Old MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

Screening Gotham: Sept. 22-24, 2006


A few of this week’s worthwhile cinematic goings-on around New York:
–I would like to think that there is such a thing as Reeler Karma, and that it blesses all of those who have ever contributedto or simply been kind to this blog. So when I heard about one-time guest writer Josh Horowitz’s Q&A with filmmaker Neil LaBute(right) tonight at the Astor Place Barnes and Noble, I thought, “There you go, score another one for Reeler Karma.” In actuality, though, Horowitz interviewed LaBute and something like 30 other filmmakers for his book The Mind of the Modern Moviemaker, so really, I got nothing. On the other hand, LaBute has never written here, and you can bet the Wicker Man second-guessing will be shattered-glass shrill. So who knows? The point is that you should go check out the discussion this evening at 7. We can figure out this karma business later.
–Call me contrarian, but I would like to go against conventional critical wisdom this weekend in recommending you check out All the King’s Men and avoid Old Joy. Neither film is especially bad nor especially good, but each lists farther than they desrve to either side of the hype spectrum. King’s Men, adapted by Steven Zaillian from Robert Penn Warren’s classic novel, takes its dueling meditations on idealism and power far too seriously (composer James Horner’s “soaring” score induces diabetic shock in people over 55) yet eventually comes into its own as kind of a fascinating, beautiful, A-list accident. Sean Penn is hammy but serviceable; Jude Law is better than anyone wants to admit, lest they lose ground in the tastemaking circle jerk of Rotten Tomatoes. It’s a tad difficult to follow, but hardly difficult to enjoy.
–Not so for Kelly Reichardt’s latest, Old Joy, which has left hard-to-remove come stains on seats at Sundance, New Directors/New Films and now in limited release at Film Forum. Daniel London and Will Oldham star as Mark and Kurt, longtime friends who pair up for a weekend in the woods only to discover they have nothing in common. In her readings of landscape and faces, Reichardt captures spatial and structural dynamics that her story just cannot support; even at 76 minutes, the film exhausts its premise and tension less than halfway through. Anyway, Yo La Tengo will join Reichardt to discuss the film after tonight’s 8:15 screening, which is sold out online but might have a ticket or two remining at the box office if you go down there, like, an hour ago. Trust me–you can wait.
Richard Sandler‘s documentary work arrives in Williamsburg this weekend, with five of his films–often shot over the stretches of years or even decades–screening until Sept. 27 at Monkey Town. The Guggenheim Fellowship-winning work includes the street-preacher portrait The Gods of Times Square, the subway chronicle Sway and Sandler’s 12-years-in-the-making glimpse at East Village gentrification, Brave New York. Programs run nightly at 7:30 and 10:30.

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Six rules for filmmaking from Mike Nichols
1. The careful application of terror is an important form of communication.
2. Anything worth fighting for is worth fighting dirty for.
3. There’s absolutely no substitute for genuine lack of preparation.
4. If you think there’s good in everybody, you haven’t met everybody.
5. Friends may come and go but enemies will certainly become studio heads.
6. No one ever lost anything by asking for more money.
~ Via Larry Karaszewski and Howard A. Rodman On Facebook

“I expected ‘Salesman’ to take the step backward every day that Chekhov and Beckett did — but no, it was there to help all the time. The circumstances are like a brick shithouse, they are so solid. You can’t really be satisfied, but I am pretty close to it because the cast took it and ran. They get better every day. I’ve never seen anything like that before, and I don’t know if I’ll ever see it again. Is my ambition sated? I don’t know. To get something right, it can’t be sated because you can’t ever get enough of it right—and even if it is right, it won’t stay right. That’s the thing about a play. But with ‘Salesman,’ it’s different. I don’t know how, but they just keep getting better each night. I really don’t think I’ll direct another play. This is as good a time as I’ve ever had, and I don’t want to fuck it up.”
~ Mike Nichols To Stephen Galloway At The Time Of “Death Of A Salesman”