In plain sight: The Invisibles (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on February 16, 2019)

https://i2.wp.com/i.ytimg.com/vi/kFGDA0ohsuA/maxresdefault.jpg?w=474&ssl=1

There has certainly been no shortage of historical dramas and documentaries about The Holocaust and the horror that was Nazi Germany from 1933-1945 (on television, stage, and screen). It’s even possible that “WW2 fatigue” is a thing at this point (particularly among post-boomers). But you know, there’s this funny thing about history. It’s cyclical.

You may remember this little item? From an August 30, 2018 Washington Post article:

Ian M. Smith, a Department of Homeland Security analyst who resigned this week after he was confronted about his ties to white nationalist groups, attended multiple immigration policy meetings at the White House, according to government officials familiar with his work.

Smith quit his job Tuesday after being questioned about personal emails he sent and received between 2014 and 2016, before he joined the Trump administration. The messages, obtained by The Atlantic and detailed in a report published Tuesday, depict Smith engaging in friendly, casual conversations with prominent white supremacists and racists. 

In one email from 2015, Smith responded to a group dinner invitation whose host said his home would be “judenfrei,” a German word used by the Nazis during World War II to describe territory that had been “cleansed” of Jews during the Holocaust. 

“They don’t call it Freitag for nothing,” Smith replied, using the German word for “Friday,” according to the Atlantic. “I was planning to hit the bar during the dinner hours and talk to people like Matt Parrot, etc.,” Smith added, a reference to the former spokesman for the neo-Nazi Traditionalist Worker Party.

Hot funk, cool punk, even if its old junk…it’s still Reich and roll to me. Cyclical.

With Mr. Smith’s sophomoric wordplay associating “judenfrei” with “Freitag” being a given, there is nothing inherently amusing and everything troubling regarding his friend’s casual resurrection of the word “judenfrei”. It’s a word best relegated to its historical context; I can otherwise think of no reason it should otherwise pop up while shooting the breeze with friends.

One could surmise that the lessons of history haven’t quite sunk in with everyone (especially those who may be condemned to repeat it). So perhaps there cannot be enough historical dramas and documentaries reminding people about The Holocaust and the horror that was Nazi Germany from 1933-1945, nu? Or am I overreacting and being judgmental about Mr. Smith and his friend? After all, I don’t know these guys personally.

Perhaps the email exchange was an anomaly. Okay-so it’s documented that at least one of the people Mr. Smith pals around with is “a former spokesman for the Neo-Nazi Traditionalist Worker Party.” Still-should I give them the benefit of the doubt?

Could it be true what President Trump said when asked why he never condemned the Neo-Nazis who incited the violence in Charlottesville in 2017 (resulting in the death of peaceful counter-protestor Heather Heyer) -that there were/are “…very fine people on both sides”?

After carefully weighing all the historical evidence put before me, I can only conclude that…there were no fine Nazis in 1920 (the year the party was founded), no fine Nazis since 1920, nor are there likely to be any fine Nazis from now until the end of recorded time.

That said, every German citizen who remained in-country throughout the 12-year Nazi regime was not necessarily a card-carrying party member. There were Germans who were quite appalled by Hitler’s strident (and eventually murderous) anti-Semitic policies from day one.

In fact, some Germans were so sympathetic to the plight of the Jews to the point of assisting them to remain “hidden in plain sight” for the duration of the war, at great personal risk to themselves and their families. In that context, you could say that these particular Germans were (in a manner of speaking) “very fine people” (with Oskar Schindler being the most well-known example).

In 1943, following a mass roundup and arrest of the city’s remaining 30,000 Jews (who were already suffering forced labor) Berlin was officially declared “judenfrei” (last time I’ll use that ugly word in this piece…I promise). Or so the Nazis thought. 7,000 Jews managed to evade arrest and go into hiding; out of that number, 1,700 survived the war.

For his 2017 docu-drama, The Invisibles (currently making its U.S. debut in limited engagements) director Claus Räfle was able to track down four of those 1,700 persevering souls and convince them to get in front of his camera to share their stories for posterity (and none too soon; two of the four have since passed away as of this writing).

Räfle inter-cuts the contemporary witness interviews with dramatic reenactments (a la the films of documentarian Eroll Morris), voice-over narration, and archival footage of wartime Berlin to a (mostly) good effect (the acting vignettes do fall a little flat at times).

Still, as previously evidenced in Claude Lanzmann’s shattering 1984 Holocaust documentary Shoah (recommended, if you’ve never seen it), there is no amount of skilled writing, acting, or historical recreation that matches the power of a simple close-up as someone shares their story. And each of these witnesses (Hanni Levy, Cioma Schonhaus, Ruth Gumpel, and Eugen Friede) offers a survival tale you couldn’t make up.

There is not only considerable drama and suspense in their stories, but a certain amount of irony and dark humor. For example, one of the women recalls how she dyed her hair blonde, to pass as a “regular” German on the street. While this cosmetic revision undoubtedly saved her life from the Nazis, it nearly got her killed when Russian troops reached Berlin (the soldiers didn’t initially believe her when she insisted, “Please don’t shoot me! I’m Jewish!”).

It saddens me to think that within the next 25 years, all the voices of the Shoah will be forever silenced by the inescapable scourges of time and human biology; as I pointed out earlier, only two of the survivors profiled in Räfle’s film are still with us (Levy and Friede). A cynic might say the stories of these two little people don’t amount to a hill of beans in this crazy world, but I for one am grateful for the privilege of hearing them told.

As for those who still insist there is no harm in casually co-opting the tenets of an evil ideology that would foist such a horror upon humanity, I won’t pretend to “pray for you” (while I lost many relatives in the Holocaust, I’m not “Jewish” in the religious sense, so I doubt my prayers would even “take”), but this old Hasidic proverb gives me hope:

“The virtue of angels is that they cannot deteriorate; their flaw is that they cannot improve. Humanity’s flaw is that we can deteriorate; but our virtue is that we can improve.”

Amen.

Stop that train: R.I.P. Albert Finney

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on February 9, 2019)

https://i1.wp.com/d1u4oo4rb13yy8.cloudfront.net/article/ttbxiycryq-1466887289.png?w=474&ssl=1

Albert Finney died yesterday, and more people should have cared. I almost missed it myself, which is odd considering how much time I fritter and waste in an offhand way online these days. It didn’t even trend on Twitter, for fuck’s sake. No, I learned of his passing the old-fashioned way: a perfunctory mention on a nightly network TV newscast.

