The Good German

Steven Soderbergh

Steven Soderbergh is one of the most prolific filmmakers of our era. Though his early retirement is immanent, he’s released more films – and a greater variety of films – in his twenty-three years of directing than some filmmakers helm in a lifetime. Since bursting on the American independent film scene in 1989 with sex, lies, and videotape, Soderbergh has made studio blockbusters and micro-budget experiments, strange remakes and films that blur the line between narrative and documentary, not to mention semi-biopics of public figures as diverse as Spalding Gray, Che Guevara, Erin Brockovich, and Channing Tatum. He’s been a leader in exploring the possibilities of new digital filmmaking technologies, and it seems there isn’t a genre or scale of filmmaking that he hasn’t yet touched. He’s even made a film that you’ll never see. Last week, the trailer for Side Effects, Soderbergh’s last theatrical film and his penultimate film project (the final, final one being the made-for-HBO Liberace biopic Beyond the Candelabra), made its debut on the web. So with the supposed final days of an impressive career by a prolific filmmaker upon us, here’s a bit of free film school from a guy that considers both George Clooney and Sasha Grey his muses.

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Culture Warrior

One odd thing about being a child of the 80s is that you learn movie history backwards. In watching anything from Animaniacs to Pulp Fiction, I became acquainted with references and homages to classical Hollywood cinema long before I ever watched the movies referenced or the moments paid homage to. Thus, my knowledge of cinema’s past was framed through cinema’s present: I learned about old movies because of what new movies did with them. One of the most formidable moments of this backwards cinematic education occurred in the late 1980s and early 1990s when major event kids’ movies became especially preoccupied with 40s film noir in movies like Robert Zemeckis’s Who Framed Roger Rabbit? (1988) or Warren Beatty’s Dick Tracy (1990). These movies embodied a world of double crosses, femme fatales, and cynical detectives without requiring their viewers, young or old, to have seen any of the films these genre tropes are indebted to. Thus, because of my exposure to new tweaks on an old form, conventions became familiar to me long before I could name the films from which such conventions originated. But one movie was exceptionally influential in formulating a distinct impression of film noir in my childhood imagination, and that movie was – oddly enough – Home Alone (1990).

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published: 11.21.2014
D
published: 11.21.2014
B+
published: 11.19.2014
C+
published: 11.19.2014
B-, C


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