

By Ray Pride Pride@moviecitynews.com
The Squid finds its Voice: A Whale of a Tale
In the Voice, a week after a cover package touting David Cronenberg as the paper’s historically best-reviewed auteur father, Noam Baumbach, son of former Village Voice reviewer Georgia Brown (and Mr. Jennifer Jason Leigh) is anointed as the best kid on the block for his magnificent short story The Squid and the Whale. Former Voice intern Rob Nelson makes a case for mom’s critical savvy>;
Jim Hoberman offers a long caveat on why he’s even reviewing the film: “Full disclosure: If I hadn’t liked The Squid and the Whale so much, I might have begged off reviewing. For, while I have only the slightest personal acquaintance with the filmmaker, I do know his brother, his father, and particularly, his mother, former Voice movie critic Georgia Brown. From this privileged position, the movie is, of course, additionally fascinating—albeit not so much for what the filmmaker reveals about his family but how he chooses to represent them. Janet Malcolm opened her infamous screed “The Journalist and the Murderer “by observing that “every journalist who is not too stupid or too full of himself to notice what is going on knows that what he does is morally indefensible.” But isn’t this true of any writer who takes people’s lives as grist for her mill? I don’t necessarily recognize Baumbach’s actual family in [his movie] but I do recognize the artist’s ruthlessness—and the degree to which he’s been true to their aesthetic family values.” And Jessica Winter listens to Baumbach: “The director grew up in a household of voluble cinephiles. “My dad [Jonathan Baumbach] had been a film critic for the Partisan Review, but when I was younger and not aware of those kinds of things. Then my mom started reviewing around the time I was finishing high school and starting college, and I was so excited—I felt like the family finally had a mouthpiece, that she could write about all the stuff we’d been discussing for all these years. What interested me about my mom’s film criticism was that she really valued an emotional reaction to a movie… I feel that with this movie I learned the value of an emotional approach to filmmaking. I made an emotional movie about intellectuals.”