A file photo of Finney popped up (rarely a good sign), and the blow-dried anchor mustered all the teleprompter-fed solemnity extant in his soul to sadly inform me that “the actor who played Daddy Warbucks in the movie version of Annie has died” before moving on to “a video you have got to see”. The actor who played Daddy Warbucks in the film version of Annie? Really? That’s all you got? I wouldn’t call that his most memorable performance; I wouldn’t even consider Annie to be a particularly good movie.

The Royal Shakespeare Theatre-trained Finney’s film career spanned over 50 years, and in the course of that time he proved over and over that he had chops to spare for both drama and comedy. Innately charismatic onscreen, he could effortlessly hold your attention as the dashing leading man, or just as easily embed himself into a character role.

Finney never strayed too far from his working-class roots in his off-screen demeanor. He shunned interviews and the trappings of stardom; he was all about the work. He declined the offer of a CBE (as well as a knighthood) and once compared an actor’s job to that of a bricklayer. So let’s get to work here, shall we? My picks for Finney’s top 10 film roles…

Image result for the dresser 1983

The Dresser– Peter Yates directed this tale of a fiercely devoted “dresser” (Tom Courtenay) who tends to the mercurial lead player (Finney) of a traveling company’s production of King Lear. The story is set against the backdrop of London during the blitz, but it’s a tossup as to who is producing more Sturm and Drang…the German bombers, the raging king, or the backstage terror who portrays him and is to be addressed by all as “Sir”. Courtenay and Finney deliver brilliant performances. Ronald Harwood adapted the script from his own play. In the most memorable scene, Sir literally halts a locomotive in its tracks at a noisy railway station with his commanding bellow to “STOP. That. Train!”

Image result for gumshoe 1971 film

Gumshoe– This relatively obscure U.K. gem from 1971 was produced by Finney and marked the feature film directing debut for Stephen Frears (My Beautiful Laundrette, Prick Up Your Ears, The Grifters, High Fidelity, et. al.). Finney is wonderful as an emcee who works in a seedy Liverpool nightclub and models himself after Philip Marlowe. He decides to indulge his long-time fantasy of becoming a private detective by placing a newspaper ad offering his services-and gets more than he bargains for with his first case.

Screenwriter Neville Smith’s clever dialog is infused with just enough shadings of Chandler and Hammet to deflect suspicion of plagiarism (and Finney thankfully doesn’t overdo his Bogey impression-which isn’t half-bad). Nice supporting turn from Billie Whitelaw, and Frears’ use of the gritty Liverpool milieu lends an appropriate “noir” vibe.

Image result for miller's crossing (1990)

Miller’s Crossing– This 1990 gangster flick could only come from the unique mind-meld of Joel and Ethan Coen. Finney is excellent as an Irish mob boss engaging in a power struggle with the local Italian mob during the Prohibition era. Gabriel Byrne (who is the central character of the film) portrays his advisor, who attempts to broker peace by playing both sides against the middle. This form of diplomacy does carry a certain degree of personal risk (don’t try this at home).

You do have to pay attention in order to keep up with the constantly shifting alliances and betrayals and such; but as with most Coen Brothers movies, if you lose track of the narrative you always have plenty of twisty performances, stylish flourishes, and mordant humor to chew on until you catch up again.

Image result for orphans film 1987

Orphans– There is sometimes a fine line between “intense drama” and “overcooked ham”, and while I will admit that this 1987 Alan J. Pakula adaptation of Lyle Kessler’s stage play toddles dangerously close to that line, it is still well worth your time.

Matthew Modine and Kevin Anderson are two fringe-dwelling brothers who live on their own in a decrepit house. Finney is a low-rent Chicago gangster who gets blotto at a New Jersey bar, and upon waking up discovers he’s been “kidnapped” by Modine, who has a hold over his brother reminiscent of the dynamic between the sisters in Whatever Happened to Baby Jane? The story becomes even stranger when Finney decides then and there to move in and impose himself as a father figure. It’s a bit ‘stagey’, but the acting is superb.

Image result for saturday night and sunday morning 1960

Saturday Night and Sunday Morning– This 1960 Karel Reisz drama gave the 24-year-old Finney his first major starring role and is one of the seminal entries of the “British New Wave” film movement. Finney delivers an explosive Brando-esque performance as a womanizing young man stuck in a dreary factory job. Allen Sillitoe adapted the screenplay from his own novel. A gritty slice of life steeped in “kitchen sink” realism.

Image result for shoot the moon 1982

Shoot the Moon– Be forewarned: Alan Parker’s 1982 drama about the deterioration of a marriage pulls no punches (it is right out as a “date night” movie). Finney co-stars with Diane Keaton as a couple with four kids whose marriage is about to go kaput. As in Kramer vs. Kramer, the film essentially opens with the split, and then focuses on the immediate emotional aftershocks and its profound impact on all family members.

Absolutely heartbreaking, but beautifully acted by a skilled cast that includes Karen Allen, Peter Weller, and Dana Hill. Bo Goldman scripted, and Michael Seresin’s cinematography is lovely (the Marin County environs almost becomes a character itself).

Image result for tom jones 1963

Tom Jones– The film that made Finney an international star, Tony Richardson’s 1963 romantic comedy-drama is based on the Henry Fielding novel about the eponymous character’s amorous exploits in 18th-Century England.

Tom (Finney) is raised as the bastard son of a prosperous squire. He is a bit on the rakish side, but wholly lovable and possesses a good heart. It’s the “lovable” part that gets him in trouble time and again, and fate and circumstance put young Tom on the road, where various duplicitous parties await to prey upon his naivety. Will he triumph? Of course, he will…the entertainment lies in how he gets there.

John Osborne adapted the Oscar-winning script; the film also won for Best Picture, Director, and Music Score (Finney was nominated for Best Actor).

Image result for two for the road (film)

Two For the Road– Director Stanley Donen’s 1967 romantic comedy is a cinematic soufflé; folding in a sophisticated script by Frederick Raphael, a generous helping of Albert Finney and Audrey Hepburn, a dash of colorful European locales, and topping it with a cherry of a score by Henry Mancini.

Donen follows the travails of a married couple over the years of their relationship, by constructing a series of non-linear flashbacks and flash-forwards (a structural device that has been utilized since by other filmmakers, but rarely as effectively). While there are a lot of laughs, Two For the Road is, at its heart, a thoughtful meditation on the nature of love and true commitment. Finney and Hepburn (both at the peak of their sex appeal) exude an electric on-screen chemistry.

