Escape from New York (1981) [Collector’s Edition] – Blu-ray Disc|Escape from New York [Special Edition – DVD Collector’s Set] – DVD

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John Carpenter’s Escape from New York
***½/****
DVD – Image B+ Sound A- Extras B+

BD – Image B+ Sound A Extras A
starring Kurt Russell, Lee Van Cleef, Ernest Borgnine, Donald Pleasence
screenplay by John Carpenter & Nick Castle
directed by John Carpenter

The below was written a dozen years ago, definitely in a crunch (I remember being among the first to receive a review copy of that DVD and wanting to scoop other sites) and, consequently, probably in a crabby mood. New reviews of John Carpenter movies, particularly the early ones, tend to read like fetishism as opposed to criticism. Indeed, over the years, Carpenter’s aesthetics have become a shorthand for cool, such that some modern horror filmmakers seem to believe that by co-opting them they’ll gain instant credibility. Still, I think I resisted the pleasures of Escape from New York a little too vehemently–this must be the most negative 3.5-star review I’ve ever written. Yes, that rape scene, or would-be rape scene, is troublesome, but for Snake to intervene would’ve been even more offensive, because it would mean the situation was cynically contrived to give him a moment of glory. Snake’s heroism isn’t pandering, and while his laconic machismo fits a certain Eastwood mold, he finally emerges as more of a countercultural badass who uses his carte blanche audience with the President to ask him the kind of impertinent rhetorical question one wants to say to every bureaucrat valued more than the soldiers doing his bidding: “We did get you out. A lot of people died in the process. I just wondered how you felt about it.” The President’s ineffectual condolences, phrased as boilerplate and expressed with squirm-inducing hesitation as he mentally scans for a lifeline (then and there, Donald Pleasence exonerates his miscasting), justify Snake’s final act in a way that makes me regret ascribing the “moral evasion” of The Thing–say what?–to this picture as well. Carpenter isn’t ducking anything here: Snake sees that this world is rotten from the head down and so he lights the proverbial fuse. God bless him, he’s an asshole. (But not a dick.)

Blacula (1972)/Scream Blacula Scream (1973) [Double Feature] – Blu-ray Disc

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BLACULA
**½/**** Image B+ Sound B+ Extras C+
starring William Marshall, Denise Nicholas, Vonetta McGee, Charles Macaulay
screenplay by Joan Torres and Raymond Koenig
directed by William Crain

SCREAM BLACULA SCREAM
*½/**** Image A- Sound A- Extras D
starring William Marshall, Don Mitchell, Pam Grier, Richard Lawson
screenplay by Joan Torres & Raymond Koenig and Maurice Jules
directed by Bob Kelljan

by Bryant Frazer It takes some nerve to turn an exploitative, possibly racist script treatment from a low-budget movie-manufacturing plant like Samuel Z. Arkoff’s American Independent Pictures (AIP) into a tragic meditation on the legacy of slavery in contemporary urban society, but that’s what director William Crain and actor William Marshall damn near pulled off with Blacula. Originally conceived as a blaxploitation programmer with the ersatz jive-talking title Count Brown Is in Town, the project that would become Blacula took on some gravity when Crain cast Marshall, a trained Shakespearean actor, in the title role. Marshall insisted on alterations to the script that gave the film a subtext: he would play the lead as an 18th-century African noble who, while touring Europe in an attempt to persuade the aristocracy to oppose the slave trade, was turned into a vampire and imprisoned for more than 100 years by the rabidly racist Count Dracula. In Marshall’s imagining of the story, it was Dracula who, seeking to demean the uppity foreigner, saddled him with the dismissive, derivative moniker Blacula.

Don’t Look Now (1973) [The Criterion Collection] – Blu-ray Disc

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****/**** Image A+ Sound A Extras A
starring Julie Christie, Donald Sutherland, Hilary Mason, Clelia Matania
screenplay by Allan Scott and Chris Bryant, based on a story by Daphne Du Maurier
directed by Nicolas Roeg

by Walter Chaw Nicolas Roeg’s Don’t Look Now is about looking, about ways of seeing and layers of understanding. It’s about memory and its intrusion into and influence on current states of being. It’s about the impossibility of faith or love or human relationships to illuminate truth; or it’s about how faith and love and human relationships are the only truth. It shows images out of order, presenting them in ways that will only make sense once the gestalt in which the images exist becomes clear. In every way, Don’t Look Now is designed for multiple viewings. The film warns that a life spent unexamined will end brutally and nonsensically. Without context, there is nothing, but context is nigh impossible before the end. It’s something William Carlos Williams would understand.

