(Originally posted on Digby’s Hullabaloo on December 30, 2023)
All is quiet, on New Year’s Day. Except for this mixtape (you may adjust your volume per hangover conditions Monday morning). Cheers!
“This Will Be Our Year” – The Zombies – Starting on a positive note. Lovely Beatle-esque number from the Odyssey and Oracle album.
You don’t have to worry All your worried days are gone This will be our year Took a long time to come
At least…we can always hope, right?
“Time” – David Bowie – A song as timeless as Bowie himself. Time, he’s waiting in the wings/He speaks of senseless things…
“1999″ – Prince – Sadly, it’s a perennial question: “Mommy…why does everybody have a bomb?”
“1921” – The Who – Got a feeling ’21 is gonna be a good year. OK, back to the drawing board …let’s make ’24 a better one.
“Time” – Oscar Brown, Jr. – A wise and soulful gem…tick, tock.
“New Year’s Day” – U2 – I know… “Edgy pick, Captain Obvious!” But it’s still a great song.
“Year of the Cat” – Al Stewart – Old Grey Whistle Test clip. Strolling through the crowd like Peter Lorre, contemplating a crime…
“Reeling in the Years” – Steely Dan – A pop-rock classic with a killer solo by Elliot Randall.
“New Year’s Resolution” – Otis Redding & Carla Thomas – Ace Stax B-side from 1968, with that unmistakable “Memphis sound”. Speaking of which… check out my review of the Stax music doc, Take Me to the River.
https://youtu.be/SqnKk0OnoH0
“Same Old Lang Syne” – Dan Fogelberg – OK, a nod to those who insist on waxing sentimental. A beautiful tune from the late singer-songwriter.
Bonus track!
Not a “New Year’s song” per se, but an evergreen new year’s wish.
(Originally posted on Digby’s Hullabaloo on Dec 17, 2023)
Tokyo Pop (Kino Lorber/Indie Collect)
This 1988 film is a likable entry in the vein of other 80s films like Starstruck, Breaking Glass, Desperately Seeking Susan, Smithereens and The Fabulous Stains. Star Carrie Hamilton’s winning screen presence helps to buoy the fluffy premise. Hamilton (who does her own singing) plays a struggling wannabe rock star who buys a one-way ticket to Tokyo at the invitation of a girlfriend. Unfortunately, her flaky friend has flown the coop, and our heroine is stranded in a strange land. “Fish out of water” misadventures ensue, including cross-cultural romance with all the usual complications.
For music fans, it’s a fun time capsule of the late 80s Japanese music scene, and the colorful cinematography nicely captures the neon-lit energy of Tokyo nightlife. Director Fran Rubel Kuzui (who co-wrote the screenplay with Lynn Grossman) later directed the 1992 feature film Buffy the Vampire Slayer and went on to serve as executive producer for the eponymous TV series. Sadly, Hamilton (Carol Burnett’s daughter) died of cancer at age 38 in 2002.
This one has been on my reissue wish list for a while. Indie Collect’s 4k restoration is sparkling, and the colors are vibrant. Regarding the audio…it is nice and clean, but be ready to ride your volume control, as the music has about ten times the gain over the dialog (a noticeable trend in remastered film soundtracks that makes me crazy). There are no extras, but you can’t have everything, and I am just happy that I can finally retire my VHS copy!
(Originally posted on Digby’s Hullabaloo on Dec 17, 2023)
Tintin and the Mystery of the Golden Fleece/Tintin and the Blue Oranges (Kino Classics)
Thundering typhoons! This “twofer” set features beautifully restored prints of the first two live-action feature films based on writer-illustrator Hergé’s classic comic book series The Adventures of Tintin (published between 1929-1986).
Interestingly, unlike a previous 1947 stop-motion film and an animated late 50s TV series, Jean-Jacques Vierne’s Tintin and the Mystery of the Golden Fleece (1961) was not adapted from one of the Hergé books but was an original story (co-scripted by André Barret and Rémo Forlani). Ditto Philippe Condroyer’s Tintin and the Blue Oranges (1964), which featured an original story by Condroyer, André Barret, Rémo Forlani and René Goscinny.
Both films star athletic Belgian actor Jean-Pierre Talbot as the titular globe-trotting boy-reporter/adventurer. Talbot is a ringer for the comic book character. Tintin’s stalwart (and perpetually half-in-the-bag) co-adventurer Captain Haddock is also on hand (played with appropriate bombast by Georges Wilson in the 1961 film and Jean Bouise in the 1964 film). The other iconic series characters, like bumbling detectives Thompson and Thompson, Professor Calculus and (of course) Tintin’s faithful dog Snowy are all rendered with equal aplomb.
I’m a fan of the books but had never seen these two films. Tintin and the Mystery of the Golden Fleece is the best of the pair; a delight from start to finish. While entertaining enough to hold your interest, Tintin and the Blue Oranges has a less cohesive story and leans more on slapstick (note how many writers toiled on it-usually not a good sign). That said, rest assured it’s not as manic and overcooked as Steven Speilberg’s animated 2011 entry The Adventures of Tintin.
No extras, but the prints are pristine, and fans of the books should get a kick out of this set.
(Originally posted on Digby’s Hullabaloo on Dec 17, 2023)
Inland Empire (Criterion Collection)
From Richard A. Barney’s 2009 book David Lynch: Interviews:
Barney: I’ve read some comments you’ve made about the pleasures of [writing a script ‘as you film’]. Can you talk about that and whether [working that way on Inland Empire] was a horror at other times?
Lynch: There’s no horror. The horror, if there is a horror, is the lack of ideas. But that’s all the time. You’re just waiting. And I always say, it’s like fishing: Some days you don’t catch any fish. The next day, it’s another story – they just swim in.
When I read that excerpt (featured in the booklet that accompanies Criterion’s Blu-ray package), a light bulb went off in my (mostly empty) head. Lynch’s answer is analogous to my experience with Inland Empire. The first time I watched it…he didn’t hook me. I watched it once in 2007, found it baffling and disturbing (even for a Lynch joint) and then parked the DVD for 16 years.
Being a glutton for punishment, I purchased the Blu-ray earlier this year (the extras looked interesting, and life is short). When I re-watched the film recently, I kept an open mind. This time, he caught me – hook, line, sinker and latest edition of Angler’s Digest. As I once wrote in a capsule review of his equally experimental Eraserhead:
I think the secret to his enigmatic approach to telling a story is that Lynch is having the time of his life being impenetrably enigmatic-he’s sitting back and chuckling at all the futile attempts to dissect and make “sense” of his narratives. For example, have you noticed how I’ve managed to dodge and weave and avoid giving you any kind of plot summary? I suspect that David Lynch would find that fucking hysterical.
In Inland Empire, Laura Dern stars as an actress (or is she?) who lands a part (or does she?) in a) a film b) her own nightmare, or c) somebody else’s nightmare. It’s Rod Serling’s Alice In Wonderland. Know going in that this is a David Lynch film; if you buy the ticket, take the ride.
While it’s odd to tout a “4k restoration” of a film that was digitally shot to begin with, I suppose the print looks as sharp (and at times, as purposely blurry) as originally intended by the filmmaker. There’s a generous helping of extras, including two documentaries about Lynch, a 2007 short by Lynch, 75 minutes of extra footage, and more.
