Some of you (hopefully) may have noticed my recent profile on the late, great Robert Mitchum. In the course of researching the piece, I came across the fun tidbit that Mitchum had been a favorite of film critic Roger Ebert.
The mind rarely works in linear fashion, and I suspect mine may even be more chaotic than most. That item pinballed around the ol’ noggin, and, somewhere in all that bouncing here and there, triggered a bit of nostalgia. Probably because I was working on the piece during Oscar week, the mention of Ebert reminded me that there had been a time when this would’ve been the point in the year I’d be looking forward to the annual “If We Gave Out the Oscars” (or something like that) show done by Ebert along with his on-screen partner of nearly two dozen years, fellow film critic Gene Siskel.
That first Ebert/Siskel memory triggered others, and as they bubbled up and percolated a bit, they started to gel together and bing: Gestalt light bulb.
Roger Ebert, and the long-lasting TV presence he’s had, particularly in association with Siskel, has been such a visible part of the media landscape for so long that he’s taken for granted; viewed as an institution with a sense of was-is-and-always-will-be.
Which, as is the case with any institution, is hardly true. There was a time before, and the difference between then and what came after is so stark as… Well, you wouldn’t think it, but when Ebert and Siskel hit the air, the changes they wrought on the public face of film criticism, were – dare I say it? Yes, I dare! – nothing less than revolutionary. And if it doesn’t seem so today, that only testifies as to how some revolutions, in time, become the new long-standing status quo.
As late as the 1970s, and, arguably, even into the 1980s, the public face of movie criticism — … Well, it didn’t have a public face. Not much of one, anyway.
Not that there weren’t a number of critics out there flexing considerable intellectual muscle. Several were, in fact, among the all-time heavyweight champs of American film criticism, like Pauline Kael at The New Yorker, and her rival Andrew Sarris at The Village Voice, or Bosley Crowther over at The New York Times, to name just a few.
They were more than just reviewers. Their passion went far beyond recommending a good watch for the weekend. They appreciated film in depth, in a way extending past what was at the movies that week. They wrote articles and essays and books which seriously contemplated the larger issues – corporate and aesthetic, and that area where they overlapped or bumped into each other – in cinema. When I took my first film study class in high school, Kael’s novella-length essay “Raising Kane” – the story behind the making and an appreciation of Citizen Kane – was our text. Later, as a film student in college, Sarris’ The American Cinema was a much-dog-eared reference work, a landmark as the first aesthetic overview of the body of all significant American directors up to that time compiled outside of the Cahiers du Cinema crowd.
They had their notable triumphs, too. Kael’s support for Bonnie & Clyde is – at least by some — considered the beginning of the commercial turn-around for that ground-breaking piece of 1960s moviemaking. She fired the first volley in a critical cannonade which turned what had been a sputtering, often panned release into one of the major commercial hits and artistic highpoints of the decade.
These were serious appreciators as well as serious students of film, writing seriously about – as often as they could – serious films and serious filmmaking. But as such – and Bonnie & Clyde notwithstanding — they had little to say to less serious Joe and Joan Average, or at least little Joe and Joan were interested in hearing…or could possibly want to make an effort to understand. Kael, for instance, managed to get herself fired from an early gig at McCall’s by – according to her editor Robert Stein – “…panning every commercial movie from Lawrence of Arabia and Dr. Zhivago to The Pawnbroker and A Hard Day’s Night.”
We film students – a rather serious lot, too, or so we considered ourselves — knew who many of these critical leading lights were, read their work, argued about what they had to say, but beyond that… Not a lot of echo out there with all those Joes and Joans who were only looking for a fun movie for date night. Kael and Sarris and that crowd wrote and mused in something of an intellectual bubble, and it was easy to imagine they were really only talking to each other; their true – and possibly only – peers.
There were a few reviewers who did manage to connect with the general public, and I suspect that some in the critical community at that time wished they hadn’t.
Critic Rex Reed
Like Rex Reed. Reed, who still writes for The New York Observer, was a semi-regular guest on the talk show circuit back in those days. Draped lazily in a chair opposite Johnny or Merv, wallowing in an air of boredom and bare tolerance, he was colorful as hell, a real-life Waldo Lydecker – a professional snob. He vindicated every suspicion the general public had of film critics as something vastly removed from themelseves, coming off, as he did, as effete, arrogant, condescending, and skewering most movies and the general public who enjoyed them with volleys of acid-tipped bon mots.