Game of Thrones: The Complete Fourth Season (2014) – Blu-ray + Digital Copy

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Image A Sound A Extras A-
“Two Swords,” “The Lion and the Rose,” “Breaker of Chains,” “Oathkeeper,” “First of His Name,” “The Laws of Gods and Men,” “Mockingbird,” “The Mountain and the Viper,” “The Watchers on the Wall,” “The Children”

by Jefferson Robbins I suspect “Game of Thrones” has started to find its high-fantasy elements as tedious as I have. In the show’s fourth season, the trio of dragons reared by Danaerys Targaryen (Emilia Clarke)–the only thing that makes her a ruler, aside from her family name–is far more felt than seen, and momentarily more a curse than an asset. Brandon Stark (Isaac Hempstead Wright) and his young cronies have to fight off a frozen-lake’s worth of Ray Harryhausen skeletons, a homage so derivative it adds up to me snorting my beer out of my nose. An epic assault on the epic-sized Wall includes an epic total of two giants. The fantasy convention of magic swords with hoity-toity names comes in for ridicule, too, when brutal asshole King Joffrey (Jack Gleeson) demands a title for his new enchanted blade and some wags in the audience yell back, “Stormbringer!” and “Terminus!” Woman warrior Brienne of Tarth (Gwendoline Christie), the most gullible when it comes to matters of knightly virtue, gets a nifty pigsticker, names it “Oathkeeper,” then spends her only battle of the season beating her adversary’s face in with a rock. Magic, in this adaptation of contemporary fantasy’s most successful novel series, is bogged down in human muck and mire.

The Hobbit: The Battle of the Five Armies (2014) – Blu-ray + DVD + Digital HD

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*/**** Image A+ Sound A- Extras B-
starring Ian McKellen, Martin Freeman, Richard Armitage, Orlando Bloom
screenplay by Fran Walsh & Philippa Boyens & Peter Jackson & Guillermo Del Toro, based on the book by J.R.R. Tolkien
directed by Peter Jackson

by Walter Chaw During the first ten minutes of the first day of Peter Jackson’s The Hobbit: The Battle of the Five Armies (hereafter Hobbit 3), Smaug dies. I don’t intend this to be a spoiler, because, you know, the book’s been around for almost as long as this movie runs, and Rankin & Bass already adapted it (somehow squeezing Tolkien’s slim volume into one 77-minute animated flick)–but if you don’t read and live under a rock: the dragon dies. This acts as prologue. A better prologue would recap what the hell happened in the first two Hobbits; I appear to have scrubbed them completely from the ol’ memory bank in a heroic act of self-defense. This prologue, by the way, is the key moment in the book, meaning that although the CGI fireworks never let up, the rest of Hobbit 3 is the decline in action to the conclusion.

Dumb and Dumber To (2014) + Horrible Bosses 2 (2014) – Blu-ray + DVD + Digital HD

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DUMB AND DUMBER TO
***/**** Image A Sound A Extras B-
starring Jim Carrey, Jeff Daniels, Rob Riggle, Laurie Holden
screenplay by Sean Anders & John Morris and Peter Farrelly & Bobby Farrelly & Bennett Yellin & Mike Cerrone
directed by Peter Farrelly and Bobby Farrelly

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**/**** Image B+ Sound A Extras C-
starring Jason Bateman, Charlie Day, Jason Sudeikis, Jennifer Aniston
screenplay by Sean Anders & John Morris
directed by Sean Anders

by Bill Chambers The Farrelly Brothers’ Dumb and Dumber To opens with Jim Carrey’s Lloyd Christmas emerging from twenty years of catatonia. As the trailers were eager to give away, he’s just been playing an elaborate hoax on best friend Harry Dunne (Jeff Daniels), but still: point taken. To put things in perspective, more time elapsed between Dumb and Dumber and its sequel than did between The Godfather Part II and The Godfather Part III, and the popular form–along with the popular taste in–movie comedy has changed significantly in the interim. This is the Rip Van Winkle of franchises, squarely un-hip no matter how evergreen its scatological humour; the filmmakers, ultimately to their credit, value tonal continuity with Dumb & Dumber over blending in. With a plot revolving around a McGuffin that felt rickety when the first one did it in 1994, the picture embraces the quaint charms of the old school to ironically novel effect.

