The Eighties

This is probably the most excruciatingly boring film I've ever seen. I saw the American premiere at the New York Film Festival, and its 82 minutes seemed like an eternity in the dentist's chair--the one played by Laurence Olivier in Marathon Man. I was one of the many people who booed loudly at the end. One of my companions didn't boo--he was still asleep, lucky guy. The plot? All I remember is that it seems to be an audition for a musical, with an endless parade of women performing the same lines/songs/dances over and over and over. The greatly flawed film version of A Chorus Line is a masterpiece compared to this snooze-fest. You'd have to pay me to see another Chantal Akerman movie.

THE EIGHTIES marks the turning point in Chantal Akerman's career. It stands as the end of her more experimental films of previous years and as the beginning of her more mainstream efforts of later years. The bulk of the film consists of auditions and rehearsals for a musical. In the final act, we get to see some segments of that musical. It's a wholly original and brilliant motion picture experience. Like most of Akerman's films, though, it's not for everyone. Her films are experiences for those who aren't into mainstream cinema. The songs in the film are catchy and unforgettable, and it's a special treat to see Akerman herself pop in a few times and give the performers some direction. The only downside of this film is that it's only available on an old VHS. The Criterion Collection has gotten a hold on her earlier films; maybe some day they'll get a hold of this one, as well. Another interesting aspect to this film is that it serves as a prelude to her next feature film, GOLDEN EIGHTIES or WINDOW SHOPPING.

After catching the stylish New Wave Film Noir Drama, Meeuwen sterven in de haven (1955-also reviewed) I looked for a title to view to wrap up my viewings for ICM's Dutch film challenge. Misplacing Golden Eighties (which I've since found!) I decided to step back in time to the 80's making-of.

View on the film:

Filling the last 30 minutes with a showcase of Musical numbers that would not appear in a film until Golden Eighties in 1986, director Chantal Akerman composes a bridge between her early experimental style with the slickness that later played in Eighties. Doing away with any pretentious image of the musical director and film maker, Akeman brings out a melody to the multiple takes done by the cast, (with gentle direction from Akeman off-screen) with each missed & win combo leading to the sight of a joyful Akeman listening to a recording of the 80's.