Stories that have someone transformed by single moments in their life fascinate me. Sometimes the moments are enormous while sometimes they are small enough to almost slip by. It’s one of these tiny moments that change Schultze’s life almost overnight. Schultze Gets the Blues is a completely charming German drama/comedy from 2003 that had me under its spell from the beginning.
Schultze is a quiet man who gets “retired” from his job in a salt mine (parting gift: a salt lamp that can light up or be licked for salt). He spends his days doing not much of anything whether he’s alone or spending time with a couple of other guys who were also retired. He fishes from a bridge, he watches his buddies play chess and he plays accordion in the local polka band. Life is simple. Every day is a day of routines.
Routines change when one evening he is flipping through the radio dial and hears a form of accordion playing unlike anything he’s ever heard: zydeco! Schultze is bewitched and a tad confused by the ramped up accordion playing in the song. He tries to walk away but can’t. Soon the song is barging its way into any normal polka song that Schultze tries to play and he's cooking Cajun food for his buddies.
Schultze soon goes on a journey that he would never had noticed beginning had he not paid attention to this song on the radio. It was his nearly invisible moment but Schultze noticed it and let it change him. Sadly, I don’t think many of us notice these kinds of moments in our lives. Or, if we do notice them, we surely aren’t brave enough to let the moments take control and alter our path when we are faced with them.
That is what’s so sweet and rewarding about Schultze Gets the Blues—it is chock full of the notion of giving yourself over to the innocence of something new, anything new, no matter where the idea, the feeling or the moment leads you. To do that takes courage and Schultze might be quiet and soft spoken, but he’s got a lot of courage. And he's got a desire to play that zydeco!
There is very little dialogue in Schultze Gets the Blues and I get the feeling most of the actors aren’t professionals (at least the supporting roles)—something I actually like most of the time as it lends a realness and natural quality to a film if done right. Even with little dialogue, the film flashes by in a blur because it’s just got this magical story to it that swept me up.
Schultze Gets the Blues is one of my favorites for 2006 and is especially recommended for music lovers and romantics (or anyone else who just wants to see a/ a good movie or b/ a movie that makes you feel great to be alive!).
I’m always ready to watch a film set among hoboes, wanderers and others lost in the void of the Great Depression. Maybe it's the Grapes of Wrath existence a lot of my relatives lived during that period? My grandpa Benton had colorful stories about riding on trains during the 1930s. So, it's not a surprise I'd take a liking to Emperor of the North with hoboes battling the railroad cops who desperately try to stop them from riding their train.
Rail workers and train riding tramps were notorious enemies in this era. There was a savage brutality that often ended in blood spilling and even death. Early on we get to see how serious this can be as the meanest S.O.B. of the train cops—Shack (played by the great Ernest Borgnine)—takes his big hammer to a free rider's skull and he’s soon cut in half by wheel on rail.
Emperor of the North, which is based on a story by Jack London drawn from his experiences riding the rails, tells the story of such a battle between men. Lee Marvin plays A-No. 1, a tough as nails, seasoned ‘bo who decides to take on the sadistic Shack. No one has ever ridden on Shack’s No. 19 train. Nobody. The men battle wits and brawn as the train heads west. When I say battle I should include the list of weapons: fist, hammers, axes, boards, chains and wits.
The film is an odd mix of action, gritty ‘70s pulp cinema and social commentary. It works wonderfully. I loved seeing how A-No. 1 and Cigarette (an inexperienced tag-along ‘bo played by Keith Carradine) tried to ride No. 19 while Shack attempted to get rid of them any way he possibly could to save his reputation.
I also loved seeing all the hobo groups and camps talking it up with their slang, nicknames (other ‘bo names were Hogger and Hee-Haw Mike) and gambling up a storm on whether A-No. 1 is the first to ever ride the No. 19 train and live to tell about it. It was a hard life to be a tramp during the depression but the men seemed to have a code and community all their own.
Plus, these were REAL stuntmen doing something called stunts in Emperor of the North! No komputers were involved in any stunt in this movie. When you see a guy fall off a train backwards in Emperor of the North, it’s a real person risking life and limb for the sole art of making a picture better. Action films now are just a bunch of phony komputer aided scenes stripped of the danger because nothing is real. There’s something missing in the spectacle of the CGI films now because that “realness” has been lost.
Emperor of the North is just another example of a hidden gem from the 1970s. That decade had so many great films it’s unreal compared to now. Even their b-films like this were a lot of fun and more interesting than most of the pap out now. This is a fun film that has an epic train throw down from two of the all-time Hollywood tough guy actors in Lee Marvin and Ernest Borgnine and is worth seeking out.
I’ve always meant to watch Jacques Demy’s 1964 French musical The Umbrellas of Cherbourg but never got around to it until a hot Sunday afternoon in Oklahoma. The opening straight down shot with rain falling on cobblestones as people with a variety of colored umbrellas transported me straight to France and away from the 100+ degree heatwave that exists in Oklahoma for the past few weeks.
This movie feels so unmistakably French, from the vibrant colors of the Gallic interior wallpapers to the quaint narrow streets with shops such as the family umbrella shop a 16 year-old Genevieve works with her widowed mother. Genevieve is in love with Guy, a 20 year-old mechanic who her mother doesn’t approve of. The pair coo, coo and more coo every time they are together in the kind of teenage French love that looks so romantic to see on film. Ah, to be in love while a teenager in France in the late 1950s!
Problems ensue when Guy gets drafted for two years of military service and Genevieve meets a suitor who is more suave and successful than Guy. Will she wait for him to get out of his military service or will she decide to marry this other man?
