[The following essay is an excerpt from my book, Woody Allen: Reel To Real, now available via Amazon. It deals with film critic Ray Carney, and is part of a much longer essay, which can be read in full on the book’s website.]
What’s In A Name? Six Major Critics Of Woody Allen
Critic #6: Ray Carney
It is interesting to put Ray Carney into the category of Woody Allen ‘detractors’, since — despite his often sketchy line of argumentation — he is still quite above critics such as Pauline Kael and Jonathan Rosenbaum, for a number of reasons. For one, I am an admirer of his scholarly work, and especially what he’s done to help resuscitate John Cassavetes’s film legacy. Carney’s Cassavetes on Cassavetes, for instance, took eleven years to write, as he had to conduct hundreds of interviews, hunt down obscure documents, and force himself to come to terms with his own perceptions of the artist, as a great filmmaker, versus that of the man, who was moody, sick, and quite dislikable, at times. This, by itself, shears Carney of some biases, and proves that he is at least able to look at things from a fresh perspective, no matter how it might discomfit him. Yet it is really his cogent attacks on Hollywood, film theory, and film criticism that stand out the most, given that he is an academic willing to stake his professional reputation on some unpopular claims. Needless to say, most don’t take any real positions (much less create them, as Carney has sometimes done), and thus belong to far lesser company.
That said, there is a world of difference between scholarly ability and a critical one, and Ray Carney prides himself on both. The former revolves around patience, meticulousness, and being able to digest large amounts of information to get at what’s ‘essential’. The latter talent, however, is quite unpredictable, and no skill-set, college degree, earnestness, knowledge, creativity, or ‘expertise’ will ever guarantee it, much less the ability to replicate these sound judgments, time after time. (This, as I’ve shown, was quite often Ebert’s flaw.) One can, for instance, be a great artist, yet know little of art’s ‘why’. A quick perusal of Shelley’s confused In Defence of Poetry will reveal this, as will the opinions of many artists, big or small, on what art is and how it’s made. In short, one could be intelligent, creative, honest, and a wonderful communicator, to boot, yet still be unable to articulatewhy something works, on a deeper level, while something else does not. And this is really Carney’s problem, as he is a great scholar, and sometimes even quite good when dealing with the generalities of Hollywood, artistic stagnation, and the like, but tends to break down when it comes to more specific critiques of art, itself. He has written, for example, why … Continue reading →