The Punk Singer
Cults can be wonderful, as The Punk Singer—Sini Anderson’s admirably idolatrous celebration of punker Kathleen Hanna—makes clear. Hanna always inspired a devoted few and it never seemed to matter if her fundamentalist fervor, totally understandable hypocrisies, or bratty indifference to anything more politically nuanced than “Suck My Left One” made her look simplistic to outsiders who wondered what the fuss was about. Hanna’s fans did not care and honestly I salute them. As The Punk Singer makes clear, once the Riot Grrrl movement got national media attention and some stories were written that Hanna’s band Bikini Kill disapproved of they reacted with a media blackout. They stopped talking to journalists because it was assumed they couldn’t be trusted to “get it.” As one of her next band’s (Le Tigre) songs went: “It’s just a joke man; it’s just an interview. You wouldn’t get it; I guess this shit is too new.”
Well, yes and no. Though little is said about the punk front women who preceded the punk of The Punk Singer, there were tons! Where to begin? Ari Up, Poly Styrene—it would be useless to even attempt to cover those bases here. But suffice to say Hanna worshipped those women even if the film about her doesn’t credit them for blazing a trail for her to follow. Still, Hanna was undeniably captivating right from the start. She looked great and she made people uncomfortable which is a really good combination for anyone fronting a rock n’ roll band.Continue Reading
Woody Allen: A Documentary
At over three hours Robert B. Weide's documentary (originally shown as part of PBS’s American Masters series) is almost “everything you always wanted to know about Woody Allen - but were afraid to ask." As a rabid fan I still have some unanswered questions, but I couldn’t ask for a more entertaining examination of the fascinating career of one of cinema’s true masters. Though autobiographical snippets have appeared in most of Allen’s films, he has remained massively private and almost mythically close-mouthed about his filmmaking (for instance never giving any DVD extras), though in recent years he has done more film promoting and made more public appearances (as have guys like Robert De Niro, as the economics of promoting films have gotten more intense and needy). In ’97 Allen was the subject of a fun, lightweight documentary, Wild Man Blues, which was more about his clarinet playing career and his bizarre relationship to his one time step-daughter and now wife, Soon-Yi Previn. For fans that was the closest glimpse into the man (along with Eric Lax’s 1991 book of conversations with Allen). But with Woody Allen: A Documentary, Weide (mostly known as a TV director with credits that include Curb Your Enthusiasm) has gotten the most in depth, on camera heart-to-heart with Allen. Filled with wall to wall clips, the film mercifully spends most its time on the rarer early career of Allen and less on the stink he has mostly been putting out for the last 20 years.
Woody’s life growing up in Brooklyn is now the stuff of legend. As a teenager he started giving jokes to newspaper columnists, which led to some writing gigs that eventually put him in a room with future celebrated writers Neil Simon, Mel Brooks and Larry Gelbart writing for Sid Caesar. He would continue writing for comedians until hooking up with high-end managers Jack Rollins and Charles Joffe who talked him into hitting the stage and telling the jokes himself. A neurotic and shy young man, Allen never dreamed of being a performer and it often showed. It was a slow rise but eventually, as cerebral comics like Mort Sahl were coming into fashion, Allen found his voice and an eager audience in the groovy coffee house scene of New York’s Greenwich Village at clubs like The Bitter End. Allen soon became a showbiz fixture on the TV comedy circuit; exposure was the goal and here Allen admits nothing was beneath him (the documentary even includes a bizarre clip of Allen boxing a kangaroo a show called Hippodrome).Continue Reading
Recently I had to re-watch Michael Moore's muckraking sort-of masterpiece Roger & Me (1989) a film that would mark the start of Moore's ascendency to deified portly prince of the Left. Roger & Me was effective as a scathing satire of Reaganomics but also full of fabrications and inaccuracies, which were entirely unnecessary. He had a great story but, much like his lardy lad appetite for tasty sweets, he could not help himself and had to greedily embellish details to make his story that much more shocking. It was a dumb thing to do because it distracted from the important stuff his film addresses.
Still, no one doubts that Moore shined a light on important issues for an audience that could never be reached by The Nation or Mother Jones. He is probably right that professional jealousy accounts for at least some of the sour grapes that his adversaries on the left have been sucking on for some time. But I submit to you that they have a point. (Check out Manufacturing Dissent – a leftist critique of Moore – available illegally, I think, on YouTube.) For all his success it is true that he has dumbed down the discourse surrounding issues of systemic inequality embedded in a classist, white privilege-based society such as ours. He makes his films all about him and like a Leftist Charles Foster Kane he sounds paranoid and overly reactionary about anyone who dares criticize him or his methods.Continue Reading
I'll never forget seeing The Celluloid Closet, the documentary based on Vito Russo's seminal overview of LGBT representation in American film. I was 19, a college student in Lawrence, Kansas watching it in a documentary film class. It was like oxygen - for the first time I was seeing a film that confirmed gay stories and a gay sensibility had always been a part of Hollywood Cinema. You just had to know where and how to look.
