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• W2028861566 abstract "BARRETT: What do you admire most in a film critic? SARRIS: Lucidity. And my big weakness as a critic is that I am not lucid enough. Some people value ambiguity. It's a matter of taste: it's not that one is bad and the other's good. The language one uses to discuss film is tricky. You pull things from all over. Nothing quite applies, as the girl says in Play It As It Lays. None of the other forms are able to supply you with a language. It's not all visual: it's not purely visual! It's sound, it's image, it's language, it's idea . . . nothing really seems to describe it. You have to see its total context: what it is people do and how other people look at it and hear it. It's a very complex thing; I can't even analyze it at the moment. I don't have the language for it. The main problem is developing a language. I haven't been able to communicate what's there. This is the problem I've always had as a film historian and a critic, that there is something there that's important but I can't fully express it. The traditional view in the past on people like Agee is that there are these fine intellectuals who are wasting their lives in this trivial medium. I feel that the medium, itself, is marvelous, but that I'm not worthy of it. I'm not really good enough to convey all of the material that's there, all of the effort that went into it. all of the magic that's happened. BARRETT: Is film an form? SARRIS: There's this feeling that I've always had about film. I say that Hitchcock is a great artist and there are people who say. Arrrg, that's ridiculous! I don't say that Hitchcock is a great artist in the same sense that Dostoyevsky or Da Vinci are great artists. What I'm saying is that Hitchcock or Buster Keaton - in academe everybody goes, Arrg, who ever heard of a great artist named 'Buster'! - that Hitchcock and Keaton plus cinema equals art. In other words, there's something in the medium that is magical, and men like Hitchcock and Keaton have unleashed it. Perhaps art is not the right word for it; perhaps it's sorcery. Hitchcock and Keaton just found a way to unleash something. I don't think filmmaking is a great artists' medium. I don't think its individuals rank with our great poets and novelists, painters and composers. I don't believe that. But I think the best of them, plus this fantastically magical medium, have created beauty and poetry. Now, people might say, what, that's just your opinion. There, I would have to disagree. I think that there are enough people of differing sensibilities who have been similarly moved. So, is cinema an form? If it isn't, I've been wasting my time on something else all these years. There is something magical up there and it isn't something accidental. 'think cinema magnifies things that are already there. It works in a certain way to give things a marvelous clarity, a force. But the appreciation and criticism of film is something else. I don't want you to think that I just stare like a laser beam at the screen. The appreciation of film is as much what you bring to it as what you see. Everything is relevant to it. And the best criticism has been written by people with wide cultural awareness. You can bring everything to a film and enrich the experience. BARRETT: But you say that you don't have the language to communicate that experience. Who has the language? What critic, in vour estimation, has the language and uses it? SARRIS: Well, critics don't seem bothered by the problem. Critics have a language for everything else, but not for the cinema. There is no cinematic language. Peter Wollen has made a try. and for his pains he was blasted by Kenneth Tynan. Everybody laughed: Ha, ha, ha. hai Tynan writes very well; very superficially, but very well. So he wins the argument. He doesn't believe in anything, really, at least, not any more. He doesn't care about anything; he's made his peace with the world. Now, he's just going to be very flippant and very civilized. …" @default.
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• W2028861566 title "Andrew Sarris Interview, Part 2." @default.
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