(Originally posted on Digby’s Hullabaloo on December 16, 2023)
Dance Craze (BFI; Region ‘B’ locked)
In the book Reggae International, a collection of essays compiled by Stephen Davis and Peter Simon, sub-culturalist Dick Hebdige writes about the UK’s short-lived yet highly influential “2-tone” movement of the early 1980s:
Behind the fusion of rock and reggae lay the hope that the humour, wit, and style of working-class kids from Britain’s black and white communities could find a common voice in 2-tone; that a new, hybrid cultural identity could emerge along with the new music. The larger message was usually left implicit. There was nothing solemn or evangelical about 2-tone. It offered an alternative to the well-intentioned polemics of the more highly educated punk groups, who tended to top the bill at many of the Rock Against Racism gigs. […]
Instead of imposing an alienating, moralising discourse on a popular form (alien at least to their working-class constituency), bands like the Specials worked in and on the popular, steered clear of the new avant-gardes, and stayed firmly within the “classical” definitions of 50s and early 60s rock and pop: that this was music for Saturday nights, something to dance to, to use.
In 1981, a concert film called Dance Craze was released. Shot in 1980 and directed by Joe Massot (The Song Remains the Same), it was filmed at several venues, showcasing six of the most high-profile bands in the 2 Tone Records stable: Bad Manners, The English Beat, The Bodysnatchers, Madness, The Selector, and The Specials.
I’d heard about this Holy Grail, but it was a tough film to catch; outside of its initial theatrical run in the UK (and I’m assuming very limited engagements here in the colonies) it had all but vanished in the mists of time…until now.
This film is nirvana for genre fans; all six bands are positively on fire (this is music for Saturday nights-I guarantee you’ll be dancing in your living room). Thanks to cinematographer Joe Dunton’s fluid “performer’s-eye view” camerawork and tight editing by Ben Rayner and Anthony Sloman, you not only feel like you are on stage with the band, but you get a palpable sense of the energy and enthusiasm feeding back from the audience.
Luckily for posterity, Dunton originally shot the film in super 35mm. Coupled with the meticulous restoration (using 70mm materials), it looks and sounds superb (especially for a concert film of this vintage). Extras include a 34-minute episode of the BBC program Arena examining the 2-tone movement (from 1980), outtakes, previously unseen interview footage, and more. (Please note: This is a Region ‘B’-locked Blu-ray, and requires an all-region player!).
(Originally posted on Digby’s Hullabaloo on December 8, 2023)
No lad who has liberty for the first time, and twenty guineas in his pocket, is very sad, and Barry rode towards Dublin thinking not so much of the kind mother left alone, and of the home behind him, but of tomorrow, and all the wonders it would bring.
Ryan O’Neal, the boyish leading man who kicked off an extraordinary 1970s run in Hollywood with his Oscar-nominated turn as the Harvard preppie Oliver in the legendary romantic tearjerker Love Story, has died. He was 82.
O’Neal died Friday, his son Patrick O’Neal, a sportscaster with Bally Sports West in Los Angeles, reported on Instagram. He had been diagnosed with chronic leukemia in 2001 and with prostate cancer in 2012.
“As a human being, my father was as generous as they come,” Patrick wrote. “And the funniest person in any room. And the most handsome clearly, but also the most charming. Lethal combo. He loved to make people laugh. It’s pretty much his goal. Didn’t matter the situation, if there was a joke to be found, he nailed it. He really wanted us laughing. And we did all laugh. Every time. We had fun. Fun in the sun.” […]
Patrick Ryan O’Neal was born on April 20, 1941, in Los Angeles, the older son of novelist-screenwriter Charles “Blackie” O’Neal (The Three Wishes of Jamie McRuin) and actress Patricia Callaghan. He competed in Golden Gloves events in L.A. in 1956 and 1957 and compiled a boxing record of 18-4 with 13 knockouts, according to his website.
In the late 1950s, O’Neal and his family moved to Munich, and he became infatuated with the syndicated TV series Tales of the Vikings, which shot in Europe and was produced by Kirk Douglas‘ company.
According to a 1975 newspaper account, he wrote to another producer, George Cahan, on the show: “I am six feet tall, and with a false beard I will look as much like a Viking as any actor on the set … I may be the Gary Cooper of tomorrow.”
O’Neal went on to perform as a stuntman on the series.
After appearing on such shows as The Many Loves of Dobie Gillis, The Untouchables, Leave It to Beaver and My Three Sons, O’Neal co-starred opposite Richard Egan on Empire, a 1962-63 NBC Western set in New Mexico.
O’Neal would go on to land a choice role on the drama series Peyton Place, appearing in 500 episodes from 1964 to 1969. His big screen breakout was starring alongside Ali MacGraw in Arthur Hiller’s 1970 tear-jerker Love Story; not a personal favorite of mine, but a huge box office hit that assured him movie star status for the remainder of that decade.
Honestly, I wouldn’t call him a method actor…but O’Neal was undeniably a movie star, in the old school sense; I might even venture, “laconic”, much like “the Gary Cooper of tomorrow” that he once aspired to be. A toast to a fine career, and all the wonders that it brought him.
Here’s some recommended viewing:
Barry Lyndon – Stanley Kubrick’s beautifully photographed, leisurely paced adaptation of William Makepeace Thackeray’s rags-to-riches-to-rags tale about a roguish Irishman (Ryan O’Neal) who grifts his way into the English aristocracy is akin to watching 18th-century paintings sumptuously spring to life (funnily enough, its detractors tend to liken it to “oil paintings” as well, but for entirely different reasons). The cast includes Marisa Berenson, Patrick Magee, Leonard Rossiter and Leon Vitali.
This magnificent 1975 film has improved with age, like a fine wine; successive viewings prove the stories about Kubrick’s obsession with the minutest of details were not exaggerated-every frame is steeped in verisimilitude. Michael Hordern’s delightfully droll voice over work as The Narrator rescues the proceedings from sliding into staidness.
The Driver -Walter Hill’s spare and hard-boiled neo-noir about a professional getaway driver (Ryan O’Neal) who plays cat-and-mouse with an obsessed cop out to nail him (Bruce Dern) and a dissatisfied customer who is now out to kill him. “Spare” would also be a good word to describe O’Neal’s character (billed in the credits simply as: The Driver), who utters but 350 words of dialog in the entire film. O’ Neal is perfectly cast, exuding a Zen-like cool. Also with Isabelle Adjani. One of my favorite 70s crime thrillers, and an obvious inspiration for Nicolas Winding Refn’s 2011 film Drive (my review).
Nickelodeon -Peter Bogdanovich’s love letter to the silent film era, depicting the trials and tribulations of indie filmmakers, circa 1910. It leans a bit heavy on the slapstick at times, but is bolstered by charming performances by a great cast that includes Ryan O’Neal, Stella Stevens, Burt Reynolds, John Ritter, and Tatum O’Neal. It’s beautifully photographed by László Kovács. Anyone who truly loves the movies will find the denouement quite moving.
Paper Moon -Two years after The Last Picture Show, director Peter Bogdanovich had the audacity to shoot yet another B&W film-which was going against the grain by the early 70s. This outing, however, was not a bleak drama. Granted, it is set during the Great Depression, but has a much lighter tone, thanks to precocious 9 year-old Tatum O’Neal, who steals every scene she shares with her dad Ryan (which is to say, nearly every scene in the film).