The Umbrellas of Cherbourg is a musical unlike any musical I’ve seen because the cast sings every line of dialogue in the film. Every line. At first I was thinking, “I don’t know about this,” as I’m not a huge musical genre fan, but the story is so lavishly photographed, romantic and Catherine Deneuve is so beautiful as Genevieve, I got into it.
The singing and color-drenched scenes make the film feel light as air but there is a real sad, bittersweet quality to the film as it evolves. I wasn’t expecting The Umbrellas of Cherbourg to have such a powerful ending but it’s the ending that will really give this French romantic musical its staying power when I think of it.
I’ve been eagerly waiting the release of Richard Linklater’s adaptation of Philip K. Dick’s novel A Scanner Darkly. I’m a long time fan of his novels—he’s one of the most respected, influential and interesting science fiction writers in the history of the genre—and enjoyed this version of one of his books I have not read.
PKD’s books are often dense, convoluted and strange trips into the mental workings (or mental falling apart) of his characters—fantasy and reality are often indistinguishable in PKD’s world. You never really know what is happening and what is real in a lot of his stories. This is certainly the case in A Scanner Darkly as it’s a bizarre trip into a world of drugs and paranoia (that’s another of PKD’s favorite topics) as various characters fall to depths because of the drugs they are addicted to.
Keanu Reeves plays an undercover cop named Bob Arcter who becomes addicted to the drug “Substance D” (the “D” stands for death). It’s a highly addictive drug that a major chunk of the population is addicted to. No one knows Arcter’s identity in the police force because he wears a “scramble” suit that has over one million images of people and clothes flickering over it at all times. It’s a neat trick and one of the only overt sci-fi inventions or elements in the film, yet, A Scanner Darkly is still a sci-fi film at its core.
Arcter spends his time hanging out with fellow drug fiends in a squalid house while slowly losing more and more of his faculties and mental clarity because of his taking substance d. He takes tests at the police mental health department and talks to his boss--whose identity is also a secret as they too wear a scramble suit.
That’s the simple version of A Scanner Darkly. It’s way more complicated and intricate than that. The script incorporates a lot of PKD’s interests into it—psychology, philosophy, religion, the perception of the world around us, morality, personal choice, the paranoid state of man, the always present split personality of humans and drugs as objects of control and ruin are all given time in the story.
The film has a great cast with Robert Downey Jr. and Woody Harrelson providing some funny moments as people in Arcter’s sphere who are even more whacked out than he is. Both of these actors are known for being able to deliver an eccentric performance with the best of them and they rise to the occasion nicely. I was also so happy to see Winona Ryder make a nice return to the film world as Arcter’s “sort of” girlfriend and part-time drug dealer.
A Scanner Darkly is animated in the same way Linklater’s A Waking Life was—with each individual film frame painted over after the actors were filmed with traditional film techniques. I liked seeing the story this way as it really fuels PKD’s hallucinogenic story and takes it places that it wouldn’t have gone—the fantasy scenes for example—had it been strictly shot on film.
A Scanner Darkly is interesting, complex, dark, humorous, bleak and will make you work a little harder for your sci-fi as its not one of these aliens and effects sci-fi films—it tries to dig deep into the human mind and the objects that control and destroy us. I think Philip K. Dick would be very happy with this adaptation if he were alive.
I'm a big fan of the TV show The Shield and was very happy to see Forest Whitaker join the cast last season. As I watched him go up against the rogue cop Vic Mackey I remembered how much I love to watch Forest Whitaker act. He's every bit the match for Mackey and Whitaker crafted a dangerous, complex, electric character to watch. This is something that Whitaker has done a lot in his career (uhm, not counting Battlefield Earth).
Whitaker has also directed three motion pictures but surprisingly all of them are much lighter—and not very good—than what he usually chooses as an actor. For example, in 2004 he helmed the underwhelming Katie Holmes vehicle First Daughter and it's a predictable, sappy, not very good film pumped full of way too much saccherine. It's kind of baffling he'd choose to direct a film like Hope Floats after being in something as cool as Ghost Dog.
Here are some of my favorite films Forest Whitaker has been in that should be seen:
Fast Times At Ridgemont High (1982): Whitaker plays Rigdemont High's star football player who goes on a mauling rampage against Lincoln High after his little brother and Jeff Spicoli (Sean Penn) wreck his car and make it look like Lincoln High did the damage. It's a small role but his snorting, vicious football player is one of many memorable performances in one of the best high school comedies ever.
Platoon (1986): Oliver Stone's Vietnam epic is an enthralling look at the everyday soldier as they become lost in the psychological mayhem of war. Whitaker gets to show what kind of intense actor he will develop into in the future with his role as «Big Harold».
Good Morning, Vietnam (1987): I haven't seen this since it came out so I'm not sure it's dated well but this is a vastly different Vietnam War picture for Whitaker than what he did in Platoon. For one thing, had Robin Williams been in the gritty Platoon he would not have made it a week if he acted like he normaly does.
Bird (1988): Whitaker delivers maybe the performance of his career in this Clint Eastwood directed bio-pic of bebop jazz legend Charlie «Bird» Parker. Whitaker owns the screen in virtually every scene in the picture and even makes it look like he knows what he's doing with a saxaphone.
The Crying Game (1992): Wonderful, twisted movie from director Neal Jordan that sees Whitaker embrace another brave role as an actor. This film was kind of a cultural event picture because of a turn in the film and was the last really good film Whitaker would do for seven years.
