Simply Perfect

A Masterpiece!

This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

What a great accomplishment is this silent film, made in 1972, by Chantal Akerman. I wonder if the wonderful series of tracking shots of hotel corridors leading to windows and back again influenced Antonioni (an auteur whose earlier work Akerman surely studied) when he was composing my (hardly original as such) favorite shot in all of cinema: the penultimate shot of "The Passenger", from 1975.

If you dragged a person off the street, then showed them this movie, chances are they wouldn't like it. They'd probably find it to be extremely boring, and might even fall asleep. But, for experimental film lovers, and fans of the films of avant-garde filmmaker Chantal Akerman, there is some enjoyment of this hour long look at a cheap New York hotel and those who are staying there.There is no sound, no characters, only images. It is like a Stan Brakhage film, but much slower. The camera usually stays stationary, and, when it moves, it moves very slowly and steadily. These images require a lot of patience from the viewer, even those who are already used to very slow, very experimental films. Some of the shots in this film are 5 minutes of hardly anything happening! But, I did find a lot of interesting things in the film.The shots of this hotel are quite beautiful, and the camera movements are very creative, so, overall I'd definitely recommend it to fans of slow, experimental films. Anybody else should probably stay away.

Hotel Monterey (1972) *** (out of 4)I'll admit that I had never heard of this Belgium film before it showed up on the wee hours of the morning on Turner Classic Movies. Even the plot description on my cable service was blank, which is just about right because there's very little "story" in this fascinating documentary. For 63-minutes director Akerman films various aspects of a New York hotel. We get footage of some of the people staying there. Other footage of the hallways as well as a few looks at the rooms there. You might wonder how on Earth any of this is entertaining and half way through the film I started to ask myself why I was so drawn into what I was watching considering there wasn't really anything to watch. There's no even anything to listen to as the film was shot silent so there's no dialogue, no score, nothing. I think what makes the film so entertaining is that you normally watch a movie and wait for the next thing to happen. This happens over and over until the movie is over yet that's not what happens here because you see a single image for fifteen to ninety-seconds and then it just goes to another random image. I think this works because while you're watching and studying one of these images your brain is pretty much preparing you for "what's going to happen next" but when that next thing happens your brain pretty much has to start over with studying the image and again going into the "what's going to happen" mode. I thought the film was extremely entertaining, although I'm sure most are going to grow bored within a matter of minutes. If someone did turn this off after a few minutes I can't say I'd blame them as this isn't a mass appeal movie. I think the ones I'd recommend this to the most are fans of Stanley Kubrick's THE SHINING because it's clear this movie was a major influence on that 1980 masterpiece. There are several tracking shots of the camera going down the halls and around corners, which of course was a major aspect of the Kubrick film. There's also a few shots of the elevators that will remind people of the Kubrick film and just check out how some of the people are shot and again you'll think of THE SHINING.

Clearly influenced by Warhol Zeitgeist (remember it's 1972), Chantal Ackerman's Hotel Monterey is a study in empty headed documentary, eschewing key elements in favor of some provocatively mundane images and scenes that are laboriously drawn on but say next to nothing beyond the obvious. How Akerman, who had made nothing but shorts up to this point, deemed this worth cutting upward to an hour is mystifying since it's clear it is going nowhere after fifteen. But plod on she does. Located in lower Manhattan the dark semi polished Monterey is populated by dignified if somewhat down at the heels men and women. Tidy little old ladies throw butts on the floor while glum slow moving gentlemen eye the camera suspiciously as they meet in the halls and the elevator. Some folks pose and smile others peer through a crack of the door betrayed by a shaft of light. Welcome to the Hotel Monterey.Ackerman strives for minimalism over realism with fractured imagery and long tedious shots and slow zooms of the bleak setting omitting sound and titles. No narration, no interviews, no music score and most importantly no ambient sound which amputates both mood and impact. She simply moves about the hotel filming surface and offering no depth or insight. This may have well been her intention but I see it as a missed opportunity at a more substantive documentary that would have been more informative and interesting by involving other senses instead of self indulgent MOS camera work of tawdry hallways that are not allowed to be heard. By the time you check out of Hotel Monterey you'll probably need a good night's sleep.