MCN Columnists
Gary Dretzka

Dretzka By Gary DretzkaDretzka@moviecitynews.com

The DVD Wrapup: Three Stooges, Margaret, Metropolitan, Institute Benjamenta, Footnote… More

Typically, movies with a gestation period of more than five years bear the fingerprints of far too many studio meddlers and investors hoping to return a dime on the dollars they put into the project. Some have been edited and re-edited to the point where they’re unrecognizable from the concept originally green-lit and are disowned by their parents. By the time they’re accorded a limited release, more lawyers have seen the movie than critics. “Margaret” has just such a backstory.

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The DVD Wrapup: Friends With Kids, Singin’ in the Rain, Here, Salmon Fishing, 4:44, Johnny Carson, Julia Child, InBetweeners … More

Shot almost exclusively in rural Armenia, “Here” is the kind of movie whose scenery almost overpowers the story, whose existential conceits are extremely fragile.

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The DVD Wrapup: Twins of Evil, Black Limousine, Kassim, Quill, Making Plans for Lena, Cherry Bomb, Chariots of Fire … More

The gimmick attraction was the casting of identical Maltese twins, Mary and Madeleine Collinson, as the vampire-bait siblings, Maria and Frieda. Having recently posed for the centerfold pictorial of Playboy magazine and being cast in a short stag film, they were pretty marketable. After 40 years, however, “Twins of Evil” can stand on its own merits… not that Collinsons don’t retain their allure.

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The DVD Wrapup: American Dream, Joe + Belle, Barbarella, Chesty Morgan, Kirk Douglas … More

If there’s anything that brings out the high-school sophomore in adult men, it’s a bust that measures 73 FF. That vital statistic, alone, made Chesty Morgan (a.k.a., Lillian Wilczkowsky) a name recognized in frat, fire and grind houses throughout North America from 1972 to 1991. And, yes, her breasts were – and continue to be, at 75 – 100 percent real.

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Dretzka

Quote Unquotesee all »

“You know, I was never a critic. I never considered myself as a film critic. I started doing short films, writing screenplays and then for awhile, for a few years I wrote some film theory, including some film criticism because I had to, but I was never… I never had the desire to be a film critic. I never envisioned myself as a film critic, but I did that at a period of my life when I thought I kind of needed to understand things about cinema, understand things about film theory, understand the world map of cinema, and writing about movies gave me that, and also the opportunity to meet filmmakers I admired.

“To me, it was the best possible film school. The way it changed my perspective I suppose is that I believe in this connection between theory and practice. I think that you also make movies with ideas and you need to have ideas about filmmaking to achieve whatever you’re trying to achieve through your movies, but then I started making features in 1986 — a while ago — and I left all that behind.

“For the last three decades I’ve been making movies, I’ve been living, I’ve been observing the world. You become a different person, so basically my perspective on the world in general is very different and I hope that with every movie I make a step forward. I kind of hope I’m a better person, and hopefully a better filmmaker and hopefully try to… It’s very hard for me to go back to a different time when I would have different values in my relationship to filmmaking. I had a stiffer notion of cinema.”
~ Olivier Assayas

A Spirited Exchange

“In some ways Christopher Nolan has become our Stanley Kubrick,” reads the first sentence of David Bordwell’s latest blog post–none of which I want or intend to read after that desperate opening sentence. If he’d written “my” or “some people’s” instead of “our”, I might have read further. Instead, I can only surmise that in some ways David Bordwell may have become our Lars von Trier.”
~ Jonathan Rosenbaum On Facebook

“Jonathan has written a despicable thing in comparing me to Trump. He’s free to read or not read what I write, and even to judge arguments without reading them. It’s not what you’d expect from a sensible critic, but it’s what Jonathan has chosen to do, for reasons of a private nature he has confided to me in an email What I request from him is an apology for comparing my ideas to Trump’s.”
~ David Bordwell Replies

“Yes, I do apologize, sincerely, for such a ridiculous and quite unwarranted comparison. The private nature of my grievance with David probably fueled my post, but it didn’t dictate it, even though I’m willing to concede that I overreacted. Part of what spurred me to post something in the first place is actually related to a positive development in David’s work–an improvement in his prose style ever since he wrote (and wrote very well) about such elegant prose stylists as James Agee and Manny Farber. But this also brought a journalistic edge to his prose, including a dramatic flair for journalistic ‘hooks’ and attention-grabbers, that is part of what I was responding to. Although I realize now that David justifies his opening sentence with what follows, and far less egregiously than I implied he might have, I was responding to the drum roll of that opening sentence as a provocation, which it certainly was and is.”
~ Jonathan Rosenbaum Replies