Still more public and recognized was NBC’s resident film reviewer, Gene Shallit, who presented as something of a cross between a kiddy party clown and a bad Borscht Belt comic. He wore goggle-sized eyeglasses and garish bowties, had an electro-shocked head of hair with a face-bisecting mustache to match. His one-two minute reviews, delivered with a frozen grin and a tone of malicious delight, were line after line of groan-inducing puns and corny one-liners. I recall times when it seemed Shallit had been so committed to being funny, in his groan-inducing corny way, that I hadn’t been able to tell if he’d ever actually gotten around to saying if the movie he’d been reviewing had been any good or not.
But that was the thing with Reed and Shallit and others like them. They weren’t there to inform or edify as much as entertain. I’ve always fancied people were more interested in watching them “perform” than in hearing if they had anything of value to say. And the way they entertained was with a flair for a well-honed but gratuitous bitchiness in their reviews, an edge sometimes bordering on a nastiness and cruelty simply for the fun of being nasty and cruel.
And this was, more or less, the lay of the land – at least as I remember it — when, in 1975, a Chicago PBS affiliate teamed up the film critics from the city’s two leading newspapers on a movie review show: Roger Ebert – the first, and I believe, only film critic to win a Pulitzer Prize — from The Chicago Sun-Times, and, from the competing The Chicago Tribune, Gene Siskel.
The format of what was then called Sneak Previews was staggeringly simple. The two men, seated in a mock cinema balcony (remember movie house balconies anyone?), would screen clips of the week’s releases, opinionate on each movie and conclude with a recommended/not recommended vote of thumbs-up/down.
It was also staggeringly effective. In 1978, PBS picked the show up for national telecast. Come 1982, the duo would leave PBS for the still-larger audience – and more lucrative paychecks – of syndication with At the Movies with Gene Siskel and Roger Ebert, and then later, in 1986, come out with yet another incarnation in Siskel and Ebert and the Movies. The show would be nominated seven times for prime time Emmys, and the two critics would become so recognizable they graduated to the tier of talk show-worthy guests. In 2005, Ebert received what must be considered the ultimate recognition of his prominent standing in the movie universe: a star on the Hollywood Walk of Fame. Try to find another film critic there.
Pairing up the critics did something for the public that stand-alone reviews by stand-alone reviewers didn’t do: it gave viewers the ability to compare and contrast two sensibilities as the reviewers argued the merits – or lack thereof – of recent releases. It seems simple enough now, but that kind of back-and-forth was unique at the time.
It helped that they were accessible. Ebert and Siskel didn’t talk over viewers’ heads, but didn’t talk down to them either. Their passion for movies was obvious, especially when they found one they liked, and, more particularly one they both liked.
Conversely, as much as they might hate a particular title to the point of denouncing it with scalpel-sharp sarcasm, they still lacked the bitchy cruel-for-cruelty’s sake of a Reed or Shallit. For Ebert and Siskel, it wasn’t about showcasing their wit as much as it was about making a point.
Whether they were arguing or in rare communion, in the back-and-forthing the show also displayed what any successful TV show has: that ephemeral, unpredictable, often accidental, yet essential quality called chemistry.
Ebert and Siskel were perfect for each other. They were intellectual peers so it was always a fair fight and, frankly, when the sparks flew was when the show was at its best…well, at least at its most fun. I know some people watched the show waiting for a spat the way some NASCAR freaks watch races hoping for the excitement of a crash. There were times the dueling duo were so impassioned in their clash of opinions it seemed they were just a hair’s breadth from “Jackass!” “Pinhead!” and throwing Milk Duds at each other.
They even looked great together. People who couldn’t remember their names still remembered them, even if it was by the rather politically incorrect labels of The Skinny One and The Fat One. They were the Stan & Ollie of film criticism; iconic.
Stephen Whitty, film critic for New Jersey’s The Star-Ledger, understands the nature of the lightning in a bottle Roger and Gene caught. Asked about it, he says they “…did more than anyone to popularize (film) criticism, and show people just what fun arguing about movies could be…”
And, I suppose, that was the thing. They were fun to watch, but they weren’t entertainers. They sometimes stumbled when they talked, they weren’t always particularly glib; it wasn’t about them. It was about movies. The fun in watching them sometimes go at each other was knowing it came from the absolute cocksure commitment on each of their parts that they thought the other one – on this one, particular occasion – had his head up his ass. I think that honesty was what people connected with, and what they responded to, and why the show – combined with their unique chemistry – was such a success.