The O’Neals portray an inveterate con artist/Bible salesman and a recently orphaned girl he is transporting to Missouri (for a fee). Along the way, the pair discover they are a perfect tag team for bilking people out of their cookie jar money. Entertaining road movie, with the built-in advantage of a natural acting chemistry between the two leads.
Also on hand: Madeline Kahn (wonderful as always), John Hillerman, P.J. Johnson, and Noble Willngham. Ace DP László Kovács is in his element; he was no stranger to road movies (Easy Rider, Five Easy Pieces). Alvin Sargent adapted his screenplay from Joe David Brown’s novel, “Addie Pray”.
Tough Guys Don’t Dance – If “offbeat noir” is your thing, this is your kind of film. Ryan O’Neal plays an inscrutable ex-con with a conniving “black widow” of a wife, who experiences five “really bad days” in a row, involving drugs, blackmail and murder. Due to temporary amnesia, however, he’s not sure of his own complicity (O’Neal begins each day by writing the date on his bathroom mirror with shaving cream-keep in mind, this film precedes Memento by 13 years.)
Noir icon Lawrence Tierny (cast here 5 years before Tarantino tapped him for Reservoir Dogs) is priceless as O’Neal’s estranged father, who is helping him sort out events (it’s worth the price of admission when Tierny barks “I just deep-sixed two heads!”).
Equally notable is a deliciously demented performance by B-movie trouper Wings Hauser as the hilariously named Captain Alvin Luther Regency. Norman Mailer’s “lack” of direction has been duly noted over the years, but his minimalist style works. The film has a David Lynch vibe at times (which could be due to the fact that Isabella Rossellini co-stars, and the soundtrack was composed by Lynch stalwart Angelo Badalamenti). A guilty pleasure.
What’s Up, Doc? – Peter Bogdanovich’s 1972 film is a love letter to classic screwball comedies of the 30s and 40s (the most obvious influence being Bringing Up Baby). Ryan O’Neal and Barbara Streisand have wonderful chemistry as the romantic leads, who meet cute and become involved in a hotel mix-up of four identical suitcases that rapidly snowballs into a series of increasingly preposterous situations for all concerned (as occurs in your typical screwball comedy).
The screenplay was co-written by Buck Henry, David Newman and Robert Benton. The fabulous cast includes Madeline Kahn, Kenneth Mars, Austin Pendleton and Michael Murphy. In his second collaboration with the director, cinematographer László Kovács works his usual magic with the San Francisco locale.
The Wild Rovers – Blake Edwards made a western? Yes, he did, and not a half-bad one at that. A world-weary cowhand (William Holden) convinces a younger (and somewhat dim) co-worker (Ryan O’Neal) that since it’s obvious that they’ll never really get ahead in their present profession, they should give bank robbery a shot. They get away with it, but then find themselves on the run, oddly, not so much from the law, but from their former employer (Karl Malden), who is mightily offended that anyone who worked for him would do such a thing. Episodic and leisurely paced, but ambles along quite agreeably, thanks to the charms of the two leads, and the beautiful, expansive photography by Philip Lathrop. Ripe for rediscovery.
(Originally posted on Digby’s Hullabaloo on December 2, 2023)
Yes, I know. That’s an oddly generic (some might even say silly) title for a post by someone who has been scribbling about film here for 17 years. Obviously, I like movies. That said, I am about to make a shameful confession (and please withhold your angry cards and letters until you’ve heard me out). Are you sitting down? Here goes:
I haven’t stepped foot in a movie theater since January of 2020.
There. I’ve said it, in front of God and all 7 of my regular readers.
It turns out that it is not just my imagination (running away with me). A quick Google search of “Seattle rain records” yields such cheery results as a January 29th CNN headline IT’S SUNLESS IN SEATTLE AS CITY WEATHERS ONE OF THE GLOOMIEST STRETCHES IN RECENT HISTORY and a Feb 1stSeattle P-I story slugged with SEATTLE BREAKS RECORD WITH RAIN ON 30 DAYS IN A MONTH. Good times!
February was a bit better: 15 rainy days with 4.1 hours a day of average sunshine. But hey-I didn’t move to the Emerald City to be “happy”. No, I moved to a city that averages 300 cloudy days a year in order to justify my predilection for a sedentary indoor lifestyle.
In fact it was a marvelously gloomy, stormy Sunday afternoon in late January when I ventured out to see Japanese anime master Makato Shinkai’s newest film Weathering with You (yes, this is a tardy review gentle reader…but what do you expect at these prices?). Gregory’s Girl meets The Lathe of Heaven in Shinkai’s romantic fantasy-drama.
That excerpt is from my review of Weathering With You, published February 9, 2020. If I had only known of the more insidious tempest about to make landfall, I would have savored that “…marvelously gloomy, stormy Sunday afternoon in late January” (and every kernel of my ridiculously overpriced popcorn) even more.
Of course, I’m referring to the COVID pandemic, which would soon put the kibosh on venturing to movie theaters (much less any public brick-and-mortar space in general) for quite a spell. Keep in mind, I live in Seattle, which is where the first reported outbreak of note in the continental U.S. occurred; I think it’s fair to say that the fear and paranoia became ingrained here much earlier on than in other parts of the country (and justifiably so).
Well, that’s all fine and dandy (you’re thinking)…but hasn’t the fear and paranoia abated since everything “opened up” again in (2022? 2021? I’ve lost track of the time-space continuum)? Here’s the thing-even before the pandemic, I had been going to theaters less and less frequently due to physical issues. I won’t bore you with details, suffice it to say I had both knees replaced (the first in 2014, the second in 2016)…but it didn’t quite “take”. And admittedly, I still mask up whenever I go to any public venue (including the grocery store). Perhaps that all adds up to “functional agoraphobia” (maybe one of you psych majors can help me out here?).
And you know what? I’m also tired of dealing with traffic, parking hassles, fellow theater patrons who are oblivious to people with disabilities, and astronomical ticket prices (add the $7 box of Junior Mints, and it’s cheaper to wait several months and just buy the Blu-ray).
And get off my lawn, goddammit.
Anyhoo, I haven’t been dashing out on opening weekend to see many first-run films in recent years; at least not the major studio releases that are playing on a bazillion screens. But thanks to “virtual” film festival accreditation, I am still able to screen and review a number of “new” movies (albeit many that have yet to find wider distribution).
So that is my long-winded way of explaining why I have decided not to entitle this (obligatory) end-of-year roundup as “the best” 10 films of 2023. Rather, out of the new films I reviewed on Hullabaloo this year, here are the 10 standouts (no Barbies, no nukes, no capes). I’ve noted the titles that are now streaming …hopefully the rest are coming soon to a theater near you!
Adolfo – Strangers in the night, exchanging…cactus? Long story. Short story, actually, as writer-director Sofia Auza’s dramedy breezes by at 70 minutes. It’s a “night in the life of” tale concerning two twenty-somethings who meet at a bus stop. He: reserved and dressed for a funeral. She: effervescent and dressed for a party (the Something Wild scenario). With its tight screenplay, snappy repartee, and marvelous performances, it’s hard not to fall in love with this film.
