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New Orleans Review LOYOLA UNIVERSITY VOLUME 13 NUMBER 4/$7.00 i If New Orleans Review Winter 1986 Editors John Biguenet, Art and Literature John Mosier, Film, General Editor Managing Editor Sarah Elizabeth Spain Design Vilma Pesciallo Contributing Editors Bert Cardullo David Estes Jacek Fuksiewicz Alexis Gonzales, F.5.C. Bruce Henricksen Andrew Horton Peggy McCormack Reiner Schulte Founding Editor Miller Williams Advisory Editors Richard Berg Doris Betts Joseph Fichter, S.J. John Irwin Murray Krieger Frank Lentricchia Raymond McGowan Wesley Morris Walker Percy Herman Rapaport Robert Scholes Marcus Smith Miller Williams The New Orleans Review is published by Loyola University, New Orleans, Louisiana 70118, United States. Copyright © 1986 by Loyola University. Critical essays relating to film or literature of up to ten thousand words should be prepared to conform with the new MLA guidelines and sent to the appropriate editor, together with a stamped, self-addressed envelope. The address is New Orleans Review, Box 195, Loyola University, New Orleans, Louisiana 70118. Fiction, poetry, photography or related artwork should be sent to the Art and Literature Editor. A stamped, self-addressed envelope should be enclosed. Reasonable care is taken in the handling of material, but no responsibility is assumed for the loss of unsolicited material. Accepted manuscripts are the property of the NOR. The New Orleans Review is published in February, May, August and November. Annual Subscription Rate: Institutions $30.00, Individuals $25.00, Foreign Subscribers $35.00. Contents listed in the PM LA Bibliography and the Index of American Periodical Verse. US ISSN 0028-6400 .,.. I \ i CONTENTS WINTER 1986 VOLUME 13 NUMBER 4 Tramps Abroad: The Anglo-Americans at Cannes John Mosier 5 Impossible Sinai Max Aub/tr. Will Kirkland 24 The Seven Deadly Sins Michael Murphy 43 Feminist Literary Criticism: An Introduction Mark Lussierand Peggy McCormack 49 An Interview with Annette Kolodny Mark Lussierand Peggy McCormack 50 An Interview with Catharine Stimpson Mark Lussierand Peggy McCormack 59 Heilbrun: An Interview Mark Lussierand Peggy McCormack 65 An Interview with Jane Gallop Mark Lussierand Peggy McCormack 74 John Mosier TRAMPS ABROAD: THE ANGLO-AMERICANS AT CANNES n 1986 the Anglo-American film presence at the sorts of films, and the sorts of prizes, that led I Cannes was completely disproportionate in the young film critic and universal enfant terrible both quality and quantity. Of the twenty-five of the cinema, Francois Truffaut, to his celebrated feature length films screened as part of the attacks, and led to the snide remarks by such "Competition" Section, ten were from the United reference works as the Oxford Companion to Film States, Australia, or Great Britain." Of the about "commercial glitter" rather than cinematic nineteen feature films shown in the "official" art." It also reveals a way of thinking that virtually sidebar, Un certain regard, there were eight." an entire generation of French intellectuals have Although there is little point in trying to make labored to eliminate. exact numerical comparisons, given the Of course the management of a film festival numerous co-productions, and mix of finance only controls the selection of films. It has nothing and international talent, these figures are to do with their production, and much less to do probably twice the historical average for Cannes. with the decision of the jury than one might Given Sidney Pollack's presence as head of the suppose. And the organizers of Cannes are faced main jury, the affair had an overwhelming Anglo with the same problem that currently bedevils American tinge to it, something the jury capped everyone else working in the cinema. There are off by its prizes: the palm for best film to Roland not nearly so many interesting or significant films joffe's The Mission, the palm for best director to as we should like. All over the world the causes Martin Scorsese for After Hours, the palm for best are different. In Poland, as in Czechoslovakia a actor to Bob Hoskins for his role in Neil Jordan's decade before, the political situation has resulted Mona Lisa. in the emasculation of the Polish cinema. In Italy, For the first time in at least a decade, the prizes where serious film production has virtually awarded by the main jury were ludicrous, collapsed, the causes are more complex. They although perfectly consistent with Sidney include the impact of television and the Pollack's filmmaking, and the heavy dosage of precarious Italian economy, but these are by no American and Australian product is hard to means the chief causes. As in France and justify on any grounds other than pure Germany, at least part of the problem is internal: expedience, i.e., the depressed state of world film a group of untalented directors, whose films production. With the exception of The Mission, literally drive national audiences out of the none of these