing, initiating or waging aggressive war, observing that no Nuremberg defendant had been sentenced to death for the crime of aggressive war and questioned if the Japanese defendants were being treated "with less consideration than the German accused." Roling objected to the death penalty for non-military personnel and for anyone for crimes against peace. Justice Radhabinod Pal of India was the only justice with prior experience in international law and his dissenting opinion was banned during the Occupation. He would have found none of the defendants, including the emperor, guilty because conspiracy to wage aggressive war was not considered an international crime in 1937 and Western colonialism and the dropping of the atom bomb were not on the list of war crimes. Justice B. V. A. Röling of the Netherlands commented, "It was horrible that we went there for the purpose of vindicating the laws of war, and yet saw every day how the allies had violated them dreadfully… Tojo was right that in this respect Tokyo was victor's justice only." "Glory" looked at the uncomfortable gray areas of racism and the two cultures that uneasily co-existed in America during the American Civil War. You could hardly imagine a historical black-white romance set during the Civil War or the 1940s involving Africa and the U.S. that didn't touch on American racism. Without the inclusion of American racism toward Japan and the Japanese Americans, the movie "Emperor" remains within the propaganda of MacArthur's time. The movie ends by telling us the fate of the Class A war criminals who were portrayed, but doesn't hint at the true nature of the trials or the Occupation. The absence of the changing landscape of race and segregation within the armed forces and the attending legal and moral considerations set "Emperor" in another era of movie-making. Is that really acceptable now? With all the legal racism within the victorious countries of World War II in the 1940s and after, how could we expect the Tokyo Trials to be fair? Why even bother to name the character after a real person when you conveniently forget his wife? Oddly, director Webber and his crew set the mood for the film with loving attention to the surroundings. The sets are certainly beautifully done. According to the press notes, the period of Japan hasn't been seen in a Hollywood film since the 1956 "Teahouse of August Moon" which starred Marlon Brando. That was Brando in historically acceptable 1950s yellowface. The production designer for "Emperor," Grant Major ("Lord of the Rings"), used an industrial site in New Zealand to create the burned-out Tokyo scenes which were quite effective. Grant also re-created the Imperial Palace and MacArthur's offices based on black and white photos. The look of the movie and the attention to detail in the costumes (Oscar-winning Ngila Dickson who worked on "The Last Samurai") are exceptional, but in the end, the story is not. So you might be wondering why I mentioned the wish trees. Keep the wish tree images in mind for the scene where the Fox as Fellers discovers the fate of his beloved Aya. Yet do not think of Aya when you want to see a real strong Japanese woman. Instead think of Yoko Ono as an example of a Japanese woman who rebelled against tradition. She was famous in the art world before she met and married John Lennon. "Emperor" had the potential to begin a discussion about Japan, race and history and peace but falters, wasting the convincing imagery of the set design and the tender chemistry of its leads. In the end, "Emperor" makes me wonder about artistic license versus ethics and how Bonner Fellers will be remembered in popular culture or if the existence of his wife Dorothy will be remembered at all. And, sadly, I also wondered how long Japanese Americans and other minorities will be whitewashed out of history at the movies. August is the month when the atomic bombs were dropped on Hiroshima and Nagasaki and when the Japan surrendered in 1945. August is also the month that President Ronald Reagan signed the Civil Liberties Act of 1988 into law, officially apologizing for the incarceration of 120,000 Japanese Americans during World War II and awarding $20,000 to each of the survivors. By the lunar calendar, Japanese and Japanese Americans celebrate Tanabata and this movie and others have left both a lot to wish for. "Emperor," which was given a limited release in March of this year, is now available on Amazon Instant.

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#165 May 1, 2013

Marie writes: Intrepid club member Sandy Khan has sent us the following awesome find, courtesy of a pal in Belgium who'd first shared it with her. "Got Muck?" was filmed by diver Khaled Sultani (Emirates Diving Association's (EDA) in the Lembeh Strait, off the island coast of Sulawesi in Indonesia. Camera: Sony Cx550 using Light & Motion housing and sola lights. Song: "man with the movie camera" by cinematic orchestra.