Vito Russo's work as a film scholar synthesized a whole history of gay images and themes in film. The Celluloid Closet is an ecstatic celebration of such iconic gay images as Marlene Dietrich in a tuxedo in Morocco and the gut-wrenching ensemble piece about life in New York for a group of gay male friends in The Boys in the Band. The movie also serves as a scathing indictment of Hollywood and its "morals" code, a system that perpetuated the false notion that homosexuals didn't exist and, if they did, they had to die by the film's end. It was sobering, educational, cathartic, and celebratory. And the man responsible was not alive to see it because he had died of AIDS years earlier.Continue Reading
Dig! is a completely unreliable documentary about two rock bands who were around in the late 1990s -the Dandy Warhols and the Brian Jonestown Massacre. You do not have to be fans of these bands to find this movie entertaining. I didn’t believe for a second that what I was watching was anything more than some amateur footage of two bands with a clumsy narrative about success, art, commerce and “selling out” (one of the really quaint concepts that shows you how different things are now) grafted on, but it’s worthwhile because it’s a film with some genuine characters – goofballs, sleazy good time Charlies, and actually some really good music. Part of the charm of these bands is how little they had in common with the music scene at the time.
I present a recap:Continue Reading
Searching for Sugar Man
Like a real life Eddie & The Cruisers this British documentary by a Swedish director (Malik Bendjelloul) about a Detroit folk singer named Sixto Rodriguez who became an icon to a generation of white South Africans is both an in-search-of mystery and an inspirational tome to the power of music and survival. Searching for Sugar Man is another one of those documentaries that if it didn’t have “true story” stamped on it might be too crazy to believe. Not to mention that for someone my age to know that this person existed (and in my own childhood backyard of Detroit) and, like most of the world, am only now becoming aware of the stunning music that he created, it’s sad that Sixto Rodriguez's beautiful songs haven’t been on my heavy rotation all my life. But since seeing this movie they have become ingrained in my head and will never leave.
Coming out of nowhere for a handful of music business types in the late sixties, Mexican American Detroiter Sixto Rodriguez sounded like he could be the next big thing. He had a clear voice (that reminds me of Donovan) with sophisticated lyrics about love, heartbreak and socio-political ills in the Bob Dylan tradition. He recorded two albums and both were commercial flops. So Rodriguez (as he was known) went back to being an inner-city guitar-toting day laborer (and, of course, was screwed out of royalties for his songs). And that’s the end of that story. Or was it? Copies of the albums made their way into South Africa where they became massively popular to a generation of white Afrikaners who were coming of age and questioning the system of apartheid in which they grew up. A total police-state boxed-out from the rest of the world, South Africa was a little behind the times culturally and cut-off when it came to music information. The rebellion and loneliness in Rodriguez’s lyrics spoke to them. The rumor was that Rodriguez had dramatically killed himself on stage, putting an end to any kind of personal contact South Africans might have hoped to have with their idol. But the music lived on and came to define the decade for many.Continue Reading
Who would have guessed that an American Idol type of singing competition show could bring enlightenment, democracy and change to a nation? Of course not in the U.S. - our version only inspires cruelty and insipid syrupy belted versions of stale Whitney Houston songs. But in Afghanistan, their version of the show, Afghan Star, may just be dragging a country that has been plagued by decades of wars, poverty and tribal fighting into the twentieth century where everyone believes that becoming famous is the goal of life.
Directed by Havana Marking, the documentary Afghan Star is the most fascinating peak into Middle Eastern media since Control Room five years earlier. Here we follow four contestants, each with different ethnicities from different parts of the country who risk their lives to sing on television. If you think the divisions of the States or regions in U.S. can be tense, Afghanistan's animosity between neighbors keeps the country constantly on the brink of a mini-civil war. But after years of Taliban repression (where television and singing were banned) and still a strong conservative Muslim arm in the country, the contestants and the show’s producer/host Daoud Sediqi are convinced that what their country needs is music and they are eager to give it. Even having a woman sing on TV is still considered radical and leads to a number of dangerous incidents which are well covered in the documentary. The film also does a great job of humanizing the Afghan people who show that no matter how dire the country seems to be, the contestants and the show's audience (at least a third of the country are regular watchers) are still so full of hope. On Afghan Star the theme songs from The Sound Of Music and Footloose are still alive, playing out with life and death consequences.
