Roger Ebert

The man who didn’t sleep

Roger Ebert

I met a man who didn’t sleep. This was in the summer of 1988. I was in Toulouse, France, to visit a friend I’d made some years earlier in London, Dominique Hoff. Her sister, Marie-Christine, told me: “There is a man you must meet. He’s the smartest man I know. He was my professor in dental school. He invents dental tools, and he can fix anything with his hands. He and his wife have converted a big old barn in the country into a home and workshop and a place for his collection.” His collection? I said. The sisters laughed. “You’ll see.”

Toulouse à partir de la fenêtre d’Hervé

Paul Delprat and his wife Danielle Moog did indeed occupy a vast old barn somewhere in the countryside. They called it Cambolevet. They were a jolly middle-aged couple, waiting for us in the farmyard. A dog came to investigate. They exuded that sense of two people who know they belong together.

BP’s tree fell on my lawn

Roger Ebert

Help me out here. There’s something I’ve been spending a couple of months trying to get my head around. Why does BP enjoy such a peculiar immunity after having apparently been culpable in the Gulf oil spill? What is the nature of its invisible protective shield?

All I know is what you know. Like most other ordinary citizens, I try to keep up the best that I can with the news. I am not, as they say, walking in the corridors of power.

But you know, the more I read, the more I imagine those corridors smelling like those disinfectant cakes you see at the bottoms of urinals.

After 3D, here is the future of film

Roger Ebert

When I first saw it in 1999, Maxivision48 produced a picture four times as good as conventional film. It still does. With 3D fading and the possibilities offered by a new Red camera, its time may be here at last. 

Dean Goodhill, the inventor of MV48, laid low while seeking studio backing. Now, he tells me, the time has come to go public. After reading the recent letter from Walter Murch I ran on my blog, he wrote me one of his own. — RE

This is a dog

Roger Ebert

Does a dog know how it looks? It knows how another dog looks, certainly. It can tell friends from foes from strangers at a distance, aided greatly by smell. But does it place much importance on appearance? I know a smaller dog may back away from a larger one, but does that involve a mental weigh-in? I think it has more to do with the display of emotions, and I’ve seen big dogs back away in the face of small dogs in a

How pleasant to meet Mr. Lear!

Roger Ebert

The limerick’s a form metronomical,

For the telling of jokes anatomical.

Yet the best ones I’ve seen

So seldom are clean,

And the clean ones so seldom are comical.

 

Auden, that very good man

Said a limerick need not merely scan.

But put up a struggle

And bend itself double

To be decent, and fail at the plan.

Oh, say, can you wear?

Roger Ebert

I interrupt my regularly scheduled programming to try explain again what I believe about the issue of the American flag t-shirts in California schools.

In my earlier piece, I made the mistake of using wit and irony. I found many readers who do not receive on those wave lengths. There’s a compulsion in some precincts of the Right to find others guilty of crimes out of proportion to the perceived offense. Anyone who is a liberal, as I am, must therefore be socialist, racist, and so on.

“Who Killed Bambi?” – A screenplay

Roger Ebert

This, for the benefit of future rock historians, is the transscript of a screenplay I wrote in the summer of 1977. It was tailored for the historic punk rock band the Sex Pistols, and was to be directed by Russ Meyer and produced by the impresario Malcolm McLaren. It still carried its original title, “Anarchy in the U.K.,” although shortly after I phoned up with a suggested title change, which was accepted: “Who Killed Bambi?” I wrote about this adventure in my blog entry McLaren & Meyer & Rotten & Vicious & me. Discussions with Meyer, McLaren and Rene Daalder led to this draft. All I intend to do here is reprint it. Comments are open, but I can’t discuss what I wrote, why I wrote it, or what I should or shouldn’t have written. Frankly, I have no idea.

Indie security alert level: Severe

Roger Ebert

Every year good films show at the Toronto Film festival that never open anywhere near you. This year some good films played that may never open anywhere, even if you live in Toronto–or New York, San Francisco, Los Angeles, Seattle, Austin or upstairs over a Landmark Theater multiplex. Toronto is traditionally a lively marketplace for the purchase of film rights for new non-studio product: Indies, docs, foreign films. This year Harvey Weinstein paid $1 million for “A Single Man,” and that was that. One sale, one movie, one million — probably as little as Harvey has paid for a movie in some time.

Stands at yellow, rising toward orange

The makers of independent films don’t have to send to learn for whom the bell tolls. It tolls for them. The bottom fell out of the market. That doesn’t mean there were no other offers, but it means there were none that the sellers felt able to accept. It shows a collapse of confidence in the prospects of independent film distribution.

Don’t take my word for it. Listen to Anne Thompson, who always knows what she’s talking about. In her blog Thompson on Hollywood, she leads: “The old independent market is over.” She quotes the producer Jonathan Dana: “It’s a massacre. It’s the end of funny money.”