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The 2013 Santa Barbara International Film Festival (by way of Oklahoma)

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Seasonal anticipation: as 2013 debuted, many were feeling it. The 28th iteration of the Santa Barbara International Film Festival, aka "SBIFF," was on the wind, with jazzed moviegoers soon to converge elbow-to-elbow in a familiar, even familial, and happy bustle on downtown's State Street.

I was among the excited, as this would be my third year covering the festival. And for me, extra sweetening would be provided by the tribute to Daniel Day-Lewis, the oft-reticent acting genius whose reanimation of Abraham Lincoln seemed certain to bring another Best Actor Academy Award -- his 3rd, making him the only actor to surpass Marlon Brando, who received 2.

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The death of a young paparazzo

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Night on a highway somewhere. A hat and a shoe. In its very simplicity the photograph signals it has some hidden significance.

The caption explains that the two objects on Sepulveda Blvd. in Los Angeles are at the spot where a young man named Chris Guerra was struck by a SUV and killed at about 6 p.m. New Year's Day while trying to cross the four-lane highway.

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#139 October 24, 2012

Marie writes: The countdown to Christmas officially begins the day after Halloween, which this year lands on a Wednesday. Come Thursday morning, the shelves will be bare of witches, goblins and ghosts; with snowmen, scented candles and dollar store angel figurines taking their place. That being the case, I thought it better to start celebrating early so we can milk the joy of Halloween for a whole week as opposed to biding adieu to the Great Pumpkin so soon after meeting up again...

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#135 September 26, 2012

Marie writes: It's no secret that most Corporations are evil - or at the very least, suck big time. And while I have no actual proof, I'm fairly certain there is a special level of Dante's Hell reserved just for them. (Map of Dante's Hell.)That being the case, when my younger brother Paul wrote me about a cool project sponsored by Volkswagen, I was understandably wary and ready to denounce it sight-unseen as self-serving Corporate shyte. As luck would have it however, I was blessed at birth with curiosity and which got the better of me and why I took a look. For what I found was nothing less than extraordinary....

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Symbols more real than reality

May Contain Spoilers

A few years ago, while sitting in the mosque during a Friday sermon, I noticed a man in the center of the second row. This is an octagonal mosque with bare white walls. On the outside, its bluish brick and yellow dome consciously invoke the Dome of the Rock, which itself, incidentally is not a mosque. This man was sitting on the blue carpet with the rest of us, about six feet away from the preaching Imam, yet interestingly, he was not looking at him. The Imam was dressed in a white thobe, white skull cap, and that contrasted his thick jet-black beard. Instead, the man of salt-and-pepper beard was staring at the giant projection of this Imam on a screen above. I don't remember what the Imam was speaking about that day, which might explain why I was probably staring curiously at this man as he stared at the live video projection of the preacher standing right in front of him. But, for reasons I will explain below, that moment comes to mind when I think of Ridley Scott's "Prometheus" (2012).

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The agony of making cinema

May Contain Spoilers

When it comes to "Making of" documentaries, I put one above all others. It is "Hearts of Darkness: A Filmmaker's Apocalypse" (1991), a full-length feature about the filming of Francis Coppola's "Apocalypse Now". Nothing quite illustrates its impact like Francois Truffaut's statement: "I demand that a film express either the joy of making cinema or the agony of making cinema. I am not interested in anything in between." That the pain it captures eventually translated into cinematic greatness only serves to make it more compelling.

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On nudity and sex and Shame

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Above: Photo (censored) taken during the filming of "Shame" in New York.

