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The Last Ten Movies I Saw

1. BPM (Campillo)
2. The Hole (Tsai)
3. Dazed and Confused (Linklater)
4. Viridiana (Bunuel)
5. Last Flag Flying (Linklater)
6. The Godfather (Coppola)
7. Breathless (Godard)
8. Lady Bird (Gerwig)
9. Chungking Express (Wong)
10. Double Play: James Benning and Richard Linklater (Klinger)

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Hou Hsiao-hsien’s Daughter of the Nile

I have a capsule review of Daughter of the Nile, Hou Hsiao-hsien’s great portrait of urban Taiwanese malaise circa 1987, in this week’s Cine-File. It screens at the Gene Siskel Film Center four times over the next week in a beautiful new 4K digital restoration. You can read the full review below.
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Hou Hsiao-hsien’s DAUGHTER OF THE NILE (Taiwanese Revival)
Gene Siskel Film Center – Check Venue website for showtimes
Until recently, DAUGHTER OF THE NILE has been the most difficult to see film of Hou Hsiao-hsien’s post-BOYS FROM FENGKUEI (1983) mature period; it has never been released on home video in the U.S. and was absent entirely from the Siskel Center’s Hou retrospectives in 2000 and 2015. It has also been the director’s most critically neglected work to date; when discussed at all, most critics, including Jonathan Rosenbaum, have tended to compare this contemporary urban drama unfavorably with the rural period pieces that immediately precede and follow it in Hou’s filmography (i.e., 1986’s DUST IN THE WIND and 1989’s A CITY OF SADNESS). When seen from the vantage point of today, however, thanks to a superb new 4K digital restoration by the Taiwan Film Institute, it seems obvious that this is where the modernist Hou of the 1990s was truly born. Based on a proposal from a record company, and conceivedof as a star vehicle for the young female pop singer Lin Yang, Hou, working with three screenwriters, turned the project into a highly personal and stunningly oblique examination of disaffected Taipei youth that prefigures his better known returns to the same milieu in later masterworks like GOODBYE, SOUTH, GOODBYE (1996), MILLENNIUM MAMBO (2001) and thecontemporary segments of GOOD MEN, GOOD WOMEN (1995) and THREE TIMES (2005). Lin, in her screen debut, gives a soulful, quietly riveting performance as Hsiao-yang, a teenage girl who works at a Kentucky Fried Chicken by day and goes to school at night, all the while trying to prevent her fractured family from breaking apart for good. Lin finds fleeting moments ofhappiness by imagining herself as the protagonist of her favorite manga, the source of the movie’s title, and when flirting with Ah-sang (Fan Yang), the best friend of her older brother, Hsiao-fang (future Hou regular Jack Kao), both of whom are on the verge of falling dangerously into a life of crime. Hou’s extensive use of nighttime exteriors, illuminated by neon lights and, in one unforgettable sequence, fireworks, combine with Lin’s past-tense voice-over narration to make the whole thing float by like a sad and haunting yet beautiful dream. If you have never seen a film by Hou Hsiao-hsien and are curious as to why a lot of critics, including me, consider him the best narrative filmmaker working today, this is an excellent place to start exploring his work. (1987, 93 minutes, DCP Digital) MGS


Flickering Empire Book Talk in Lincoln Square

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My Flickering Empire co-author Adam Selzer and I will be giving a book talk at the Sulzer Library in Lincoln Square tomorrow night, Tuesday, November 7 from 7-8:30pm. The event will include a lecture, screenings of rare short films from the early history of Chicago filmmaking (some of which were shot in Uptown not far from the Sulzer) as well as a Q&A session. You can learn more about the event at the Sulzer website here. This may be the last joint book talk that Adam and I ever give about Flickering Empire. Hope to see you there!


The Last Ten Movies I Saw

1. Brief Encounter (Lean)
2. The Trouble with Angels (Lupino)
3. Bicycle Thieves (De Sica)
4. A Short Film About Love (Kieslowski)
5. The Big Lebowski (Coen/Coen)
6. Failan (Song)
7. Breathless (Godard)
8. Some Like It Hot (Wilder)
9. The Road Warrior (Miller)
10. Halloween (Carpenter)


Roy’s World: Barry Gifford & Chicago / The More the Merrier in Northbrook

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I couldn’t be more excited to announce that I am producing Roy’s World, a feature-length documentary by my friend Rob Christopher about the great Chicago-born-and-bred writer Barry Gifford (Wild at Heart). It will feature the voice talent of Willem Dafoe, Matt Dillon and Lili Taylor as well as an original jazz score by Jason Adasiewicz. You can learn more about the film at the IFP Chicago site here. You can hear Rob and I discuss the film with Gary Zidek on his radio show The Arts Desk here. Finally, Chicagoans can catch Barry reading stories from his latest collection The Cuban Club at Constellation this Saturday, November 4 at 8:30pm. The event will also feature live music from Adasiewicz who will be playing selections from the Roy’s World soundtrack. You can learn more about the show at Constellation’s site here.