Penny Dreadful: The Complete First Season (2014) – Blu-ray Disc

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Image A Sound A Extras C
“Night Work,” “Séance,” “Resurrection,” “Demimonde,” “Closer Than Sisters,” “What Death Can Join Together,” “Possession,” “Grand Guignol”

by Bryant Frazer One of the hallmarks of contemporary remix culture is derivative artistic ventures that seek shortcuts to the id, making a playful, self-aware succotash of genre tropes in lieu of inventing new cosmologies. Cleverly done, the approach can yield brainy ruminations on form and content along the lines of Alan Moore’s Watchmen or alternate-universe joyrides like Quentin Tarantino’s Pulp Fiction and Inglourious Basterds. When the endeavour is shabby and commercial, executed with no love, you end up with smug mediocrities like The Cabin in the Woods or smarmy trash like Dracula Untold. (Nobody–not George Lucas, not Ridley Scott–seems to grok less about what made the original properties they’re trying to exploit great in the first place than the fools charged with revitalizing the monster franchises at Universal.) Somewhere in the middle, you get a project like “Penny Dreadful”, a monster mash-up set in late-Victorian London that earns no originality points for series creator John Logan, best known for his screenwriting credits on Hugo, Skyfall, and Rango. Named after the pulpy serial publications that sold in old London for a penny each, his show is even more specifically derivative of latter-day pastiches like Moore’s The League of Extraordinary Gentlemen and Kim Newman’s Anno Dracula than it is of their own 19th-century sources. Still, at its best, his knock-off has an engaging flamboyance that makes it, if not must-see TV, at least agreeable popcorn drama.

Watership Down (1978) [The Criterion Collection] – Blu-ray Disc

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Richard Adams’s Watership Down
***/**** Image A- Sound A- Extras B
screenplay by Martin Rosen, based on the novel by Richard Adams
directed by Martin Rosen

by Walter Chaw Unsentimental and terrifying and set against lovely, John Constable-esque watercolour backgrounds, Martin Rosen’s adaptation of the Richard Adams novel Watership Down arose in that extended lull between Disney’s heyday and its late-Eighties resurrection. (This period also saw, in addition to Rosen’s film of Adams’s The Plague Dogs, Rankin & Bass’s The Last Unicorn and Ralph Bakshi’s most productive period, which included 1978’s The Lord of the Rings.) Watership Down points to the dwindled potential for American animation to evolve into what anime has become: a mature medium for artistic expression of serious issues. A shame that this flawed piece is possibly the pinnacle of animation’s ambition on these shores, Richard Linklater’s Waking Life notwithstanding.

The Palm Beach Story (1942) [The Criterion Collection] – Blu-ray Disc

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***/**** Image A Sound A Extras B
starring Claudette Colbert, Joel McCrea, Mary Astor, Rudy Vallee
written and directed by Preston Sturges

by Jefferson Robbins The Palm Beach Story is lesser candy from a master confectioner–so it’s still worth a taste. Preston Sturges’s screwball portrait of a marriage upending itself braids together multiple comedic forms: road trip, Elizabethan comedy of errors, have-nots infiltrating the haves, and a distinct and strange but intriguing touch of fairytale. For instance, the yacht on which jillionaire J.D. Hackensacker III (Rudy Vallee) absconds with disenchanted young wife Gerry Jeffers (Claudette Colbert) is christened The Erl King. Sure, Hackensacker is an obvious gloss on Rockefeller, and there’s the play on “oil king,” but the Erl King of legend is a kidnapper of innocents. (Goethe’s poem casts him as a child murderer.) Gerry’s scratching a five-year itch, taking flight from glum husband Tom (Joel McCrea), partly on the advice of another “king.” “Cold are the hands of time that creep along relentlessly, destroying slowly but without pity that which yesterday was young,” warns the millionaire Wienie King (Robert Dudley), after moseying into the Park Avenue duplex Gerry and Tom are about to lose. (A Tiresias who’s deaf rather than blind, he can’t hear anything anybody says, so he might as well be talking to himself.) Although “adventuress” Gerry, abandoning her marriage without money or clothing, can still wield youth and beauty as sword and shield, she pays a price for the attempt, first charming and then dodging the heavily armed, dangerously inebriated Ale & Quail Club as it pursues her throughout a southbound train. They’re a Wild Hunt straight out of pagan lore.