Ghost Dog—The Way of the Samurai (1999): Whitaker broke out of the sub-par cycle in this very cool film from writer/director Jim Jarmusch. Whitaker plays a kind of urban samurai who gets mixed up in some nasty business he has to use his code to make it through. Maybe the coolest character and movie that Whitaker has ever done.
I'm hoping Whitaker's performance in The Shield will get him some interesting roles again—he deserves them! Those above are some of his better films and performances that must be seen if you like Whitaker.
I caught Mission Impossible 3 yesterday at the dollar theatre and I confess, I spent the entire movie hoping that Philip Seymour Hoffman would get to «kill» superspy Ethan Hunt. The reason—Hunt is played by the always grinning, always annoying Tom Cruise. Heck, I was so caught up in rooting for Hoffman's bad guy I was hoping he'd off Cruise on-screen wife in the process of killing the high powered Scientologist. Kill anyone and everyone in the path to getting to Cruise/Hunt!
Hoffman, whose never gotten to play the bad-ass action villain, gives a snarling try of it, but it shouldn't come as a surprise to know that he fails. What? Don't tell me I spoiled the ending for you, this is a Cruise action blockbuster afterall. Maybe Hoffman can get Cruise to slum in a little movie sometime and «kill» him in that. I would be a happy robot just to watch him die in anything.
The past couple of years has seen a spate of great musical documentaries released—New York Doll, The Devil and Daniel Johnston, Dig!, Moog, Some Kind of Monster, The Fearless Freaks and The Nomi Song are all music based docs I've seen since 2005 and liked. Add We Jam Econo to that growing list.
Tim Irwin's We Jam Econo is the story of the San Pedro punk rock band Minutemen. Minutemen weren't really punk rock, yet still, were more punk rock than the vast majority of bands that sprung out of Southern California hardcore scene during the late 1970s/early 1980s.
The doc follows their early beginnings, going back to junior high school when D. Boon and Mike Watt met, all the way until Boon's premature death in 1985 from a car wreck. It's sad to see how commited and passionate Boon was on stage and to know it all ended much too soon.
Because of their style, kind of a punk, funk, jazz fusion beneath furious political shout outs, Minutemen never got the acclaim or due the fans of the band think they deserve. Those fans, a multitude of famous musicians, and extensive interviews with Watt and drummer George Hurley create the framework of the documentary.
The real star of this is all the performances of Minutemen in various small clubs. The songs are short bursts of raw energy that combine all these styles of music in a punk rock setting—sometimes to the dismay to narrow minded, rigid audience members who had already created a set list of what a «punk rock» band could and couldn't sound like. Nitwits.
Boon, who is a large man, dances all over the stage while singing/screaming along with Watt while Hurley pounds away and pulls of complicated drumming moves. It's a vivid look at what it was like to be in such a band during this era and shows the band in their proper element—performing on stage.
We Jam Econo is a great addition to the ever increasing library of rock history documentaries. It sheds light on a band that may have slipped off the radar to rock fans and one of the more interesting front men ever in D. Boon.
To continue the previous post—here’s some more films I’ve watched the past few weeks.
The Warriors (1979). I hadn't seen May's midnight movie at the Circle in over 15 years so I was really excited to watch it for the first time ever on a film print—and at midnight to boot. Even better, a scratchy film print! The Warriors is very 1970s (this is good concerning movies) and I was surprised that there wasn't as much violence and fighting as I remembered. Director Walter Hill (who I'm a big fan of) does get to use some great slow-motion in some of the classic fight scenes—Warriors V. Furies, Warriors V. Punks in a tiny bathroom and Warriors V. Lizzies (the best shot is the slow-motion chair to one Lizzie's face!).
My Favorite Year (1982). This is an enjoyable romp through 1950s TV when a former English rogue actor shows up to appear on the show. Peter O'Toole plays the actor who is a drunk—although a loveable, fun loving drunk—who is still living life to the excess. This is a very charming film and The Hidden Staircase makes up for her recommendation of The Baxter last month as she said that I'd enjoy this since I'd never seen it. That wasn't so great but this one was worth watching.
The Notorious Betty Page (2006). Fun night at the Circle as we had a local burlesque troupe come in and do a show between screenings. The film version of Page's life was way lighter than I expected. Almost as much a satire of 1950s mentality regarding pornography (compared to how innocent it looks nowadays) as it is a biopic of Page's life. If anything the film rushes through some of the painful episodes to get to some of the naughty bits. Okay but not much substance. Gretchen Mol is way better than I would have guessed.
The Break-Up (2006). This is raking in the $$$ at the box-office but I'm not won over. It's just a lot of couple bickering and yelling at each other as their relationship crumbles even though neither truly want it to end. Yet they are stubborn so they keep on bickering. If I wanted to watch a couple fight for 90 minutes I'd get in a bad relationship and start up goofy arguments with her. I'm a big Vince Vaughn fan and he has some great moments in this—his scenes with longtime pal Jon Favreau stand out—but for the most part I just didn't think this was all that great.
A Prairie Home Companion (2006). Robert Altman's latest is this loosely adapted script based on Garrison Keiler's long running radio show. I didn't have big expectations even though it was Altman but I was completely captivated by this film. It breezes by in what seems like 45 minutes. Typical Altman «sketchbook» style that sees him moving from one storyline to another. I have called it a «floating» style of storytelling where there isn't one dominant story but several running at one time that bump into each other from time to time. The film is set in, around and behind the scenes during a radio show. We see the show as it is performed and then we see all the backstage banter and events that truly make the performance a lively affair. Great ensemble cast. Altman is a master at joining these large casts in a fluid, natural way. Wonderful.
