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Chop Suey (2001)
Tomatometer
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Reviews Counted:31
Fresh:21
Rotten:10
Average Rating:6.1/10
Consensus: Freeform in structure, Chop Suey captures the range of Weber's eclectic interests.
Rated: Not Rated
Genre: Education/General Interest
Theatrical Release:2001
Synopsis:
Bruce Weber's discovery of a gorgeous young hunk named Peter Johnson was the beginning of a marvellous collaboration that continued over four years. Plucking the young man from over a thousand boys...
Bruce Weber's discovery of a gorgeous young hunk named Peter Johnson was the beginning of a marvellous collaboration that continued over four years. Plucking the young man from over a thousand boys in training as wrestlers, Weber turned Johnson into a highly-paid photographic model for Ralph Lauren, Versace, and Karl Lagerfeld. Chop Suey uses still photographs and live action footage to chart Johnson's transformation from a pretty young boy into a homoerotic icon.
But the film does much more than such a simple synopsis indicates. An autobiographical work, the film examines Weber's own career as photographer and filmmaker by bringing together, in a structure that replicates the mix of ingredients suggested by the title, a complex collage of images, ideas, reflections, personages and film materials. Weber's voice-over narration-garrulously personal and casually reflective-guides the viewer as he introduces a diverse collection of characters, including singer Frances Faye, Robert Mitchum, fashion guru Diana Vreeland and desert explorer Sir Wilfred Thesiger. Sometimes interacting with them as interviewer, Johnson acts as a polished, charming and confident participant.
The glories of this film are many, and their easy fit together is the result of the brilliant editing. This is free-form filmmaking: transitions from one subject, character or kind of image to another can be startling sometimes, and there is no way to predict where the film will go next. It could be Robert Mitchum singing jazz, a small-town parade, a fashion shoot, a homely gathering around the table, or an educational moment with Weber's own wonderful collection of classic photography. But wherever it takes us, it always seems right. And the thread that binds all the ingredients together is the sense of intimacy between photographer and subject.
It's been a long time since Let's Get Lost, and I for one have missed Bruce Weber. The two intervening short films, Backyard Movie and Gentle Giants, were delightful bon bons, but with Chop Suey we get a full meal.
- Kay Armatage, 2001 Toronto International Film Festival Catalogue
Starring: Peter Johnson, Frances Faye, Rickson Gracie, Teri Shepherd
Starring: Peter Johnson, Frances Faye, Rickson Gracie, Teri Shepherd, Robert Mitchum, Jan-Michael Vincent, Diane Vreeland, Ernest Thesiger, Sir Wilfred Thesiger
Director: Bruce Weber
Director: Bruce Weber
Screenwriter: Bruce Weber, Maribeth Edwards
Composer: Douglas Cooper, John Leftwich
Studio: Zeitgeist Films
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Reviews for Chop Suey
Anybody who expects this film to be nothing more than the equivalent of flipping through the advertisements in a slick magazine is in for a surprise.
Some folks will call this film avant garde or blissfully trendy; others might settle for self-indulgent with moments of brilliance.
Even the misspellings and ramblings fit into the loosey-goosey, associative framework.
Though undoubtedly a vanity project -- the music clearances alone must have cost much more than the film could ever hope to gross -- it functions pleasantly enough as an exercise in free association.
It's hard to resist, no matter how much you may hate fashion photography, and this documentary is less a love letter to Weber than to the people who've inspired him.
With footage of Faye in performance, and interviews with her friends and associates, Weber uses Faye as base from which to branch out in bizarre directions.
Even when it turns pensive or deals with a death, it has the compulsive charm of a bright, gossiping diary you have to keep reading.
In the end, what resonates is the fragile yet unfailing grace of the human spirit embodied by Weber's subjects.
Bruce Weber's filmic journey becomes a series of libidinal ups and humbling downs.
It's an eclectic film, held together only by Weber's ironic voice-over narration and the endless shots of the beautiful Johnson.
Spending time with Weber and hearing his stories makes you realize you might be listening to the secret of a happy life.
Assembled by Weber himself and overflowing with bits and pieces of his life and loves, this ditty box of a movie is a little like Maximillian Schell's 1984 documentary Marlene.
The most personal and accomplished of the several documentaries Weber has made over the years.
It's a fascinating life and an interesting movie, but it's also a little evasive.
Weber's eclectic, grandly engaging documentary, is as personal as movies get, a generous and candid first-person exploration of the wide-ranging influences that inform the photographer's work.
| Tomatometer Percentage | Movie | Date |
|---|---|---|
| | Before Tomorrow | 12/2 |
| | Film Ist: A Girl & A Gun | 12/2 |
| 60% 60% | Brothers | 12/4 |
| | Everybody's Fine | 12/4 |
| | Armored | 12/4 |
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