made in u.s.a. - The Screengrab

The Rep Report (January 9 - 15)

NEW YORK: Jean-Luc Godard's 1966 Made in U.S.A. has long been one of the best-hidden features from the director's '60s golden age. Godard claimed the "Richard Stark" (i.e., Donald Westlake) novel The Jugger as the credited basis for the script, but nobody bothered to get Westlake's permission or cut him a check, with the result that the writer managed to get a proper release of the film in the U.S. squashed. So its appearance at Film Forum for two weeks starting today counts as big news even for the Forum, which has taken to showcasing Godard's color classics from his Pop Art phase at the rate of about one a year. The funny thing is, the movie's connection to Westlake might be just another admiring reference point in a movie that features characters named "Donald Siegel" (for the veteran b-movie director who would ultimately hit paydirt with the original Dirty Harry and "David Goodis" (for the crime novelist whose Down There provided the basis for Truffaut's Shoot the Piano Player), as well as villains named "Richard Nixon" and "Robert McNamara", and that Godard claimed was his attempt to remake The Big Sleep with his then-wife and muse Anna Karina in the Bogart role. (Her male co-star is Jean-Pierre Leaud, as Don Siegel.) This splashy affair, described by J. Hoberman as "more devoted to the vulgar modernism of mid-20th-century pop than any movie Godard made before or would make after," also features a cameo by Marianne Faithfull, singing "As Tears Go By" in the first full bloom of her misspent youth. It's being shown in a gleaming new 35-mm. print.

Donald Westlake, 1933-2008

Donald Westlake, who died New Year's Eve, at the age 0f 75, while vacationing in Mexico, was best known as a "crime writer", and in that capacity he won three Edgar Awards (including one for Best Screenplay for his adaptation of Jim Thompson's The Grifters, directed by Stephen Frears in 1990) and was honored by the Mystery Writers of America with the title of Grand Master. But such tributes barely hint at Westlake's stature as a supreme, all-around entertainer with a wide range within his chosen specialty. After publishing his first novel, The Mercenaries, in 1960, Westlake established such a steady rate of production that, in addition to the many books he published under his own name, he also adopted more than ten pseudonyms, partly to deflect criticism of him for overtaxing the marketplace. (He may have also had other, personal reasons, for sticking the name "John B. Allan" on the 1961 book Elizabeth Taylor: A Fascinating Story of America's Most Talented Actress and the World's Most Beautiful Woman and other pseudonyms on the pulp porn novels he wrote in the 1950s and 1960s, some of them in collaboration with Lawrence Block, which have titles such as Sin Sucker and Campus Tramp.) Westlake also matched certain pseuds up with recurring characters, for instance writing a string of mysteries about a character named Mitch Tobin under the name "Tucker Coe".

His best-known alter ego was Richard Stark, who, starting with 1962's The Hunter, wrote more than twenty taut, mean thrillers about Parker, a cooled-out, super-efficient sociopath of a professional thief. Under his own name, Westlake wrote, among other titles, the John Dortmunder series, detailing the often hilarious adventures of an intelligent, hard-working, frequently put-upon crook with a knack for gaudily designed heists that tended to run into equally gaudy complications. (The series began with 1972's The Hit Rock, which he said began as a Parker novel; he realized that he needed to concoct a new hero for it when the plot started turning funny on him.)

Take Five: U.S.A.! U.S.A.!

Patrick Creadon’s I.O.U.S.A., a documentary about the massive national debt being accrued by the United States, opens in limited release today. Using charts, graphs, and mountains of economics statistics, Creadon – the man who brought us the charming crossword puzzle documentary Wordplay – has essentially created An Inconvenient Truth 2: The Doomsday Debt. In the film, which features guest appearances from a pantheon of econ-nerd luminaries including mega-investor Warren Buffet, Comptroller General David M. Walker, and celebrated presidential candidate/crazy person Ron Paul, we are shown how our unthinkably huge national debt may lead to war, inflation, the collapse of our international alliances, economic catastrophe, dogs and cats living together, and mass hysteria. But hey, every movie with those three wonderful letters ‘U.S.A.’ in the title has to be about how we’re all doomed because of the short-sighted policies of warmongering, tax-cutting, pork-barreling, corporate-welfare-loving presidential administrations! Maybe it’s just some residual patriotism from the Fourth of July, but this movie inspired us to create a Take Five featuring other ‘U.S.A’ movies that aren’t quite so bleak. Or, at least, don’t have so many pie charts.

UNDERWORLD U.S.A. (1961)

A little-seen late-period noir from the underrated Sam Fuller, Underworld U.S.A. is a flawed film, particularly in its underwhelming cast, predictable action, and sometimes hokey dialogue. But Cliff Robertson is dynamite as Tolly Devlin, a man who, after seeing his father murdered by two-bit hoods, decided that revenge is a dish served straight out of the freezer, as he spends the next 20 years infiltrating their organization.