The Tenant (1976). Roman Polanski stars and directs this off-kilter piece about an old apartment building in Paris that might have tenants up to no good. Not altogether a strange concept from him as he did make Rosemary's Baby after all. The Tenant is more low-key and slow to develop but it does get weird as it progresses. Polanski is in his element when he gets to deliver a paranoid, chilling story—although I'm not sold on his acting and he's the lead in this—and The Tenant has enough chilly bizarreness it's worth seeing late some night for a shock or two.
A combination of being busy, not doing reviews for the paper anymore and being a bit burned out on the whole idea of «blog» has made a long stretch of no posts…Here's some of the things of worth I've seen over the past few weeks.
The Proposition (2006, Australia). Singer Nick Cave penned the script to this brutal and spare Australian outback western and it’s a dark, intense affair (like a lot of Cave’s music has been over the years). On display in The Proposition is violence, bloodletting, gaunt actors, flies, unshaved dirty men with filthy teeth. This had some of the most primal bursts of violence I’ve seen in a while and I loved it. Guy Pearce plays an outlaw who is given the choice to save one brother by killing another by a desperate lawman. Pearce, who is unbelievably filthy and emaciated in this, journeys to his brother who is hiding in a cave and contemplates killing him. Great to see a western again and I highly recommend this film as it’s going to be one of my favorites of the year. Spare, dark, literate, atmospheric and hauntingly violent.
Inside Man (2006, USA). This was a very pleasant surprise from director Spike Lee that is the best thing he's directed in a long time. It's a straight up genre picture from Lee—a thriller set around a New York City bank heist. Lee often weighs his films down with heavyhanded statements that almost ruin everything else in the film but he doesn't do that here and I'm thankfull for that. Great cast, great fun and one of the better heist films I've seen in a while.
Raising Victor Vargas (2003, USA). This is a sweet little independent film about a teen who thinks he's a ladies man who gets caught in bed with «Fat Donna». In an attempt to up his street cred in the neighborhood begins to woo the unattainable «Juicy» Judy. This Judy is a challenge, a firecracker who takes no crap and doesn't want anything to do with the immature neighborhood boys. Raising Victor Vargas has a captivating performance by Altagracia Guzman as Victor's religious, put-upon Grandma who is raising him and his siblings. Guzman is so great in this I wanted to see more of her days and not the teenagers on display. She's not really an actor as this was her first role (she was 72 during filming) but I just loved her performance more than anyone elses in this.
The Devil and Daniel Johnston (2006, USA). This is a fascinating documentary that tells the story of one of the great, largely unknown songwriters of the past 25 years. Johnston’s raw music, often full of innocence, wonder and sweetness, and sung in his unique, off-key voice, exists despite the fact he has battled extreme bouts of manic depression and other mental illnesses over the past two decades. Johnston has been in and out of institutions and passed around various family members while never giving up his music or art pursuits. The documentary attempts to tell us Johnston’s life while also exploring just how completely depression can destroy the creative impulse, as Johnston is only a shell of himself due to the various medications he takes. I've never been much of a fan of Johnston's but The Devil and Daniel Johnston is a bittersweet, poignant, humorous, lovingly created tribute to an eccentric American original that battles his demons via song and lives on in rock and roll lore as a legendary figure of the underground.
Friends With Money (2006, USA). Kind of a disappointment here. Nicole Holofcener makes this a little too caustic and bitter for me—I know, that’s kind of her way of doing things but I guess I just wasn’t in the mood. Some rich friends (and one poorer one) sit around and whine about their marriages and lives blah blah blah. I really loved Holofcener’s Lovely and Amazing from 2001 but this one didn’t do it for me.
An Inconvenient Truth (2006, USA). The end is nigh. Maybe in my lifetime we’ll in a complete disaster zone of a planet. At least that’s Al Gore’s contention in this riveting documentary based around his environmental slide shows that he’s been putting on. As Gore simply illustrates just how much damage has been done to the climate (even I grasp the dire implications and I’m a science nitwit) I was swamped by two main questions: 1/ How world leaders let global warming evolve to the state that it’s in and 2/ How in the hell did Gore lose the 2000 election to George W. Bush? Right, he didn’t really lose did he? Guess I’m still bitter and seeing what ol’ W. has done the past 6 years I have a right to that bitterness as it's been one bonehead move after another.
I have to admit, the first time I saw After Hours in 1985 I didn’t like it. I was in my mid-teens and a friend and I caught a late show of it in a now closed down theatre in Tulsa. We both didn’t quite get it. Was this a comedy? Was it supposed to be a suspense film? How could the guy who made Taxi Driver and Raging Bull (two of my favorite movies then AND now) make this oddball of a film?
Well, twenty years later and I watch After Hours a second time and realize I was evidently a moron about this film. No telling how many other teenage opinions I have about films or books or other cultural items that I completely missed the mark on.
After Hours is a great movie and I’m now of the opinion it’s one of director Martin Scorsese’s overlooked New York set films. Even though he won awards for it (best director at Cannes) and it has a cult following—you don’t really ever hear of it mentioned compared to some of his other NY set films.
That’s a shame too as it perfectly captures a series of strange moments that include all the elements of the NY that has kind of been scrubbed from most of the city’s landscape. Scorsese’s After Hours is scary unlit streets, out of control cabbies, bohemian artists, various dive bars and rock clubs (the new wave styled Club Berlin reeks of “80s” and even has Scorsese in a cameo as a guy shining a giant light on a crowd of dancers) and quirky people left and right. It almost feels like a David Lynch film to me if Lynch had grown up in New York.
