Colin MacCabe Movies

Writer/director Derek Jarman injects his patented iconoclasm in this biography of Renaissance artist Michelangelo Merisa da Caravaggio. Nigel Terry plays the title role, whom (according to Jarman) essentially told his own life story in his paintings. Caravaggio travelled among thieves and prostitutes, many of whom were his models. He once killed a man, kept a deaf/mute child as a virtual slave, and squandered every penny he ever made. That we should care anything about so miserable and obscure a personality is a tribute to Jarman's filmmaking savvy--and the number of elements from his own well-publicized life that he injects into the film. ~ Hal Erickson, All Movie Guide

Set in 1940s England, Distant Voices/Still Lives is a compassionate look at a radically dysfunctional family. The son and his mother must endure the casual and overt cruelties of the bull-necked father. The ongoing abuse takes its toll in the form of failed marriages and misguided attempts at seeking security outside the family unit. As was the case with his earlier short subject trilogy (The Children, Madonna and Child, Death and Transfiguration), director Terence Davies based much of the material on his own life, combining rheumy-eyed cynicism with soft-edged nostalgia (the musical track, drawn from popular wartime songs, is particularly evocative). ~ Hal Erickson, All Movie Guide

Melancholia is a British suspenser, filmed and financed in Germany. Jeroen Krabbe plays a German art critic who in more turbulent times had been a radical activist. Krabbe's past collides with his present when a London political figure is marked for assassination. With only the slightest tinge of conscience, Krabbe agrees to pull off the killing. It is always a pleasure to see leading lady Susannah York, even in the morally ambivalent circumstances of Melancholia. ~ Hal Erickson, All Movie Guide

Adlyn (Dona Croll) is a woman preacher married to the pastor of a large church for Caribbean blacks living in Britain. She has lived for years with a guilty secret: her son's real father is not the man she's married to. When the boy's real father (who has been living in the U.S.) shows up for the funeral of a church elder, he wants to see his son. Now she has to decide how to handle revealing the truth to her boy, and what she will say to the members of her congregation. This film is notable in that it is made by members of the British Caribbean immigrant minority, and is about their lives in Britain. ~ Clarke Fountain, All Movie Guide

This largely character-driven thriller-drama is the feature-film debut of British documentary filmmaker Isaac Julien, and provides viewers with an insider's look at the diverse lifestyles of hip, young black immigrants who lived upon the fringes of 1977 London society. The film begins in a colorful park setting where, in the late-night hours, gay men cruise. A stabbing occurs and unbeknownst to the killer, a passerby has recorded it on cassette. The story then jumps to two young aspiring DJs, the heterosexual and flamboyant Chris and his best friend, the gay and rather reserved Caz, as they defiantly broadcast soul music from their ragtag, rolling pirate radio station. With their "Soul Patrol," the two symbolically thumb their noses at the conservative BBC that dominates the airwaves. The murder victim is a friend of Caz, and he becomes a prime suspect in the case. Unbeknownst to him, someone has dropped by the cassette tape with the evidence that will save him. At the same time, his friendship with Chris becomes strained when it becomes obvious that both young men are on the cusp of heading in dramatically different life directions. Caz has been getting increasingly involved with the politics and wildness of the fledgling punk-rock movement, while normally wild Chris has been offered a lucrative contract to work as a DJ at a major, mainstream radio station by his new girlfriend Tracy, a production assistant there. Still, the two try to somehow prepare to co-host a concert protesting the upcoming Queen's Silver Jubilee celebration. ~ Sandra Brennan, All Movie Guide

In 1994, the British Film Institute commissioned a set of films to mark the centenary of the movies. They would trace the history of several national cinemas, and the BFI's choice for interpreting the history of American film fell to director Martin Scorsese, a longtime champion of film history and preservation. Scorsese's approach to his subject is director-centered, as he examines the tension inherent in the struggle of an artist wishing to make a personal statement against the collaborative nature of films and the commercial pressures of the Hollywood moviemaking factory. Segments of this series are devoted to the director as storyteller (examining narrative devices in the Western, gangster film, and musical), illusionist (technical tricks), smuggler (imbedding personal messages), and iconoclast (bucking the system to make films his own way). The series is replete with telling clips, not just snippets or shots, but entire scenes which illustrate Scorsese and co-director Michael Henry Wilson's points. Other filmmakers, including John Ford, Francis Ford Coppola, Billy Wilder, and Orson Welles, are seen in archival footage or interviews created for the series, offering their own take on the art of filmmaking. Scorsese doesn't discriminate between filmmakers with glossy reputations and those who always worked on the fringe of public awareness. If anything, he goes out of his way to champion mavericks like Samuel Fuller whose "visceral cinema" never enjoyed box-office success or awards. Personal Journey was first shown on British TV, released in limited fashion to theaters in the United States, and shown here on TV as well. A tie-in book was published in 1997 by Miramax Books; it contains the entire script for the series, excellent black-and-white stills, and dialogue from some of the clips. ~ Tom Wiener, All Movie Guide

