Totally, Tenderly, Tragically
Phillip Lopate's reputation in American letters resides primarily in his championing of the personal essay, both as an editor (The Art of the Personal Essay,The Anchor Essay Annual) and as a writer (Against Joie de Vivre,Portrait of My Body). So it might seem odd, at first, to imagine him as a film critic--but as his thoughtful considerations ofPauline KaelandAndrew Sarrisdemonstrate, the movies are as likely a subject for a skilled essayist's reflection as any other. Like his favorite critics, "I have sought out," Lopate writes, "precisely those films that would take me to a place where the uncanny, the sublime, the tragic, the ecstatic, the beautifully resigned, all converge."These are not, then, so much reviews--although Lopate happily discusses the strengths and weaknesses of his chosen films--as they are meditations. In his best pieces, such as his essays on Godard'sContempt(the film from which this collection derives its title) and Scorsese'sThe Last Temptation of Christ, Lopate performs extended readings that tease out the richness of the films' texts with delicate intricacy. But this artful approach can only be carried so far--not even Lopate can quite redeem Jerry Lewis'sThree on a Couch, which the most ardent Lewis fans acknowledge as a lesser work, no matter how earnestly he probes it for Freudian subtext. Folks who simply want to enjoy the movies may find the high culture assumptions ofTotally, Tenderly, Tragically, including Lopate's overwhelming emphasis on foreign directors, a bit much, but if even one reader is inspired to seek out a film by Luchino Visconti, Kenji Mizoguchi, or Yazujiro Ozu on the basis of the descriptions herein, Lopate's efforts at conveying the artistic value of film will have been a success.--Ron Hogan