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Tom Bower

Review: The Ballad of Gregorio Cortez

[Originally published in The Weekly, September 28, 1983]

I approached last week’s invitational screening of The Ballad of Gregorio Cortez with a sense of grim duty. I’d had three chances to see the film over the past year or so—on PBS-TV, in the Eighth Seattle International Film Festival, and earlier this month at the Tenth Telluride Film Festival—and I’d breezily given it a miss every time. Too many danger signals were ringing in my ears: the threat of earnest boredom and laundered aestheticism implicit in the PBS sanctification, for one; and the frequency with which Third World indictments of Anglo injustice have substituted politicized rant for legitimate drama. Also, an independent, primarily documentary-oriented filmmaker had directed the picture, and filmmakers of this stripe often display a self-righteous contempt for narrative obligations—as though narrative were not the answer to a universal hunger for form and illumination, but merely something foisted on the cinema by that imperialist monster “Hollywood.” If The Ballad of Gregorio Cortez was tainted by any of the aforementioned syndromes, I wasn’t anxious to sit down in front of it.

I rehearse these (well-founded) antipathies in a spirit of endorsement, for I suspect they are shared by more than a few discerning filmgoers, and I would urge such persons not to give Gregorio Cortez a miss this time around. It turns out to be a fine, powerful, superbly crafted movie, with a universal dramatic impact far beyond any narrowly ethnic or political reference. Even more surprisingly, though by no means incidentally, it’s also an exciting, original addition to the honor roll of that supposedly moribund genre, the Western.

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John Lithgow and Lolita Davidovich in Brian De Palma's 'Raising Cain'

Blu-ray: ‘Raising Cain: Collector’s Edition’ with a De Palma-blessed Director’s Cut

raisingcainbdRaising Cain: Collector’s Edition (Scream Factory, Blu-ray) – Jenny (Lolita Davidovich, all soft curves and dreamy smiles) is married to “the perfect man,” says her best friend Sarah (Mel Harris). At first glance Carter (John Lithgow) seems exactly that: a thoughtful husband, a doting father, a child psychiatrist who put his practice on hold to stay home and raise their daughter while she, an oncologist, worked as the family professional and breadwinner. So what’s she thinking when she slips off with Jack (Steven Bauer), a handsome widower of a former patient she hasn’t seen in years, and makes love in the park where her daughter plays? Okay, that’s no secret. The first shot of the Raising Cain: Director’s Cut (1992/2012) puts a Valentine’s heart around her entrance, a cheesy video effect in an upscale boutique that taps right into romantic dreams that her “perfect” husband is failing to satisfy. When this dreamboat sails back into her life and Carter spies their affair, we have a pretty good idea where this is headed. And we couldn’t be more wrong.

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