Image result for under the volcano 1984

Under the Volcano– John Huston’s masterful 1984 adaptation of Michael Lowry’s novel stars Finney as a self-destructive British consul stationed in Mexico on the eve of WW2. The story tracks the consul on the last day of his life, as it unfolds during Dia de los Muertas celebrations (the irony is strong in this tale). Very dark and steeped in dread. Superb performances all round from a cast that includes Jacqueline Bisset, Anthony Andrews and Katy Jurado. Guy Gallo wrote the script. My favorite Finney performance.

Image result for wolfen

Wolfen– This 1981 supernatural thriller from director Michael Wadleigh generated mixed reviews, but I think it has held up rather well. Sort of a thinking person’s horror film, it follows a NYPD homicide detective (Finney) and his partner (Gregory Hines) as they investigate a series of grisly murders. The victims’ wounds indicate something much akin to a wild animal attack. Add elements of ancient Native American legends regarding “shapeshifters” and things get…interesting. Granted, some of the early 80s visual effects haven’t aged well, but overall Wolfen is a smart, absorbing, and genuinely creepy chiller.

Put me in, coach: A top 10 mixtape

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on February 2, 2019)

https://i1.wp.com/i.fltcdn.net/contents/1080/original_1422863582065_c5iiq6ko6r.jpeg?w=474

Did you know “snack stadiums” were a thing? I just learned that. I’m sure they’ve been a thing since asparagus and fig “snack coliseums” were all the rage in Rome, but I wouldn’t know, as I don’t follow football. Or basketball. Or baseball, soccer, hockey, boxing, bowling, racing, tennis, polo, curling, or shuffleboard. I have nothing against anyone who does-I’m just not a sports guy. However, I do look forward to Super Bowl Sundays for one reason: a “private screening” at the mid-afternoon matinee of my choice.

That said…while I don’t know much about sports, I can still hum a few bars. So I’ve curated my “top 10” favorite songs about my least-favorite pastime. In alphabetical order:

“Basketball Jones” (Cheech & Chong) – While this 1973 Top 40 hit by the premiere stoner comedy duo has taken on a life of its own, some of us are old enough (ahem) to remember the original “smooth groove” song that it parodies… “Love Jones” by Brighter Side of Darkness (which makes it even funnier). “Cheech” Marin took on the persona of one “Tyrone Shoelaces” for lead vocals. An all-star backing track lineup includes George Harrison (!), Carole King, Tom Scott, Billy Preston, Nicky Hopkins, and Ronnie Spector.

“Centerfield” (John Fogerty) – After kicking off with a riff suspiciously close to Richie Valens’ “La Bamba”, the former Creedence Clearwater Revival front man is “a-roundin’ third, and headed for home” with this popular 1985 song (actually released as a “B” side).

“Eye of the Tiger” (Survivor) – This rousing theme song for Rocky III was co-written by band members Frankie Sullivan and Jim Peterik (former lead vocalist for The Ides of March). A #1 hit that has become everyone and your grandma’s favorite workout anthem.

“Gonna Fly Now” (Bill Conti) – That distinctive opening brass salvo from the theme originally composed for Rocky in 1976 has become the trademark for a movie franchise now 43 years in the running (2018’s Creed II was the 8th installment, if you’re counting).

“Hit Somebody! (The Hockey Song)” (Warren Zevon) – The late singer-songwriter’s droll paean to the joys of high sticking. “What else can a farm boy from Canada do?”

 “Take the Skinheads Bowling” (Camper Van Beethoven) – Some people say that bowling alleys got big lanes. Now you! (“Got big lanes. Got big lanes.”). Two and a half minutes of pure genius. Lead singer David Lowery later formed Cracker (“Teen Angst”).

“Tell the Coach” (The Bus Boys) – I always felt this unique and talented L.A. band should have been a bigger deal, but the music business is nothing if not fickle. Here’s a great tongue-in-cheek song from their 1980 debut album, Minimum Wage Rock and Roll.

“Tour de France” (Kraftwerk) – The German electro-pop pioneers leave you breathless.

“We Are the Champions” (Queen) – You may have heard this at one or two sporting events. Originally on their 1977 News of the World album, it’s Queen’s ultimate anthem.

“When an Old Cricketer Leaves the Crease” (Roy Harper) – Despite his huge catalog, folk-rock troubadour Roy Harper remains one of England’s best-guarded musical secrets, even after 50+ years in the business. The talented singer-songwriter has had an acknowledged influence on a number of higher-profile artists, including Kate Bush, Pete Townshend, Ian Anderson, Pink Floyd and Led Zeppelin (Page and Plant even name-checked him in their homage song “Hats Off to Roy Harper”). This wistful and enigmatic tune from his 1974 album HQ is one of my faves. All I can tell you is-cricket is involved.

Born with the safety off: The Ted Bundy Tapes (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on January 26, 2019)

https://i1.wp.com/media.bizarrepedia.com/images/ted-bundy-victims.jpg?w=474&ssl=1


“Take care of yourself, young man. I say that to you sincerely; take care of yourself, please. It is an utter tragedy for this court to see such a total waste of humanity as I’ve experienced in this courtroom. You’re a bright young man. You would have made a good lawyer and I would have loved to have you practice in front of me, but you went another way, partner. Take care of yourself. I don’t feel any animosity toward you. I just want you to know that. Once again, take care of yourself.”

— Judge Edward Cowart to Ted Bundy after sentencing him to the electric chair for the Chi Omega murders.

“For everything he did to the girls–the bludgeoning, the strangulation, humiliating their bodies, torturing them–I feel that the electric chair is too good for him.”

— Eleanor Rose, mother of victim Denise Naslund.

I have avoided pasting a photo of serial killer Theodore “Ted” Bundy at the top of my review of the Netflix docuseries Conversations with a Killer: The Ted Bundy Tapes for a couple of reasons. Foremost, in such sensationalized killing sprees there’s a tendency to bury the victims in a figurative sense; i.e. regardless how many they number (Bundy confessed to snuffing out the lives of 36 young women), they are lumped together and enshrined as “the victims”, which is dehumanizing (no one aspires to be a “victim”). The women he murdered had names. They had people who cared about them. They had lives.