films were bad, and some of them theaters, appear to have a virtual strangle hold on were distinctly enjoyable. But taken as a group, national film production.s they look like the selections for a cable television Even in countries which, like Hungary, have programmer, not a major film festival. been largely unaffected by politics, economics, or If the aim of the current management of the mediocrity, film production has fallen off festival is to move Cannes backwards into the markedly. This is particularly true of quality film 1950s, this is precisely the way to do it. These are production. Globally speaking, of course, there 'Roman Polanski, Pirates; Robert Altman, Foolfor Love; Neil Jordan, Mona Lisa; Martin Scorsese, After Hours; Steven 3Ed. Liz-Anne Bawden (New York: Oxford Univ. Press, Spielberg, The Color Purple (Out of Competition); Roland Joffe, 1976). Compare the entries on Cannes and Venice: "Cannes The Mission; Andrei Konchalovsky, The Runaway Train; Bruce ... is essentially a marketplace, providing publicity and sales Beresford, The Fringe Dwellers; Woody Allen, Hannah and Her opportunities for films and talent alike. Each country selects Sisters (Out of Competition); Jim [armusch. Down By Law. its own entries ..." (109). "Venice has provided the archetype. It has always retained an artistic influence -Stephen Bayly, Coming Up Roses; Graeme Clifford, Burke contrasting with the commercial glitter of Cannes ..." (727). and Wills; Jane Campion, A Girl's Own Story, Passionless Moments, Two Friends; Eugene Corr, Desert Bloom; Glen Pitre, 'This situation, with particular reference to Italy, was Beiizaire, the Cajun; Bill Bennett, Backlash. discussed in "Cannes Ordinaire." NOR 12.3 (1985): 8-10. are countries where the opposite situation is true. performances developing peculiar, muddled, or There are excellent films coming out of Argentina, completely inane characters, and a general sweep Colombia, Spain, and the Far East, and there and rhythm of great extravagance-all of this appears to be a resurgence of sorts in other, built on very slim intellectual and cinematic smaller areas, such as Austria, Switzerland, and foundations. Finland." Visually, the best that one could say about such But the countries of this second group have two films was that the cinematographers had a pretty gigantic problems to surmount. Their art is not good sense of their craft, a big budget, and some globally known. The global intelligentsia simply of the latest gadgets. To the latest in equipment does not queue up for Finnish or Austrian films. they brought the most timid and ossified of While there are certainly small but still significant sensibilities. In general the practitioners of the audiences for Spanish and Latin American film, medium were so far removed from developing these remain but perturbations on the total. They what we might think of as film language that they are likely to remain so because the filmmakers of believed the directors who were doing things these countries are largely-and correctly with the camera to be technically deficient. absorbed in their own national audience. Their It seems almost pointless to talk about the films are aimed primarily at their own intellectual level of Hollywood, because one countrymen, and are thus doubly incrusted in instinctively thinks that there wasn't one. But this their own national culture. is not precisely the case. The problem was not Into this hopefully temporary void the films of that the industry was generally witless, but that the English speaking world have flooded. They the mental qualities of its directors were so are technically acceptable films, with easily depressingly low. Although attracted to history, decipherable narratives. Being aesthetically for instance, they usually reduced it to a set of conservative, they make no demands on the costumes and sets. These artifacts, although audience, and they are entertaining enough. preposterous, harmonized with the script itself. They also have the important cachet of being Novels were perverted so as to be virtually Anglo-American. Since it takes some time for unrecognizable. History became a series of movies to be financed and made, they will travesties. probably fill this void for some years to come. The best of our directors were no more immune Generally, these films are no worse than their from this than the worst. Hitchcock's film Sabotage European or South American counterparts. So it is allegedly based on Conrad's famous novel The is therefore doubly a shame that the Jury picked Secret Agent. But except for the names of the the ones that were at the expense of the handful characters, and one or two situations, all of interesting films. resemblance ceases. It isn't quite as bad as Whether or not Hollywood movies of the musical comedy based on the life of Oedipus, but sound era really were all of one piece is an the intentions seem almost as wicked. So in a interesting question.

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