R.I.P. Roger Ebert

Like many people who grew up in the 1980s, I grew up watching Siskel & Ebert, and they helped nurture my love of film. Roger Ebert will be missed.

  

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A bit of the OLD ultraviolence

With “Kick-Ass” raising just a little bit of controversy, below are two trailers and a Siskel & Ebert review for the three movies for which the term “ultraviolence” was originally coined, though I suppose author Anthony Burgess might get the credit for the actual words. Though “A Clockwork Orange” and “Bonnie and Clyde” are both obviously more serious films than an action-black-comedy like “Kick-Ass,” its worth noting that, as is the case now, the juxtaposition of violence and humor in those films was a big part of what so disturbed some critics. As for “The Wild Bunch,” it was just the sheer savagery of the thing.

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Given his review of “Kick-Ass,” I think Roger Ebert’s remark about the children in “The Wild Bunch” is worth noting. I’ll be discussing that some more shortly.

  

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Moments with Gene (and Roger) #2

More clips marking the tenth anniversary of Gene Siskel’s passing (there are more below this post).

You can see some real irritation in these mostly hilarious and fascinating outtakes, but people who wanted to paint Siskel and Ebert as actual adversaries, rather than sibling rivals, were very much on the wrong track — at least after the first few years. These moments offer an entertaining look into their real working relationship and it gets funnier, and a bit less safe for work, as you go.

And, from the tribute show that followed Siskel’s death, Ebert puts it all into context.

  

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Moments with Gene (and Roger) #1 (updated)

Movie critics don’t get remembered the same way movie-makers or movie stars get remembered, but it helps to be a television star. Today happens the be the death anniversary of the extremely sad and untimely death at age 53 of the long-time critic for the Chicago Tribune, Gene Siskel. His TV partner and competitor-turned-very-close-friend, Roger Ebert, has a moving tribute posted.

Inspired by that, I thought it would be kind of nice, and also fun, to post a few Siskel-heavy moments from the heyday of Siskel & Ebert. One thing’s for sure, they weren’t called Siskbert because they always agreed…

I’m definitely with Gene on that one.

And now a couple of more agreeable moments that show what a penetrating and thoughtful film lover Siskel could be. Here is Gene on one of his favorite movies.

And Roger and Gene praise one of Woody Allen’s greatest films.

UPDATE: I’ve posted more great moments with Mr. Siskel and Mr. Ebert above.

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Roger Ebert remembers Gene Siskel

Like many fans of the movies, I grew up watching Siskel and Ebert each week. Friday was the tenth anniversary of Gene Siskel’s death, and Roger Ebert wrote a moving tribute remembering his former partner.

Gene died ten years ago on February 20, 1999. He is in my mind almost every day. I don’t want to rehearse the old stories about how we had a love/hate relationship, and how we dealt with television, and how we were both so scared the first time we went on Johnny Carson that, backstage, we couldn’t think of the name of a single movie, although that story is absolutely true. Those stories have been told. I want to write about our friendship. The public image was that we were in a state of permanent feud, but nothing we felt had anything to do with image. We both knew the buttons to push on the other one, and we both made little effort to hide our feelings, warm or cold. In 1977 we were on a talk show with Buddy Rogers, once Mary Pickford’s husband, and he said, “You guys have a sibling rivalry, but you both think you’re the older brother.”

Once Gene and I were involved in a joint appearance with another Chicago media couple, Steve Dahl and Garry Meier. It was a tribute to us or a tribute to them, I can’t remember. They were pioneers of free-form radio. Gene and I were known for our rages against each other, and Steve and Garry were remarkable for their accord. They gave us advice about how to work together as a successful team. The reason I remember that is because soon afterward Steve and Garry had an angry public falling-out that has lasted until this day.

Gene, Thea Flaum and I during an early taping

Gene and I would never, ever, have had that happen to us. Unthinkable. In my darkest and moodiest hours, when all my competitiveness and resentment and indignation were at a roiling boil, I never considered it. I know Gene never did either. We were linked in a bond beyond all disputing. “You may be an asshole,” Gene would say, “but you’re my asshole.” If we were fighting–get out of the room. But if we were teamed up against a common target, we were fatal. When we were on his show, Howard Stern never knew what hit him. He picked on one of us, and we were both at his throat. [see YouTube below]

We both thought of ourselves as full-service, one-stop film critics. We didn’t see why the other one was quite necessary. We had been linked in a Faustian television format that brought us success at the price of autonomy. No sooner had I expressed a verdict on a movie, my verdict, than here came Siskel with the arrogance to say I was wrong, or, for that matter, the condescension to agree with me. It really felt like that. It was not an act. When we disagreed, there was incredulity; when we agreed, there was a kind of relief. In the television biz, they talk about “chemistry.” Not a thought was given to our chemistry. We just had it, because from the day the Chicago Tribune made Gene its film critic, we were professional enemies. We never had a single meaningful conversation before we started to work on our TV program. Alone together in an elevator, we would study the numbers changing above the door.

Making this rivalry even worse was the tension of our early tapings. It would take eight hours to get one show in the can, with breaks for lunch, dinner and fights. I would break down, or he would break down, or one of us would do something different and throw the other off, or the accumulating angst would make our exchanges seem simply bizarre. There are many witnesses to the terror of those days. Only when we threw away our clipboards and 3×5 cards did we get anything done; we finally started ad-libbing and the show begin to work. We found we could tape a show in under an hour.

The entire tribute is worth a read.

  

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