Being Elmo: A Puppeteer’s Journey
Kevin Clash grew up in a sizable family of humble means. He began watching Sesame Street as a young boy, which led to watching The Muppet Show. His ravenous interest in creating and performing his own puppet characters grew. He started performing for children at his mother’s day care center, which led him down a path that would ultimately blossom into a promising career as a puppeteer. But not just any puppeteer. He would ultimately become one of children’s most beloved icons, a little red fury monster named… Elmo! Not too shabby for a shy boy from the suburbs of Baltimore.
Halloween: 25 Years Of Terror
It’s been nearly 10 years since the Halloween Returns To Haddonfield 25th anniversary convention celebrating the release of John Carpenter’s now legendary film took place in Pasadena, California, and I’m sure at the time the organizers couldn’t have possibly predicted that the event would be the impetus for the documentary Halloween: 25 Years Or Terror, nor that that documentary would kick start and pave the way for similar retrospective films on the making-of horror franchise classics. Feature length retrospective documentaries were not anything new at the time of Halloween: 25 Years Of Terror’s release. Filmmaker Laurent Bouzereau was already producing some of the best making-of docs for DVD and Laserdisc releases of famous titles such as Jaws and Psycho; but the Halloween doc was the first to offer a feature length retrospective packaged completely on its own as the disc’s main feature with hours of bonus materials for the die-hard Halloween fans to soak up afterwards. Because of its success, we got a string of other horror documentary releases such as His Name Was Jason, The Psycho Legacy, Never Sleep Again and even More Brains!, a documentary focusing primarily on the first Return Of The Living Dead film! But it’s fascinating to go back and revisit where this particular sub-genre all began, which was with Halloween: 25 Years Of Terror.
While the doc chronicles all the Halloween movies including its sequels in sequential order, it kicks off with the original and sets-up what was going on in the horror genre that led up to it; films like Night Of The Living Dead, The Texas Chainsaw Massacre and most importantly Black Christmas which paved the way for a film like Halloween to exist. A young filmmaker named John Carpenter was tapped by a pair of producers to direct a feature with the premise of “the Babysitter murders” and it was to be set on Halloween, a holiday that not only everyone could identify with since we all recognize it, but also one that hadn’t yet been fully exploited as the title of a movie. Paired with his writing and producing partner Debra Hill, Carpenter agreed to tackle the project as long as he had complete creative control and could have his name above the title. While Debra takes credit for writing the dialogue pertaining primarily to the teenage girls' conversations, she gives credit to John for creating Michael Myers and all the dialogue setting him up as evil incarnate. No one involved could’ve possibly predicted that Halloween would become the most successful and lucrative independent film ever made, maintaining that title for decades up until the release of The Blair Witch Project which came along and snatched the crown.
A Decade Under the Influence
Playing on the title of the groundbreaking John Cassavetes film A Woman Under the Influence, or maybe ’70s cokehead producer Julia Phillips’s memoir Driving Under the Affluence, the IFC-produced, three-part documentary A Decade Under the Influence is a fawning but wildly entertaining tribute to the films of the ’70s (actually 1967 onwards) and the maverick filmmakers who reinvented Hollywood. It’s the perfect film companion to Peter Biskind's incredibly readable book Easy Riders, Raging Bulls, which also spawned a BBC-produced documentary with the same name. The IFC series may come out slightly on top if only because it’s an hour longer and, at just 119 minutes, the BBC flick may not cover enough ground, while A Decade Under the Influence is crammed wall to wall with clips and interviews. For anyone who romanticizes this era in film (like me) this is three hours of pure, giddy love.
Episode One: Influences and Independents, begins with the big gaudy premiere of the crappy big gaudy musical Hello Dolly in ’69; the thesis: that bomb marked the end of the studio era. An intelligent group of interviewees, including Francis Ford Coppola, Dennis Hopper, and William Friedkin, give us the set up: the civil rights movement, Vietnam War, the women's movement, ’60s innovative rock & roll and later Watergate, the formation of the counter culture, and youth movement had a generation of people asking why and breaking the rules. For filmmakers who were seeing the art house foreign films of Godard, Kurosawa, Truffaut, Antonioni, Bergman, and Fellini (and of course Julie Christie throws in the working class films of early ’60s England) the current beach flicks, musicals, and romantic comedies of Hollywood no longer seemed relevant. When Arthur Penn took influence from the French New Wave (who were influenced by American film noir and gangster flicks) and came up with his sexually frank and violent Bonnie and Clyde, it opened the floodgates for a new kind of American film. With Roger Corman and BBS (Bob Rafelson, Bert Schneider, and Steve Blauner) creating a new class of filmmakers who could work cheap while learning their trade and John Cassavetes making his homemade indie movies, the idea for the “’70s flick” was solidified. Those early influential flicks of the era are recalled and analyzed, including Easy Rider, Targets, Midnight Cowboy, The French Connection, and The Last Picture Show. But it’s not all classics; less memorable movies like Joe and Hi, Mom! are also included and even Dirty Harry is given props as an obvious influence.