Secondly, the late Mr. Bundy requires no help from me to assure that his cult of celebrity remain steadfast. I admit being a “true crime” buff, but I wouldn’t call myself a “fan” of his. Or Henry Lee Lucas, Jeffrey Dahmer, John Wayne Gacy, Gary Ridgway, David Berkowitz, or Richard Ramirez for that matter. The fact remains that many such monsters do have a fan base—for reasons yet to be adequately explained to me via logic or science.

This likely explains the interest surrounding Joe Berlinger’s 4-hour documentary (which premiered on Netflix this past Thursday) as well as festival buzz regarding Berlinger’s upcoming companion piece, the narrative film Extremely Wicked, Shockingly Evil, and Vile (starring Zac Efron as Bundy). 2019 also marks the 30th anniversary of his execution.

The fitful sleep I suffered after binge-watching all 4 episodes the other night confirmed my suspicions going in that Mr. Bundy’s grave will never be cold enough for those of us “of a certain age” who couldn’t escape ubiquitous media coverage of his 1978 Miami murder trial (which holds distinction as the first nationally televised court proceedings).

His 1978 arrest (initially on a completely unrelated charge) signaled the end to a horrific orgy of violence that began in Seattle in 1974 (possibly earlier) and ended with the abduction and murder of 12-year-old Kimberly Leach in Lake City, Florida.

Bundy had already been on the radar of investigators in Washington State, Utah, and Colorado for a few years but was so wily and slippery that no single law enforcement agency had enough evidence to directly connect him with any specific missing person or murder case (it wasn’t as common then for police departments in different states to share information).

Berlinger had a trove of archival interview footage at his disposal; Bundy (a classic narcissist) not only loved to parade in front of cameras at every opportunity afforded him but also left behind 100 hours of audio interviews, granted exclusively by the condemned killer to journalists Stephen G. Michaud and Hugh Aynesworth as he sat on Death Row.

In Bundy’s twisted, egocentric view, the interviews were for his “biography”, but what co-authors Michaud and Aynesworth were after was a peek inside the psyche of a serial killer. Keep in mind that Bundy had only been legally proven responsible for the deaths of two Florida coeds and Kimberly Leach; at the time he’d yet to confess to any criminal acts, period (and he still held firm to his “not guilty” plea regarding the Florida murders).

It didn’t take long for it to dawn on the journalists that they were being played by Bundy, who was doing a lot of talking about sunny childhood memories and such but really saying nothing regarding culpability in any of the crimes he had been convicted and/or suspected of committing. Confronting him directly that this obfuscation nullified their original deal only made Bundy dig his heels in deeper, threatening to clam up altogether.

The impasse was broken by a brainstorm. What if they stroked Bundy’s ego, asking him to lend his third person “insight” on helping them build a psychological profile of this “person” who did commit all these heinous crimes (they knew Bundy had taken psychology courses in college and fancied himself quite the expert). It worked like a charm-Bundy was more than happy to put his two cents in (and a couple of extra nickels).

Berlinger’s strategic interjections of Bundy’s “observations” adds an extra degree of creepiness to the proceedings. While this is a clever device, it does beg a question: was it necessary to double down on the already creepy nature of Bundy’s deeds (which are of a particularly repellent and diabolical nature, even when judged by serial killer standards)?

The overall vibe is more horror show than historical documentation. Otherwise, it’s engrossing enough to hold the interest of true crime aficionados, although it doesn’t offer any new insights or revelations that haven’t already been parsed through the decades. As for the Big Questions like “Why?” or “Nature or Nurture”? don’t hold your breath. Perhaps it’s as one interviewee says; some humans are simply “born with the safety off.”  

The fierce urgency of now: 10 films for MLK Day

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on January 19, 2019)

https://i1.wp.com/www.allianceabroad.com/wp-content/uploads/2018/01/2mlk2.jpg_1991931196.jpg?w=474&ssl=1

In honor of Martin Luther King Day, I’ve combed my review archives and curated 10 films that reflect on race relations in America; some that look back at where we’ve been, some that give us a reality check on where we’re at now and maybe even one or two that offer hope for the future. We still may not have quite reached that “promised land” of colorblind equality, but each of us doing whatever we can in our own small way to help keep Dr. King’s legacy alive will surely help light the way-especially in these dark times.

Image result for blackkklansman

Black KkKlansman (2018)So what do you get if you cross Cyrano de Bergerac with Blazing Saddles? You might get Spike Lee’s Black KkKlansman. That is not to say that Lee’s film is a knee-slapping comedy; far from it. Lee takes the true story of Ron Stallworth (John David Washington), an African-American undercover cop who managed to infiltrate the KKK in Colorado in the early 70s and runs with it, in his inimitable fashion.

I think this is Lee’s most affecting and hard-hitting film since Do the Right Thing (1989). The screenplay (adapted by Charlie Wachtel, David Rabinowitz, Kevin Willmott and Lee from Stallworth’s eponymous memoir) is equal parts biopic, docudrama, police procedural and social commentary, finding a nice balance of drama, humor and suspense. (Full review)

Image result for the black power mixtape 1967-1975

The Black Power Mixtape (2011)–The Black Power movement of the mid-60s to mid-70s has historically been somewhat misrepresented, due to an emphasis on its more sensationalist elements. The time is ripe to re-examine the movement, which despite its failures and flaws, still emerges as one of the last truly progressive grass roots political awakenings that we’ve had in this country (if you’re expecting bandolier-wearing, pistol-waving interviewees spouting fiery Marxist-tinged rhetoric-dispense with that hoary stereotype now).

Director Goran Olsson was given access to a treasure trove of pristine, unedited 16mm footage from the era. The footage, recently discovered tucked away in the basement of Swedish Television, represents nearly a decade of candid interviews with key movement leaders, as well as meticulous documentation of Black Panther Party activities and African-American inner city life. Olsson presents the clips in a historically chronological timeline, with minimal present-day commentary. While not perfect, it is an important historical document, and one of the more eye-opening films I have seen on this subject. (Full review)

Image result for the boys of baraka

The Boys of Baraka (2005) – Co-directors Heidi Ewing and Rachel Grady have fashioned a fresh and inspiring take on a well-worn cause celebre: the sad, shameful state of America’s inner-city school system. Eschewing the usual hand-wringing about the underfunded, over-crowded, glorified daycare centers that many of these institutions have become for poor, disenfranchised urban youth, the filmmakers chose to showcase one program that strove to make a real difference.