101 Dalmatians (1961) [Diamond Edition] – Blu-ray + DVD + Digital HD

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One Hundred and One Dalmatians
***½/**** Image B- Sound A- Extras A
story by Bill Peet, based on the book The Hundred and One Dalmatians by Dodie Smith
directed by Wolfgang Reitherman, Hamilton S. Luske, Clyde Geronimi

by Bill Chambers 1959’s Sleeping Beauty and 1961’s One Hundred and One Dalmatians (hereafter 101 Dalmatians) make for an illuminating double-bill; the latter could even be construed as a Godardian rejoinder to the former. An anti-auteur of these movies, Walt Disney determined their outcome by divesting resources from their development–including his own expertise–and pouring them into his personal Taj Mahal, Disneyland. This deprived the expensive Sleeping Beauty of the talent that may have been able to crack its deceptively simple fairytale formula and transcend the limitations of a graphical style inspired by medieval tapestries. When the film barely broke even, Disney decided his next animated feature would adapt a property with some grounding in contemporary prose and cost a lot less, leading to the shuttering of the ink-and-paint department and a vigorous embrace of Xerography, whereby the animators’ pencil drawings were photocopied directly onto acetate rather than delicately retraced and refined by hand.

Looking: The Complete First Season (2014) – Blu-ray + Digital HD

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Image A Sound A Extras C
“Looking for Now,” “Looking for Uncut,” “Looking at Your Browser History,” “Looking for $220/Hour,” “Looking for the Future,” “Looking in the Mirror,” “Looking for a Plus-One,” “Looking Glass”

by Jefferson Robbins Not fair to call it a gay “Girls”, in part because it dodges the character grotesques of that show in favour of…a less provocative mix of personality types, shall we say. That’s a polite way of calling Michael Lannan’s HBO dramedy “Looking” boring by comparison–and finally, prettily, boring on its own merits, however better-lensed and more grounded in real personal motivations it might be than Lena Dunham and Judd Apatow’s zeitgeister. Handsome gay men abroad in San Francisco’s fully actuated sexual culture is a fine launchpad; Lannan and collaborator Andrew Haigh treat their core trio of characters with respect and care; and the cast is all-pro, managing the mini-crises thrown their way as if they actually matter. But while there’s no there there in either “Looking” or “Girls”, at least the latter goes big and madcap enough to tempt continued viewing; it’s not afraid to entertain, or to anger. The curtain-fall on “Looking”‘s first season incites little hunger for the second.

A Walk Among the Tombstones (2014) – Blu-ray + DVD + Digital HD

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***/**** Image A Sound A Extras C-
starring Liam Neeson, Dan Stevens, David Harbour, Boyd Holbrook
screenplay by Scott Frank, based on the novel by Lawrence Block
directed by Scott Frank

by Bryant Frazer First, let’s be clear about what kind of movie A Walk Among the Tombstones is. The film’s signature image is that of a blonde woman, nude or nearly nude, atop a white bed. A man caresses her slowly, runs his fingers through her hair, and nuzzles her face. If we watch closely, we eventually notice that she cringes at his touch. As new camera angles afford us a better look at the tableau, we notice the bed is covered in plastic. Two men are watching the woman. And her mouth is taped closed. The newly disturbing scene is photographed with a luxe aesthetic–soft light, lush bokeh, off-axis shot compositions–that suggests a commercial for pharmaceuticals, if not early-’90s Playboy Channel programming. The intended irony is clear enough, but the coyness makes the scene ugly. After a close-up on the woman’s dirty feet, the camera cuts to a view of her face, looking directly into the camera, as her body is being pushed at, rhythmically, from just outside the frame. The question, then, is whether she’s being raped, dismembered, or eviscerated.

The Boxtrolls (2014) – Blu-ray 3D + Blu-ray + DVD + Digital HD

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***/**** Image B- Sound A Extras B+
screenplay by Irena Brignull, Adam Pava, based on the book Here Be Monsters by Alan Snow
directed by Graham Annable & Anthony Stacchi

by Walter Chaw Stop-motion animation studio Laika (Coraline, ParaNorman) continues its winning streak with the perverse, lovingly-detailed The Boxtrolls, which nails the company’s developing penchant for inserting a sting of relevance on the trailing end of assorted Nick Park-ian silliness. It’s basically the usual kid-flick moral of not judging lovable books by their horrible, green, warty covers, but there’s also a little bit about the danger of starting wars based on black pretense for unsavoury purposes. Likewise buried in the puns and gross-out gags are a class melodrama, a deep criticism of the ruling class, and a fairly disturbing aside about anti-intellectualism and the misuse of technology. It’s Schindler’s List in the sense that even that film was Spielberg’s own remake of E.T., substituting the industrious, wizened space goblin for Ben Kingsley; The Boxtrolls isn’t as effective a Holocaust/Łódź ghetto allegory as the hotel-clearing in Babe: Pig in the City, but no question the aim of its villains is ultimately genocide.

