William Richert | First Impressions

We discuss one of the films that very much marked me, the image above was the image on my letterhead in the time we still used snail mail. In the accompanying podcast we discuss the film’s historical significance. Was it a ‘film that (made) history’? We discuss its relationship to ‘New Queer Cinema’. We speculate on whether the film queers Shakespeare and discuss the film in relation to Welles’ Chimes at Midnight. We comment on the significance of the casting, the contributions of River Phoenix, Keanu Reeves, Udo Kier and others and what their contributions to the film might be. We also discuss in detail particular scenes, the one where the magazine covers come to life; the rhyming musical/ hustler interludes, the great campfire scene. …and much more.

The podcast may be listened to here:

The podcast may also be listened to on: Spotify here: https://open.spotify.com/show/2zWZ7Egdy6xPCwHPHlOOaT

and on itunes here: https://podcasts.apple.com/gb/podcast/first-impressions-thinking-aloud-about-film/id1548559546

The Criterion blog on Shakespeare in relation to Private Idaho + Jarman’s Tempest etc that Richard mentions in the podcast may be found here:

https://www.criterion.com/current/posts/8551-my-own-private-idaho-s-outsider-twist-on-shakespeare

More info, clips, examples, a bibliography below:

magazine sequence:

Campfire Sequence:

Time lapse:

Incest and Super8:

Still sex straight and gay:

Funerals and Endings:

I’d never seen Chimes at Midnight until now and found it a film of many pleasures: Gielgud’s speaking of the verse; Welles performance as Falstaff, surprisingly subtle in places; the compositions and look which still feel arresting; the opportunity of seeing Fernando Rey interact with Gielgud, Welles with Margaret Rutherford; and on another note: I hadn’t realised the walls of my birthplace played such a role in this film. The film is also very instructive in that Keith Baxter’s performance as Prince Hal is nowhere as effective as Keanu Reeves’ in MY OWN PRIVATE IDAHO, no matter how he speaks the language. Cinema is about conveying particular kinds of embodiment and Reeves is so much more effective at conveying a patrician demeanor, a rebellious disposition, the pranking and the power. Baxter, no matter how he says what he says, looks callow and inconsequential.

In Bed in Chimes and Idaho:

Camp in Chimes and Idaho:

Vandals in Chimes and Idaho

Repudiation Scene in Chimes and Idaho:

Aping heterosexuality: