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[The following essay is an excerpt from my book, Woody Allen: Reel To Real, now available via Amazon. It covers the late Roger Ebert, spans several decades’ of material, and is part of a much longer essay, which can be read in full on the book’s website.]
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What’s In A Name? Six Major Critics Of Woody Allen
Critic #1: Roger Ebert
At a time when the Cahiers du Cinema critical style was still in vogue, Roger Ebert approached films in a way that merely ‘stuck to the facts’. Narrative, character, visual poesy, and dialogue were once again paramount — respectable, too — and all else was left to become mere trivia. Thus, from 1967 on, an interesting thing began to happen. On the one hand, Roger Ebert slowly became America’s (if not the world’s) most well-known film critic, replete with a popular column at a major newspaper, television shows, books, interviews, and a distinct cultural presence. Yet his success was often resented, too, by the film-school ‘types’ as this was only further evidence, in their view, of how utterly vacuous popular notions of film really are. Yes, it is intriguing to read of this today, but Ebert, now cushioned by celebrity, acceptance, and death, is a much safer bet than he once was, even as other critics have come and gone by way of fads and cycles. Indeed, for the real problem was not Ebert’s alleged vacuity, but his utter lack of a political or aesthetic ax to grind — a good thing, in fact, for a writer’s longevity, despite what is often claimed. In short, Ebert did not prefer happy or sad movies, democratic or supposedly fascistic ones, films shot via hand-held camera, or ‘plain’ editing as opposed to jump-cuts, and the like. He merely wished that films communicate something of worth through character, narrative, and visuals, which is — oddly enough — the way that most people view film, when they’re not afflicted by the sorts of blinders the more theoretical critics so proudly don. He was, therefore, never part of ‘the club’ (extreme minority though they were), but merely relegated to second-tier status by the very people that had so little idea of art, and none of his writing ability.
So, is Roger Ebert’s struggle with acceptance a David and Goliath story, wherein good trumps evil, and all is finally seen aright? Perhaps, but such a simplistic view obscures not only the facts, as they are, but what makes Ebert’s own views — even some of the wrong-headed views — so unique. On the ‘plus’ side, Ebert could be a wonderful writer, as his great ending to Taxi Driver shows, for he was capable of a poesy, insight, and economy that few critics ever have. There are a number of ‘critical’ hits, as well, such as his reviews (and reassessments) of Annie Hall, Manhattan, and Interiors, as he not … Continue reading →