Manny Farber’s criticism was art in itself.
Feb 8, 2010, Vol. 15, No. 20 • By SONNY BUNCH
Farber on Film
The Complete Film
Of the great mid-century film critics, Manny Farber (1917-2008) remains one of the most challenging and best loved. An all-purpose critic as comfortable writing about paintings and jazz music as film and television, Farber’s dense criticism and staccato bursts of oddly juxtaposed adjectives imbued his words with a sort of lyricism. When people argue that criticism is an art form, they are referring to the writings of men like Manny Farber.
It helped, too, that he was an actual artist, a painter whose work is celebrated in museums with the same reverence cinephiles regard his criticism. Indeed, one of his reasons for giving up writing about film in 1977, at the relatively youthful age of 60, was that he “no longer wanted to be viewed as the film critic who also paints.” Farber treated the written form like he treated canvases, and like the ’20s jazz masters treated music: juxtaposing disparate words in a way both cluttered and syncopated. There’s a distinctive rhythm to his writing. Consider his 1971 take on Touch of Evil:
Before cracking open this mammoth new compendium of Farber’s film writings—all of Farber’s film writings—it’s important to devise a course of attack, a stratagem to digest the beast. Like most such massive collections—David Thomson’s thousand-page behemoths Have You Seen . . . ? and The New Biographical Dictionary of Film are soulmates of Farber on Film—traversing the pages from front to back in the order they are presented is a fool’s errand. Farber on Film is best absorbed piecemeal: Savor first the longer essays that lay out his vision of filmmaking and criticism before nibbling on the shorter pieces that examined whatever was spooling through movie house projectors between 1942 and 1977.
Indeed, it’s almost essential to start with the legendary critic’s most renowned essays—“The Gimp,” “Hard-Sell Cinema,” “Underground Films,” and “White Elephant Art vs. Termite Art”—before doubling back to the beginning, armed with a fuller understanding of Farber’s perspective. As editor Robert Polito notes in his informative introduction, doing so gives one a much better sense of Farber’s evolution as a critic and writer. For example, the following passage gets to the heart of what Farber appreciated about “termite” art, as opposed to the elephantine prestige pictures studios were increasingly churning out:
Farber wrote that in 1962. One of the joys of this collection is tracing his thoughts back through the decades and picking up on the theoretical continuities in his writing. Keep that passage in mind when reading this one, from a 1943 essay on Shadow of a Doubt:
The fascination with getting under the surface is what drives Farber. He’s not interested in the “big picture” pictures that devolve into ham-fisted diatribes about whatever cause is popular at the moment. In “The Gimp” (1952), he criticized the use of artistic trickery to draw attention to the oh-so-clever director and his oh-so-noble intentions:
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