The story follows a group of 12-year-old boys from Baltimore who attended a boarding school in Kenya, staffed by American teachers and social workers. In addition to more personalized tutoring, there was emphasis on conflict resolution through communication, tempered by a “tough love” approach. The events that unfold from this bold social experiment (filmed over a three year period) are alternately inspiring and heartbreaking. (Full review)

Image result for the force documentary

The Force (2017) – Peter Nicks’ documentary examines the rocky relationship between Oakland’s police department and its communities of color. The force has been under federal oversight since 2002, due to myriad misconduct cases. Nicks utilizes the same cinema verite techniques that made his film The Waiting Room so compelling. It’s like a real-life Joseph Wambaugh novel (The Choirboys comes to mind). The film offers no easy answers-but delivers an intimate, insightful glimpse at both sides. (Full review)

Image result for the girls in the band

The Girls in the Band (2011)– Contextual to a curiously overlooked component within the annals of American jazz music, it’s tempting to extrapolate on Dr. King’s dream. Wouldn’t it be great to live in a nation where one is not only primarily judged by content of character, but can also be judged on the merits of creativity, or the pure aesthetics of artistic expression, as opposed to being judged solely by the color of one’s skin…or perhaps gender? At the end of the day, what is a “black”, or a “female” jazz musician? Why is it that a Dave Brubeck is never referred to as a “white” or “male” jazz musician?

In her film, director Judy Chaikin chronicles the largely unsung contributions that female jazz musicians (a large portion of them African-American) have made (and continue to make) to this highly influential American art form. Utilizing rare archival footage and interviews with veteran and contemporary players, Chaikin has assembled an absorbing, poignant, and celebratory piece. (Full review)

Image result for i am not your negro

I Am Not Your Negro (2016)– The late writer and social observer James Baldwin once said that “Whatever white people do not know about Negroes reveals, precisely and inexorably, what they do not know about themselves.” Sadly, thanks to the emboldening of certain elements within American society that have been drawn from the shadows by the openly racist rhetoric spouting from our nation’s current leader, truer words have never been spoken. Indeed, anyone who watches Raoul Peck’s documentary will recognize not only the beauty of Baldwin’s prose, but the prescience of such observations.

Both are on full display throughout Peck’s timely treatise on race relations in America, in which he mixes archival news footage, movie clips, and excerpts from Baldwin’s TV appearances with narration by an uncharacteristically subdued Samuel L. Jackson, reading excerpts from Baldwin’s unfinished book, Remember This House. An excellent and enlightening film. (Full review)

Image result for in the heat of the night movie

In the Heat of the Night (1967)– “They call me Mister Tibbs!” In this classic (which won 1967’s Best Picture Oscar) Sidney Poitier plays a cosmopolitan police detective from Philly who gets waylaid in a torpid Mississippi backwater, where he is reluctantly recruited into helping the bigoted sheriff (Rod Steiger) solve a local murder. Poitier nails his performance; you can feel Virgil Tibb’s pain as he tries to maintain his professional cool amidst a brace of surly rednecks, who throw up roadblocks at every turn.

While Steiger is outstanding as well, I find it ironic that he was the one who won “Best Actor in a leading role”, when Poitier was the star of the film (it seems Hollywood didn’t get the film’s message). Sterling Silliphant’s brilliant screenplay (another Oscar) works as a crime thriller and a “fish out of water” story. Director Norman Jewison was nominated but didn’t score a win. Future director Hal Ashby won for Best Editing. Quincy Jones composed the soundtrack, and Ray Charles sings the sultry theme. (Full review)

Image result for the landlord 1970

The Landlord (1970)– The late great Hal Ashby only directed a relative handful of films, but most, especially his 70’s output, were built to last (Harold and Maude, The Last Detail, Bound for Glory, Shampoo, Being There). In The Landlord, Beau Bridges is a spoiled rich kid who worries his parents with his “liberal views”, especially when he buys a run-down inner-city tenement, with intentions to renovate. His subsequent involvement with the various black tenants is played sometimes for laughs, other times for intense drama, but always for real. The social satire and observations about race relations are dead-on, but never preachy or condescending.

Top-notch ensemble work, featuring a young Lou Gossett (with hair!) giving a memorable turn. The lovely Susan Anspach is hilarious as Bridge’s perpetually stoned and bemused sister. A scene featuring Pearl Bailey and Lee Grant getting drunk and bonding over a bottle of “sparkling” wine is a minor classic all on its own. They don’t make ‘em like this anymore-honest, bold, uncompromising, socially and politically meaningful, yet (lest we forget) entertaining. (Full review)

Let the Fire Burn (2013)– While obscured in public memory by the (relatively) more “recent” 1993 Branch Davidian siege in Waco, the eerily similar demise of the Philadelphia-based MOVE organization 8 years earlier was no less tragic on a human level, nor any less disconcerting in its ominous sociopolitical implications.

In this compelling documentary, director Jason Osder has parsed a trove of archival “live-at-the-scene” TV reports, deposition videos, law enforcement surveillance footage, and other sundry “found” footage (much of it previously unseen by the general public) and created a tight narrative that plays like an edge-of-your-seat political thriller.         

Let the Fire Burn is not only an essential document of an American tragedy, but a cautionary tale and vital reminder of how far we have yet to go to completely purge the vestiges of institutional racism in this country. (Full review)

Image result for the trials of muhammad ali

The Trials of Muhammad Ali (2013)– There have been a number of films documenting and dramatizing the extraordinary life of Muhammad Ali, but they all share a curious anomaly. Most have tended to gloss over Ali’s politically volatile “exile years” (1967-1970), during which the American sports icon was officially stripped of his heavyweight crown and essentially “banned” from professional boxing after his very public refusal to be inducted into the Army on the grounds of conscientious objection to the Vietnam War.

Director Bill Siegel (The Weather Underground) fills in those blanks in his documentary. As you watch the film, you begin to understand how Ali the sports icon transmogrified into an influential sociopolitical figure, even if he didn’t set out to become the latter. It was more an accident of history; Ali’s affiliation with the Nation of Islam and stance against the Vietnam War put him at the confluence of both the burgeoning Black Power and anti-war movements. How it all transpired makes an absorbing watch. (Full review)

Making ends meet: A top 10 mixtape

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on January 12, 2019)

https://i2.wp.com/i.pinimg.com/originals/01/e7/7e/01e77ec5d026a0bdec2c210825df213a.jpg?w=474&ssl=1

As we enter the 3rd week of the “partial” government shutdown, we’re hearing more and more stories of how it’s affecting thousands of federal employees and contractors who are either on forced furloughs, or who are being asked to continue working…without pay. 

