The life and work of writer James Agee provides the substance of this engrossing documentary by Ross Spears. Spears put together a portrait of Agee with excerpts from his prose and interviews with the people who either worked with him or provided material for his books. Among those interviewed are President Jimmy Carter, critic Dwight Macdonald, historian and writer Robert Fitzgerald, and John Huston, who worked with Agee on The African Queen. Agee’s three former wives, his priest (Father James Frye), and other personal friends round out the picture of this hard-drinking, chain-smoking, intense writer who died as a result of a heart attack at the age of 45.
Tag: 1980s
Strapped for time due to her busy schedule of personal appearances, Laurie Anderson creates a rather clumsy looking clone to take over and keep up her artistic production. Anderson plays both parts, pitting the chain-smoking, productive male half against the laid-back female half. In the end, one highly successful clone begets another clone, a situation spoofing the rise and fall of the ’80s art star.
Living in their own fictional world devoid of humankind, large anthropomorphic robots, constructed by Survival Research Laboratories (S.R.L.), act out scenarios of perpetual torment, exasperated consumption and tragic recognition.
Charles Bremer, a retired, wealthy aesthete, regularly hires Lisa, a young female artist’s model, to strip for him to the soundtrack of a Donizetti aria. Charles writes letters to his dead mother, plays church organ, loves flowers, and attends drawing classes. Lisa meanwhile is having problems with her chauvinist, drug-abusing boyfriend David, a modernistic painter who keeps hitting her for money. As Charles and Lisa form a strong attachment that has nothing to do with sex, it becomes clear that the aggressive David presents a problem that needs to be solved.
10-year-old Kathy prefers pigtails to curls and runs away for the day to avoid a hair appointment. While she’s off having adventures with her best pal Jeeter, her parents clash over how to handle the situation. Kathy’s mother worries that her daughter doesn’t “fit in” while her father believes she’s “just an individual” and should be allowed to grow up at her own pace. At the end of the day, Kathy must return home to face the inevitable.
Over an eight-year period in the 1970s, Leo Hurwitz made this film tribute to his deceased wife and colleague, the film editor and director Peggy Lawson. His most personal work and his last major production, Hurwitz’s film is at once epic and lyrical; a portrait of an individual and chronicle of the times; an ode to the spirit of artistic collaboration and a testament to political idealism. The film contains beautiful original material plus documentary footage and reconstructions — excerpts from a number of Hurwitz’s films; the voices of Paul Robeson, Kaiulani Lee and Alfred Drake; and music that ranges from Bach to Marc Blitzstein.
Janet is an overweight girl who has a knack for making the other children in school laugh… by making fun of her own weight. In seeing the other kids’ reaction, she feels that she might have a career as a comedian. She visits the local comedy club, where she finds Tony Moroni, a struggling comedian whose jokes often fail. Together, Tony helps Janet build self-esteem and she helps him with his material.