Griffin Dunne plays Paul, a bored businessman who is reading Henry Miller in a coffee shop when he meets Marcy (Rosanna Arquette). Later that night Paul finds himself in a SoHo loft becoming entangled in a very unpredictable world he’s not used to. Events with Marcy lead to more unhinged events and the night wraps Paul in its weird spell. Anything can happen to Paul and he’s soon running for his life and trying to get back to his apartment.
After Hours is pleasingly off-kilter. A firm footing is never had by Paul or by us as viewers and the film’s rhythm is slightly off the entire journey. Maybe that’s why I couldn’t connect with it as a kid? Conversations take unexpected twists, lulls of silence break into the middle of sentences, various coincidences of fate occur and everyone is desperate and lonely in the dead of night.
Scorsese shot the film entirely at night—even the interiors—and this late night feel and atmosphere has really translated to the film. There are countless references to it being late, after hours or full moons just to remind us that New York is unpredictable enough during the day, but in the middle of the night, lookout, anything can happen.
After Hours is worth revisiting if you were like me and didn’t truly appreciate it the first time around. I don’t know what was wrong with me that night and I should apologize to one of my heroes, Martin Scorsese, for saying all these years that After Hours just isn’t up to his standards. Wrong! It’s a lively, unique, odd, wonderful little movie that I plan on watching again in a few years.
The most mystifying aspect of the 2005 comedy Guess Who is that it is supposedly a remake of the 1967 film Guess Whose Coming to Dinner. The films are so unalike in terms of quality that there is only two similar things between them—they start with the word “guess” and they have an interracial couple as their main backdrop in story. That’s it. There’s really no reason at all to call Guess Who a remake.
Instead of a white patriarch in Spencer Tracy, the “new” version of the film has Bernie Mac as the black patriarch who is shocked to discover that his precious daughter is bringing hope a white boyfriend named Simon (played by Ashton Kutcher). Mac rants and raves, puts on a bluster, and attempts to intimidate Simon all he can but in the end the two bond (which should come as no surprise to anyone). I’m a fan of Mac’s but even he grows tiresome by the end of the film.
By Guess Who marketing itself up as a remake of a classic film all it’s doing is setting itself up for nitpicking and failure. Guess what Guess Who—I’m going to nitpick and point out its failures now.
Sidney Poitier plays the young man coming to dinner with a white girlfriend in the original. Let’s see, Poitier Vs. Kutcher? That’s a tough one. I’ll just say that one of those two is a great actor and the other is suited to pull pranks on dimwitted celebrities. Plainly put, Kutcher is horrible. His idea of nuance and depth and comedy is to ham it up like he’s in a cheesy tv movie (which is what most of his films feel like because he’s not talented enough to be a leading man in any kind of film). He's one of these young actors I hope to never see in any movie ever again.
The biggest problem with this is that the original was made in 1967, when racial issues were still a boiling point across the country. The original addressed important issues in both comedic and serious tones. Guess Who plays like a silly teen sex farce most of the time, completely stripped of any kind of message in its story. If you aren’t going to attempt to replicate a classic film’s message—why attempt to remake it at all?
Guess Who is a below average version of the much superior 1967 film. It’s just another example of Hollywood churning out a remake that is useless, unnecessary, lifeless, not funny and uninteresting. Save yourself the time and energy and watch the original Guess Whose Coming to Dinner and you’ll be rewarded far more than this throwaway new version.
Sometimes I just really get the urge to watch a sweet-hearted movie. Give me a-b-c formula, give me a happy ending, give me a little comedy and a little romance. Danny Deckchair (2003) is such a pleasing little movie from Australia that warms my heart from start to finish.
Danny is a dreamer. Danny thinks up oddball ideas that infuriate his social climbing girlfriend who has grown ashamed of Danny’s blue-collar ways. One day, Danny gets the bright notion to attach giant helium balloons to a lawn chair and see if he can take flight. Take flight he does, all the way into a small town, and a woman's back yard, that will change his life forever.
Danny (Rhys Ifans, who is a favorite of mine) gets to reinvent himself in this town and has a major impact on a variety of people who live there—including a cynical traffic cop whose yard he lands in (Miranda Otto). People assume Danny is something he isn’t and he never sees the point of informing them otherwise. Why should he? This "new" Danny is free and improved of the things that held the "old" Danny down.
Danny Deckchair isn’t a great film. It’s got some serious issues with its story and is as predictable as tornadoes in Oklahoma during the month of May. But, it is a sweet little movie with a great big heart, full of charming performances and, sometimes, I just love seeing something like this.
Tony Takitani (2004) is the first film ever adapted from one of my favorite writers—Haruki Murakami—and boy is it a wonderful adaptation! Murakami’s writing is filled with dreamlike, quirky moments and could make a number of interesting films, so I’m surprised this is the first adaptation, but hopefully it’s not the last.
Tony Takitani is kind of a meditation on loneliness and longing with an odd romance between an isolated illustrator and a younger woman with a love for clothes. The film is comprised of lots of quiet moments and lots of narration as the story of Tony’s life is told beginning with his father’s travails in WWII, his childhood and skipping ahead into his adult life.
Director Jun Ichikawa has fused Murakami’s prose into a short (only seventy-five minutes), beautifully crafted story full of odd turns and small moments of understated poignancy. Ichikawa has perfectly captured the tone and attitude of Murakami and what I love about his stories and it’s so surprisingly refreshing to see a film based on a story/novel I love and it works!
