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1992-08-28
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CINEMA, Page 79BEST OF 1991
1. BUGSY
American Dreaming by the gangster Bugsy Siegel, who,
besides inventing himself as a Hollywood celebrity, invented Las
Vegas as the playground for our more primitive fantasies. Warren
Beatty and Annette Bening are terrific in director Barry
Levinson's smart-ironic, romantic-perverse, funny-poignant take
on modern life in a fast, deadly lane.
2. MY FATHER'S GLORY/MY MOTHER'S CASTLE
In a radiant two-part adaptation of Marcel Pagnol's
autobiography, French writer-director Yves Robert imagines
family life in Provence as a storybook dream: loving parents,
adventurous but obedient children, an idyllic refuge every
summer. This old-men's view of youth tells us that memories are
precious because life is short.
3. EUROPA, EUROPA
In World War II Germany, a Jewish adolescent survives by
becoming a member of the Hitler Youth. Writer-director Agnieszka
Holland based her miraculously jaunty, profoundly moving
portrayal of the will to live on the true story of one Solomon
Perel. And Marco Hofschneider plays him with a stunned guile
that goes beyond acting.
4. JFK
If the political savants who have been denouncing this
zippy melodrama hadn't already existed, Oliver Stone might have
invented them, because they fulfill his one-size-fits-all
conspiracy theory. Hyper down, pundits! Don't deny Stone the
right due any artist: to interpret history through his own
prism. And give moviegoers the chance to make up their own minds
about who shot President Kennedy. The only thing that Stone's
dazzling assemblage of political-science fiction attempts to
assassinate is complacency.
5. BLACK ROBE
A Jesuit priest goes into the 17th century Canadian
wilderness to convert the savages and is himself converted,
after terrifying adventures, to cultural relativism. Bruce
Beresford's dark dance with the wolves of the spirit is an
intelligent, perfectly controlled epic.
6. PARIS IS BURNING
At the Harlem drag balls, gents parade in costumes and
personalities of their own baroque creation. Jennie Livingston's
thrilling documentary is not just about what it means to be a
member of the triple minority of gay black transvestites. It is
a testament to the desire -- pathetic, heroic, overwhelming --
that all dreamers have for transcendence.
7. THELMA & LOUISE
Road picture, feminist parable and populist comedy, this
tale of two ladies looking for adventure and getting more than
they bargained for outraged the humor-handicapped, but dug into
the ribs of the ribald. In the title roles, Geena Davis and
Susan Sarandon were gloriously wiggy.
8. BEAUTY AND THE BEAST
There's plenty of animation dazzle in Disney's latest
tuneful fable; the Be Our Guest number manages to evoke both
Busby Berkeley and the Folies-Bergere. But Beauty swaps the
buoyancy of Disney's last great cartoon feature, The Little
Mermaid, for poignancy and emotional depth. That's fine too
since, at heart, this story is about a man's need to evoke fear
when he is really afraid, and a woman's need to pity a man
before she can love him.
9. RAMBLING ROSE
Laura Dern's innocent horniness as the servant girl who
gets a middle-class Southern family all hot and bothered was
one of the year's comic and erotic delights. Calder Willing
ham's script and Martha Coolidge's direction flavored a warm,
steamy brew with just the right amounts of lemon and honey.
10. THE COMMITMENTS
If you can still sing along to a movie four months after
it opens, it probably deserves to be here. The music in Alan
Parker's let's-put-the-show-on-right-here-in-Dublin
entertainment is classic '60s rhythm and blues performed by
white folks with a brogue, but the spirit is reverent and
genial, not culturally imperialistic. The soul is part Wilson
Pickett, part early Beatles; the guts are supplied by
16-year-old lead singer Andrew Strong. See this roadhouse lark
again and feel better about 1991.
THE LONGEST YAWN
What is longer than the fully erect ego of a movie
director determined to make a "statement"? The patience,
obviously, of movie executives determined to indulge his or her
imperious auteurship. And the inordinate length of the movies
now trying our patience. The good (JFK) would be better, the
so-so (The Prince of Tides) greatly improved, and the bad (Hook)
less tiresome if everyone would learn to get on and off in under
two hours. Give us a break, guys.