After a pleasant Valentine’s Day, for whatever reason, my mind wandered to a recollection of Mark Rappaport’s film Impostors (1979). It was refreshing and encouraging to remember a film which encompasses all the possibilities and romanticism of making a film on one’s own. To recall the potential all filmmakers have if they are just inventive and creative enough to see a project through. That is what Rappaport demonstrates, that is what he represents with the very style of his unique and quirky little cinema.
Just when I fear the worse for film in America, when it seems that American audiences prefer to think of the cinema not as a means to challenge their assumptions and intellect, but as a way to bypass reality into the superficial realm of petty escapism, I recall a filmmaker so driven and obsessed by his vision that he accomplishes his goal with no compromise. Thus, I feel I must prescribe Impostors to anyone suffering a crisis of faith in American Cinema.
We must all remember how fortunate we are to have so many varieties of capabilities to actualize our cinematic vision without the constraints that plagued our counterparts in the first three quarters of the twentieth century. That we have come so far in technical quality with so much accessibility was unheard of when Rappaport shot Impostors. Yet, that he was able to make it anyway should be of constant encouragment.