Thompson names a few of the films going home without deals, and it’s depressing:

In search of redemption

Roger Ebert

View image Kari Sylwan plays the maid who cradles a dead woman (Harriet Andersson) in Bergman’s “Cries and Whispers.”

One of the most prolific and intelligent contributors to the comments section of the blog is Solomon Wakeling. I wrote in curiosity, asking to know more about him. He replied that he is a 24-year-old law student from Australia, and that one of his problems is, “I read too many books.” There was one thing he said that I felt I needed to write about in the blog: “I find your work is filled with an essentially humanitarian philosophy, dealing with concepts like redemption.”

Cannes #4: A good film, a bad film, and a friend

Roger Ebert

Mike Leigh has long been a great director, but now he is surely at the top of his form. “Another Year” has premiered here and is the film everyone I talk with loves the most. It is so beautifully sure and perceptive in its record of one year in the life of a couple happily married, and their relatives and friends, not so happy. After “Vera Drake” (2004) and “Happy-Go-Lucky” (2008), Leigh cannot seem to step wrong.

A women at the press conference asked Leigh (left) “did you have to make Mary so sad?” She might as well have asked, “did you have to make Tom and Gerri so happy? ”

CIFF 2010: Our capsule reviews

Roger Ebert

• Bill Stamets and Roger Ebert

The 46th Chicago International Film Festival will play this year at one central location, on the many screens of the AMC River East 21, 322 E. Illinois. A festivalgoers and filmmakers’ lounge will be open during festival hours at the Lucky Strike on the second level. Tickets can be ordered online at CIFF’s website, which also organizes the films by title, director and country. Tickets also at AMC; sold out films have Rush Lines. More capsules will be added here.

When a movie hurts too much

Roger Ebert

The blog entry “In Search of Redemption” inspired an outpouring of reader comments remarkable not only for their number but for their intelligence and thought. It became obvious that many of us go to the movies seeking some sort of release or healing. Many of you mentioned titles that especially affected you; two of my most-admired films, “Hoop Dreams” and “Grave of the Fireflies,” were frequently listed. You all had your reasons. Now Ali Arikan, a longtime contributor to this site, has written me about why he was so affected by a relatively unlikely title, “The Out-Of-Towners” (1999).  His reasons were personal; he can post them below if he chooses to. But in connection with his explanation, he quoted the first paragraph of one of my reviews.

Ten things I know about the mosque

Roger Ebert

1. America missed a golden opportunity to showcase its Constitutional freedoms. The instinctive response of Americans should have been the same as President Obama’s: Muslims have every right to build there. Where one religion can build a church, so can all religions.

2. The First Amendment comes down to this: “I disapprove of what you say, but I will defend to the death your right to say it.” It does not come down to: “The First Amendment gives me the right to repeat the N-word 11 times on the radio to an

“Thor” is not a Meet Cute for the gods.

Roger Ebert

I didn’t attend the April 30 critics’ screening for “Thor” because it was at the same time Ebertfest was showing “A Small Act,” about an 88-year-old woman named Hilde Back. She’d flown from Sweden, and I wanted be onstage to present her with the Golden Thumb. Missing “Thor 3D” was not an inconsolable loss, because Richard Roeper covered it for the paper and I was able to see it in Chicago in nice, bright 2D. The house was surprisingly well-populated for a 8:50 p.m. screening on a Monday, suggesting that some people, at least, will make an effort to avoid 3D.

“Thor” is failure as a movie, but a success as marketing, an illustration of the ancient carnival tactic of telling the rubes anything to get them into the tent.

I think I’m musing my mind

Roger Ebert

Blind people develop a more acute sense of hearing. Deaf people can better notice events on the periphery, and comprehend the quick movements of lips and sign language. What about people who lose the ability to speak? We expand other ways of communicating.

There are three ways I can “speak.” I can print notes. I can type on my laptop, and a built-in voice says them aloud. I can use my own pidgin sign language, combining waving, pointing, shrugging, slapping my forehead, tracing letters on my palm, mime, charades, and more uses of “thumbs up” and “thumbs down” than I ever dreamed of.

Click on image to expand

Another path is open to me in the age of the internet. I can talk with new friends all over the world. Writing has always been second nature to me, as satisfying in a different way as speaking. Maybe because I was an only child with lots of solitary time, I always felt the need to write, and read. I was editor of my grade school, high

Sittin’ in the front row

Roger Ebert

Where do you like to sit when you go to the movies? I know where I do, and I even suppose I know why. I started reconsidering my thinking, however, when I read David Bordwell’s enlightening new blog entry, “Down in front!”

Here is a man who recalls every film he has ever seen, and where, and when, and why, and where he sat, and usually who he sat next to. That person has often been his wife, Kristin Thompson. That they take turns writing entries on the world’s best film blog may tell you something.