When it comes to sex and nudity in the movies, at some point the fiction gives way to a recording of the actors getting naked. Steven Soderbergh reportedly said on one of his commentary tracks that, especially when famous actors are involved, "the minute they take their clothes off, it becomes a documentary." I thought of this when I read Richard Brody's post at his New Yorker blog, The Front Row, about Michael Fassbender and co-stars' ballyhooed sex and nudity in Steve McQueen's "Shame." (Apparently nobody remembers that Fassbender was also naked in McQueen's "Hunger" -- although he was getting thrown around the prison at the time.)

In a piece called "Behind, Before, Above, Between, Below," Brody writes:

McQueen's film has lots of it--huffing and puffing, pumping backsides and writhing limbs and grimacing faces--and it's got bodies: Fassbender's, full frontal but fleetingly, in shadow, at a distance, or, most grotesquely, seen from behind and below, urinating; Carey Mulligan's, naked but in side view; and a few other women, in a variety of stages of undress. I have never had any particular interest in seeing any of these actors' genitals, but I find McQueen's coy respectfulness cinematically offensive. If he's going to show his performers undressed, the lighting should be the same as it is on their faces, and the angles in which he shows them should be as plain as those which he uses for their faces. Instead, he uses their bodies as a sort of chit of authenticity and frankness. Whether the story itself is authentic and frank, we can talk about when the movie is released, but there's an intrinsic oddity to the notion of actors showing it all.

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He coulda been a contender

May Contain Spoilers

Elia Kazan's "On the Waterfront" has been discussed endlessly by film fans, critics and film historians. It's easy to see why, for "On the Waterfront" can be studied from various perspectives. On the one hand the film reflects a time in history when some Americans named names before the House of Un-American Activities Committee much like Terry Malloy does in court. It has also been argued to be Kazan's answer to Arthur Miller's play "The Crucible" or his redemption and justification for falling victim of Joseph McCarthy's witch-hunt of the 1950's.

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#80 September 14, 2011

Marie writes: my brother Paul recently sent me an email sharing news of something really cool at the Capilano Suspension Bridge in North Vancouver. For those who don't remember - as I'm sure I've mentioned it in the Newsletter before, the Capilano Suspension Bridge was original built 1889 and constructed of hemp rope and cedar planks. 450 feet (137m) long and 230 feet (70m) high, today's bridge is made of reinforced steel safely anchored in 13 tons of concrete on either side of the canyon (click images to enlarge.)

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#78 August 31, 2011

Marie writes: At first you think you're looking at a photograph. Then the penny drops, along with your jaw..."Alan Wolfson creates handmade miniature sculptures of urban environments. Complete with complex interior views and lighting effects, a major work can take several months to complete. The pieces are usually not exact representations of existing locations, but rather a combination of details from many different locations along with much of the detail from the artist's imagination. There is a narrative element to the work. Scenarios are played out through the use of inanimate objects in the scene. There are never people present, only things they have left behind; garbage, graffiti, or a tip on a diner table, all give the work a sense of motion and a storyline. Alan's miniature environments are included in art collections throughout the US and Europe." - Alan Wolfson - Miniature Urban Sculptures

"FOLLIES BURLESK" (1987)14 1/4 x 19 1/4 x 21 1/2 inches(click images to enlarge)

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On "The Rack" with Paul Newman and Stewart Stern

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• "The Rack" (1956) • "Until They Sail" (1957) • "The Prize" (1963) • "Tales of Tomorrow: Ice From Space" (1953)"The Rack," "Until They Sail" and "The Prize" are now available on made-to-order DVD from the Warner Archive Collection for $19.95 each. "Tales of Tomorrow" can be viewed on Hulu Plus and Amazon Instant Video.

by Jeff Shannon You would think that every film Paul Newman ever appeared in would be readily available on home video, right? Guess again. One of the best films from Newman's early career has managed to slip through the cracks of home-video distribution for decades, and unless you're old enough to have seen it in theaters or on TV over the years, it's possible you've never even heard of it. So when I heard that "The Rack" (1956) was available on home video for the very first time, I couldn't wait to break the news to Stewart Stern.

