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Jane Fonda in Five Acts

Director Susan Lacy has the great advantage of a subject whose life has been extensively documented literally since birth.

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Fahrenheit 11/9

The messiness of Moore’s film starts to feel appropriate for the times we’re in. With a new issue being debated every day, is it any…

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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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* 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.

#310 September 5, 2017

by Matt Fagerholm  |    | 

Matt writes: Werner Herzog celebrates his 75th birthday today, and we are pleased to announce that the latest Roger Ebert book will focus exclusively on the late critic's work about the revered filmmaker. Herzog by Ebert is being released this month by the University of Chicago Press. It contains Ebert's reviews of 15 Herzog films (along with two documentaries about the director), as well as six Great Movies essays, six interviews and an essential, rarely read conversation between the two men at Facet's Multimedia in 1979. Make sure to click here for a sneak peek at its comprehensive content.

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Django Unchain my heart (and set me free)

by Jim Emerson  |    | 

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Quentin Tarantino has found his actor in Christoph Waltz -- someone who can speak Tarantinian fluently and still make it his own. When Waltz uses a self-consciously ostentatious word like "ascertain" (as in, "I was simply trying to ascertain..." -- the kind of verbiage QT is as likely to put in the mouth of a lowlife crook as a German dentist, or a Francophile plantation slavemaster, for that matter), it sounds right. As someone to whom Tarantino's dialog often sounds cliche-ridden and cutesy, it's a pleasure to hear Waltz saying the words in character rather than simply as a mouthpiece for the writer-director.

Oh, stop. This isn't sounding the way I want it to.

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The great movies (almost) nobody voted for

by Jim Emerson  |    | 

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OK, this is where it really gets interesting. Forget the consensus Top 50 Greatest Movies of All Time; let's get personal. Sight & Sound has now published the top 250 titles in its 2012 international critics poll, the full list of more than 2,000 movies mentioned, and all the individual lists of the 845 participating critics, academics, archivists and programmers, along with any accompanying remarks they submitted. I find this to be the most captivating aspect of the survey, because it reminds us of so many terrific movies we may have forgotten about, or never even heard of. If you want to seek out surprising, rewarding movies, this is a terrific place to start looking. For the past few days I've been taking various slices at the "data" trying to find statistical patterns, and to glean from the wealth of titles some treasures I'd like to heartily recommend -- and either re-watch or catch up with myself.

I know we're supposed to consider the S&S poll a feature film "canon" -- a historically influential decennial event since 1952, but just one of many. I don't disagree with Greg Ferrara at TCM's Movie Morlocks ("Ranking the Greats: Please Make it Stop") when he says that limiting ballots to ten all-time "best" (or "favorite," "significant," "influential" titles is incredibly limiting. That's why I think perusing at the critics' personal lists, the Top 250 (cited by seven critics or more) and the full list of 2,045 films mentioned is more enjoyable pastime.

It's wise to remember that, although the top of the poll may at first glance look relatively conservative or traditional, there's a tremendous diversity in the individual lists. Even the top vote-getter, "Vertigo," was chosen by less than one quarter of the participants.

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Greatest Films of All Time: Where's the funny?

by Jim Emerson  |    | 

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The big loser in the 2012 Sight & Sound critics poll is... funny. OK, we know there are no losers, only winners! But, still, with the obvious exceptions of "Citizen Kane" and "Rules of the Game," this decade's consensus choices for the Greatest Films of All Time are not a whole lotta laughs, even though they're terrific motion pictures. There's not much in the way of chuckles or joie de vivre to be found in "Vertigo," "Tokyo Story," "Man with a Movie Camera," "The Searchers," "The Passion of Joan of Arc"... At least "Sunrise," "2001: A Space Odyssey" and "8 1/2" have healthy senses of humor, but "Kane" and "Rules of the Game" are the only movies in the top 10 with the propulsive vitality of (screwball) comedy. They are flat-out fun (even if they are regarded as "classics"). And with "Kane" bumped to #2 this time, The List has become, to paraphrase a great comedy from the 1980s, one less funny.

I say this as someone who believes that comedy is everything, and that drama is lifeless (or at least emotionally stunted) without it. Some might argue that comedy without drama is also limited and superficial, but I think comedy is more profound and complex -- and more difficult to pull off successfully. I can name plenty of comedies that capture a mature vision of human existence (if you're into that kind of thing -- like all of Buster Keaton), but a drama that (artificially) excludes humor is feels false and inert to me. [No, I'm not saying the other movies in the Top Ten are humorless or lack cinematic exuberance; just that their energy is not primarily comedic, as i feel Welles' and Renoir's are. To some extent, I'm talking about the overall tendency to value "seriousness" above "humor" in these sorts of exercises.] As for the 2012 Sight & Sound Top Ten, compare it with 1982 ("Singin' in the Rain," "The General"), 1992 ("L'Atlante") and 2002 ("Singin' in the Rain"). The lack of comedy on the new list hearkens back to the Somber Ol' Days of the 1950s, '60s and '70s. As somebody once said: Why so serious?

