GradSkool: "Honest and Popular Don't Go Hand in Hand:" Gender Discourse in Elaine May's Ishtar

One thing I hope to do with this blog is address the alarming lack of content that has been a pervasive problem since I started graduate school last semester. To make up for it, I'm going to be giving excerpts from papers I wrote while in graduate school last semester. Please note that these are going to be sometimes dense, often boring, and most likely not very good, but I'm sure someone out there is going to enjoy them. Here is something I wrote on Elaine May's Ishtar, which is actually part of a larger project on the writer-director-star I'll be doing in 2014.

May made radical comedies that eluded any sort of expectations, which is even more true of her final film Ishtar, only remembered today solely for its over-sized budget, critical shellacking, and failure at the box office. However, Ishtar’s comedy now seems twenty years ahead of its time—it is the type of film that one would make now with Will Ferrell and John C. Riley. But Ishtar was doomed from the start; Grodin, who plays the willy CIA agent, notes, “The media jumped on the cost of Ishtar because it was a good story…the brunt of all this cost seemed on Elaine May, which was really strange because she’d be about the third person to look at…If the picture had cost half as much, I believe the reviews would have been twice as good."

The Filmic Discoveries of 2012 (Part II)

This is the second part of my list of films I watched for the first time in 2012. Read an explanation and the first 25 choices here.

25. Duck, You Sucker!, Directed by Sergio Leone (Seen on 35mm at Film Forum; June 19^th) 

An explosive film that lives up to the amount of dynamite it delivers, Duck, You Sucker! seen completely cold. But since you’re hear reading this capsule, just know that it’s both Leone’s most fun film (the closest to a screwball comedy he ever made) and his most political. The fact the film “accidentally” switches genres and stakes forty-five minutes into the film is a complete Coup d'état of Leone, leading to the brilliant sequence where Rod Stieger leads a daring heist but instead becomes a revolutionary leader. It’s a bitter film to swallow, suggesting the lack of agency of any individual in a political battle, but it’s also pure visual pleasure, and now my favorite Leone. 

24. Show People, Directed by King Vidor (Seen on 35mm at Film Forum; January 23^rd) 

The good people at Film Forum could not have chosen a better time to show this great silent comedy than the height of last year’s Oscar season, as Show People is essentially The Artist made by the people The Artist was portraying. It’s also 1000 times better (fact). Instead of the divide between sound and silents, Vidor’s film shows the movements of a young Marion Davies from slapstick comedian to serious drama actor, while her love interest William Haines remains at the bottom. Vidor captures with authenticity the difference between stars and actors with a jibing sensibility, and peppers his film with plenty of cameos that make for a number of gags that rival the best of the screwballs. Vidor’s work with actors makes this a timeless classic about the importance of termite art.

The Filmic Discoveries of 2012 (Part I)

            I saw over 300 films in the span of 2012, starting with a rewatch of Jean-Pierre Melville’s Le Cercle Rouge and as of last night, my second viewing of Erich Von Stroheim’s Greed. Of those, less than a third were from the year of 2012. While there were certainly plenty of great works of cinematic art that are worth your time, I retreated from the multiplex and even the art house to the hollowed grounds of repertory cinema instead.

No one has a perfect knowledge of the history of cinema, and any film critic has his or her own “blind spots.” I don’t see that as a bad thing though. Why would anyone want to have seen every movie? I’d rather have new discoveries to be made every year that open up new terrain to be explored. The 100 (yes—100!) films I’ve highlighted in this list fascinated me in so many different ways. And even better, most I saw on 35mm, a practice I have argued for again and again (though really something you can do in a handful of cities).

While some of my choices for films I saw the first time in 2012 are damningly obvious, there’s a reason they are obvious, canonical works. If my 2013 year of cinematic viewing (get ready for the Kiarostami Koker trilogy on February 10^th at Film Society everyone!) can come even half as good as the year of film 2012 ended up for me, I’ll be a very happy camper indeed. Thus, I present the bottom 25 below, with the top 25 to come later this week. UPDATE: Follow here for the Top 25.

Trainwrecks and Missing Masterpieces

The apparently lovable Bradley Cooper and Jennifer Lawrence star in Silver Linings Playbook, a front runner for the "holy hell this movie is a train wreck of utter proportions" for 2012 award. I seem to be pretty alone in my absolute despise for this movie, but I have a lot of moral issues (as well as acting, script, and camera movement issues) that I think this film completely ignores. Scott Tobias tweeted something that everyone who either absolutely loves or pans this movie is taking it way too seriously, but that's perhaps one of my issues: it treats these huge psychological issues in American society as no less than quirks for a charming unpretentious film, reducing them to really offensive broad strokes. I'm not saying we can't have comedies with mental illness - One Flew Over the Cuckoo's Nest is quite funny - but for Christ's sake we can do better than this. Anyways, I wrote this one for InReviewOnline, the former house of Sam C. Mac (#SMacDown™) and the new home of (former Cinephiliacs guest) Kenji Fujishima.

Over at The Playlist, my second column of "The Disc-less" covers five disreputable American classics in search of DVD releases. Basing this around Heaven's Gate, I chose some awesome films like Ishtar, Greed, and The Last Movie. I ironically chose Elia Kazan's Wild River, which a) technically was available in that expensive Kazan box set Fox put out (bad research on my part), and b) was announced this morning for a Blu-Ray by Fox. But still, a worthy read.

Screening Log: Emotional Overload Edition

            Another week, and not much new to report except there’s another new episode of The Cinephiliacs with my friend Kenji Fujishima. We had a great chat and I really loved talking about Fallen Angels, a Wong Kar-Wai film I’ve never really loved, but definitely appreciate more after deconstructing it with him.

-Railroaded!, 1947. Directed by Anthony Mann. Streamed via Netflix Instant.

-Fallen Angels, 1995. Directed by Wong Kar-Wai. Streamed via Netflix Instant.

-Lonesome, 1928. Directed by Paul Fejos. 35mm projection at Film Forum.

-Don’t Look Now, 1973. Directed by Nicholas Roeg. 35mm projection at 92Y Tribeca.

-Mikey and Nicky, 1975. Directed by Elaine May. 35mm projection at the Museum of Modern Art.

-Three Strangers, 1946. Directed by Jean Negulesco. DVD.

Screening Log: Samurai Driver Edition

            Two notes before we begin. As noted, I saw The Warriors at MoMI as screened as a Blu-Ray. I think this gets to a point I had a tweet discussion with sometime last year. The Warriors Blu-Ray looked quite good on a big screen, and everything was crystal clear. But I think that’s why the film lacked a punch. It needed to be extra grainy, scratched up, and skipping in places. Some films are perfect for the digital conversion; others, deserved to be treated like shit, one could say. My second update, and this is brief, is to tell you all check back here over the next month for updates on a big project coming up that I think most of my readers will quite enjoy. More on that at another time, as the details become more concrete.

-A New Leaf, 1971. Directed by Elaine May. 35mm projection at Museum of the Moving Image.

-The Warriors, 1978. Directed by Walter Hill. Blu-Ray projection at Museum of the Moving Image.

-We Won’t Grow Old Together, 1972. Directed by Mauriece Pialat. 35mm projection at Brooklyn Academy of Music.

-Kill and Pray, 1969. Directed by Carlo Lizzani. Betacam projection at Film Forum.

-The Last Run, 1971. Directed by Richard Fleischer. 35mm projection at Anthology Film Archives.

-Ulzana’s Raid, 1972. Directed by Robert Aldrich. 35mm projection at Anthology Film Archives.