For anyone who's wondering "Stewart who?" there's a convenient shortcut you can use when discussing the impressive life and career of Stewart Stern. All you have to say is, "He wrote 'Rebel Without a Cause.'" Uh-huh, that one. With a credit like that, any screenwriter could legitimately claim a slice of movie immortality, like James Dean did as the now-iconic star of Nicholas Ray's 1955 teen-angst classic. But to say that Stern only wrote "Rebel" is a bit like saying Frank Lloyd Wright designed a house. In the course of his distinguished, decades-spanning career, Stern wrote rich, psychologically perceptive scripts that were magnets for great actors and great acting: His script for "The Ugly American" (1963) gave Brando plenty to chew on; his Oscar-nominated script for "Rachel, Rachel" (1968) gave Joanne Woodward what is arguably the best role of her career (under the direction of her husband, Paul Newman; they also earned Oscar nods); and Stern's Emmy and Peabody-winning teleplay for "Sybil" (1976) transformed cute TV actress Sally Field into an Emmy winner with a pair of Oscars in her future. A few years later, Stern left Hollywood, weary of the rat race and struggling with writer's block, the delayed effect of post-traumatic stress from service in World War II. In the mid-'80s, Stern relocated to Seattle and never looked back. And while Stern may have been a nephew of Paramount Pictures founder Adolph Zukor, with additional family ties to MGM moguls Arthur Loew Sr. and Jr., his closest Hollywood connection was more personal and more warmly indicative of the man's soul and spirit: For 55 years, Stewart Stern was one of Paul Newman's very best friends.

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Serpico, the cop who wouldn't take money

May Contain Spoilers

In contemporary Hollywood, when a young actor becomes successful, he immediately tries to convert fame into power and money, investing his time in formulaic projects that guarantee great results at the box office and, thus, his ascension in the industry. It was not always like this - and we just need to observe Al Pacino's career to confirm that: after he became a hit with The Godfather, dozens of screenplays fell onto his lap, but he still focused on challenging and complex works in which he struggled against Hollywood's attempts to turn him into a heartthrob - projects such as A Dog Day Afternoon (in which he robbed a bank to pay for the sex reassignment surgery of his boyfriend, played by Chris Sarandon) and, of course, Serpico.

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Maria Schneider comes to America

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Roger Ebert / September 14, 1975

LOS ANGELES--It was, said the critic Pauline Kael, perhaps the most important artistic event since the first performance of Stravinsky's "The Rites of Spring." She was referring to the 1973 premiere of "Last Tango in Paris," a film by Bernardo Bertolucci which dealt in explicit detail with a brief affair between a middle-aged man and a girl barely out of her teens. The man was Marlon Brando, long acknowledged as the finest screen actor of his generation. The girl was Maria Schneider, a 20-year-old with an innocent face, a woman's body and an electrifying presence.

Most of the film involved just two actors, and Schneider held her own with Brando in a stunning confrontation with sex and death. It was an astonishing performance. Maria Schneider quickly became the favorite "bad girl" of the movie press. She gave shocking interviews, she walked off a movie set and had herself committed to an asylum with the woman she described as her lover, she seemed to be surrounded by scandal. And then she made a film with another of Europe's top directors, Michelangelo Antonioni, and another major star, Jack Nicholson. The film was "The Passenger," and this time her screen image was altogether different: She was quiet, intelligent, even sweet.

Then Schneider dropped from view. She moved to America; signed with Paul Kohner (the legendary agent who represents Ingmar Bergman, Liv Ullmann and many other Europeans), turned down several big film offers, and moved into a house in the Hollywood hills. This interview, conducted in Kohner's office, is her first in the United States. She wore faded denims, smoked frequently, looked thinner and more intriguing than in "Tango," and seemed ready to revise her European image.

Q. Why California?

A. The main thing was the space. It was getting hard to breathe in Europe - it's too compact, too compressed. I lived in France about three years, traveling around a lot, and then I tried London, and about six months ago I settled on here.