This has not only thrown a spotlight on how many of the folks who help keep the country running smoothly are barely scraping by as it is, but it has opened a broader dialogue on how many Americans are living paycheck-to-paycheck, period. The stats are not too rosy:

[from US News & World Report]

In fact, living paycheck to paycheck – meaning there’s not a cash cushion to cover the bills if the income stops for a while – is a common condition in America. In the 12th richest nation in the world by per capita GDP, nearly 8 in 10 U.S. workers live paycheck to paycheck, according to a 2017 study  by CareerBuilder, a human capital management firm. And the trend crosses over income groups: more than half of minimum wage workers said they needed to hold down two jobs to make ends meet, while one in 10 workers earning $100,000 or more yearly say they live paycheck to paycheck.

And if there’s an emergency? A large number of Americans don’t have an accessible stash of money to cover a substantial health care expense or car repair, studies show. The Federal Reserve Board in 2017 found that 44 percent of American households surveyed could not cover a $400 emergency expense.

Oy vay.

With that cheery thought in mind (and in consideration of the adage “misery loves company”) I’ve curated a playlist of songs that appropriately…commiserate. Erm, enjoy?

 (In alphabetical order…)

“Blue Collar” – Bachman-Turner Overdrive

“Five O’clock World” – The Vogues

“Hole to Hide In” – Foghat

“Manic Monday” – The Bangles

“9 to 5” – Dolly Parton

 “Pieces of a Man” – Gil Scott-Heron

“She Works Hard for the Money” – Donna Summer

“Wichita Lineman” – Glen Campbell

“Working Class Hero” – John Lennon 

“Work to Do” – The Isley Brothers 

Arriba, abajo: Roma (***)

Image result for roma film 2018

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on January 5, 2019)

Alfonso Cuaron’s Roma (currently available on Netflix) is one of those contemporary arthouse flicks that has “A Compendium of Classic World Cinema” tattooed on its forehead (either that, or “I’ve Seen Too Many Goddamned Movies” is tattooed on mine).

For example, take the title, which recalls Fellini’s Roma (1972), his semi-autobiographical love letter to the city he lived in for years. Cuaron’s film is his semi-autobiographical love letter to the city he lived in for years; although in this case it refers not to Rome, Italy but to the eponymous neighborhood of Mexico City where he grew up.

The story centers on a young woman named Cleo (Yalitza Aparicio) who is employed as a maid for an upper middle-class family living in politically turbulent Mexico City during the early 1970s. There is another maid in the household named Adela (Nancy Garcia), but Cleo looks to be the de facto nanny, showing a close and loving bond with the 4 children.

The father (Fernando Grediaga) is a physician, who travels frequently due to his work. Or so it seems; when he takes an extended trip to Quebec on “business”, the worst fears of his wife Sofia (Marina de Tavira) are confirmed when she learns he’s decided to play house for keeps with his mistress (World Cinema Rule #142…there’s always a mistress).

As Sofia struggles with how she is going to gently break the news to her kids that daddy has split town on them because he is a cheating bastard, the family dynamic is further complicated when Cleo finds herself struggling with how she’s going to gently break the news to her employer that she is with child by her short-term boyfriend Fermin (Jorge Antonio Guerrero) who splits town on her faster than you can say “I think I’m pregnant.”

If the narrative is beginning to sound not dissimilar to a tawdry telenovela, you are very perceptive. Cuaron’s cliché-ridden script is not the film’s strongest suit. That said, the man knows how to set up a shot, and his eye is keen (Cuaron pulled cinematography duty here as well). In fact, his B&W photography is stunning enough to forgive a flimsy story.

Where Curaon excels here is in giving the viewer an immersive sense of time and place. There are several memorable set-pieces; most notably a scene wherein the children’s grandmother helps a very pregnant Cleo shop for a crib. That everyday mundanity may not make for riveting cinema, but the situation percolating in the street right in front of the store, which suddenly escalates and engulfs the women in a horrifying manner…does.

I’ll admit being a little late to the party on this film, which has popped up on a surprising number of critics’ “10 best” lists for 2018. I say “surprising” because it has had limited theatrical engagements since late November and has only been streaming on Netflix since December 14th (I stumbled across it quite by accident while scrolling through the network’s maddeningly unsearchable programming menu).

It has also been nominated for 3 Golden Globes: Best Foreign Language Film, Best Director, and Best Screenplay (as I have already discussed, I have to raise a Belushi eyebrow regarding that screenplay nom).

While many of my fellow critics have swooned mightily under its apparent spell, for me Roma is, alas, a mixed bag. Aparicio has a quietly charismatic screen presence and gives a fine, naturalistic performance as Cleo; although you wish she’d been given a little more to do with her substantial screen time beyond playing the quietly suffering, archetypal Noble Peasant.

Visually, it’s quite a beautiful film. And there is certainly nothing wrong with emulating and evoking the likes of Fellini, Kalatozov, Bertolucci, Antonioni, and other masters of world cinema. It’s just a bit of a disappointment from Curaon, who has given us some outstanding films like Y Tu Mama Tambien, Children of Men, and Gravity.

If you really must pry: Top 10 films of 2018

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 29, 2018)

https://i0.wp.com/www.dasym.com/wp-content/uploads/2017/07/Cinema-Image-by-Alexandre-Chassignon-on-Flickr.jpg?fit=870%2C653&ssl=1

As 2018 closes, it’s time to share my picks for the top 10 feature films out of the 50 or so I reviewed this year. As per usual my list is presented alphabetically, not in ranking order.

https://i0.wp.com/static01.nyt.com/images/2017/11/17/movies/17bigsonia1/17bigsonia1-articleLarge-v2.jpg?w=474&ssl=1

Big Sonia – There is a scene in Leah Warshawski and Todd Soliday’s documentary where you witness something just short of a miracle: a group of junior high students sitting in wide-eyed attentiveness; clearly riveted by a personal story emitting not from a cell phone or a laptop, but rather from a diminutive octogenarian woman. By the end of the talk, many of the students are brought to tears (as is the viewer).

