A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

Friday, July 17, 2020

Smithereens (Susan Seidelman, 1982)

Susan Berman in Smithereens
Cast: Susan Berman, Brad Rijn, Richard Hell, Nada Despotovich, Roger Jett, Kitty Summerall, Joni Ruth White, D.J. O'Neill, Joel Rooks, Pamela Speed, Tom Cherwin, Edie Schecter. Screenplay: Susan Seidelman, Ron Nyswaner, Peter Askin. Cinematography: Chirine El Kadem. Production design: Franz Harland. Film editing: Susan Seidelman. Music: Glenn Mercer, Bill Million.

Smithereens is at least a documentary of attitude, a portrait of a moment in the history of youth. It aspires to the lasting achievement of the early French New Wave, to become the punk era's Breathless (Jean-Luc Godard, 1960) or The 400 Blows (François Truffaut, 1959). If it doesn't reach those heights, it's only because Godard and Truffaut got there first, and Susan Seidelman's film can only feel like an echo of them in spirit. But it can also transcend them because its protagonist, like its director, is a woman: Susan Berman's Wren displays a gutsiness and vulnerability inaccessible to Godard's Michel Poiccard and Truffaut's Antoine Doinel. Made for chicken feed on 16mm in the crumbling Manhattan of the early 1980s, it set Seidelman on a path to the big time, though it can also be argued that she never again quite displayed the ingenuity and intensity of vision that she shows in Smithereens.
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