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Tom Wolfe

The View Beyond Parallax… more reads for the week of May 18

“With its flashback structure, intense low-key lighting, and the rich psychological portraiture of even the smallest characters, Crossfire has the look and depth of a signature ’40s noir, but it’s really a social problem picture in drag—like a Stanley Kramer picture with style or one of those instructively anti-fascist genre films of the era such as Brute Force. Because the movie is so direct in its messaging and pleasingly two-fisted in its delivery, it’s easy to sometimes overlook the central oddness of the narrative’s inciting event. If it seems like there’s something unspoken in the circumstances around the murder—i.e., why would an unassuming man invite strange men he just met at a bar up to his apartment in the first place?—that’s because there is.” Michael Koresky’s inclusion of Crossfire in his ongoing survey of queer cinema highlights how the subject of homosexuality was so controversial it was removed in the novel’s film adaptation as the reason for the victim’s murder, yet also so resonant that the movie can’t help a gentle homoeroticism from gleaming through on occasion.

“Travel has long been one of Kaurismäki’s favorite themes. Many of his early films center on Finnish men—often alienated from society—who find a way to escape to romantic or utopian destinations, frequently by ship, as in Shadows in Paradise (1986) and Ariel (1988). But these white men, even if they are outsiders on the bottom rungs of society, still possess freedoms that most of the world lacks. Starting with Le Havre (2011) and continuing with The Other Side of Hope, Kaurismäki switched course by associating travel not with native Finns but with migrants who are people of color. This has been a timely and apt choice on his part, given that we are in the middle of a global displacement crisis on a scale comparable to that of World War II.” Aki Kaurismäki’s The Other Side of Hope is, for Girish Shambu, both something old and something new, a continuation of the director’s recent concern with race and immigration as well as a fine addition to his career-long portraits of alienation, the hardships and rewards of labor, and dogs.

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Review: The Last American Hero

[Originally published in Movietone News 26, October 1973]

The Last American Hero is an entertaining genre picture with a serious-sounding title, and so it runs the risk of being underrated in some quarters and overrated in others. Its vision is more casual than the title would imply, yet richer than its unadorned folksiness pretends. First and foremost, it is a highly charged but straightforward story about a young stockcar racer (Jeff Bridges) riding skill, arrogance, and need into the big money. Lamont Johnson and crew prove responsive to both the racing scene and the cars themselves, and give a sense of the action that is close to the excitement but free of adulatory packaging. Although the title suggests the possibility of an exercise in the pre-digested, pre-fab cynicism which seems to be a staple of contemporary American cinema, this action film focuses on its people as much as its action, and a good deal of its power comes from the way its sharply etched characters develop in various convincingly observed milieux. Valerie Perrine as a sort of stockcar groupie overcompensating for a lonely adolescence, Gary Busey as Bridges’s oafish yet alert brother, Art Lund as their wearily rugged-individualist father, and Ed Lauter as a sinuously efficacious racing manager are all major collaborators in enlivening and authenticating a project that might easily have been routine.

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Review: The Right Stuff

The Right Stuff

[originally published in The Weekly, November 9, 1983]

The Right Stuff is the biggest, brightest, busiest movie of the year, exhilarating in its largeness of spirit, in the sheer physical scope of its achievement, and in the breadth and complexity of its ambitions. It’s also an exasperatingly difficult film to review, for its strengths and weaknesses frequently lie side-by-each, and although the former far outweigh the latter, both must be acknowledged.

Anyone setting out to make a film from Tom Wolfe’s book The Right Stuff faces an awesome challenge: how to take 16 years’ worth of aviation history teeming with event, detail, character, and information, and shape it into a coherent, let alone an engrossing, movie. In this, writer-director Philip Kaufman has stunningly succeeded. Against all odds, unintimidated by the shifting currents of history and changing fashions in American heroism, his Right Stuff rushes along a breathlessly clear narrative line for 3 hours and 13 minutes. It’s a joyride with substance, the sort of experience that leaves even classy kiddie-kar entertainments like Raiders of the Lost Ark and Return of the Jedi looking trivial by comparison.

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