Maybe it’s an easier thing to accomplish in Japan, as if this was an adapted American version of the story, no clue what the various nitwits and yahoos in Hollywood would do to ruin the story. They’d probably toss in some explosions or a big joyous final scene at an airport, as one lover is about to leave but instead ends up in the “about to leave forever” lover’s arms. I love a happy ending as much as the next guy, but do we always have to have the same three or four happy endings?
Ichikawa loves these great languid tracking shots that he uses as cuts to lead us to the next scene or further along in the story. The camera moves slowly left to right (or right to left) and when it reaches out of the frame we move onto the next shot. Ichikawa would stack these tracking shots right on top of each other, one after the next, over and over. It was a wise choice, as it only added to the dreamlike nature of the film.
Ryuichi Sakamoto, another Japanese favorite of mine, composed the score, and it’s full of Sakamoto’s beautiful, minimal piano songs. Certain passages are repeatedly played and it adds to the hypnotic feel of the film.
Tony Takitani is a terrific Japanese film that can serve as a good introduction to the world of Haruki Murakami or stand on it’s own if you are familiar with his writing. Now, if someone (preferably Japanese) would have the courage to adapt his masterpiece The Wind-Up Bird Chronicle, I’d be a happy, happy robot.
Exiles (2004) is the latest film from one of my favorite directors, Tony Gatlif. There are a few foreign directors who I truly love and wait and wait and wait to see their newest film and Gatlif is at the top of the list. Two others off the top of my head are Ming-liang Tsai from Taiwan and Julio Medem from Basque.
Exiles is a story of this young couple—Romain Duris and Lubna Azabal—who live in Paris but decide to head to Algeria. Both have something to find by going to Algeria as his family was from there and she’s trying to discover parts of her past that have long since been lost to her.
There are always two key elements of a Gatlif movie—gypsies and music. Gatlif is himself Roma (gypsy) and was born in Algeria and composes a great deal of the incredibly emotional and alive music in his films. These two elements, music and gypsies, are so connected in a Gatlif movie that you can’t remove one without also erasing the other.
Exiles is less about gypsies as sole subject matter, but still is full of the uprooted aspects the Roma people like the idea of wondering, of the journey and of being lost and adrift in the world. These are themes that Gatlif just keeps coming back to in various ways in every film of his I see.
The idea of movement, of travel and the collected small moments of interaction with people and locations is important to Gatlif. The tiniest moments are still important moments to him and I love that about his films. Every little moment of interaction is important to Gatlif.
In the beginning the pair just frolic and sleep on the side of the road. As the trip to Algeria progresses it begins to affect them in stronger ways. They meet gypsies, get robbed by gypsies, listen to music and musicians of various stripes, bicker and then make up, sneak onto trains and boats, take jobs when they run out of money and are befriended by people as they slowly make their way to Algeria. Gatlif can make any kind of arduous journey seem like a romantic adventure as he does in Exiles.
This was the second Gatlif film for Duris (who was in my favorite Gatlif film Gadjo Dilo—this is one of my favorite movies of all-time). Azabal was in one of my favorites from last year—Paradise Now—and I actually nominated her for an ANDROID if you recall. Duris and Azabal are both very talented young actors and they kind of throw themselves into the story with abandon.
I love Gatlif’s films because he digs into a culture in the world we never really see in movies—the Roma people—but I also respond to him because he’s an unrepentant romantic. He’s one of the most honest, human and interesting storytellers in film and it’s a shame that he’s not more widely known.
Exiles is a beautiful movie that stays with you after you’ve seen it. I didn’t want it to end. I’ve never had the opportunity to see Gatlif’s films in the 1980s but of the six I’ve seen he’s never once let me down. I highly recommend Exiles and the five others that are either out on DVD or you might have the opportunity to see: Latcho Drom (1993), Mondo (1996), Gadjo Dilo (1996), Vengo (2000) and Swing (2002).
I’ve been itching and itching for months to revisit the world of 1950s Tulsa in S.E. Hinton’s classic youth novel, seen through Francis Ford Coppola, that is The Outsiders, and finally got a chance to see one of my favorites when I was a teenager.
I loved The Outsiders (1983) and anything else connected to S.E. Hinton as a kid growing up. The main reason I loved her books, and the films based on them, is they were set in Oklahoma. I truly loved seeing something, anything, set in the world and the surroundings I felt a deep familiarity at the time. Add in the fact I was a teenager reading about other teenagers only increased my enjoyment level.
Flash forward to the present and watching the newly released director’s cut (with 22 minutes of new footage added to it) of a film I haven’t seen in at least in a decade and a half. Is it still as beloved a film as I remember it being? In a word: yes!
The Outsiders moved me when I was a kid and it still does despite some negatives popping up I didn’t notice when I was a kid. One big issue is some over-acting done by some of the cast who were largely a group of unknowns or just beginners. The story does get a tad hokey and melodramatic at times, but to be completely honest, that’s part of the charm of S.E. Hinton’s books. They are not full of a lot of grays as the teenagers are full of angst and rage. They are teenagers after all.
This cast is legendary for the amount of future stars: Tom Cruise, Matt Dillon, Patrick Swayze, C. Thomas Howell (who for part of the 1980s was as big as any of them), Rob Lowe, Emilio Estevez and Ralph Macchio were all Greasers and Leif Garrett and Diane Lane play two Socs. Tell me that isn’t just a ridiculous cast assembled for The Outsiders.