Utilizing computer-generated effects and creative splicing to place Germany's most famous living directors in a fantasy movie house, filmmaker Edgar Reitz takes an innovative approach toward exploring the history of German cinema. In this magical theater, directors such as Leni Riefenstahl, Detlev Buck, Volker Schloendorff, Margarethe von Trotta, Wim Wenders, Werner Herzog "discuss" the state of German cinema with a focus on New German Cinema. ~ Sandra Brennan, All Movie Guide

This Japanese documentary represents director Nagisa Oshima's entry in the British Film Institute commissioned series, "Century of Cinema," designed to be a collection of the personal opinions of renowned international filmmakers concerning the cinema of their native countries. It is entirely comprised of B&W stills and short film clips. ~ Sandra Brennan, All Movie Guide

This South Korean documentary is an entry in the "Century of Cinema" celebration, which is sponsored by the British Film Institute and designed to allow prominent filmmakers to chronicle their country's cinematic history. This entry by Jang Sun-Woo reflects his thesis that Korean cinema is difficult to describe or categorize because it completely changes every few years to reflect the current social and political climate. He demonstrates his point with filmclips and interviews with prominent directors. He also journeys to historically (cinematically speaking) important locations. ~ Sandra Brennan, All Movie Guide

This entry in the British Film Institute-sponsored international centenary celebration of cinema in which noted directors present a film that exemplifies their country or region's cinema and its origins, represents Poland. Based on a suggestion by late filmmaker Kryzstof Kieslowski and directed by Pawel Lozinski, the film is comprised of interviews with a wide range of moviegoers asked by unseen interviewers to give their thoughts about Polish cinema. ~ Sandra Brennan, All Movie Guide

This entry in the British Film Institute-sponsored international centenary celebration of cinema, in which noted directors presented a documentary or feature film exemplifying their country's cinematic history, represents Russia and was directed by Sergei Selyanov. A personalized entry, it features film clips of some of the country's greatest films between the late 1800s and 1940 including those of Eisenstein, Dovzhenko and Pudovkin. The only post-1940 clip comes from Tarkovsky's 1979 film Stalker. The clips are grouped together in eight segments and are designed to illustrate the Russian character as described by Nikolai Berdayev in his turn-of-the-century book Russkaja Ideja. According to Berdayev, to be Russian is to be simultaneously cruel and kind, despotic and anarchistic, religious and atheistic, eager to serve and equally rebellious. Selyanov found Berdayev's theoretical paradox in the Russian soul inspirational and it led him to try and illustrate it through film. ~ Sandra Brennan, All Movie Guide

This entry in the British Film Institute-sponsored international centenary celebration of cinema -- in which noted directors presented a film exemplifying their country or region's cinema and its origins -- represents China, or rather one aspect of the country's large body of work as seen through the eyes of Hong Kong filmmaker Stanley Kwan. Kwan uses the film as not only a means to examine the role of homosexuality and transgender issues in the films of China, Hong Kong and Taiwan, but also to look at the evolving roles of family and cultural attitudes in Chinese society. Kwan begins the film on a personal note by recounting a number of early and innocent encounters with men that led to his fascination and love of them. As a film-buff Kwan was fascinated by the almost exclusively male world of Hong Kong action cinema and by the almost homoerotic (in his opinion) bonds formed by the heroes. To further his theories, Kwan also cites the widespread use of swords, knives and other phallic symbols in the story. From there Kwan moves to films in which women portray men and men portray women (as in Farewell My Concubine), ending the film on a more personal note. ~ Sandra Brennan, All Movie Guide

This British-produced documentary offers an insightful portrait of American filmmaker Howard Hawks, whose remarkable five decade long career encompassed some of Hollywood's best loved movies. Hawks' personal and professional life is recalled by such friends and co-workers as Todd McCarthy (the noted Variety film critic who penned the director's biography), Lauren Bacall, Peter Bogdanovich, Angie Dickinson, William Friedkin and Walter Hill. It is also chronicled via archival interviews and clips from his best known films. ~ Sandra Brennan, All Movie Guide