The Night Porter (1974) [The Criterion Collection] – Blu-ray Disc

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**½/**** Image A Sound A Extras B
starring Dirk Bogarde, Charlotte Rampling, Philippe Leroy, Gabriele Ferzetti
screenplay by Liliana Cavani and Italo Moscati
directed by Liliana Cavani

by Bryant Frazer The Night Porter is one of the most bizarre psychodramas in the history of film, using the Holocaust as a dreamy, abstract backdrop for a toxic romance between a former SS officer (Dirk Bogarde) and the “little girl” (Charlotte Rampling) he isolated, humiliated, and raped in a Nazi concentration camp. If that sounds absolutely outrageous, that was surely part of the design. This wasn’t Ilsa: She Wolf of the SS or another in the short-lived cycle of Nazi-themed exploitation pictures. This was Italian director Liliana Cavani’s first English-language feature, and Bogarde and Rampling were English-language stars. In order to recoup, The Night Porter would need to be provocative. Cavani delivered on that score. European critics are said to have taken the movie’s sociopolitical context seriously, but upon arrival in New York its outré imagery generated a mix of critical scorn and mockery that, ironically, helped earn it big returns at the box office. (Vincent Canby’s pan deriding it as “romantic pornography” was highlighted in the advertising.) If you know nothing else about the film, you probably know its signature image–Rampling, wearing black leather gloves and an SS officer’s cap, her bare breasts framed by the suspenders holding up a pair of baggy pinstriped trousers, tossing a Mona Lisa smile at the camera. That key art has kept The Night Porter in demand for more than forty years now, from arthouses and VHS tapes to DVD and now Blu-ray releases under the Criterion imprimatur.

Lucy (2014) – Blu-ray + DVD + Digital HD

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*/**** Image A+ Sound A+ Extras C
starring Scarlett Johansson, Morgan Freeman, Amr Waked, Choi Min-Sik
written and directed by Luc Besson

by Walter Chaw I recall Luc Besson confessing that his The Fifth Element was based on an idea he’d had as a child; I’m going to wager the same is true of his dreadful Lucy. It’s a pre-pubescent boy’s fantasy of cool: a mash of silly pop-science buoying a beautiful woman’s mutation from impossible party girl into deity through the agency of stem-cell-related drug abuse. The good news is that South Korean superstar Choi Min-Sik (Oldboy) gets a mainstream American debut in a juicy role that nonetheless feels like a wasted opportunity (see: Beat Takeshi in Johnny Mnemonic). The bad news is Lucy is prurient pap that pup-critics will declare proof of “vulgar auteurism,” no matter the redundancy and ignorance of the term itself. Perhaps fitting, then, that the only defense of a movie this obnoxious and wilfully dumb is a term and movement founded on the same principles. I’ve defended Besson in the past–I’m an unapologetic admirer of Leon/The Professional and The Messenger (and Danny the Dog, which he produced, is a peerless statement on the relationship between Western and Asian action stars). But Lucy is reductive, sub-La femme Nikita effluvia that takes a premise niftily played with in Ted Chiang’s beyond-brilliant 1991 short story “Understand” and grinds it into a grey paste.

Annabelle (2014) – Blu-ray + DVD + Digital HD

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½*/**** Image A- Sound A Extras C+
starring Annabelle Wallis, Ward Horton, Tony Amendola, Alfre Woodard
screenplay by Gary Dauberman
directed by John R. Leonetti

by Bill Chambers SPOILER WARNING IN EFFECT. Some kind of as-yet-unclassified spin-off/rip-off hybrid, Annabelle is a prequel to The Conjuring‘s prologue that recycles said prologue for the purpose of reacquainting viewers with its title character, even though Annabelle is in fact an origin story. The Conjuring, of course, purports to be based on the actual exploits of the paranormal researchers fictionalized in Poltergeist, which was shot by Matthew F. Leonetti, brother of The Conjuring‘s DP John R. Leonetti, who moves into the director’s chair with Annabelle, a movie that arguably owes less to The Conjuring (despite labouring to evoke it) than to the malicious clown doll from Poltergeist. That low-frequency thrum you sometimes hear on its soundtrack is Hollywood getting ready to fold in on itself.