Downtown Owl – It took me a while to get into the rhythm of this quirky comedy-drama, which begins with a nod to Savage Steve Holland (palpable Better Off Dead energy) then pivots into a more angsty realm (as in Ang Lee’s The Ice Storm). Adapted from Chuck Klosterman’s eponymous novel by writer-director Hamish Linklater (no relation to Richard), the story is set during the winter of 1983-1984 in a North Dakota burg (where everybody is up in everyone else’s business).
Julia (Lily Rabe) is a 40-ish, recently engaged, self-described “restless” soul who has just moved to Owl to take a teaching position at a high school. Episodic; we observe Julia over a period of several months as she acclimates to her new environs. She strikes up a friendship with a melancholy neighbor (Ed Harris) and pursues a crush on a laconic buffalo rancher (I told you it was quirky). There’s a sullen high school quarterback, and a pregnant teen (it’s a rule). All threads converge when a record-breaking blizzard descends on the sleepy hamlet. A bit uneven, but it grew on me. (Streaming on Plex)
Hey, Viktor! – In 1998, a low-budget indie dramedy called Smoke Signals became a hit with critics and festival audiences. It was also groundbreaking, in the sense of being the first film to be written (Sherman Alexie), directed (Chris Eyre) and co-produced by Native Americans. The film was a career booster for several Native-American actors like Gary Farmer, Tantoo Cardinal and Adam Beach. For other cast members, not so much …like 11-year-old Cody Lightning, who played Adam Beach’s character “Victor” as a youngster.
Fast-forward 25 years. Cody Lightning plays (wait for it) Cody Lightning in his heightened reality dramedy (co-written with Samuel Miller), which reveals Cody has hit the bottom (and the bottle). Divorced and chronically depressed, his portfolio has dwindled to adult film gigs and half-finished screenplays about zombie priests. When his best friend and creative partner Kate (Hannah Cheesman) organizes an intervention, Cody has an epiphany…not to stop drinking, but to make a Smoke Signals sequel. All he needs now is a script, some of the original cast, and (most importantly) financial backing.
Reminiscent of Alexandre Rockwell’s In the Soup, Hey, Viktor! is an alternately hilarious and brutally honest dive into the trenches of D.I.Y. film-making (I was also reminded of Robert Townshend’s Hollywood Shuffle, in the way Lightning weaves issues like ethnic stereotyping and reclamation of cultural identity into the narrative). The cast includes Smoke Signals alums Simon Baker, Adam Beach, Gary Farmer, and Irene Bedard.
I Like Movies – To call Lawrence (Isaiah Lehtinen), the 17-year-old hero of writer-director Chandler Levack’s coming of age dramedy a “film freak” is an understatement. When his best bud ribs him by exclaiming in mock horror, “I can’t believe you never masturbate!” Lawrence’s responds with a shrug, “I’ve tried to, but…I’d rather watch Goodfellas or something.” Levack’s film (set in the early aughts) abounds with such cringe-inducing honesty; eliciting the kind of nervous chuckles you get from watching, say, Todd Solondz’s Happiness (a film that Lawrence enthusiastically champions to a hapless couple in a video store who can’t decide on what they want to see).
Lawrence, who dresses (and pontificates) like a Canadian version of Ignatius J. Reilly, is obsessed with two things: Paul Thomas Anderson’s oeuvre, and the goal of getting into NYU film school in the fall (despite not even having been accepted yet, and that he’s not likely to save up the $90,000 tuition working as a minimum wage video store clerk over the summer). Wry, observant, and emotionally resonant, with wonderful performances by the entire cast,
L’immensità – Emanuele Crialese’s semi-autobiographical drama about a dysfunctional family (set in 1970s Rome) combines the raw emotion of John Cassavetes’ A Woman Under the Influence with the sense memory of Fellini’s Amarcord. Penélope Cruz portrays a woman in a faltering marriage struggling to hold it together for the sake of her three children, to whom she is fiercely and unconditionally devoted. Her teenage daughter Edri identifies as a boy named “Andrea” (much to the chagrin of her abusive father). Buoyed by naturalistic performances, beautiful cinematography (by Gergely Pohárnok) and a unique 70s Italian pop soundtrack. (Streaming on Amazon Prime)
The Mojo Manifesto – How do I describe Mojo Nixon to the uninitiated? Psychobilly anarchist? Novelty act? Social satirist? Performance artist? Brain-damaged? Smarter than he looks? The correct answer is “all of the above.” “Mojo Nixon” is also, of course, a stage persona; an alter ego created by Neill Kirby McMillan Jr., as we learn in Matt Eskey’s documentary. The film traces how McMillan came up with his “Mojo Nixon” alter-ego, which provided a perfect foil to embody his divergent inspirations Hunter S. Thompson, Woody Guthrie, 50s rockabilly, and The Clash. Not unlike Nixon himself, Eskey’s portrait may be manic at times, but it’s honest, engaging, and consistently entertaining. (Full review) (Streaming on Amazon Prime)
Next Sohee – Writer-director July Jung’s outstanding film is reminiscent of Kurosawa’s High and Low, not just in the sense that it is equal parts police procedural and social drama, but that it contains a meticulously layered narrative that has (to paraphrase something Stanley Kubrick once said of his own work) “…a slow start, the start that goes under the audience’s skin and involves them so that they can appreciate grace notes and soft tones and don’t have to be pounded over the head with plot points and suspense hooks.”
The first half of the film tells the story of a high school student who is placed into a mandatory “externship” at a call center by one of her teachers. Suffice it to say her workplace is a prime example as to why labor laws exist (they do have them in South Korea-but exploitative companies always find loopholes).
When the outgoing and headstrong young woman commits suicide, a female police detective is assigned to the case. The trajectory of her investigation takes up the second half of the film. The deeper she digs, the more insidious the implications…and this begins to step on lot of toes, including her superiors in the department. Jung draws parallels between the stories of the student and the detective investigating her death; both are assertive, principled women with the odds stacked against them. Ultimately, they’re tilting at windmills in a society driven by systemic corruption, predatory capitalism, and a patriarchal hierarchy.
Once Within a Time – Billed as “a bardic fairy tale about the end of the world and the beginning of a new one”, this visually arresting 58-minute feature (co-directed by Godfrey Reggio and Jon Kane) represents an 8-year labor of love for Reggio (now 83), who is primarily known for his “Qatsi trilogy” (Koyaanisqatsi, Powaqqatsi, and Naqoyqatsi). He re-enlisted his Qatsi trilogy collaborator Philip Glass to score the project. Glass’ score is quite lovely (and restrained-I know he has his detractors) with wonderful vocalizing provided by Sussan Deyhim.
Ostensibly aimed at a young audience, the film (a mashup of The Wizard of Oz, Alice in Wonderland, Tron, 2001, and Princess Mononoke) utilizes a collage of visual techniques (stop-motion, puppetry, shadow play, etc.) with echoes of George Melies, Lotte Reiniger, Karel Zeman , Rene Laloux, George Pal, Luis Buñuel, The Brothers Quay, and Guy Maddin.
