In The Bedroom
In Hollywood films about revenge a grieving family or friend or lover typically realizes that the only way to bring closure to the loss of a loved one is to turn vigilante and mete out the justice they were denied and we are usually meant to cheer them on as populist heroes. But in the 2001 film In the Bedroom, the "grieving family avenging a loved one" plot may be a familiar one but its execution is decidedly not because the cheap and manipulative tactics that get us as an audience fired up for spilled blood are nowhere to be found. This story of a middle aged couple dealing with the tragic death of their son and falling apart as their anger consumes them is the rare film where the idea of grief is not just a pretext for something “bigger.” The visceral, teeth-gnashing sense of loss that death brings—especially the grief that follows unexpected violent death—is allowed to unfold and hang in the air like the slow heavy unstoppable force of nature that it is and it’s unforgettable. This is the rare film about grief and death and vengeance that has no room for histrionics. It has no false notes. The director, Todd Field, is shockingly assured for what was his first feature length film and the incredible cast including Tom Wilkinson, Sissy Spacek, Nick Stahl, and Marisa Tomei hit rare notes of emotional honesty in their work.
Tom Wilkinson and Sissy Spacek play Matt and Ruth Fowler, a well off middle aged couple getting on in their years in their small coastal Maine town. Matt is a town doctor and Ruth is the high school choir director. Their son Frank (played by Nick Stahl) is home for the summer before he starts college in the fall. He is seeing Natalie, a woman twice his age (played by the gorgeous and intriguing Marisa Tomei) with two small children, and this situation is cause for his mother’s concern and his father’s shy sense of pride in his son becoming a man.Continue Reading
Billy Elliot stands out as a musical, a family drama and fiercely insightful look into the sacrificial toll on striking coal miners in Northern England in 1984. Stephen Daldry's direction alternately charms and punches with equal power until you are pulling at your own hair as Billy dances out his frustration through the run down back alleys, over cobble streets and finally into a brick wall furiously, fruitlessly and against all odds.
Billy is the youngest son of a widowed coal miner with an older brother not long in the mines himself, and an invalid grandmother. Coming from the tough and tumble Elliots, eleven year old Billy is naturally enrolled in boxing at school but somehow finds himself drawn to the girls' ballet lessons. Their teacher, the no nonsense Mrs. Wilkinson, sees potential in Billy and encourages his newfound passion and determination not knowing that Billy has kept it a secret from his family. All the while the coal miners' strike puts constant pressure on the Elliots, backing them into financial and emotional corners. When Mrs. Wilkinson procures Billy an audition at the Royal School of Ballet Billy must battle his family for the chance to be something different. Not only from what they know but what they themselves are fighting for.Continue Reading
Lords of Dogtown
I'm slightly envious of Stacy Peralta for not only conquering the professional skateboarding world but also for his career as a filmmaker. These two industries, in the general sense, do not correlate, but he manages to find the bridge. The result? A fantastic documentary about the legendary Z-Boys skate team in 1970s Venice named Dogtown Z-Boys, a 2004 documentary chronicling the evolution of big wave surfing called Riding Giants, and a biographical feature film about the Z-Boys journey titled Lords of Dogtown. Peralta penned the screenplay himself, with Catherine Hardwicke (Thirteen and Twilight) directing.
The film, while written with obvious yet needed nostalgia, is action-packed full of skateboarding glamour, parties, competitions, strained friendships, and the intensity of male adolescent energy. The plot is loose and without any specific thread other than to chronicle the history of what happens to the Zephyr Skate Team from the beginning of their surfing days to the point where they meet again after the start of their separate careers. The lack of any overbearing plot creates an enjoyable, fast-paced energy that captures a certain spirit of the pioneering skate culture from the 70s.Continue Reading
Eternal Sunshine of the Spotless Mind
BOY MEETS GIRL Mild-mannered, sheepish, shy Joel Barish (Jim Carrey) meets his polar opposite in wild, weirdo, eccentric Clementine Kruczynski (Kate Winslet) and romance ensues, again...Continue Reading
Written by American poet of the gutter, Charles Bukowski (based on his own experiences), Barfly is an urban fairy tale of two wanderers who are always in search of the next bottle. “Henry” (Rourke) is a writer who spends all his time drinking and fighting, occasionally fitting in some poems here and there. “Wanda” (Dunaway) is a boozer who lives off the generosity of various old men. Once these two meet, it is one of cinema’s most wonderfully strange love stories.
Bukowski’s script is very slice of life, but not the lives of most. With colorful characters and exceptionally quotable dialogue, the screenplay is on par with any of his works of poetry, novels or short stories.Continue Reading
When 24 Hour Party People came out, I overheard a lot of dour Raincoat types leaving the theater expressing their wish that whole film had been about Ian Curtis and not those awful acid house Blue Tuesdays or whatever was going on after Ian Curtis' death, at which point their lot zoned out 'til the credits. I thought of how awful that would be - a film about Joy Division. Biopics are always so suspect. Myth-making, made-for-cable garbage with chest-beating and hammy impressions instead of acting... you know, the kind of thing the Oscars are made of. Thankfully, Control is not like that.
Control is directed by Anton Corbijn, which I didn't know till the end. Whatever you think of the guys videos, he has an eye for arresting (if sometimes comically dour) imagery. He's also Dutch and therefore a natural fit for Joy Division’s world which is black and white and eternally wintery, even in the summer – like World War II movies.Continue Reading
From the opening sounds of sad circus music flowing into disco, you feel you are in for something unique. As the camera tracks across a street into a bustling nightclub, introducing us to a large array of characters in one take, you know you are in for one hell of a spectacle...
