I originally wrote the following reviews of films by Dan Sallitt and Samantha Fuller for Cine-File Chicago back in January to coincide with theatrical screenings. The Sallitt films can be rented on amazon (and you really should see them if you haven’t already) and the Fuller doc is happily still enjoying theatrical engagements around the world (with a home video release coming eventually).
Dan Sallitt’s HONEYMOON and ALL THE SHIPS AT SEA (American Revival)
When the enterprising distributor The Cinema Guild picked up the low-budget comedy/drama THE UNSPEAKABLE ACT in 2012 it considerably upped the profile of writer/director Dan Sallitt, a New York-based critic and filmmaker whose sparse filmography (he’s made exactly one film per decade over each of the past four decades) constitutes one of the hidden treasures of independent American cinema. Beguiled Cinema, the programming endeavor of local critics Ben and Kat Sachs, has teamed up with Chicago Filmmakers to present this rare double-feature screening of Sallitt’s second and third films at Columbia College’s Film Row Cinema, an event that should be considered unmissable for local cinephiles. Both movies are visually austere, dialogue-based dramas centered on two characters in conflict. The earlier of the two, 1998’s HONEYMOON, is a mature and astonishingly frank portrayal of marriage about two old friends, Mimi (Edith Meeks) and Michael (Dylan McCormick), who decide to tie the knot on a whim. These urban professionals seem intellectually and emotionally compatible and their friends have long remarked that they would make the “perfect couple.” It isn’t until their honeymoon at a lakeside cabin in rural Pennsylvania, however, that they first attempt physical intimacy–in a series of awkward and halting encounters that must rank as the most honest portrayal of sexual dysfunction ever committed to celluloid. Mimi and Michael’s decision to stick out the marriage ultimately leads to an ambiguous finale that will likely serve as a Rorschach test for the personal philosophy of each viewer. What’s not in doubt is the phenomenal chemistry between Meeks and McCormick, who convey the evolution of a years-long relationship telescoped into just a few days. Even more compressed, and impressive, is the 64-minute ALL THE SHIPS AT SEA from 2004. The lean running time of this virtual two-hander, about a series of philosophically-inflected discussions between two very different sisters, belies the wealth of feeling and ideas that Sallitt has crammed into it: respectable Evelyn (Strawn Bovee) teaches theology at the college level while her estranged, potentially suicidal younger sister Virginia (Meeks again) returns home after being kicked out of a religious cult. As the women struggle to re-establish their former sibling bond, the notion of exactly who is helping who is kept tantalizingly in flux. New City’s Ray Pride will introduce the screening. The A.V. Club’s Ignatiy Vishnevetsky will lead a Q&A afterwards. (1998 and 2004, 154 min total, 16mm and DVCam) MGS
More info at http://www.chicagofilmmakers.org.
With A FULLER LIFE, Samantha Fuller, daughter of maverick filmmaker Samuel Fuller, has made an unconventional but entertaining documentary about her father. The first-time director daringly eschews traditional interview segments in favor of having a dozen motion-picture luminaries appear before her cameras only to read excerpts from her dad’s superb, posthumously published memoir, A Third Face: My Tale of Writing, Fighting, and Filmmaking. Among the readers, most of whom worked with or were friends of the late, great Fuller, are: Jennifer Beals, Robert Carradine, Joe Dante, Bill Duke, James Franco, William Friedkin, Mark Hamill, Monte Hellman, Buck Henry, Tim Roth, James Toback and Constance Towers. Some misguided critics have damned A FULLER LIFE with faint praise by likening it to a mere star-studded “audio book” but this is hardly a fair analogy since many of the film’s pleasures are image-based. The “chapters” are visual records of the subjects reading their texts in a specific location, one that seems suffused with an almost mystical energy: Fuller pere’s legendary garage-office, a place affectionately known as “the shack,” which functions today as a virtual shrine to his impressive careers as newspaperman, soldier and filmmaker. Each segment is also cleverly intercut with scenes from both Fuller’s official oeuvre, from 1949’s I SHOT JESSE JAMES to STREET OF NO RETURN 40 years later, as well as home movie and documentary footage he shot throughout his life (including powerful wartime images of a recently liberated concentration camp in Falkenau, Czechoslovakia, footage that was recently added to the Library of Congress’s National Film Registry). Finally, the film’s most disturbing sequence, the Dante-narrated “Sicily Black and Blue,” is embellished by an inspired use of animation. All of this adds up to a fitting tribute to a vital American artist, one whose ballsy and highly personal “yarns” were both ahead of their time and inextricably tied to the colorful, adventurous life of their creator. As a writer/director, Sam Fuller may have specialized in genre fare (especially war movies, westerns and crime films) but, whether working as an independent or within the Hollywood studio system, he stamped everything he did with his outrageously entertaining, “yellow-journalist” style. Within his idiosyncratic idiom, Fuller’s commitment to racial equality, long before such a stance was fashionable in American cinema, looks especially interesting today. A FULLER LIFE is a must for Fuller’s admirers and an ideal introduction to his work for the uninitiated. (2013, 80 min, DCP Digital) MGS
More info at http://www.siskelfilmcenter.org.