A small group of children are spirited away to a multiverse that vacillates (at times uneasily) between the lush green world, future visions of a bleak and barren landscape, and the rabbit hole of cyberspace; surreal vignettes abound. Unique and mesmerizing. (Full review) (Currently playing in select theaters)
One Night With Adela – Volatile, coked to the gills and seething with resentment, Adela (Laura Galán) is wrapping up another dreary late-night shift tooling around Madrid in her street sweeper. However, the young woman’s after-work plans for this evening are anything but typical. She has decided that it’s time to get even…for every wrong (real or perceived) that she’s suffered in her entire life. Galán delivers a fearless and mesmerizing performance. Shot in one take (no editor is credited), writer-director Hugo Ruiz’s debut is the most unsettling portrayal of alienation, rage, and madness I have seen since Gaspar Noe’s I Stand Alone. Definitely not for the squeamish.
Ride On -It’s interesting kismet that Ride On (written and directed by Larry Yang) opened in the U.S. on Jackie Chan’s 69th birthday, because on a certain level the film plays like a sentimental salute to the international action star’s 60-year career.
That is not to suggest that Chan appears on the verge of being put out to pasture; he still has energy and agility to spare. That said, the shelf life of stunt persons (not unlike professional athletes) is wholly dependent on their stamina and fortitude. It’s not likely to shock you that Chan is cast here as (wait for it) Lao, an aging movie stuntman.
While not saddled by a complex narrative, Ride On gallops right along; spurred by Chan’s charm and unbridled flair for physical comedy (sorry, I had a Gene Shalit moment). And the stunts, of course, are spectacular (in the end credits, it’s noted the film is dedicated to the craft). In one scene, Lao views a highlight reel of “his” stunt career; a collection of classic stunt sequences from Chan’s own films; it gives lovely symmetry to the film and is quite moving. (Full review) (Currently streaming on Amazon Prime, Vudu, Apple TV, and Google Play)
The last Beatles song featuring the voice of late member John Lennon and developed using artificial intelligence [was] released on Thursday at 1400 GMT alongside the band’s first track, record label Universal Music said.
Called “Now and Then”, the song – billed as the last Beatles song – will be released in a double A-side single which pairs the track with the band’s 1962 debut UK single “Love Me Do”, Universal Music Group (UMG.AS) said in a statement.
The Beatles’ YouTube channel premiered late on Wednesday the short film “Now And Then – The Last Beatles Song” ahead of the release of the track.
Directed by Oliver Murray, the 12-minute clip features exclusive footage and commentary from members of the band, Lennon’s son Sean Ono Lennon and filmmaker Peter Jackson, who directed the 2021 documentary series “The Beatles: Get Back”.
In the clip, Jackson explains how his team managed to isolate instruments and vocals from recordings using AI, including the original tape of “Now and Then” which Lennon recorded as a home demo in the late 1970s.
The song also features parts recorded by surviving members Paul McCartney and Ringo Starr as well as the late George Harrison.
“That ultimately led us to develop a technology which allows us to take any soundtrack and split all the different components into separate tracks based on machine learning”, Jackson says in the video.
And in the end …how did it all turn out? Give it a spin-and I’ll meet you on the flip side:
I think it’s quite lovely, and couldn’t have arrived at a better time (most of the news as of late has been…soul crushing). In fact, out of the 3 resurrected and studio-sweetened John Lennon demos borne of Paul, George, and Ringo’s Beatles Anthology sessions in 1995 (the other two being “Free As a Bird” and “Real Love”), I think this one is toppermost of the poppermost.
“Farewell, hello. Farewell, hello.”
-Kurt Vonnegut, Slaughterhouse-Five
I don’t know why you say, “Goodbye”, I say, “Hello”
-The Beatles, “Hello Goodbye”
Beatles forever!
(It’s a good week to say “hello” to one of my older posts-restored and remixed)
I Saw A Film Today: A Top fab 14 list
(Originally posted on Digby’s Hullabaloo on December 16, 2017)
By Dennis Hartley
Here’s a Fab Four fun fact: The original U.K. and U.S. releases of the Beatles LPs prior to Sgt. Pepper’s Lonely Hearts Club Band did not contain all the same songs (even when the album titles were the same). This was due to the fact that the U.K. versions had 14 tracks, and the U.S. versions had 12. That’s my perfect excuse to offer up picks for the Top 14 Beatles films.
I don’t really want to stop the show, but I thought that you might like to know: In addition to documentaries and films where the lads essentially played “themselves”, my criteria includes films where band members worked as actors or composers, and biopics. As per usual, my list is in alphabetical order:
The Beatles Anthology – Admittedly, this opus is more of a turn-on for obsessives, but there is very little mystery left once you’ve taken this magical 600 minute tour through the Beatles film archives. Originally presented as a mini-series event on TV, it’s a comprehensive compilation of performance footage, movie clips and interviews (vintage and contemporary).
What makes it unique is that the producers (the surviving Beatles themselves) took the “in their own words” approach, eschewing the usual droning narrator. Nicely done, and a must-see for fans.
The Compleat Beatles – Prior to the Anthology, this theatrically released documentary stood as the definitive overview of the band’s career. What I like most about director Patrick Montgomery’s approach, is that he delves into the musicology (roots and influences), which the majority of Beatles docs tend to skimp on. George Martin’s candid anecdotes regarding the creativity and innovation that fueled the studio sessions are enlightening.
It still stands as a great compilation of performance clips and interviews. Malcolm McDowell narrates. Although you’d think it would be on DVD, it’s still VHS only (I’ve seen laser discs at secondhand stores).
Eight Days a Week: The Touring Years – As a Beatle freak who has seen just about every bit of Fab Four documentary/concert footage extant, I approached Ron Howard’s 2016 film with a bit of trepidation (especially with all the pre-release hype about “previously unseen” footage and such) but was nonetheless pleased (if not necessarily enlightened).
This is not their entire story, but rather a retrospective of the Beatles’ career from the Hamburg days through their final tour in 1966. As I inferred, you likely won’t learn anything new (this is a well-trod path), but the performance clips are enhanced by newly restored footage and remixed audio. Despite the familiar material, it’s beautifully assembled, and Howard makes the nostalgic wallow feel fresh and fun.
A Hard Day’s Night – This 1964 masterpiece has been often copied, but never equaled. Shot in a semi-documentary style, the film follows a “day in the life” of John, Paul, George and Ringo at the height of their youthful exuberance and charismatic powers. Thanks to the wonderfully inventive direction of Richard Lester and Alun Owen’s cleverly tailored script, the essence of what made the Beatles “the Beatles” has been captured for posterity.
Although it’s meticulously constructed, Lester’s film has a loose, improvisational feel; and it feels just as fresh and innovative as it was when it first hit theaters all those years ago. To this day I catch subtle gags that surprise me (ever notice John snorting the Coke bottle?). Musical highlights: “I Should Have Known Better”, “All My Loving”, “Don’t Bother Me”, “Can’t Buy Me Love”, and (of course) the classic title song.
Help! – Compared to its predecessor (see above), this is a much fluffier affair, from a narrative standpoint (Ringo is being chased by a religious cult who wish to offer him up as a human sacrifice to their god; hilarity ensues). But still, it’s a lot of fun, if you’re in a receptive mood. The Beatles themselves exude enough goofy energy and effervescent charm to make up for the wafer-thin plot line.
Marc Behm and Charles Wood’s script has a few good zingers; but the biggest delights come from director Richard Lester’s flair for visual invention. For me, the best parts are the musical sequences, which are imaginative, artful, and light years ahead of their time (essentially the blueprint for MTV, which was still 15 years down the road).
