During the weekend of August 14, 2010, the end of a 35-year era occurred as “At The Movies,” the final incarnation of the legendary television film criticism program, begun by the late, great Gene Siskel and the still great Roger Ebert, drew to a close with the wonderful critics Michael Phillips and A.O. Scott at the helm. It was a decidedly non-melancholy affair as Phillips and Scott steered the program to its conclusion with the same intelligence, class, heart, love of cinema and crucially populist approach that the original hosts pioneered. As I stated in my tribute (which is housed in the August 2010 section on this site), I had watched every episode of this program, in all of its incarnations, ever since the age of eight. And now, that it was gone, I truly felt an immense hole in my television viewing.
Not terribly long after the end of “At The Movies,” Roger Ebert made a startling, joyous and much hoped for announcement. He and his wife Chaz would be resurrecting the movie review program as "Ebert Presents At The Movies” and in a most elegantly gracious turn, the program would return to its roots and be filmed at Chicago's WTTW public television studios and presented on public television, just as the original show premiered and was nurtured during its earliest days in the mid 1970s.
Well, dear readers, late last night, the dream was fulfilled as “Ebert Presents At The Movies” debuted its premiere episode starring Associated Press film critic Christy Lemire (who was a substitute film critic once Ebert was no longer to appear on television due to complications from his cancer surgery) and Ignatiy Vishnevetsky, a young critic for the cinema website Mubi.com as well as a contributor to the Chicago Reader. After the program began and throughout the lusciously packed 30 minutes, “Ebert Presents at the Movies” felt like a breath of fresh air. It was like having the opportunity to re-enter a conversation long set in motion but was sadly interrupted by the circumstances of life. Thankfully, this program allowed anyone who chose to view it, to just pick up right where we left off and the sensation was deeply comforting.
“Ebert Presents At The Movies” continues the program with the exact same format that has existed since 1975. Two critics, seated opposite each other, within a balcony set discussing the week’s latest film releases without any unnecessary flash or prefabricated style. Just the art of conversation filtered through the world of movies. Where Siskel and Ebert’s trademark “Thumbs Up! Thumbs Down!” ratings have returned, there are some noticeable changes, which I think will help to advance the show greatly while not messing around with the basic formula in a negative fashion.
During a segment set within the program’s mid section was an Orson Wells/”Citizen Kane” inspired featurette introducing the audience to not only Lemire and Vishnevetsky, but also to a collective of new contributors who will be adding their voices to this unique cinematic conversation. Last night’s debut featured essayist Kim Morgan, who will be spotlighting classic films from cinema’s past. Future programs will contain segments from on-line critic Omar Moore and filmmaker Katrina Richardson, who will explore issues of race and gender in cinema. According to Ebert’s website, the program will also feature contributions from Jeff Greenfield, Nell Minow, and David Poland, all handpicked by Ebert himself as he has been a deep admirer of their respective works.
By widening the net in regards to the amount of voices being heard on this program is a beautiful way for this program’s continued and increased vibrancy. If memory serves, every single movie review program that has previously aired consistently featured the viewpoints of two White males. Now, by seeing women and others of varying ethnicities at the forefront, the inclusionary quality of the program becomes even more apparent as it is welcoming more ideas, concepts and opinions into the mix.
The increased representation of different film genres and styles of films being discussed is deeply based in the classic Siskel and Ebert aesthetic, which often showcased works and filmmakers that would otherwise have been ignored or forgotten. This is also a beautiful tactic as it opens the world of film past the offerings of the multiplex, with the potential of inspiring viewers to try out films they otherwise would not have. As I have said before, I would not have seen a documentary film or a foreign film if not for Siskel and Ebert. Making special sequences throughout the show completely designed for the purpose of celebration can only be a great thing.
And then, what a pleasure it was, and will be, to see Roger Ebert back in action with a feature entitled “Roger’s Office,” where he will spotlight films of personal interest and meaning. Last night’s show featured the voice of filmmaker Werner Herzog speaking Ebert’s words as he ruminated over an animated film called “My Dog Tulip,” the story of the 16 year relationship between an elderly gentle man and his German Shepherd. Being able to hear Ebert “voice” again in the context of this program is truly a blessing as it is a way for him to be a featured player instead of a phantom guiding force. It illustrates again how deep his love for cinema actually is as well as his equally deep desire to continue to remain a vibrant part of the cinematic conversation.
So, how are Lemire and Vishnevetsky as a pair? We’ll see, but I am positively hopeful as it was only the first show. Having seen Lemire before on television, I knew she would be more than capable with handling the task at hand. Vishnevetsky, perhaps due to his age and also due to stepping into such a rich legacy, quite possibly over-compensated a bit with his enthusiasm and repeated contentious remarks of “I completely disagree!!” But, that said, Lemire and Vishnevetsky are not actors. They are critics. They are writers. They are people we would most likely never see on television. Now in the position of having to be on television and create a certain chemistry. I feel that once the show gets rolling and time passes, we will see their chemistry grow, making the conversation that much richer indeed.
But, that is a minor quibble, if it is a quibble at all. I’m just so happy to have this show back where it belongs. It never should have been cancelled but the past is the past.
This is the future and a future with the presence and influence of Roger Ebert is a wonderful future to exist in.
Welcome back, Mr. Ebert and long may you remain with all of us.
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