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The rise of the film critic filmmaker

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The line between film critic and film maker has always been a blurry one. “Battleship Potemkin” director Sergei Eisenstein wrote essays and books about the language of motion pictures that continue to be studied by film students to this day. Many of the biggest figures of the French New Wave, from Jean-Luc Godard to Francois Truffaut, were first writers for the magazine “Cahiers du Cinema.” The same was true of the leaders of the New Hollywood era, where Peter Bogdanovich and Paul Schrader crossed over from writer to critic. Even the great critic Pauline Kael took a job as an executive at Paramount Pictures for a short time.

Through all of that, though, there was still a bit of a divide. You could write a piece of film criticism, or you could make a film, but it was very difficult to do both. Now, that seems to be changing. We’re witnessing the rise of the film critic filmmaker.

Arguably the most famous film critic filmmaker, and certainly the spiritual father to this new marriage between film commentary and film production is still almost entirely anonymous. In 2001, this faceless, nameless editor took George Lucas‘ cut of “Star Wars: Episode I – The Phantom Menace” — which, in an interesting bit of timing, is coming back to theaters this Friday in a new, 3D print — and excised almost twenty minutes from the film, removing most of the scenes featuring characters like Jar Jar Binks and Anakin Skywalker that fans of the original “Star Wars” trilogy hated. He called it “Episode 1.1 – The Phantom Edit,” and he was so scared of reprisals from Lucasfilm that he credited himself only as “The Phantom Editor.” This all took place so long ago that the project was initially considered by many to be nothing more than an urban legend. Those who saw it, at least at first, did so on dubbed VHS tapes. Just a decade later, it’s astonishing how much has changed.

The Phantom Editor did eventually out himself as Mike J. Nichols, a Hollywood film cutter who’s worked on movies like the Billy Joel concert documentary “The Last Play at Shea.” But that came much later. Nowadays, film critic filmmakers don’t need to hide behind assumed identities. A few are even gaining recognition from sources outside the echo chamber of the Internet. One of the most well-received films at last month’s Sundance Film Festival was “Room 237,” a feature length examination of Stanley Kubrick’s “The Shining.” The documentary, by director Rodney Ascher (not, say, “Mr. Redrum”), explores the myriad interpretations of Kubrick’s work and features film (or conspiracy) theorists explaining how “The Shining” might actually be a story about the genocide of Native Americans or an admission of guilt on the part of the director for getting involved in the “fake” Apollo 11 moon landing. Though Ascher interviewed all these people, he illustrates their arguments and comments with footage from “The Shining” and other Kubrick films. For that reason alone, the film will almost certainly be impossible to release in a typical, commercial way. But the fact that a film that a decade ago would almost certainly have been met with skepticism or fast and dirty lawsuits played at Sundance at all is an important marker of the progress of film critic filmmakers on the road to artistic legitimacy.

A similarly audacious project was launched last week on the Indiewire blog Press Play by film critic filmmaker Peet Gelderblom. His “Raising Cain Re-cut” is a “Phantom Edit”-style revision of Brian De Palma’s 1992 film “Raising Cain.” As Gelderblom explains in an essay that accompanies his “Re-cut,” De Palma was never fully satisfied with the structure of his film and, exasperated in the editing room, he radically revised his initial conception of the picture during post-production. Gelderblom decided to take the theatrical version of “Raising Cain” and restore it to something closer to the director’s original vision. At least for now, you can watch the entire “Raising Cain Re-cut” in this embedded video.

Raising Cain Re-cut from Press Play Video Blog on Vimeo.

To get the full effect of Gelderblom’s work, I rewatched De Palma’s “Raising Cain” over the weekend and then dove immediately into the “Re-Cut” version. In my (non-filmmaker) film critic opinion, he’s done as good a job as seems possible with the material he had to work with. In interviews, De Palma stressed that his reason for making “Cain” was not (SPOILER ALERT) to tell the story of a crazy dude with multiple personalities, but really to delve into a romantic melodrama involving the crazy dude’s wife, who cheats on her husband in a surreal swirl of dreams and nightmares. In the theatrical version, John Lithgow’s Carter is established first — and established as a nutjob — before we ever meet his wife Jenny (Lolita Davidovich). Gelderblom’s biggest adjustment is to start with Jenny, and to keep Carter as a background character through the first twenty minutes of the film. Right after Jenny has succumbed to a series of fantasies (or perhaps true adulterous encounters) Carter surprises her by strangling her, seemingly to death.

There’s one major downside to Gelderblom’s version, namely that this protagonist fake-out makes “Raising Cain” look even more like a “Psycho” knock-off than it already did. But otherwise, his conceit works, and makes a certain amount of sense, too. Davidovich’s character is having a hard time telling the difference between dream and reality and all of a sudden her husband tries to kill her; which, at first, seems like another possible layer of dream. The “Re-cut”‘s biggest problem is that Gelderblom only has the original theatrical cut to play with — and his version could use at least a few more scenes of seeming domestic bliss between Jenny and Carter to really sell the big reveal, as well a a clearer transition between Carter’s attempted murder of Jenny and the flashback to the beginning of his wicked deeds.

All in all, though, it’s a very interesting effort. And while he hasn’t spoken publicly about it, I imagine De Palma would approve, if not with the execution then at least with the conception. After all, De Palma was, on some level, a sort of prehistoric ancestor to the modern film critic filmmaker. Few directors know more about the movies than De Palma, and few deploy that knowledge more explicitly in their work. His movies were sort of remixes before the rise of remix culture. “Blow Out” combines elements of “Blow Up” and “The Conversation” with the conspiracy around the Kennedy assassination (not to mention Chappaquiddick). “Body Double” is a bit of “Vertigo” and a bit of “Rear Window” with a dash of some Hitchcockian Wrong Man thrillers as well. And “Raising Cain,” of course, with its cross-dressing, multiple-personality-afflicted protagonist, owes a fair share to “Psycho.” You wonder whether De Palma sees these film critic filmmakers and imagines what his own career would look like if he’d come of age today. It might be enough to drive a man crazy.

What do you think of the rise of film critic filmmakers? Tell us in the comments below or write to us on Facebook and Twitter.

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Grow TFU

Adulting Like You Mean It

Commuters makes its debut on IFC's Comedy Crib.

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Jared Warner, Nick Ciavarella, and Tim Dean were once a part of Murderfist, a group of comedy writers, actors, producers, parents, and reluctant adults. Together with InstaMiniSeries’s Nikki Borges, they’re making their IFC Comedy Crib debut with the refreshingly-honest and joyfully-hilarious Commuters. The webseries follows thirtysomethings Harris and Olivia as they brave the waters of true adulthood, and it’s right on point.

Jared, Nick, Nikki and Tim were kind enough to answer a few questions about Commuters for us. Here’s a snippet of that conversation…

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IFC: How would you describe Commuters to a fancy network executive you met in an elevator?

Nick: Two 30-somethings leave the Brooklyn life behind, and move to the New Jersey suburbs in a forced attempt to “grow up.” But they soon find out they’ve got a long way to go to get to where they want to be.

IFC: How would you describe Commuters to a drunk friend of a friend you met in a bar?

Jared: It’s a show about how f*cking stupid people who think they are smart can be.

IFC: What’s your origin story? When did you all meet and how long have you been working together?

Jared: Nick, Tim, and I were all in the sketch group Murderfist since, what, like 2004? God. Anyway, Tim and Nick left the group to pursue other frivolous things, like children and careers, but we all enjoyed writing together and kept at it. We were always more interested in storytelling than sketch comedy lends itself to, which led to our webseries Jared Posts A Personal. That was a show about being in your 20s and embracing the chaos of being young in the city. Commuters is the counterpoint, i guess. Our director Adam worked at Borders (~THE PAST!!~) with Tim, came out to a Murderfist show once, and we’ve kept him imprisoned ever since.

IFC: What was the genesis of Commuters?

Tim: Jared had an idea for a series about the more realistic, less romantic aspects of being in a serious relationship.  I moved out of the city to the suburbs and Nick got engaged out in LA.   We sort of combined all of those facets and Commuters was the end result.

IFC: How would Harris describe Olivia?

Jared: Olivia is the smartest, coolest, hottest person in the world, and Harris can’t believe he gets to be with her, even though she does overreact to everything and has no chill. Like seriously, ease up. It doesn’t always have to be ‘a thing.’

IFC: How would Olivia describe Harris?

Nikki:  Harris is smart, confident with a dry sense of humor but he’s also kind of a major chicken shit…. Kind of like if Han Solo and Barney Rubble had a baby.

IFC: Why do you think the world is ready for this series?

Nikki:  I think this is the most accurate portrayal of what a modern relationship looks like. Expectations for what your life is ‘supposed to look like’ are confusing and often a let down but when you’re married to your best friend, it’s going to be ok because you will always find a way to make each other laugh.

IFC: Is the exciting life of NYC twentysomethings a sweet dream from which we all must awake, or is it a nightmare that we don’t realize is happening until it’s over?

Tim: Now that i’ve spent time living in the suburbs, helping to raise a two year old, y’all city folk have no fucking clue how great you’ve got it.

Nikki: I think of it similar to how I think about college. There’s a time and age for it to be glorious but no one wants to hang out with that 7th year senior. Luckily, NYC is so multifaceted that you can still have an exciting life here but it doesn’t have to be just what the twentysomethings are doing (thank god).

Jared: New York City is a garbage fire.

See the whole season of Commuters right now on IFC’s Comedy Crib.

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C'mon Fellas

A Man Mansplains To Men

Why Baroness von Sketch Show is a must-see.

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Mansplaining is when a man takes it upon himself to explain something to a woman that she already knows. It happens a lot, but it’s not going to happen here. Ladies, go ahead and skip to the end of this post to watch a free episode of IFC’s latest addition, Baroness von Sketch Show.

However, if you’re a man, you might actually benefit from a good mansplanation. So take a knee, lean in, and absorb the following wisdom.

No Dicks

Baroness von Sketch Show is made entirely by women, therefore this show isn’t focused on men. Can you believe it? I know what you’re thinking: how will we know when to laugh if the jokes aren’t viewed through the dusty lens of the patriarchy? Where are the thinly veiled penis jokes? Am I a bad person? In order: you will, nowhere, and yes.

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Huge Balls

Did you know that there’s more to life than poop jokes, sex jokes, body part jokes? I mean, those things are all really good things, natch, and totally edgy. But Baroness von Sketch Show does something even edgier. It holds up a brutal funhouse mirror to our everyday life. This is a bulls**t world we made, fellas.

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Oh Canada

After you watch the Canadian powerhouses of Baroness von Sketch Show and think to yourself “Dear god, this is so real” and “I’ve gotta talk about this,” do yourself a favor and think a-boot your options: Refrain from sharing your sage wisdom with any woman anywhere (believe us, she gets it). Instead, tell a fellow bro and get the mansplaining out of your system while also spreading the word about a great show.

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Dudes, that’s the deal.
Women, start reading again here:


Check out the preview episode of Baroness von Sketch Show and watch the series premiere August 2 on IFC.

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Happy Tears

Binge Don’t Cringe

Catch up on episodes of Documentary Now! and Portlandia.

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Photo Credit: GIFs via GIPHY

A brain can only take so much.

Every five minutes, all day, every day, ludicrously stressful headlines push our mental limits as we struggle to adapt to a reality that seems increasingly less real. What’s a mind to do when simple denial just isn’t good enough anymore?

Radical suggestion: repeal and replace. And by that we mean take all the bad news that keeps you up at night, press pause, and substitute it with some genuine (not nervous, for a change) laughter. Here are some of the issues on our mind.

Gender Inequality

Feminist bookstore owners by day, still feminist bookstore owners by night, Toni and Candace show the male gaze who’s boss. Learn about their origin story (SPOILER: there’s an epic dance battle) and see what happens when their own brand of empowerment gets out of hand.

Healthcare

From Candace’s heart attack to the rise of the rawvolution, this Portlandia episode proves that healthcare is vital.

Peaceful Protests

Too many online petitions, too little time? Get WOKE with Fred and Carrie when they learn how to protest.

What Could Have Been

Can’t say the name “Clinton” without bursting into tears? Documentary Now!’s masterfully political “The Bunker” sheds a cozy new light on the house that Bill and Hill built. Just pretend you don’t know how the story really ends.

Fake News

A healthy way to break the high-drama news cycle is to switch over to “Dronez”, which has all the thrills of ubiquitous adventure journalism without any of the customary depression.

The more you watch, the better you feel. So get started on past episodes of Documentary Now! and Portlandia right now at IFC.com and the IFC app.

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