And of course, the Beatles’ music was evolving in leaps and bounds by 1965. It has a killer soundtrack; in addition to the classic title song, you’ve got “Ticket to Ride”, “You’ve Got to Hide Your Love Away”, “The Night Before” and “I Need You”, to name a few. Don’t miss the clever end credits!
I Wanna Hold Your Hand – This was the feature film debut for director Robert Zemeckis and writer Bob Gale, the creative tag team who would later deliver Back to the Future and Who Framed Roger Rabbit. Sort of a cross between American Graffiti and The Bellboy, the film concerns six New Jersey teenagers. Three of them (Nancy Allen, Theresa Saldana and Wendy Jo Sperber) are rabid Beatles fans, the other three (Bobby Di Cicco, Marc McClure and Susan Kendall Newman) not so much.
They end up together in a caper to “meet the Beatles” by sneaking into their NYC hotel suite (the story is set on the day the band makes their 1964 debut on TheEd Sullivan Show). Zany misadventures ensue. Zemeckis overindulges on door-slamming screwball slapstick, but the energetic young cast and Gale’s breezy script keeps this fun romp zipping right along.
Let it Be – By 1969, the Beatles had probably done enough “living” to suit several normal lifetimes, and did so with the whole world looking in. It’s almost unfathomable how they could have achieved as much as they did, and at the end of all, still be only in their twenties.
Are there any other recording artists who have ever matched the creative growth that transpired over the scant six years that it took to evolve from the simplicity of Meet the Beatles to the sophistication of Abbey Road ? So, with hindsight being 20/20, should we really be so shocked to see the four haggard and sullen “old guys” who mope through this 1970 documentary?
Filmed in 1969, the movie was intended to document the “making of” the eponymous album (although interestingly, there is also footage of the band working on several songs that ended up appearing on Abbey Road). There’s also footage of the band rehearsing on the sound stage at Twickenham Film Studios, and hanging out at the Apple offices.
Sadly, the film has developed a rep as hard evidence of the band’s disintegration. There is some on-camera bickering (most famously, in a scene where George reaches the end of his rope with Paul’s fussiness). Still, there is that classic mini-concert on the roof, and if you look closely, the boys are actually having a grand old time jamming out; it’s almost as if they know this is the last hurrah, and what the hell, it’s only rock ’n’ roll, after all. I hope this film finally finds its way to a legit DVD release someday (beware of bootlegs).
The Magic Christian – The original posters for this 1969 romp proclaimed it “antiestablishmentarian, antibellum (sic), antitrust, antiseptic, antibiotic, antisocial and antipasto”. Rich and heir-less eccentric Sir Guy Grand (Peter Sellers) meets a young homeless man in a public park (Ringo Starr) and decides to adopt him as his son (“Youngman Grand”).
Sir Guy sets about imparting a nugget of wisdom to his newly appointed heir: People will do anything for money. Basically, it’s an episodic series of elaborate pranks, setting hooks into the stiff upper lips of the stuffy English aristocracy. Like similar broad 60s satires (Candy, Skidoo, Casino Royale) it’s a psychedelic train wreck, but when it’s funny, it’s very funny.
Highlights include Laurence Harvey doing a striptease whilst reciting the “To be, or not to be” soliloquy from Hamlet, a pheasant hunt with field artillery, and well-attired businessmen wading waist-deep into a huge vat of offal, using their bowlers to scoop up as much “free money” as they can (accompanied by Thunderclap Newman’s “Something in the Air”).
Badfinger performs the majority of the songs on the soundtrack, including their Paul McCartney-penned hit, “Come and Get It”. Director Joseph McGrath co-wrote with Sellers, Terry Southern, and Monty Python’s Graham Chapman and John Cleese (both have cameos).
The enormous cast includes a number of notable supporting players to keep your eye peeled for (mainly cameos), including Wilfrid Hyde-White, Richard Attenborough, Raquel Welch (Priestess of the Whip!), Spike Milligan, Roman Polanski, Christopher Lee, and Yul Brenner.
Magical Mystery Tour– According to a majority of critics (and puzzled Beatles fans), the Fabs were ringing out the old year on a somewhat sour note with this self-produced project, originally presented as a holiday special on BBC-TV in December of 1967. By the conventions of television fare at the time, the 53-minute film was judged as a self-indulgent and pointlessly obtuse affair (it’s probably weathered more drubbing than Ishtar and Heaven’s Gate combined).
Granted, upon reappraisal, it remains unencumbered by anything resembling a “plot”, but in certain respects, it has held up remarkably well. Borrowing a page from Ken Kesey, the Beatles gather up a group of friends (actors and non-actors alike), load them all on a bus, and take them on a “mystery tour” across the English countryside.
They basically filmed whatever happened, then sorted it all out in the editing suite. It’s the musical sequences that make the restored version released on Blu-ray several years ago worth the investment. In hindsight, sequences like “Blue Jay Way”, “Fool on the Hill” and “I Am the Walrus” play like harbingers of MTV, which was still well over a decade away.
Some of the interstitial vignettes uncannily anticipate Monty Python’s idiosyncratic comic sensibilities; not a stretch when you consider that George Harrison’s future production company HandMade Films was formed to help finance Life of Brian. Magical Mystery Tour is far from a work of art, but when taken for what it is (a long-form music video and colorful time capsule of 60s pop culture)-it’s lots of fun. Roll up!
Nowhere Boy – This gem from U.K. director Sam Taylor-Wood was one of my 2010 Seattle International Film Festival faves. Aaron Johnson gives a terrific, James Dean-worthy performance as a teen-aged John Lennon. The story zeroes in on a crucially formative period of the musical icon’s life beginning just prior to his meet-up with Paul McCartney, and ending on the eve of the “Hamburg period”.
The story is not so much about the Fabs, as it is about the complex and mercurial dynamic of the relationship between John, his Aunt Mimi (Kirstin Scott Thomas) and his mother Julia (Anne-Marie Duff). The entire cast is excellent, but Scott Thomas handily walks away with the film as the woman who raised John from childhood.
Produced by George Martin – While no one can deny the inherent musical genius of the Beatles, it’s worth speculating whether they would have reached the same dizzying heights of creativity and artistic growth (and over the same 7-year period) had the lads never crossed paths with Sir George Martin. It’s a testament to the unique symbiosis between the Fabs and their gifted producer that one can’t think of one without also thinking of the other. Yet there is much more to Martin than this celebrated collaboration.
Martin is profiled in an engaging and beautifully crafted 2011 BBC documentary called (funnily enough) Produced by George Martin . The film traces his career from the early 50s to present day. His early days at EMI are particularly fascinating; a generous portion of the film focuses on his work there producing classical and comedy recordings.
Disparate as Martin’s early work appears to be from the rock ’n’ roll milieu, I think it prepped him for his future collaboration with the Fabs, on a personal and professional level. His experience with comics likely helped the relatively reserved producer acclimate to the Beatles’ irreverent sense of humor, and Martin’s classical training and gift for arrangement certainly helped to guide their creativity to a higher level of sophistication.
