Date: Sun, 25 Aug 1996 21:11:14 -0500 (CDT) August 24-25, 1996 Haskell Wexler presents _Medium Cool_ at the Music Box Filmmaker Haskell Wexler showed a brand-new 35mm print of his 1969 film _Medium Cool_ to Chicago audiences as part of the Music Box movie theater matinee series. The highly-acclaimed film, probably the best-known feature dealing with the riots surrounding Chicago's 1968 Democratic National Convention, packed the theater's main auditorium for the second of its two-day run. Introducing Mr. Wexler, Chicago Tribune film critic Michael Wilmington related his own experience as a witness to the police crackdown at Balbo Street and Michigan Ave. Citing Italian neorealist influences, he placed Wexler's work in a vital tradition of American independent cinema from John Cassavetes to John Sayles, with whom Wexler has closely collaborated during his 4-decade career, highlights of which include his cinematography of such films as _Who's Afraid of Virginia Woolf_ and _Matewan_, and his direction of _Medium Cool_. Wexler, humble in person, deferred disussion of his film until after the screening, at which point he agreed to answer 2 or 3 questions before shooing the audience outside where he could film individual reactions to the film and contemporary politics. Wexler described the pain of being subjected to teargas -- one of the most famous and critical moments of the film is during a riot when an off-screen crew member interrupts the narrative to shout, "Look out, Haskell! It's real!" -- as not only tear-producing, but skin-burning and suffocating. Moments later, when asked a question as to how and whether the title related to Marshall MacLuhan's media theory, Wexler entertained the audience by almost impatiently replying, "yes." Once outside and back behind a beloved camera, the silver-bearded Mr. Wexler, who had appeared uncomfortable with the microphone and spotlight atmosphere of the presentation, became all charm and energy, interviewing audience members who'd been present in 1968 and those who hadn't. As his thirtysomething sound crew struggled to keep up with him, Wexler teased political and artistics opinions from even some of the most reserved in the audience, and he took particular delight in giving attention to a kids news team there to cover the event. Some who stayed were interested in continuing the Q & A session begun inside, asking Wexler about the film. When asked why the film has been so hard to find, Wexler explained that it had been long deemed "not commercial enough." When pressed for his view of politics and the media today, Wexler criticized a climate in which, as never before, the bottom-line prevails. As he was pressed with follow-up questions, a gentleman approached Wexler to remind him he was there in a reporter's capacity. Wexler smiled and identified the man to the crowd as his boss. This week Wexler is filming a story for ABC's Nightline on the two Chicago conventions. The three-way exchange among artist, audience and corporate employer was appropriately symbolic of the larger cultural struggle being waged here this week over the meaning and significance of the 1968 legacy. The Nightline segment is tentatively scheduled to air Wednesday night, August 28th. by Steve Sposato
This news alert issued by CounterMedia, a coalition of political
organizations, media groups and individuals dedicated to providing
alternative coverage of the Democratic National Convention and community
struggle in Chicago.
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