Mark Rappaport's creative bio-pic about actress Jean Seberg is presented in a first-person, autobiographical format (with Seberg played by Mary Beth Hurt). He seamlessly interweaves cinema,... See full summary »
A film scrapbook, images, phrases from our past, hiding their meanings behind veils. Let's lift those veils, one by one, to find how images, at one time seeming innocent, have revealed, after decades, to have homosexual overtones.
Young Joan of Arc comes to the palace in France to make The Dauphin King of France and is appointed to head the French Army. After winning many battles she is not needed any longer and soon... See full summary »
An irreverent take on Mozart's relations with the three Weber sisters: Louisa, whom he loved, but who didn't love him; Constanza, whom he loved and married; and Sophie, who loved him but ... See full summary »
Shot in high-definition video using rear-screen process plates from classic Warner Bros. films noirs. A young man (in color) searches for his past through black-and-white scenes from "The ... See full summary »
David Patrick Kelly,
Mark Rappaport's creative bio-pic about actress Jean Seberg is presented in a first-person, autobiographical format (with Seberg played by Mary Beth Hurt). He seamlessly interweaves cinema, politics, American society and culture, and film theory to inform, entertain, and move the viewer. Seberg's many marriages, as well as her film roles, are discussed extensively. Her involvement with the Black Panther Movement and subsequent investigation by the FBI is covered. Notably, details of French New Wave cinema, Russian Expressionist (silent) films, and the careers of Jane Fonda, Vanessa Redgrave, and Clint Eastwood are also intensively examined. Much of the film is based on conjecture, but Rappaport encourages viewers to re-examine their ideas about women in film with this thought-provoking picture. Written by
Tad Dibbern <DIBBERN_D@a1.mscf.upenn.edu>
When Mary Beth Hurt auditioned for the role of Jean Seberg, she shocked the filmmakers by revealing that not only was she born in the same town as Seberg (Marshalltown, Iowa), their families were neighbors who knew each other. See more »
The film as thesis. As a thesis, it's remarkably unfocused - Jean Seberg: victim; cinema, Preminger, Godard, Romain Gary, Clint Eastwood, FBI, America, Jane Fonda, Vanessa Redgrave, men: villains. Because this film isn't really interested in Jean Seberg - here she is interchangable with an aging soap star; she is a ghost, unproblematically dead; she is a hapless, helpless victim with no will of her own; she is tossed about by men, and yet here she speaks the words of her male creator, Mark Rappaport - but in the history of film, its ideologies and repressions. As these go, it is funny, informative and full of interesting and perceptive connections, but there are too many blatant distortions to actually accept it.
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