81 at the time of filming, Martin (who passed away in 2016) is spry, full of great anecdotes and a class act all the way. He provides some candid moments; there is visible emotion from the usually unflappable Martin when he admits how hurt and betrayed he felt when John Lennon curtly informed him at the 11th hour that his “services would not be needed” for the Let it Be sessions (the band went with the mercurial Phil Spector, who famously overproduced the album). Insightful interviews with artists who have worked with Martin (and admiring peers) round things off nicely.
The Rutles: All You Need is Cash – Everything you ever wanted to know about the “Prefab Four” is right here, in this cheeky and hilarious 1978 mockumentary, originally presented as a TV special. It’s the story of four lads from Liverpool: Dirk McQuickly (Eric Idle), Ron Nasty (Neil Innes), Stig O’Hara (Rikki Fataar) and Barry Womble (John Halsey). Any resemblance to the Beatles, of course, is purely intentional.
Idle wrote the script and co-directed with Gary Weis (who made a number of memorable short films that aired on the first few seasons of Saturday Night Live). Innes (frequent Monty Python collaborator and one of the madmen behind the Bonzo Dog Doo-Dah Band) composed the soundtrack, clever mash-ups of near-Beatles songs that are actually quite listenable on their own.
Mick Jagger, Paul Simon and other music luminaries appear as themselves, “reminiscing” about the band. There are also some funny bits that feature members of the original “Not Ready for Prime Time Players” (including John Belushi, Gilda Radner, Bill Murray and Dan Aykroyd). Look fast for a cameo from George Harrison, as a reporter. Undoubtedly, the format of this piece provided some inspiration for This is Spinal Tap.
That’ll Be the Day – Set in late 50s England, Claude Whatham’s 1973 film (written by Ray Connolly) is a character study in the tradition of the “kitchen sink” dramas that flourished in 60s UK cinema.
David Essex (best-known for his music career, and hit, “Rock On”) plays Jim MacLaine, an intelligent, angst-ridden young man who drops out of school to go the Kerouac route (to Mum’s chagrin). While he’s figuring out what to do with his life, Jim supports himself working at a “funfair” at the Isle of Wight, where he gets a crash course in how to fleece customers and “pull birds” from a seasoned carny (Ringo Starr) who befriends him.
Early 60s English rocker Billy Fury performs some songs as “Stormy Tempest” (likely a reference to Rory Storm, who Ringo was drumming for when the Beatles enlisted him in 1962) Also look for Keith Moon (who gets more screen time in the 1974 sequel, Stardust).
Yellow Submarine – Despite being a die-hard Beatles fan, over the years I’ve felt somewhat ambivalent about this 1968 animated feature “starring” the Fab Four; or rather, their cartoon avatars, voiced over by other actors. While I adored the music soundtrack, I never quite “got” all the fuss over the “innovative” visuals (which could be partially attributable to the fact that I never caught it in a theater, just on TV and in various fuzzy home video formats).
But, being the obsessive-compulsive completest that I am, I snapped up a copy of Capitol’s restored version a few years ago, and found it to be a revelation. The 2012 transfer was touched-up by hand, frame-by frame (an unusually artisan choice for this digital age), and the results are jaw-dropping. The visuals are stunning.
The audio remix is superb; I never fully appreciated the clever wordplay in the script (by Lee Minoff, Al Brodax, Jack Mendelsohn and Erich Segal) until now. The story itself remains silly, but it’s the knockout music sequences (“Eleanor Rigby” being one standout) that make this one worth the price of admission.
(Originally posted on Digby’s Hullabaloo on October 21, 2023)
Back in February of 2017, my dear mother passed away, at the age of 86. While she had been weathering a plethora of health issues for a number of years, the straw that ultimately claimed her (pancreatic cancer) was diagnosed mere weeks before she died. In fact, her turn for the worse was so sudden that my flight to Ohio turned into a grim race; near as I could figure, my plane was on final approach to Canton-Akron Airport when she slipped away (I arrived at her bedside an hour after she had died). And yes, that was hard.
Since I obviously wasn’t present during (what turned out to be) her final days, I asked my brother if she had any “final words”. At first, he chuckled a little through the tears, recounting that several days prior, she had turned to him at one point and said “I wish I had some wisdom to impart. But I don’t.” I laughed (Jewish fatalism-it’s a cultural thing).
Then, he remembered something. The hospice room where my mother spent her last week had a picture window facing west, with a view of a field, a pond, a small stand of trees, and an occasional deer spotting. Two days before she was gone, my mother, my father, and my brother were quietly enjoying this pastoral scene with the bonus of a lovely sunset. My mother broke the silence with three words: “Trees are important.”
I’ve been mulling over those words ever since. What did she mean? Indeed, trees are important. They are, in a literal sense, the very lungs of the Earth. As a metaphor, I must consider the foundational significance that The Tree of Life holds in Judaism. Was she “imparting wisdom” after all? Had she, at the end of her journey, reached what Paddy Chayefsky once called a “cleansing moment of clarity” about The Things That Really Matter? Granted, it may not be as cinematic as “Rosebud”, but it’s at the very least a kissin’ cousin to a Zen koan. If I’d been there, I might’ve responded with something profound, like “Nicely put.”
Those memories came flooding back to me like the hot kiss at the end of a wet fist during the opening scene of Godfrey Reggio’s Once Within a Time (in theaters), when a central figure in the narrative first appears …Gaia, Mother Earth, Great Mother, Tellus, the Log Lady (her names are legion). I couldn’t fathom where this was going, but intuited that She was going to be Important.
Billed as “a bardic fairy tale about the end of the world and the beginning of a new one”, this visually arresting 58-minute feature (co-directed by Jon Kane) represents an 8-year labor of love for Reggio (now 83), who is primarily known for his “Qatsi trilogy” (Koyaanisqatsi, Powaqqatsi, and Naqoyqatsi). He re-enlisted his Qatsi trilogy collaborator Philip Glass to score the project. Glass’ score is quite lovely (and restrained-I know he has his detractors) with wonderful vocalizing provided by Sussan Deyhim.
Ostensibly aimed at a young audience, the film (a mashup of The Wizard of Oz, Alice in Wonderland, Tron, 2001, and Princess Mononoke) utilizes a collage of visual techniques (stop-motion, puppetry, shadow play, etc.) with echoes of George Melies, Lotte Reiniger, Karel Zeman , Rene Laloux, George Pal, Luis Buñuel, The Brothers Quay, and Guy Maddin.
A small group of children are spirited away to a multiverse that vacillates (at times uneasily) between the lush green world, future visions of a bleak and barren landscape, and the rabbit hole of cyberspace; surreal vignettes abound.
A wolf pack gathers around and begins to bay at a huge smart phone displaying a scene from George Melies’ 1902 film A Trip to the Moon. A monkey wearing a VR headset swings along power lines in a post-apocalyptic landscape. In a sequence recalling “The Dance of the Sugar Plum Fairies” in Fantasia, emojis leap from smart phones, transform into amorphous figures (resembling Teletubbies), and begin to gyrate in unison. An oversized wooden marionette with a b&w photo of Greta Thunberg for a face lumbers about for a bit amongst the children, and Mike Tyson has a cameo that I couldn’t even begin to describe (I couldn’t get this high).