But this is no pity party; in fact, many of them now seem genuinely inspired to go make a difference in the world. Her name is Sonia, and her story is much larger and more impactful than her 4 foot, 8-inch frame might suggest. You think you’ve had problems in your life? Let me put it this way…I’ll be thinking twice before I kvetch about my “issues” from here on in. (Full review)

https://i0.wp.com/amp.businessinsider.com/images/5b6c4b4e959f3432008b4e12-750-375.jpg?w=474&ssl=1

Black KkKlansman – So what do you get if you cross Cyrano de Bergerac with Blazing Saddles? You might get Spike Lee’s Black KkKlansman. That is not to say that Lee’s film is a knee-slapping comedy; far from it. Lee takes the true story of Ron Stallworth (John David Washington), an African-American undercover cop who managed to infiltrate the KKK in Colorado in the early 70s and runs with it, in his inimitable fashion.

I think this is Lee’s most affecting and hard-hitting film since Do the Right Thing (1989). The screenplay (adapted by Charlie Wachtel, David Rabinowitz, Kevin Willmott and Lee from Stallworth’s eponymous memoir) is equal parts biopic, docudrama, police procedural and social commentary, finding a nice balance of drama, humor and suspense.  (Full review)

https://i0.wp.com/splicetoday.imgix.net/uploads/posts/photos/23978/fahrenheit-119-michael-moore.jpg?w=474&ssl=1

Fahrenheit 11/9 – Let’s dispense with this first. Yes, Michael Moore goes “there” in his latest documentary Fahrenheit 11/9…at one point in the film, he deigns to compare Trump’s America to Nazi Germany. However, he’s not engaging in merit-less trolling. Following a brief (and painful to relive) recap of what “happened” on 11/9/16, Moore’s film accordingly speeds off in multiple directions

As he has always managed to do in the past, he connects the dots and pulls it together by the end. In a nutshell, Moore’s central thesis is that Trump is a symptom, not the cause. And the “cause” here is complacency-which Moore equates with complicity. If you’re a Moore fan, you won’t be disappointed (though you may be a bit depressed). If you’re a Moore hater, you won’t be disappointed. (Full review)

https://i0.wp.com/film-book.com/wp-content/uploads/2018/08/jakob-cedergren-the-guilty-02-600x350.jpg?fit=600%2C350&ssl=1

The Guilty –Considering that nearly all of the “action” in Gustav Möller’s low-budget gem is limited to the confines of a police station and largely dependent on a leading man who must find 101 interesting ways to emote while yakking on a phone for 80 minutes, Möller and his star Jakob Cedergren perform nothing short of a minor miracle turning this scenario into anything but another dull night at the movies.

Packed with nail-biting tension, Rashomon-style twists, and completely bereft of explosions, CGI effects or elaborate stunts, this terrific thriller renews your faith in the power of a story well-told. (Full review)

https://i0.wp.com/hyperallergic.com/wp-content/uploads/2018/05/LTSI-3-Binoche-dancing-720x433.jpg?resize=474%2C285&ssl=1

Let the Sunshine In – The best actors are…nothing; a blank canvas. But give them a character and some proper lighting-and they’ll give back something that becomes part of us, and does us good: a reflection of our own shared humanity. Nature that looks like nature.

Consider Julilette Binoche, an actor of such subtlety and depth that she could infuse a cold reading of McDonald’s $1 $2 $3 menu with the existential ennui of Shakespeare’s Sonnet 123. She isn’t required to recite any sonnets in this film (co-written by director Claire Denis and Christine Angot), but her character speaks copiously about love…in all of its guises. And you may think you know how this tale of a divorcee on the rebound will play out, but Denis’ film, like love itself, is at once seductive and flighty. (Full review)

https://i1.wp.com/fajriff.com/en/wp-content/uploads/2018/04/fiff-2018-LITTLE-TITO-AND-THE-ALIENS-Poster-571355-1-870x467.jpg?resize=474%2C254

Little Tito and the Aliens – I avoid using phrases like “heartwarming family dramedy”, but in the case of Paola Randi’s, erm, heartwarming family dramedy…it can’t be helped. An eccentric Italian scientist, a widower living alone in a shipping container near Area 51 (long story), suddenly finds himself guardian to his teenage niece and young nephew after his brother dies. Blending family melodrama with a touch of magical realism, it’s a sweet and gentle tale about second chances-and following your bliss. (Full review)

https://i2.wp.com/media2.fdncms.com/stranger/imager/u/original/26002091/outside-in.jpg?w=474&ssl=1

Outside In – The rain-washed town of Granite Falls, Washington (population 3400) is a palpable character in Lynn Shelton’s drama about a newly-released felon named Chris (Jay Duplass) struggling to keep heart and soul together after serving 20 years for a wrongful conviction. Only 18 when he got sent up, he has a textbook case of arrested development to overcome. Complicating his re-entry into society is his long-time platonic relationship with the only person who gave him moral support over the years. Her name is Carol (Edie Falco), his high school teacher.

Shelton has a knack for creating characters that you really care about, helped in no small part here by Falco, who can say more with a glance, a furrow of the brow, or a purse of the lips than many actors convey with a page of dialog. Duplass (who co-scripted) also delivers a sensitive and nuanced performance. (Full review)

https://i0.wp.com/cdn1.i-scmp.com/sites/default/files/styles/980x551/public/images/methode/2018/04/13/4dacc5d4-3ee8-11e8-b6d9-57447a4b43e5_1280x720_183532.jpg?w=474&ssl=1

Ryuichi Sakamoto: Coda – There’s a moment of Zen in Stephen Nomura Schible’s documentary where Japanese composer Ryuichi Sakamoto, after much experimentation with “found” sounds, finally gets the “perfect” tonality for one note of a work in progress. “It’s strangely bright,” he observes, with the delighted face of a child on Christmas morning, “but also…melancholic.”

One could say the same about Schible’s film; it’s strangely bright, but also melancholic. You could call it a series of Zen moments; a reflective and meditative glimpse at the intimate workings of the creative process. It also documents Sakamoto’s quiet fortitude, as he returns to the studio after a hiatus to engage in anti-nuke activism and to battle his cancer. A truly remarkable film. (Full review)

https://i2.wp.com/d279m997dpfwgl.cloudfront.net/wp/2018/05/AP_01101902460-1000x665.jpg?resize=474%2C315&ssl=1

Wild, Wild Country – On one level, co-directors Chapman and Maclain Way’s binge-worthy Netflix documentary series is a two-character study about a leader and a follower; namely the Bhagwan Shree Rajneesh, and his head disciple/chief of staff/lieutenant Ma Anand Sheela. In this case, the one-on-one relationship is not a metaphor; because the India-born philosophy professor-turned-guru did (and still does) have scores of faithful followers from all over the world.