Also, I have a capsule review of George Stevens’ screwball masterpiece The More the Merrier in this week’s Cine-File. It screens at the Northbrook Public Library on 35mm next Wednesday, November 8 at 1pm and 7:30pm. You can read the full review below.

Joel McCrea and Jean Arthur in a scene from THE MORE THE MERRIER, 1943.

George Stevens’ THE MORE THE MERRIER (American Revival)
This superior example of the “genius of the Hollywood studio system” may not be as well known as screwball comedy classics like THE AWFUL TRUTH, BRINGING UP BABY or THE LADY EVE but is every bit their equal as a battle-of-the-sexes masterpiece. Connie Milligan (the glorious Jean Arthur) is a single, working woman living in Washington D.C. who ends up with two male roommates due to a World War II housing shortage. She finds herself bickering relentlessly with Joe Carter (Joel McCrea), the younger of the men, which, as any screwball fan knows, is a sure sign of romantic chemistry. The other man, the much older Mr. Dingle (Charles Coburn, who deservedly won a Best Supporting Actor Oscar for his performance), consequently finds himself playing cupid to his new roommates in what amounts to an enormously entertaining, extremely witty and perfectly paced 104 minutes. The thing that really makes THE MORE THE MERRIER stand out when viewed today though is its unabashed eroticism. A scene where Carter walks Milligan home late at night, temporarily forgetting that he’s also going to his own home, is almost unbelievably sensual in the way the characters flirt with each other and, moreimportantly, interact physically; while sitting next to one another on a stoop, McCrea, one of Hollywood’s most reserved and laconic actors, creatively paws at Arthur (who, at 42 years old, never looked sexier), seductively encircling her waist and neck with his hands as she half-heartedly feigns disinterest. THE MORE THE MERRIER was very well received in its time but is probably less known today only because George Stevens, the solid craftsman who directed it, is not an auteurist-approved figure. This is unfortunate because if a more erotic film was made in Hollywood in the 1940s I have yet to see it. (1943, 35mm) MGS


Agnes Varda’s FACES PLACES

I wrote the following piece for Time Out Chicago, which was posted on their site yesterday.

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After two sold-out screenings at the recently concluded Chicago International Film Festival, Faces Places — the latest from French New Wave legend Agnes Varda — receives its premiere theatrical run at the Music Box beginning on Friday, October 27. When I interviewed Varda in Chicago two years ago, she was already talking excitedly about this new documentary, which had just begun shooting. When I asked her if it was going to be a feature or a short, she mischievously replied that she intended it to be exactly 75 minutes long because she considered that to be the ideal length for a non-fiction film. The fact that the end result runs 89 minutes can be seen as an indication of just how much valuable footage Varda and her co-director, the photographer and installation artist known only as “JR,” gleaned while traversing the French countryside in pursuit of interesting faces and places.

The premise of this whimsical yet profound road movie finds Varda and JR traveling from one small town to another in a truck outfitted with a mobile photo booth that allows them to not only take photographs of the people they come across but also print them and paste the resulting images onto buildings in the same villages where the subjects live. It’s a heart-warming celebration of rural, working-class France that turns ordinary people into local celebrities and asks viewers to think about the role that art plays in everyday life. It is also a meditation on mortality, as the 88-year-old Varda frequently reminisces about friends who are no longer with her and talks about her need to capture images of people and things before she can forget them. If this is indeed Varda’s final feature film, as she has indicated in recent interviews, it is the loveliest swan song imaginable.

Faces Places opens at the Music Box for a weeklong run beginning Friday, October 27. For more info, including ticket info and showtimes, visit the Music Box website.


The Last Ten Movies I Saw

1. A New Leaf (May)
2. Golden Years (Techine)
3. Filming Othello (Welles)
4. Othello (1955 version, Welles)
5. Far from Heaven (Haynes)
6. Grandeur et décadence d’un petit commerce de cinéma (Godard)
7. Vertigo (Hitchcock)
9. Deep Cover (Duke)
10. Western (Grisebach)


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