“Oh yes, [The Blue Bird] is actually totally crazy if you ask me. In that regard it is Maurice’s most radical film. He even painted the intertitles himself and managed almost every stage of the production. I think this was the closest he came to his idea of creating a complete artwork. Which is also the reason we showed it together with I Walked with a Zombie. In many ways the latter is the most accomplished expression of Jacques’ total art, although I am sure ever-modest Jacques would have abhorred a term like this. In it Jacques goes furthest in liberating himself from narrative shackles. Both films could be seen as showcases on how to create poetry within the Hollywood system.” The Austrian Film Museum’s Christoph Huber has a fascinating conversation with Patrick Holzapfel about a program he curated that paired films of Maurice and Jacques Tourneur, and the commonalities and radical differences it exposed in the father and son auteurs. Via Film Comment.
“It was precisely this history of problematic representation that [producer] Esparza sought to upend with his films, and he and a few fellow filmmakers succeeded.In the early eighties, Mexican Americans were just beginning to fulfill their dream of making their own cinema, and The Ballad of Gregorio Cortez was one of the films that inaugurated the Chicano film movement, along with Young’s ¡Alambrista! and Luis Valdez’s Zoot Suit (1981). The next ten or so years saw the full flowering of Chicano cinema with the release of La Bamba (1987), Born in East L.A. (1987), Stand and Deliver (1988),and The Milagro Beanfield War(1988), and culminating with Robert Rodriguez’s El Mariachi in 1992.” Charles Ramírez Berg traces the history of Young’s The Ballad of Gregorio Cortez, from real-life incident to folk song, academic study, and finally a film at the forefront of not only the Latin American wave but the entire independent film movement. Elsewhere, at Filmmaker, star and producer Edward James Olmos talks with Jim Hemphill about the film. (“I gave Bob [Young] the script up at Sundance, and that same year Robert Duvall was there – he gave Bob Tender Mercies to read at the same time. Bob called me up and said, ‘Eddie, I just finished reading your script, and it’s the most horrific and unprofessional script I’ve ever read in my life.’ He couldn’t find one good thing to say about it. And then he said, ‘Tender Mercies is an extraordinary script. Just incredible.’ In my mind I’m thinking, well, he’s gonna do Tender Mercies. I mean, at this point in time I am no Robert Duvall, okay? […] And Bob asks me, ‘Do you have the money for your story?’ I said, ‘I have a million dollars.’ He goes, ‘Oh, that’s more than enough. I want to do your story. Duvall’s script is brilliant, but yours is the story I want to tell.’”)