This tale is so multi-layered crazy pants as to boggle the mind. It’s like Dostoevsky meets Carl Hiaasen by way of Thomas McGuane and Ken Kesey…except none of it is made up. It’s almost shocking that no one thought to tackle this juicy subject as fodder for an epic documentary until now (eat your genteel heart out, Ken Burns). The Ways mix in present-day recollections from various participants with a wealth of archival news footage. Oddly, with its proliferation of jumpy videotape, big hair and skinny ties, the series serves double duty as a wistful wallow in 1980s nostalgia. (Full review)

https://pmcvariety.files.wordpress.com/2018/01/18217-1-1100.jpg?crop=13px%2C6px%2C1027px%2C578px&resize=1000%2C563&w=474

Won’t You Be My Neighbor? – In his affable portrait of the publicly sweet, gentle, and compassionate TV host Fred Rogers, director Morgan Neville serves up a mélange of archival footage and present-day comments by friends, family, and colleagues to reveal (wait for it) a privately sweet, gentle, compassionate man. In other words, don’t expect revelations about drunken rages, aberrant behavior, or rap sheets (sorry to disappoint anyone who feels life’s greatest pleasure is speaking ill of the dead).

That is not to deny that Rogers did have a few…eccentricities; some are mentioned, and others are implied. The bulk of the film focuses on the long-running PBS children’s show, Mr. Rogers’ Neighborhood, which debuted in 1968. With apologies to Howard Beale, I don’t have to tell you things are bad. I think this documentary may be what the doctor ordered, just as a reminder people like Fred Rogers once strode the Earth (and hopefully still do). I wasn’t one of your kids, Mr. Rogers, but (pardon my French) we sure as shit could use you now. (Full review)

I hate my sister: Mirai no Mirai (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 22, 2018)

Image result for mirai no mirai

If you seek a family-friendly film for the holidays that doesn’t involve Grinches or umbrella-powered English nannies, the Japanese anime Mirai no Mirai (“Mirai of theFuture”) may be the ticket. The latest effort from writer-director Mamoru Hosoda is a fantasy-drama that plays like a cross between Where the Wild Things Are and Labyrinth.

The story centers on 4-year-old Kun and his busy parents (Dad is an architect and Mom is an executive). Not unlike many 4-year-old boys he’s a wrecking ball, but he seems like a happy kid, doing happy kid things like cavorting with his dog, playing with his toy trains, and generally enjoying all those perks that come with being the Center of the Universe.

Sadly, poor Kun has little clue that the dynamic of this pretty sweet deal is about to shift.

The thing is, Mom and Dad haven’t just been busy at the office. One day, Mom comes home with a little surprise for Kun. It’s a baby sister. Initially, Kun appears excited about the family’s new addition, much in the same manner a 4-year-old gets excited about a shiny new toy before the novelty wears off. His excitement soon changes to consternation when it becomes obvious that the novelty of “Mirai” isn’t wearing off for Mom and Dad. 

In fact, this little Mirai character is starting to suck all the air out of the room. Why are his parents treating Kun like he’s persona non grata? He was here first! What’s so special about her, anyway? She can’t even form a sentence. All she does is eat, cry and sleep. For this, she gets a medal?! In a fit of pique, Kun takes one of his toy trains in hand and menacingly looms over her crib. Luckily Mom stops him, then gives him a scolding.

Confused and angry, Kun pitches a major tantrum. He flees into the garden, where he bumps into a man lurking in the trellises, who imperiously introduces himself as the “prince” of the house. Or at least he was…until Kun dethroned him simply by being born (long story). This kick-starts a reality-bending journey through the time-space continuum for Kun, who learns the importance of unconditional familial love and ancestral bonds along the way (whether a 4-year-old is capable of such an epiphany…is open for debate).

Mirai no Mirai is less complex than Hosoda’s previous films (The Girl Who Leapt Through Time, Summer Wars) Still, its heart is in the right place. Kids will identify with the child’s-eye perspective, and adults may be transported back to that period of the life cycle when worries are few and everything feels possible (before your mental carousel gets clogged up with excess baggage, if you catch my drift).

Blu-ray reissue: 2001: A Space Odyssey ****

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 15, 2018)

https://i1.wp.com/media.npr.org/assets/img/2018/04/03/ap_18088051732478_wide-ddbceeba97880efbd8f7faa6add7b27583350955-s800-c85.jpg?w=474&ssl=1

2001: A Space Odyssey – Warner Brothers Blu-ray

The mathematician/cryptologist I.J. Good (an Alan Turing associate) once famously postulated:

Let an ultra-intelligent machine be defined as a machine that can far surpass all the intellectual activities of any man…however clever. Since the design of machines is one of these intellectual activities, an ultra-intelligent machine could design even better machines; there would then unquestionably be an ‘intelligence explosion’, and the intelligence of man would be left far behind. Thus, the first ultra-intelligent machine is the last invention that man need ever make, provided that the machine is docile enough to tell us how to keep it under control.

Good raised this warning in 1965, about the same time director Stanley Kubrick and sci-fi writer Arthur C. Clarke were formulating the narrative that would evolve into both the novel and film versions of 2001: a Space Odyssey. And it’s no coincidence that the “heavy” in 2001 was an ultra-intelligent machine that wreaks havoc once its human overseers lose “control” …Good was a consultant on the film.

Good was but one of the experts that Kubrick consulted, before and during production of this meticulously constructed masterpiece. Not only did he pick the brains of top futurists and NASA engineers, but enlisted some of the best primatologists, anthropologists, and uh, mimes of his day, to ensure that every detail, from the physicality of prehistoric humans living on the plains of Africa to the design of a moon base, passed with veracity.

Earlier this year, for the 50th anniversary, Christopher Nolan supervised a theatrical 70mm re-release of the “unrestored” version that presents it as audiences experienced it in 1968. And, not missing an opportunity to make me re-purchase it for the 6th time (VHS, DVD, “remastered” DVD, Blu-ray, and “remastered” Blu-ray) Warner has released a “restored” Blu-ray (as well as a pricier 3-disc set that adds a 4K-UHD version).

This review is based on the 2-disc Blu-ray set (one disc is for the extras). There are no technical notes included; so I can’t confirm this is a 4K scan.  After an A/B comparison with my copy of the 2007 Warner Blu-ray, I can confirm the new scan is spectacular, with vibrant color grading, rich deep blacks and sharp contrast. Audio has also been upgraded. Extras are identical to the 2007 version (Warner is historically stingy with those) but it’s worth the dip for those who want the best possible home viewing experience of the film.