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The best greatest movies ever list

by Jim Emerson  |    | 

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UPDATED (08/01/12): Scroll to the bottom of this entry to see my first impressions of the newly announced critics' and directors' poll results.

Vittorio De Sica's "Bicycle Thieves" (1948) topped the first Sight & Sound critics' poll in 1952, only four years after it was first released, dropped to #7 in 1962, and then disappeared from the top ten never to be seen again. (In 2002 only five of the 145 participating critics voted for it.) Orson Welles' "Citizen Kane" (1941) flopped in its initial release but was rediscovered in the 1950s after RKO licensed its films to television in 1956. From 1962 to 2002 "Kane" has remained at the top of the poll (46 critics voted for it last time). This year, a whopping 846 top-ten ballots (mentioning 2,045 different titles) were counted, solicited from international "critics, programmers, academics, distributors, writers and other cinephiles" -- including bloggers and other online-only writers. Sight & Sound has announced it will live-tweet the 2012 "Top 50 Greatest Films of All Time" (@SightSoundmag #sightsoundpoll) August 1, and as I write this the night before, I of course don't know the results. But, for now at least, I'm more interested in the process.

Given the much wider and younger selection of voters in 2012, ist-watchers have been speculating: Will another movie (leading candidate: Alfred Hitchcock's "Vertigo," number 2 in 2002) supplant "Kane" at the top of the list? Will there be any silent films in the top 10? (Eisenstein's "Battleship Potemkin" and Murnau's "Sunrise" tied for #7 on the 2002 list, but the latter was released in 1927 with a Fox Movietone sound-on-film musical score and sound effects.)

Though there's been no rule about how much time should pass between a film's initial release and its eligibility (the Library of Congress's National Film Registry requires that selections be at least ten years old), most of the selections ten to have stood the test of time for at least a decade or two. The newest film on the 2002 list was the combination of "The Godfather" (1972) and "The Godfather, Part II" (1974) -- but they won't be allowed to count as one title for 2012.

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Kiss Kiss Bang Bang: Deeper into Kael

by Jim Emerson  |    | 

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"Film criticism is exciting just because there is no formula to apply, just because you must use everything you are and everything you know." -- Pauline Kael, "Circles and Squares: Joys and Sarris" (1963)

"She has everything that a great critic needs except judgment. And I don't mean that facetiously. She has great passion, terrific wit, wonderful writing style, huge knowledge of film history, but too often what she chooses to extol or fails to see is very surprising." -- Woody Allen, to Peter Bogdanovich, quoted in the introduction to the book This is Orson Welles (1998)

The imminent publication of two books devoted to Pauline Kael -- "A Life in the Dark," a biography by Brian Kellow, and a collection of reviews and essays called "The Age of Movies: Selected Writings of Pauline Kael," both due Oct. 27 -- has provided an excuse to recycle all the old arguments about her. And that's not something I can imagine being said for many of her American contemporaries, mostly because nobody argues about them. Is there another American film critic who has inspired such a biography, published 20 years after her retirement? Does anyone still read, say, Vincent Canby, the powerful, impressively independent but rather lackluster successor to Kael's much-ridiculed Bosley Crowther at the New York Times? (Canby covered the film beat at the Times during the height of that institution's "make-or-break" authority from 1969 to 1993, when he switched to theater, succeeding Frank Rich.)

Some have pointed out that Kael was often wrong. Well, I should bloody well hope so. What critic isn't? By "wrong" these critics evidently mean that she did not agree with them about which movies were good and which weren't, or that her verdicts did not align themselves with the Judgments of History, lo these many years later. Were "Bonnie and Clyde," "Fiddler on the Roof," "Last Tango in Paris," "Shampoo," "Nashville" and "Casualties of War" really as great as she claimed? How could she be so dismissive -- even contemptuous -- of "La Dolce Vita," "Hiroshima, Mon Amour," "Shoah," "L'Eclisse" (and all Antonioni after "L'Avventura"), "2001: A Space Odyssey" (and all Kubrick thereafter) and Cassavetes pretty much across the board? (If you don't find at least a couple things in those lists that raise your hackles, you should be worried about the integrity and independence of your own critical values.)

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