An occasional visual quote from Reggio’s earlier films suggests that this can be viewed as “a child’s guide to the Qatsi trilogy”. This is reinforced by reiteration of pet themes from those films; namely humankind’s callous indifference to nature’s delicate balance, and the ever-increasing encroachment of the technocracy on society (the latter which is all but complete).
Those themes seem a tad dark for a “children’s film”, but Reggio’s vision here is not completely devoid of hope for the future. On the other hand, neither does he tie everything up neatly, ending with a title card that asks: “Which age is this: The sunset or the dawn?”
So what does it all mean?
In a recent interview, Reggio said of his intention:
I wanted a piece without words, so that it may be perhaps accessible to a lot of people. Something that was at once linear and non-linear, ambiguous and clear. At the same time, I wanted to leave you, not with an answer, but with a question.
Not helping. Although…Reggio at least sheds some light on Mike Tyson’s appearance:
So let me make a long story short. The crew said: If you get him, we can’t afford him. Anyway, I got a notice from his partner saying meet us at Robert De Niro’s hotel downtown. Mike wants to talk to you. He’s got a few guys with him. So I talked to him for half an hour. Mike says ,“Motherfucker, you’re speaking right to my subconscious.”
A cleansing moment of clarity. As Ella sang, I think I’m beginning to see the light.
(Originally posted on Digby’s Hullabaloo on October 10, 2023)
*This is a revised version of an older post that (sadly) is relevant again.
Have you heard the reasons why?
(Yeah, we’ve heard it all before)
But have you seen the nation cry?
(Yeah, we’ve seen it all before)
-From “War Weary World” by The Call
Oy. It’s been a trying couple of days…
The utter callousness of Musk's willful negligence to filter and/or moderate incendiary content on this platform has never been so evident as in the wake of today's events in Israel.
The wall-to-wall coverage is to be expected, but spot-checking the droning cable news anchors every couple hours, I don't seem to be gleaning anything that's actually been "breaking" regarding the Middle East situation since this morning (aside from hearts and minds). Enough.
Bertrand Russell said, “war does not determine who is right-only who is left.” That may be pithy, but he’s yet to be proven wrong.
I realize that the 24-hour news channels have little choice but to “recycle” a certain amount of horrific footage as a huge international story of this nature is developing, but I’m old enough to recall when such imagery was processed as deterrence to conflict and a call for diplomacy, rather than a base and puerile incitement for vengeance (not by those reporting the news but as some politicians and pundits have been wont to do).
What I find particularly heartbreaking is the plight of the non-combatants (on both sides) caught in the middle of the mayhem…especially the children.
But perhaps I’m just naive, what with my pacifist wishes and hippy-dippy poster dreams. It’s a complicated world, and I’m just a simple farmer. A person of the land. The common clay of the American West. You know…a moron. That’s why I’m just the movie guy around these parts.
That being said, I believe there’s something that the following movies, or more specifically their young protagonists can teach us about such matters.
And so I’m spotlighting three essential films that offer an immediate ground-level view of the effects of war, filtered through the eyes of innocents, uncluttered by any political machinations or jingoist agendas. Hey, feel free to invite your favorite war hawk over for dinner and a movie. Just make sure that they are taking notes:
Grave of the Fireflies– For years, the term ‘anime’ conjured visions of saucer-eyed cartoon characters in action-packed fantasy-adventures (generally targeting younger audiences). However, sometime around the mid-80s, the paradigm shifted when Japanese production houses like Studio Ghibli began to find international success with more eclectic, character-driven fare. One transcendent example is writer-director Isao Takahata’s 1988 drama, Grave of the Fireflies.
While it is animated, and its protagonists are children, it is not necessarily a children’s film; its unflinching approach and anti-war subtext puts it in a league with Roberto Rossellini’s Germany YearZero and Andrei Tarkovsky’s Ivan’s Childhood.
The story (based on Akiyuki Nosaka’s novel) takes place in Kobe in 1945, and concerns the travails of a teenage boy named Seita (voiced by Tsutomo Tatsumi) and his little sister Setsuko (voiced by Ayano Shiraishi), who are orphaned when their mother perishes in an Allied firebombing raid. After brief lodgings with a less-than-hospitable aunt, the siblings have to fend for themselves. Do not expect a Hollywood ending (I wouldn’t recommend it for children under 12).
One interesting commonality between Grave of the Fireflies and the aforementioned Rossellini film is that Japan and Germany were the aggressor nations in WW2. The pain and suffering of innocents caught in the crossfire doesn’t know from borders or ideology.
Son of Babylon– This heartbreaking Iraqi drama is set in 2003, just weeks after the fall of Saddam. It follows the arduous journey of a Kurdish boy named Ahmed (Yasser Talib) and his grandmother (Shazda Hussein) as they head for the last known location of Ahmed’s father, who disappeared during the first Gulf War.
As they traverse the bleak, post-apocalyptic landscapes of Iraq’s bomb-cratered desert, a portrait emerges of a people struggling to keep mind and soul together, and to make sense of the horror and suffering precipitated by two wars and a harsh dictatorship.
Director Mohamed Al Daradji and co-screenwriter Jennifer Norridge deliver something conspicuously absent in the Iraq War(s) movies from Western directors in recent years-an honest and humanistic evaluation of the everyday people who inevitably get caught in the middle of such armed conflicts-not just in Iraq, but in any war, anywhere.
While the film alludes to the regional and international politics involved, the narrative is constructed in such a way that at the end of day, whether Ahmed’s father was killed by American bomb sorties or Saddam gassing his own people is moot.
That message is distilled in a small, compassionate gesture and a single line of dialogue. An Arabic-speaking woman, also searching for a missing loved one at a mass grave site sets her own suffering aside to lay a comforting hand on the lamenting grandmother’s shoulder. “I’m sorry, I don’t speak Kurdish,” she says, “…but I can feel this woman’s pain and sadness.”
One thing I can say (aside that this emotionally shattering film should be required viewing for heads of state, commanders-in-chief, generals, or anyone else wielding the power to wage war)…I don’t speak Kurdish, either.
Testament- Originally an American Playhouse presentation, this film (with a screenplay adapted by John Sacred Young from a story by Carol Amen) was released to theaters and garnered a well-deserved Best Actress nomination for Jane Alexander. Director Lynne Littman takes a low key approach, but pulls no punches; I think this is what gives her film’s anti-nuke message more teeth and makes its scenario more relatable than Stanley Kramer’s similarly-framed but more sanitized and preachy 1959 drama On the Beach.
Alexander, her husband (William DeVane) and three kids live in sleepy Hamlin, California, where afternoon cartoons are interrupted by a news flash that nuclear explosions have occurred in New York. Then there is a flash of a different kind when nearby San Francisco (where DeVane has gone on a business trip) receives a direct strike.
There is no exposition on the political climate that precipitates the attacks; this is a wise decision, as it puts the focus on the humanistic message of the film. All of the post-nuke horrors ensue, but they are presented sans the melodrama that informs many entries in the genre. The fact that the nightmarish scenario unfolds so deliberately, and amidst such everyday suburban banality, is what makes it very difficult to shake off.
As the children (and adults) of Hamlin succumb to the inevitable scourge of radiation sickness and steadily “disappear”, like the children of the ‘fairy tale’ Hamlin, you are left haunted by the final line of the school production of “The Pied Piper” glimpsed earlier in the film… “Your children are not dead. They will return when the world deserves them.”