One of the coolest things about this film is it begins and ends with shots of The Circle (with a Paul Newman picture playing) and it has some terrific Admiral Twin Drive-In footage that moves me to no end. Put a drive-in in a movie (especially one I really love and have been to since I was a kid) and I’m a happy camper.
I loved seeing parts of Tulsa that you wouldn’t normally see—the blue collar, untainted by chains Tulsa that I wish was still more prevalent. A few place in the film have gone the way of the wrecking ball. Sadly, twenty years can erase a lot of architecture as the chain ideology swallows up all hints of “locality” no matter if its Tulsa or Albuquerque. I know I’m not going out on a limb but chains are evil.
The Outsiders was a favorite of my youth and while still not as powerful, I still really love it, as it's kind of a magical picture for me no matter how old I am when I watch it. Stay gold everybody, stay gold.
The pressure is always on when you watch a film that a friend really liked and urges you to watch. That’s the case with The Baxter (2005) as The Hidden Staircase told me last month that she liked it and I would too. So, I watched it, and I hate to say that I didn’t like it!
It was kind of a sinking feeling as I watched it when I knew that I was either going to have to tell her I didn’t like it or she’d read about it on CineRobot. I promise I tried as hard as I could to like this film. I really wanted to enjoy The Baxter so we could be in agreement but in the end I just couldn’t do it.
I liked the premise of this romantic comedy—how there are men out in the world who are “baxters.” A baxter is an oddball, a second fiddle, a male out of step with the rest of the world and the kind of guy who gets left at the alter by women and are doomed to play the role of “best friend” over and over. The film follows such a baxter as he meets and courts a lovelier, more “with it” female in the form of Elizabeth Banks.
Writer/director Michael Showalter has cast himself as the film’s lead baxter—Elliot. My biggest issue in the film was Showalter himself as the leading man. I found Showalter incredibly annoying and did not believe for one second that this nerdier than nerdy Elliot could meet and then possibly marry someone like Banks as Caroline Swann. No way.
Showalter is clearly limited as an actor in a full-length picture. At times the film feels like a bloated up short film or piece of sketch comedy (the area that Showalter and cohorts have resided in for a long time—way back to The State or recently Reno 911 or Stella). Had someone else been in this lead role I may have liked this a little more than I did.
I did enjoy elements of this—Michelle Williams (who is now a possible “Top5” candidate) was absolutely adorable as a sweet newcomer to town who secretly pines for Elliot in such a bright eyed way he’s completely ignorant of (he’s a baxter after all, cluelessness is part of the character). Michael Ian Black had some humorous bits as Elliot’s neighbor and good friend. And I did like some of the sweet little elements that were buried by my annoyance of Showalter himself.
So, I know I’m disappointing The Hidden Staircase in how I feel about a film that was recommended to me, but what can I do, you feel the way you feel. You either like it or you don’t, it’s that simple. While I didn't despise The Baxter, it was just okay despite how much I wanted it to rise above “okay” and into the category of good.
The Other Hollywood: The Uncensored Oral History of the Porn Film Industry by Legs McNeil and Jennifer Osborne (who also did the highly recommended oral history of New York punk rock Please Kill Me) is a seedy, sleazy and frequently riveting account of this world that has been largely underground despite the fact that porn generates billions of dollars a year in business. The book goes back to discuss the beginnings of the industry to the current. I love oral histories when they are well done and McNeil/Osborne spend a majority of the 600+ pages looking into the early days of porn (1970s to early 1980s) when it was completely off the radar but still creating a tremendous amount of revenue, connected to the world of the mob and could get you tossed in jail for a variety of legal infractions depending on the state. I knew little about these early days (or any of this actually) and loved reading about the unhinged 1970s films that have stamped themselves onto American culture (Deep Throat for example). Other subjects include John Holmes’ rise to fame and fall back down due to drug addiction, Traci Lords and her underage scandal, the various lifestyles of the people involved as they delve into all kinds of risky behavior (lots of sex, lots of drugs), mafia/FBI related issues, the transition from film to videos on the cheap and the affect of AIDS. The interviews are lively, blunt and frequently on the filthy side when a performer is remembering other performers, films or how they were drawn into the business. It gets a bit repetitive by the end but for the most part this is an engaging, addictive look into the world of the porn film industry.
Long lay-off. I’ve been extremely busier than usual and just haven’t had the time to write anything about anything for the past couple of weeks. That’s going to change for the next month at the very least, as I plan on reviewing or discussing every single film I see (like I used to do in Kinetoscope if you remember those days). Might be long, might be short, but all will be covered.
We screened a pristine print of Evil Dead 2: Dead By Dawn a few nights ago at the Circle as apart of the Midnight series. I hadn’t seen it in so long, at least a decade. I was completely blown away by how fun this movie is. It’s not really that gory and violent, it’s just an explosion of kinetic energy and over the top comedy from director Sam Raimi.
It was the comedy that surprised me the most. I remember it being funny but I didn’t remember all the elements of physical comedy that Raimi employs throughout the film. And one of my long-time favorites, Bruce Campbell gets to let loose some killer lines (the “Groovy” in the woodshed being the most enjoyable) and great “b-film” acting.
Plus, I have to say seeing this at a nearly packed theatre full of Deadites cheering, laughing and hollering out encouragement to Ash to kill is the absolute perfect environment to watch Evil Dead 2. It’s one of those films made for midnight. Great, great fun.