The Vanishing (1988) [The Criterion Collection] – Blu-ray Disc

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Spoorloos
***½/**** Image A Sound A Extras B
starring Bernard-Pierre Donnadieu, Gene Bervoets, Johanna ter Steege, Gwen Eckhaus
screenplay by Tim Krabbé and George Sluizer, based on the novel The Golden Egg by Tim Krabbé
directed by George Sluizer

by Bryant Frazer What scares you the most? If you chew on that question for a while, then imagine a narrative that gets you to that terrible place, your story might look a little like the one told by The Vanishing (Spoorloos). Completed in 1988, this downbeat thriller didn’t reach the U.S. until a couple of years later, when it coincidentally landed in New York within weeks of The Silence of the Lambs. The Vanishing isn’t, strictly speaking, a serial-killer movie like Silence, though it shares that film’s deep interest in the psychopathology of its villain. Like a good (and by “good,” I mean “lurid”) true-crime book, its interest is similarly piqued by the painful, quotidian details of an abhorrent crime.

Vengeance is Mine (1979) [The Criterion Collection] – Blu-ray Disc

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***½/**** Image A Sound B+ Extras A
starring Ken Ogata, Mayumi Ogawa, Mitsuko Baisho, Frankie Sakai
screenplay by Masaru Baba, based on the novel by Ryuzo Saki
directed by Shohei Imamura

by Walter Chaw It would be tempting to say that nature is appalled by all the terrible things Iwao Enokizu (Ken Ogata) does. Just after Enokizu hammers an old man to death in a garden and takes his stuff, Nature erupts in a windstorm–furious witness, it seems: a tempest as analogy for the rough gales driving the mysterious tides of this murderer’s soul. Yet Shohei Imamura has something else entirely on his mind. Vengeance is Mine is about the fallacy of a moral universe. It’s not that it believes there’s no reason for atrocity; rather, it believes there’s no definition for atrocity. Imamura is the spiritual brother of guys like Werner Herzog and Terrence Malick. The questions he asks aren’t about ethics and morality, they’re about all the ways that men lie to themselves about being bound by ethics and morality, only to transgress those boundaries they create, whether they be bans on religion, law, or philosophy. They’re not evil. They can’t help it. No one can.

Looney Tuesdays: “Gorilla My Dreams” (1948)

**½/****directed by Robert McKimson by Bill Chambers Bugs Bunny floats in a barrel to the ape colony of Bingzi-Bangzi, where Mrs. Gorilla, in the throes of baby envy, mistakes him for a delivery from the stork. A sympathetic Bugs goes along with it, but her husband Gruesome--an obvious relative of Bunny Hugged's The Crusher--is vexed by the impostor, and opens up a can of whup-ass on "Junior." Although Bugs's pantomime of a gorilla brings down the house (Robert McKimson's paunchier Bugs really lends itself to the gag), ultimately the central conflict is too esoteric to sustain a 7-minute cartoon, as…

F for Fake (1973) [The Criterion Collection] – Blu-ray Disc

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***½/**** Image A- Sound A- Extras B+
starring Orson Welles, Oja Kodar, Elmyr de Hory, Clifford Irving
written and directed by Orson Welles

by Bryant Frazer In 1971, Pauline Kael did her best to kill Orson Welles. In “Raising Kane,” an essay originally published in THE NEW YORKER and later used as a lengthy introduction to the published screenplay, she argued that Welles had unfairly taken authorial credit for a film whose real creative force was Welles’s credited co-screenwriter, Herman J. Mankiewicz. Kael’s piece was persuasive but hardly comprehensive, cherry-picking evidence in an effort to make a liar of Welles. (In his definitive 1978 book The Making of Citizen Kane, Robert Carringer described Kael’s charge that Welles did not contribute to the script as “a flagrant misrepresentation,” although he did allow that Welles may have hoped not to credit Mankiewicz.) Making the case against Kane was an opportunity for Kael to escalate her ongoing crusade against the auteur theory; it doesn’t seem that she held any personal grudge against Welles, especially given her loving notice for his Chimes at Midnight, made just a few years earlier. But for the aging Welles, by that time a subject of mockery in Hollywood who struggled to finance even the most bargain-basement film projects, the apparently unprovoked attack must have stung. F for Fake is his elegant response: a good-natured but deeply-felt riposte, executed with his considerable showmanship and meant to humble artist and critic alike.