If Beale Street Could Talk
Jenkins’ decision to let the original storyteller live and breathe throughout If Beale Street Can Talk is a wise one.
* 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.
A gallery of photos, videos and links illustrating Chaz's journey relating to Roger's legacy in the two years since his death.
Marie writes: Summer is now officially over. The berries have been picked, the jam has been made, lawn-chairs put away for another year. In return, nature consoles us with the best show on Earth; the changing of the leaves! I found these at one of my favorites sites and where you can see additional ones and more...
Q. Can you think of any post-apocalyptic film where a better America arises from the rubble? True, that war, virus, flood, earthquake or asteroid were very bad things, but these films are typically set decades afterward. Why can screenwriters only imagine Americans behaving badly? Bad teeth, I can understand, in a post-dental world.
I came across a statistic the other day that claimed only about ten percent of Americans have traveled outside their country. There is no reason for this. The recession is not an explanation; the survey was taken back when Bear, Sterns was still paying its rent. This is the richest and least-traveled of "developed" nations, and I have a feeling many Americans thank heaven every day that they have never had occasion to leave it.
But this will not be a column boasting about my travels to every continent except Australia and Antarctica, and how as a wee lad I saved up my 75-cent an hour salary and boarded a DC-6 that took me to London by way of Gander, Reykjavík and Aberdeen. No, not even though I just googled Antarctica and this is all I found on the page: "stu is a legend and the good guy has cheap sales." That piece of internet vandalism, no doubt created by a friend of Stu's, was authored (I somehow know) by an American  who has never walked three steps outside his own state--of mind. I am enlisting a cyber-posse to track him down and airlift him to the South Pole with a hooded sweatshirt bearing the legend "I'm With Stupid" and an arrow pointing to a penguin. We will leave him with two cans of Ensure and a match.
I got caught in the Indiana Jones whirlwind and allowed an important anniversary to pass unremarked: On May 16, Studs Terkel celebrated his 96th birthday. One of the great American lives continues to unfold. If I know Studs, the great day passed with calls and visits from friends, and the ceremonious imbibing of one (1) gin martini, very dry. I hope he has eliminated the daily cigar, but I'm not taking odds. If you don't know Studs, there are few people you can meet more easily in print. He is the greatest conversationalist I've met, the author of a shelf-full of books in which he engages people from all walks of life in thoughtful conversations about their own lives.
Some of the best things I've read about Ingmar Bergman's place in cinema, written since his death (UPDATED 8/01/07):
E-mails to Roger Ebert from filmmakers and writers including David Mamet, Paul Schrader, Sally Potter, Haskell Wexler, Paul Theroux, Richard Linklater, Gregory Nava, Studs Terkel, David Bordwell, David Gordon Green, Paul Cox...
Gregory Nava: This was not the escapist fare of Hollywood, or the pat spirituality of Biblical epic films where God spoke in hallowed tones from a burning bush. With Bergman, God was a spider that lived in the upstairs closet! A shocking and necessary jolt to my Catholic sensibilities. Yes, these films changed me forever -- they cemented my dream to become a filmmaker because if film could do this -- then surely it was the greatest art form of our time. I will never forget the first time I saw the horses standing in the surf against a setting sun, and death with his black cape raised approaching the world-weary knight. "I hope I never get so old I get religious." -- Ingmar Bergman
Peter Rainer, Los Angeles Times: He worked out of his deepest passions and, for many of us, this made the experience of watching his films seem almost surgically invasive. He pulled us into his secret torments. Looking at "The Seventh Seal" or "Persona" or "Cries and Whispers," it's easy to imagine that Bergman, who died Monday, was the most private of film artists, and yet, no matter how far removed the circumstances of his life may have been from ours, he made his anguish our own.
Another way to put this is that Bergman -- despite the high-toned metaphysics that overlays many, though not all, of his greatest films -- was a showman first and a Deep Thinker second. His philosophical odysseys might have been epoxied to matters of Life and Death, of God and Man, but this most sophisticated of filmmakers had an inherently childlike core. He wanted to startle us as he himself had been startled. He wanted us to feel his terrors in our bones. A case could be made that Bergman was, in the most voluminous sense, the greatest of all horror movie directors.
"If Jesus came back and saw what's going on in his name, he'd never stop throwing up!" -- Bergman actor Max von Sydow, in Woody Allen's "Hannah and Her Sisters"
View image Woody Allen's "Love and Death": A Bergman (and Dostoyevsky and Tolstoy...) parody from someone who loved Bergman.
Roger Ebert, RogerEbert.com: What he saw as God’s refusal to intervene in the suffering on earth was the subject of his 1961-63 Silence of God Trilogy, “Through a Glass Darkly,” “Winter Light” (a pitiless film in which a clergyman torments himself about the possibility of nuclear annihilation) and “The Silence.” In his masterpiece “Persona,” (1967), an actress (Liv Ullmann) sees a television image of a monk burning himself in Vietnam, and she stops speaking. Sent to a country retreat with a nurse (Bibi Andersson), she works a speechless alchemy on her, leading to a striking image when their two faces seem to blend.
So great was the tension in that film that Bergman made it appear to catch in the projector and burn. Then, from a black screen, the film slowly rebuilt itself, beginning with crude images from the first days of the cinema. These images were suggested by a child’s cinematograph which his brother received as a present; so envious was Ingmar that he traded his brother for it, giving up his precious horde of 100 tin soldiers.
WEB EXCLUSIVE -- UPDATED 8/2/07: Roger Ebert has received these e-mail observations about the death of Ingmar Bergman: