DID YOU READ

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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Hard Out

Comedy From The Closet

Janice and Jeffrey Available Now On IFC's Comedy Crib

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She’s been referred to as “the love child of Amy Sedaris and Tracy Ullman,” and he’s a self-described “Italian who knows how to cook a great spaghetti alla carbonara.” They’re Mollie Merkel and Matteo Lane, prolific indie comedians who blended their robust creative juices to bring us the new Comedy Crib series Janice and Jeffrey. Mollie and Matteo took time to answer our probing questions about their series and themselves. Here’s a taste.

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

Mollie & Matteo: Janice and Jeffrey is about a married couple experiencing intimacy issues but who don’t have a clue it’s because they are gay. Their oblivion makes them even more endearing.  Their total lack of awareness provides for a buffet of comedy.

IFC: What’s your origin story? How did you two people meet and how long have you been working together?

Mollie: We met at a dive bar in Wrigley Field Chicago. It was a show called Entertaining Julie… It was a cool variety scene with lots of talented people. I was doing Janice one night and Matteo was doing an impression of Liza Minnelli. We sort of just fell in love with each other’s… ACT! Matteo made the first move and told me how much he loved Janice and I drove home feeling like I just met someone really special.

IFC: How would Janice describe Jeffrey?

Mollie: “He can paint, cook homemade Bolognese, and sing Opera. Not to mention he has a great body. He makes me feel empowered and free. He doesn’t suffocate me with attention so our love has room to breath.”

IFC: How would Jeffrey describe Janice?

Matteo: “Like a Ford. Built to last.”

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

Mollie & Matteo: Our current political world is mirroring and reflecting this belief that homosexuality is wrong. So what better time for satire. Everyone is so pro gay and equal rights, which is of course what we want, too. But no one is looking at middle America and people actually in the closet. No one is saying, hey this is really painful and tragic, and sitting with that. Having compassion but providing the desperate relief of laughter…This seemed like the healthiest, best way to “fight” the gay rights “fight”.

IFC: Hummus is hilarious. Why is it so funny?

Mollie: It just seems like something people take really seriously, which is funny to me. I started to see it in a lot of lesbians’ refrigerators at a time. It’s like observing a lesbian in a comfortable shoe. It’s a language we speak. Pass the Hummus. Turn on the Indigo Girls would ya?

See the whole season of Janice and Jeffrey right now on IFC’s Comedy Crib.

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Die Hard Dads

Inspiration For Die Hard Dads

Die Hard is on IFC all Father's Day Long

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Photo Credit: Everett Collection, GIPHY

Yippee ki-yay, everybody! It’s time to celebrate the those most literal of mother-effers: dads!

And just in case the title of this post left anything to the imagination, IFC is giving dads balls-to-the-wall ’80s treatment with a glorious marathon of action trailblazer Die Hard.

There are so many things we could say about Die Hard. We could talk about how it was comedian Bruce Willis’s first foray into action flicks, or Alan Rickman’s big screen debut. But dads don’t give a sh!t about that stuff.

No, dads just want to fantasize that they could be deathproof quip factory John McClane in their own mundane lives. So while you celebrate the fathers in your life, consider how John McClane would respond to these traditional “dad” moments…

Wedding Toasts

Dads always struggle to find the right words of welcome to extend to new family. John McClane, on the other hand, is the master of inclusivity.
Die Hard wedding

Using Public Restrooms

While nine out of ten dads would rather die than use a disgusting public bathroom, McClane isn’t bothered one bit. So long as he can fit a bloody foot in the sink, he’s G2G.
Die Hard restroom

Awkward Dancing

Because every dad needs a signature move.
Die Hard dance

Writing Thank You Notes

It can be hard for dads to express gratitude. Not only can McClane articulate his thanks, he makes it feel personal.
Die Hard thank you

Valentine’s Day

How would John McClane say “I heart you” in a way that ain’t cliche? The image speaks for itself.
Die Hard valentines

Shopping

The only thing most dads hate more than shopping is fielding eleventh-hour phone calls with additional items for the list. But does McClane throw a typical man-tantrum? Nope. He finds the words to express his feelings like a goddam adult.
Die Hard thank you

Last Minute Errands

John McClane knows when a fight isn’t worth fighting.
Die Hard errands

Sneaking Out Of The Office Early

What is this, high school? Make a real exit, dads.
Die Hard office

Think you or your dad could stand to be more like Bruce? Role model fodder abounds in the Die Hard marathon all Father’s Day long on IFC.

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Founding Farters

Know Your Nerd History

Revenge of the Nerds is on IFC.

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Photo Credit: Everett Collection, GIFs via Giphy

That we live in the heyday of nerds is no hot secret. Scientists are celebrities, musicians are robots and late night hosts can recite every word of the Silmarillion. It’s too easy to think that it’s always been this way. But the truth is we owe much to our nerd forebearers who toiled through the jock-filled ’80s so that we might take over the world.

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Our humble beginnings are perhaps best captured in iconic ’80s romp Revenge of the Nerds. Like the founding fathers of our Country, the titular nerds rose above their circumstances to culturally pave the way for every Colbert and deGrasse Tyson that we know and love today.

To make sure you’re in the know about our very important cultural roots, here’s a quick download of the vengeful nerds without whom our shameful stereotypes might never have evolved.

Lewis Skolnick

The George Washington of nerds whose unflappable optimism – even in the face of humiliating self-awareness – basically gave birth to the Geek Pride movement.

Gilbert Lowe

OK, this guy is wet blanket, but an important wet blanket. Think Aaron Burr to Lin-Manuel Miranda’s Hamilton. His glass-mostly-empty attitude is a galvanizing force for Lewis. Who knows if Lewis could have kept up his optimism without Lowe’s Debbie-Downer outlook?

Arnold Poindexter

A music nerd who, after a soft start (inside joke, you’ll get it later), came out of his shell and let his passion lead instead of his anxiety. If you played an instrument (specifically, electric violin), and you were a nerd, this was your patron saint.

Booger

A sex-loving, blunt-smoking, nose-picking guitar hero. If you don’t think he sounds like a classic nerd, you’re absolutely right. And that’s the whole point. Along with Lamar, he simultaneously expanded the definition of nerd and gave pre-existing nerds a twisted sort of cred by association.

Lamar Latrell

Black, gay, and a crazy good breakdancer. In other words, a total groundbreaker. He proved to the world that nerds don’t have a single mold, but are simply outcasts waiting for their moment.

Ogre

Exceedingly stupid, this dumbass was monumental because he (in a sequel) leaves the jocks to become a nerd. Totally unheard of back then. Now all jocks are basically nerds.

Well, there they are. Never forget that we stand on their shoulders.

Revenge of the Nerds is on IFC all month long.

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