Q. Americans have a thing about Southern California . . .

A. So do I. It's hard to talk to the people here. They're very shallow. All they talk about is their look, their hair and their screwing. But I love to act, and here is the place to come for the movies. Q. Paul Kohner said you were reading a screenplay based on "The Story of an African Farm."

A. Yes. It's a wonderful story. It's about a girl growing up in South Africa a century ago, and finding herself, and learning how to rely on herself. The story's so good, I want to make the film. I've had offers for a lot more money, but this project is by a director who's young and ready and wrote the screenplay himself. He'll care more than someone who was just paid to direct a story . . . and it's a good role for a woman. In most movies these days, women are just decoration. I'll never be that.

Q. So far you've been in two movies with two top directors, Bertolucci and Antonioni . . .

A. Six movies. Nobody knows, but I did six movies before "Last Tango in Paris." I don't think any of them ever played here. One was directed by Roger Vadim, after he made "Pretty Maids All in a Row." And I did some theater, and a couple of underground French movies. I walked out on one of them when I wasn't paid. I fought with the director, went back to Paris, and met Bertolucci. He offered me the role in "Tango."

Dominique Sanda was going to do it, but she got pregnant.

Q. And you got a sort of immortality, because the movie's already a landmark.

A. So much of that was because of Brando. He was wonderful to work with, for an actor like myself who was still beginning. He had just finished "The Godfather," and now this was also part of his comeback, and you'd think he'd want the advantage in all of the scenes. Actors always try to look their best. But he gave me the advantage, the material to work with. And he was brilliant when we improvised . . . the bathroom scene was improvised.

Q. And Bertolucci?

A. He's a great director, but . . . well, I was 20 when I did "Tango." Bertolucci made me wear very heavy black makeup under my eyes. Makeup on a girl who's too young gives her the wrong character, gives her a funny look. I argued with him, but with no luck. I don't know who he thought I was supposed to be. Marlon was such a good force on the picture. We were working like dogs with an Italian crew, filming in Paris, overtime and all that, and two crew members came down with stomach ulcers. And Marlon was the one - not Bertolucci, who goes on about being a member of the Italian Communist party - but Marlon was the one who brought sandwiches and wine for the crew and worried about them.

Q. After the film was released you were suddenly famous - or infamous - all over the world.

A. And Marlon told me about that, too. He was the first to tell me about the bad parts of fame. How the press can seize on everything and make it as sensational as they can. And there the European press is worse than the American. I think they'll print anything.

Q. There were some amazing quotes attributed to you.

A. I think I said a lot of them. After "Tango" came out, I amused myself at interviews by saying scandalous things, thinking they were funny. I talked about going out with men, women, I sounded promiscuous, I took it all as a joke. I see now it wasn't funny . . .

Q. And then you went to Antonioni . . .

A. For "The Passenger." It's an interesting thing about that film. It did better in America than it did in Europe. And Antonioni is supposed to be a star in Europe. I'm glad the Americans could watch something slower and more thoughtful for a change, instead of all the violence and crime. Still, I think Michelangelo has a problem with his English. He doesn't speak it very well, and I think some of the dialog in "The Passenger," which was supposed to sound real, sounded falsely poetic. Like when Jack Nicholson says, "What the hell are you doing here with me?" And I say, "Which me?" You see how wrong that sounds? And in another scene he says, "I met you before - you were reading" And I say, "That must have been me." Terrible!

Q. Are you looking at scripts from American directors now?

A. I'm looking at all kinds of scripts. Most of them are no good. Hardly any of them have interesting female roles.

Q. Paul Kohner was thinking out loud about the idea of a movie of Hemingway's "Across the River and into the Trees," which would be directed by John Huston and might star Robert Mitchum as the old colonel and you as the young contessa . . .

A. And be shot in Venice. I'd love to work in Venice. I lived there for a while. The light and the silence and all around the sound of the footsteps. You know, I saw Mitchum just last night in "Farewell, My Lovely." It stayed in my mind all night. I loved Jack Nicholson playing the detective in "Chinatown," but I much preferred this detective by Mitchum. What do you think of the . . . the chemistry if Mitchum and I were to be together?

