Monday, December 14, 2015
Not In That Direction
“The Road to ISHAR” by David Blum) about the bad word of mouth surrounding that upcoming summer release—it didn’t help matters and the film never really recovered from what got out there. As background the article discusses the production of the earlier film during which May apparently shot 1.4 million feet of film, three times the amount for GONE WITH THE WIND (when Judd Apatow’s THE 40 YEAR OLD VIRGIN hit the 1 million mark during shooting champagne was reportedly sent to the set; the approach presumably turns out better for some than others) and one story about May continuing to photograph a blank wall after the two stars have wandered off that has been retold a million times by now. There’s not much to be found from whatever press the film got during its belated (and miniscule) release in 1976—Vincent Canby’s review in The New York Times makes no mention of any troubles, praising Elaine May but concluding, “It took guts for her to make a film like this, but she failed.” Whatever the reality of the production—and it feels like not much official has been said by anybody since that article aside from some comments May herself made during a talk with Mike Nichols that ran in Film Comment—the final result is seemingly long and rambling but actually tightly plotted, always focused on what it should be even if it’s the minutiae of any given moment (the version shown at the New Beverly was around 106 minutes; maybe because a May-sanctioned cut didn’t surface until the 80s there are several different running times listed). Very little of what happens can qualify as ‘plot’ anyway, with Nicky continually pulling Mikey away from what’s supposed to happen--an interesting comparison in terms of the mob world might be Cassavetes’ own GLORIA which is messy and idiosyncratic in ways of its own.