This week in film, Armond White’s love of all things Spielberg clashes with his unvarnished hatred of J.J. Abrams. To him, Super 8 is not about a love for old fashioned celluloid movie making. “It’s really about Steven Spielberg... embracing the hatred some people hold for him.” Never-mind that Spielberg was just the producer, he gets blamed for the “pandering and illogical” plot, and the film’s dependence on “cultural amnesia and insensitivity.” “Because Spielberg commands a popular idiom, his influence on mainstream filmmaking becomes indistinguishable from regular shoddy product made in the same idiom.” But at the same time as this train wreck (gratuitous pun intended) is Spielberg’s fault, it is also his glory, for finally proving that “J.J. Abrams is small-time” by sponsoring such a “close imitation by an inferior mogul.”
White also had a conflicting relationship with Page One. He describes the film as an “art object,” “since it is less a documentary providing information about its subject than it is a presentation of the newspaper's mythic status and gleaming edifice.” Director Andrew Rossi doesn’t help the matter, since he is an unabashed Times enthusiast. He treats the newspapermen “as celebrities as much as professionals,” thereby perpetuating “contemporary journalistic mythology where writers and editors don't just bring the news, they bring "the light"—assuming a heroic stance in the way they present stories and profess authority.” White admits that Page One “isn't exactly an advertisement,” much like sister doc Bill Cunningham New York, “yet Rossi's gullible fascination almost amounts to a puff piece.” So much for quality film this week.
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