Boogie Nights is an epic tail about life in the swinging seventies through the lens of the porno industry of Southern California. It explores the transition of the business into the 1980s, where film was switched out for video, and the roof caved in for many. But it’s not simply a story of the sex trade—it’s about family. Although somewhat warped, the group of porn stars connect together as if they were brothers and sisters, mothers and fathers.Continue Reading
One would think that as blunt a director as Sam Fuller would have little use for metaphor when making a film about racism, but the director best known for his hard-hitting pulpy exposÃ©s of social injustice uses symbolism in White Dog as fluently as he used shock value in his previous films, without omitting any of the controversy expected of him. When Fuller made White Dog he had already pushed buttons with Shock Corridor’s blunt portrayal of inhumane conditions in sanitariums in the 1950s and The Naked Kiss’s vitriolic condemnation of small town hypocrisy. So why did Paramount seek out Fuller to co-write and direct a film based on a true story of a dog trained to attack Blacks, and then shelve the finished product? Fuller was back in favor after The Big Red One (1980), his first film after he made Shark! with Burt Reynolds in 1969, won the Palm d’Or at Cannes. Paramount pitched Fuller the concept, based on a Romain Gary article for Life magazine that Gary had adapted from his book Chien Blanc, and Fuller signed on to co-write the script with Curtis Hanson and direct the film. Together they adapted the non-fiction work into the story of Julie Sawyer, an aspiring actress who accidentally hits a white German shepherd while driving in the dark canyon roads of the Hollywood Hills. She rescues the dog, but after he attacks a co-worker, Julie believes that she has a former attack dog for a pet and takes him to movie set animal trainer Carruthers to reverse his aggressive training. When he sees the dog maul a Black man, he tells Julie that she has a “white dog,” a dog trained by racists to attack only Blacks. Keyes, a Black trainer with an anthropological bent, attempts to deprogram Julie’s racist dog as an experiment in the reversal of racial inculcation. Paramount was intent to avoid any accusations of insensitivity and in an attempt to obviate any complaints asked the president of the Beverly Hills chapter of the NAACP to be on set during the shoot. After the film’s completion the organization voiced its disapproval of the film and Paramount decided to forgo its release.
This Criterion release is the first time White Dog has been available in the U.S. It never had a theatrical release here (although it did in France where it had decent ticket sales) and it has never been available on Beta, VHS, Laserdisc, DVD or shown on television. Those of us who were lucky enough to rent (or work, *hech-hem*) at Mondo Kim’s in the East Village could rent a fuzzy bootleg with overmodulated sound. It was painful to listen to Ennio Morricone’s score in such a distorted form, but Faustian bargains were made to glimpse Fuller’s recondite masterpiece. Criterion does film scholars and the film community an immeasurable service when they release rare and obscure films like White Dog, SalÃ², Taste of Cherry, Sans Soleil, etc., more than amply making up for the plastic and human resources the label wastes the few times it releases films of questionable cinematic value that were already in wide circulation (I’m not going to name names. But one starts with Chasing…) By releasing White Dog Criterion is sharing with viewers one the strongest denunciations of racism in American film history, a denunciation that was stolen from audiences by Paramount’s timidity and the NAACP’s short-sightedness.Continue Reading
Your high school English teacher always said everybody had a story in them. The Italian director Gillo Pontecorvo was a filmmaker who only had one story, a story of revolution that he attempted to tell in as many ways as possible. As a Jew trying to survive in Italy during the Second World War, Pontecorvo became a Marxist. Going into hiding, he organized Partisans to fight the fascist government and also wrote for the Communist Party’s underground newspaper. His early exposure and involvement in radical leftist politics led to his adoption of Frantz Fanon’s anti-colonial theories, ideas that he would subsequently develop in his magnum opus Battle of Algiers (1965) and later in Burn!
Battle of Algiers ideological ambiguity angered many conservative viewers and critics upon its release only three years after the French loss of the Algerian War. At the time the French right wing terrorist group OAS (the villains of Fred Zinneman’s Day of the Jackal) was still active and had attempted to assassinate the French president Charles de Gaulle three years before for his role in the decay of the French empire. Battle of Algiers was banned in France for five years, ostensibly for showing the atrocities committed by the French armed forces and the Algerian insurgents’ National Liberation Front with the same objective remove. The events portrayed in the film were carefully researched to accurately represent similar occurrences from 1954-1960. In contrast, Pontecorvo’s next film had only a tenuous connection to any factual incidences. The protagonist, William Walker, played by Marlon Brando, is very loosely based on the 19th century American rogue adventurer of the same name who while under contract from the Nicaraguan government to put down a rebellion ended up declaring himself President of Nicaragua. His story is told in Alex Cox’s brilliant film, Walker, finally available from Criterion, starring Ed Harris with a score composed by Joe Strummer.Continue Reading
Have you ever wondered what it would be like to see Buckwheat from Our Gang wash the back of his holiness the Pope with a scrub brush in a stand-alone bathtub in the middle of the woods? Has the idea of witnessing Moe, Curly and Larry shoot a flock of diseased goats ever cross your mind? Or perhaps, getting a bird’s eye view of several nuns free falling through the atmosphere during an impromptu skydiving trip? If so, Mister Lonely is the film for you.
Mister Lonely is the story of a shy Michael Jackson impersonator (Diego Luna) living and dancing his way through the streets of Paris. While performing at a retirement home, Michael comes into contact with a Marilyn Monroe impersonator (Samantha Morton). The two have lunch at which point Marilyn invites Michael to accompany her to a commune inhabited by celebrity impersonators located in the Highlands of Scotland. At first, Michael is apprehensive. But the beautiful and very uncanny Monroe impersonator convinces him to join her. Michael gathers his things in a scene, which in my opinion, is the embodiment of the entire film. Never has a moment in a film where a character interacts with furniture ever make me feel the way in which this particular (and peculiar) scene did.Continue Reading