Q. Dynamite.

A. (Laughs) And yet, you know, I always act with these men like Brando and Nicholson, who are much older than me. I wouldn't be with a man that age in my own life. And I think there'd be a problem in filming in Venice, too.

Q. The canals?

A. No, the insurance. You know, I have a problem in Italy since my last film with the companies that insure a film. I signed myself into an asylum for a friend of mine. They locked her up, and so I had to do it out of loyalty.

Q. That was in all the papers here.

A. And all the papers everywhere. But they never printed that I finished the movie.

Q. You did? I got the impression it was closed down. A. Oh, yes, I finished it. It was called "The Baby Sitter," it's a thriller by Rene Clement, who did "Forbidden Games." It's a good thriller, well made, nothing poetic about it. They took away two-thirds of my salary to keep the insurance people happy. The producer was Carlo Ponti. He'll come out ahead any way he can. When Clement wanted me for the movie, he wanted me to play the role that was negative. There were two girls in the movie, and one was perverse and destroyed, and of course that was the one he wanted me for. But Antonioni showed him "The Passenger," and then I got the other role. He only knew me from "Tango." God knows what people think I really look like and act like!

Q. After "The Baby Sitter," did you split for Hollywood?

A. More or less. I was supposed to make a movie in Paris with Jean-Luc Godard. You know, he works in eight millimeter now. He gave a brilliant press conference about it in Cannes. He explained to me that the actor would put up $40,000, and he would put up $40,000, and then we would make the movie together. I would have, too, but I didn't have $40,000. And I still don't.

Q. But "Tango" made millions and millions . . .

A. Ha! You know what I was paid? Five thousand dollars! That's all. I didn't even get a percentage of all those profits. Jack Nicholson told me that after "Easy Rider" made so much money, they gave him something more in addition to the little he made in the first place. But no Italian producer would ever do that. I'm glad I've got Paul as my agent. He'll look after things like that. I'm no good with money. Working on my own, I constantly got ripped off. I just can't handle money.

Q. How'd you meet Kohner?

A. I walked in off the street. I'd heard he was the top agent. My doctor was in the building next door. I came out from his office, saw Paul's sign, and introduced myself at the switchboard. "Who are you?" they asked. I said I was an actress who wanted him to represent me. They asked what credits I had - they thought l was a nut off the street. I said I'd worked with Bertolucci and Antonioni. They didn't believe me. Finally one person in the office did recognize me. I look a little different now, I'm thinner, I'm 23, I wasn't wearing makeup.

Q. Kohner seems sort of paternal toward you, protective.

A. Well, I don't need too much protection. I live a simple life. And Paul tells me, let's wait for the right role. People get lazy doing whatever is given to them. I'd rather wait and go broke than be forced to do a bad movie for money. Paul has Charles Bronson and Ingmar Bergman among his clients. He says, we can go big, like Bronson, or small, like Bergman. I'd rather go small.

Q. And in the meantime you're keeping life uncomplicated?

A. That's right. I don't own anything. Well, I own a pickup truck. I don't have any maids or answering services or any of those things. I spend my money on food and travel and cameras. I live in Laurel Canyon with some friends, including some writers. None of my friends are actors or directors or Hollywood types.

I'm not interested in that crowd. And I'll just hold out and look for a decent role for a woman. "The Story of an African Farm" looks about the best.

Q. What else is around?

A. Paramount wants me to do "Black Sunday," which is about terrorists, and I play a Palestinian guerrilla. That's their idea of a woman's role. But things are changing. Most of the members of my generation are gay, or bisexual, they have more open minds about sexuality, about what a woman's role can be, or what the potentials are.

Q. Did you say most of your generation?

A. Most of my friends, anyway. Or maybe it's just California. The theme from "Last Tango in Paris:" Theme From Last Tango In Paris (1972) by seasonwitch

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