One hundred and five minutes of spontaneous talk from a homosexual named Jeffrey Strouth, seated in the back of a 1957 Cadillac in Columbus, Ohio, may sound like thin fare for a feature, but Reno Dakota’s 1992 movie–a tribute to his wild and uninhibited friend, who subsequently died of AIDS–kept me mesmerized and entertained. Recounting various episodes in his difficult life–bouts with his alcoholic and abusive father; being kept at age 14 by a 400-pound drag queen; hitchhiking to Hollywood with a campy boyfriend, a tiny dog, and a caged bird; numerous tragicomic scrapes with the police; and much, much else involving sex and drugs–Strouth often calls to mind some of the comic gross-outs of William Burroughs (whom he openly imitates at one point) and the picaresque hard-luck stories of Nelson Algren, not to mention the road adventures of Kerouac. This has more of the flavor of an epic American narrative than most conventional features, and it certainly offers a more comprehensive look at our national life. Music Box, Saturday and Sunday, July 31 and August 1.
The late Sergei Paradjanov’s greatest film, a mystical and historical mosaic about the life, work, and inner world of the 18th-century Armenian poet Sayat Nova, has previously been available only in the ethnically “dry-cleaned” Russian version–recut and somewhat reorganized by Sergei Yutkevich, with chapter headings added to clarify the content for Russian viewers. This superior version of the film, recently found in an Armenian studio, shouldn’t be regarded as definitive (some of the material from the Yutkevich cut is missing), but it’s certainly the finest we have and may ever have: some shots and sequences are new, some are positioned differently, and, of particular advantage to Western viewers, much more of the poetry is subtitled. (Oddly enough, it’s hard to tell why the “new” shots were censored.) In both versions the striking use of tableaulike frames recalls the shallow space of movies made roughly a century ago, while the gorgeous uses of color and the wild poetic conceits seem to derive from some utopian cinema of the future, at once “difficult” and immediate, cryptic and ravishing. This is essential viewing (1969). Facets Multimedia Center, 1517 W. Fullerton, Friday and Saturday, July 16 and 17, 7:00 and 9:00; Sunday, July 18, 5:30 and 7:30; and Monday through Thursday, July 19 through 22, 7:00 and 9:00; 281-4114.
This is the first documentary feature about gentrification I’m aware of, and it’s an uncommonly good one–made by School of the Art Institute graduate Nora Jacobson over eight years in Hoboken, New Jersey, in the neighborhood where she still lives. Alert and lucid without a trace of sentimentality, she focuses on a number of related events, including the torching of rent-controlled buildings (and subsequent condo conversions), and interviews local residents, landlords, developers, activists, and others about what’s going on. This is an eye-opener. (1992) Jacobson will attend both screenings. Film Center, Art Institute, Columbus Drive at Jackson, Saturday, July 17, 7:45, and Sunday, July 18, 6:00, 443-3737.