I suspect Ebert – and I’m only guessing here – probably had more mainstream fans than Siskel because he approached movie reviewing from a different perspective. Siskel more or less judged movies against an absolute, whereas Ebert understood some movies were, well, they were what they were…and that was ok. It wasn’t about an absolute good or absolute bad, but whether or not a movie did what it set out to do. He explained his philosophy in a 2004 review of Shaolin Soccer:
“When you ask a friend if Hellboy is any good, you’re not asking if it’s any good compared to Mystic River, you’re asking if it’s any good compared to The Punisher. And my answer would be, on a scale of one to four, if Superman is four, then Hellboy is three and The Punisher is two. In the same way, if American Beauty gets four stars, then The United States of Leland clocks in at about two.”
As the show grew in popularity and became more entrenched in the media landscape, the two critics used it as a bully pulpit to regularly bring attention to the small, low-profile art house flicks most average moviegoers didn’t even know were out there. Better, they tried to make the case for those movies expressly to that average moviegoer; to demystify for Joe and Joan out-of-the-mainstream flicks, and show they could be just as entertaining, if not more so, than the star-filled big releases taking up three and four screens at the multiplex.
They expanded the format of the show to include occasional one-offs, like their annual Oscar show, or focusing on films of a particular actor, genre, etc. A personal favorite I’ve always remembered was a compare-and-contrast show they did between the films of Woody Allen and Mel Brooks, then the two kings of the movie comedy heap. It was a great layman’s lesson in the evolution of two ultimately opposite comedic sensibilities; the kind of opportunity to broaden mass audience sensibilities TV and TV pundits rarely take.
Gene Siskel died in 1999 of complications from surgery for a cancerous brain tumor. Ebert continued on, first with a rotating series of co-hosts before settling on his Chicago Sun-Times colleague Richard Roeper. Roeper was – and is – a capable enough critic, but Siskel’s absence showed just how much of the show’s charm had been about the spark between he and Ebert. One only had to look at their PBS replacements – Neal Gabler and Jeffrey Lyons (Gabler would leave in 1985 and be replaced by Michael Medved) – to see that as easily as the Ebert/Siskel format was to reproduce, the Ebert/Siskel dynamic was one of a kind. The PBS show was finally cancelled in 1996 while Roger and Gene were still a syndication staple.
And if it proved impossible to follow their act, they still opened a door, making talking about movies something of popular interest. As it happens, while working on this piece, I heard an interview with actor Topher Grace on a New York radio station. Grace knew Bosley Crowther; the critic had introduced Grace’s parents. Grace unknowingly told me the difference between pre-E&S and today: “There were, like, a billion less critics in those days.”
Everything from Robert Osborne’s one-on-one chats on TMC to Rotten Tomatoes, Peter Bart and Peter Guber dissecting the current state of Hollywood on AMC to the bazillion websites devoted to movies (including this one) are all branches off the family tree first planted by Roger and Gene on Sneak Previews.
Between 2002 and 2006, Roger Ebert underwent several surgeries for cancer in his thyroid, salivary glands, and jaw. Complications from the surgeries robbed him of his voice, his ability to eat and drink forcing him to be nourished through a feeding tube, and left him seriously scarred. He no longer regularly appears on TV. But, as he has said, though he may not be able to speak, he can still write.
It is the paradox of our visually-driven age that Roger Ebert is – and will probably always be known – most for TV presence. But before then, during, and since, he has first and foremost been journalist, a chronicler of movies and the business of movies. He may be famous for being on TV, but his reviews, essays, and many books are probably his more substantive contribution, and one he amazingly continues despite his travails. He’s put out at least a half-dozen books since his first surgery. It’s impossible – even for those who question his taste – not to be impressed by Ebert’s choice to keep following the passion that so obviously drives him. “I’m still in awe of his work ethic,” says Steven Whitty. “The only thing more remarkable than Roger Ebert’s influence…is his indomitability. It’s not just that he’s still at it, after more than forty years and a host of ailments worthy of Job – it’s that he works harder and with more enthusiasm than writers half his age. He’s an inspiration to everyone.”
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By Bill Mesce
Bill Mesce, Jr. is a produced screenwriter and playwright, and a published author of fiction and nonfiction, including Overkill: The Rise and Fall of Thriller Cinema. He spent 27 years with pay-TV giant Home Box Office, and now teaches at several universities in his native New Jersey.
Sound on Sight is an independently owned and operated publication, started by a couple of film students back in 2008. We are not a general-interest magazine; we focus on film-literate, pop-culture savvy moviegoers with discerning tastes but broad palettes. We specialize in genre films, independent cinema, and documentaries, as well as the best of television and comics. Contrary to popular belief, the name of our publication (originally a radio show), was influenced by our favourite Steven Soderbergh film, and not the venerable British magazine.