Surely everyone knows that it is against the law to run into a movie theatre and scream out, “FIRE!” Well, is it okay to pull a prank on a group of people who have shown up to see a midnight movie and then get something unexpected? I think so, and that’s just what we did April Fool’s weekend at Circle Cinema.
Months and months ago a plan was hatched at just what we could do to the people thinking they’d shown up to see the cult classic 1983 film Repo Man. It was decided that those in attendance would get a completely different film when the lights go dark. Instead of the punk rock infused Repo Man, the audience would get a cruel dose of Bette Midler and her tearjerker Beaches. I know, I know, it’s painful just to think about, right?
Here’s how the prank went down. The crowd begins to filter in around 11.30 with an album by X called “Los Angeles” playing on the stereo. They hang out in the lobby talking about seeing Repo Man or watching the lightning storm that was taking place outside the theatre. At around 11.45 people begin to go in and sit down while Black Flag is playing loudly in the theatre.
Midnight comes and I go in and give my usual spiel about what films are coming at the Circle and tell them to enjoy the first screening of Repo Man in Tulsa since 1983. Lights go dark. I run up to the projector’s booth to watch people’s reactions when the ungodly sight of Beaches hits them.
Very early in the film people are turning to each other and saying things like, “Is this Beaches?” “I think this is Beaches?” “Oh, dude, this is Beaches!”
If you don’t recall Beaches, about two minutes into the film Bette Midler turns around while singing some hideously cheesy song with this grin on her face and that’s when people inside had enough. A few people raised both arms in the air while looking back at the both and hollering out, “What in the hell?!”
Our plan was to show Beaches until someone came out of the theatre to complain—if it took 10 minutes we were committed to showing 10 minutes of Beaches. It took 2 minutes. One guy in his 20s vaulted out of his seat like he’d been prodded with a electric cattle rod and came hustling out into the lobby.
“Dude, they are showing Beaches in there!” he proclaimed.
“What?” I said trying to be stone faced and confused.
“Beaches dude, Beaches!” he hollered out.
I went into the darkened theatre as GrgY stopped the film. I announced to the restless and uncertain audience that we’ve been having a lot of issues with our distributor in Dallas and I wasn’t sure what the problem was. I told them we didn’t get the print until this afternoon and didn’t have time to really check it before loading it onto the platter. The audience was talking loudly to each other about Beaches and didn’t seem to get what was going on.
GrgY announces over the P.A. for the audience to hear, “Replicant (well, he used my real name), could you come up to the booth for a second?” and I head up to where he’s red-faced from laughing. We nod at each other and wait 30 seconds before GrgY gets back on the P.A. and tells the befuddled audience in his best “Voice-of-God-delivering-bad-news" tone the following:
“Uhm, ladies and gentleman. I’m sorry to inform you that there’s been sort of a mix-up with our distributor and, uhm, they’ve sent the wrong film. Also, we’ve already shut down our computers and we can’t offer a refund at this time and since that is the case, we hope that you’ll sit back and enjoy Beaches.”
And we kill the lights and start up Beaches again! The crowd is moaning and saying stuff to me and to each other loudly. We run Beaches for about 30 seconds before we come out and reveal that it was just a joke but let them know if they’d prefer to watch Beaches they could. “That’s evil, man!” one person exclaimed. “No!” was the response and when Repo Man began for real and Iggy Pop came blaring out of the speakers the crowd broke into an impassioned cheer.
A few years ago some friends and I had a real Takashi Miike phase. It started in 2000 when we saw Audition at the Seattle Film Fest and I was riveted by the gruesome, macabre, chilling, stylish attitude that the Japanese Miike put out in that film.
Many more Miike films followed over the next couple of years but I kind of grew tired of the overt violence of his films after I saw Ichi the Killer in 2003. How many times can you see depraved yakuza drown women in a pool of vomit and shit or some of the other crazed moments he’s filmed? Well, I saw The Bird People In China a few nights ago and was completely swept away by its magical story very unlike anything else I’ve seen from Miike.
Filmed in 1998, I knew I was going to like this right off the bat as a narrator talks about 10,000 sleeps with no dreams of flying like a bird. Then seconds later the same young guy is riding on a train while sticking his arm out of the window recording the sound of the wheel tracks. This is my kind of guy, talking about sleep and recording the sound of a train. A romantic, like myself.
The narrator is a young business guy sent to China to look into the possibility of a find of rare jade. He journeys into rural China—which is strikingly green, lush and very beautiful. Things take a drastic turn when a yakuza also interested in the jade shows up glaring and swearing at everyone.
The most surprising thing about The Bird People In China early on is the comedy. Miike always has had a warped, twisted level of comedy in some of his films (The Happiness of the Katakuris being the most upfront comedy wise) but the comedy is full of all kinds of bits of business that I was not suspecting at all. It was a welcome surprise to see in a Miike film for me.
The film changes again halfway in and it becomes a slow, ruminative, quiet film of contemplation—another surprise from Miike—with lots of magical elements tossed into the story. I was completely captivated and watching this made me wish he’d branch out more and do less crime films that he seems to prefer directing. Maybe the money is in him filming people killing each other?
The Bird People In China is a beautifully made little film from one of Japan’s more interesting directors. The film shows Miike has a heart to go along with all his savagery and anger he’s expressed over the years. I’m so happy to see that heart even if it's just a one time thing.
Stories that have someone transformed by single moments in their life fascinate me. Sometimes the moments are enormous while sometimes they are small enough to almost slip by. It’s one of these tiny moments that change Schultze’s life almost overnight. Schultze Gets the Blues is a completely charming German drama/comedy from 2003 that had me under its spell from the beginning.
