Category Archives: Art world

Tribeca 2022: Dreaming Walls: Inside the Chelsea Hotel ***

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 11, 2022)

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Since 1883, the Hotel Chelsea in New York City has been the center of the universe for bohemian culture. It has been the hostelry of choice for the holiest of hipster saints over the years, housing just about anybody who was anybody in the upper echelons of poets, writers, playwrights, artists, actors, directors, musicians, and free thinkers over the past century.

Maya Duverdier and Amélie van Elmbt’s documentary is an impressionistic portrait of the venerable landmark, vacillating between dredging up the ghosts of its past and profiling some of the current residents as they go about their daily lives (obviously selected for their, ah …colorful eccentricities). Nearly every tenant has an opinion on the extensive renovations that were in progress during filming; some welcome the upgrade, others see it as something akin to sacrilege (the latter camp tend to be longtime residents).

While it may lack cohesion at times, the film is beautifully photographed, with several compelling and hypnotic sequences, as well as unexpected emotional resonance.

Please rewind: 80s Sleepers

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on January 22, 2022)

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I thought I might dust off my VHS collection (yes, I’ve hung on to a few), put on a skinny tie and curate an 80s sleeper festival for you this evening. Several of my selections remain criminally unavailable on DVD or Blu-ray (are you listening, boutique reissue studios?). Anyway, here are 10 gems from that decade that I think deserve a little more love…

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Dreamchild – This unique 1985 film from director Gavin Millar blends speculative biography with fantasy to delve into the psychology behind writer Lewis Carroll’s classic children’s book Alice in Wonderland. Scripted by Dennis Potter, the story is set in 1932 New York City.

Carroll’s muse, the now 80-year-old Alice Liddell Hargreaves (Coral Brown) has traveled from her native England with her young assistant (Nicola Cowper) to participate in a celebration of Reverend Charles L. Dodgson’s (aka Lewis Carroll’s) centenary. Prim and proper Mrs. Hargreaves is perplexed by the fuss the Americans are making over her visit. As she gathers her thoughts for a speech she is to give in Dodgson’s honor, she takes stock of her childhood association with the Reverend (Ian Holm), which leads to a bittersweet epiphany.

Anyone familiar with Dennis Potter’s work will not be surprised to learn that there are some dark subtexts; yet there is also sweetness and poignancy. Amelia Shankley gives a nuanced performance that belies her age as young Alice, and the late Jim Henson works his magic with the creature creations for the fantasy sequences.

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Heartbreakers (VHS only)– In this 1984 drama, writer-director Bobby Roth delivers an absorbing character study about a pair of 30-something pals going through transitions in their personal and professional lives. Peter Coyote is excellent as petulant man-child Blue, a starving artist who specializes in fetishistic female portraiture (his character is based in part on artist Robert Blue).

Blue is nurturing a broken heart; his long-time girlfriend (Kathryn Harrold), tired of waiting for him to grow up, has dumped him. Blue’s friend Eli (Nick Mancuso) is a quintessential Yuppie who lives in a dream bachelor pad boasting a lofty view of the L.A. Basin. Despite being financially secure, Eli is also emotionally unfulfilled. With his male model looks and shiny toys, he has no problem with hookups; he just can’t find The One (yes, I know…how many nights of empty sex with an endless parade of beautiful women can one guy stand?).

Just when the commiserating duo’s love lives are looking hopeless, they both meet The One. Unfortunately, she is the same One (Carole Laure). The plot thickens, and the friendship is about to be tested. Formulaic as it sounds, Roth’s film is a keenly observed look at modern love (and sex) in the Big City. Max Gail (best known for his role on the sitcom Barney Miller) is great here, as is Carol Wayne (sadly, this is her last film).

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Light of Day (VHS only)– From off the streets of Cleveland comes…that rare Paul Schrader film that doesn’t culminate in a blood-spattered catharsis. Rather, this 1987-character study (scripted by the director) concerns a pair of blue-collar siblings (Michael J. Fox and Joan Jett) struggling to make a name for themselves in the music biz.

Jett, naturally, does her own singing and playing; but Fox and the other actors portraying “The Barbusters” do so as well. That fact, coupled with the no-nonsense performances, adds up to one of the most realistic narrative films I’ve seen about what it’s really like to eke out a living in the rock ’n’ roll trenches; i.e., these guys actually look and sound like a bar band. Gena Rowlands is a standout as Jett and Fox’s mother (she is the most “Schrader-esque” character). Bruce Springsteen penned the title song (“Born in the USA” was originally slated, but nixed).

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Liquid Sky Downtown 81 meets Invasion of the Body Snatchers in this deeply weird 1982 art-house sci-fi film. A diminutive, parasitic alien with a particular delectation for NYC club kids, models and performance artists lands on an East Village rooftop and starts mainlining off the limbic systems of junkies and sex addicts…right at the moment that they, you know…reach the maximum peak of pleasure center stimulation (the alien is a dopamine junkie?). Just don’t think about the science too hard.

The main attraction here is the inventive photography and the fascinatingly bizarre performance (or non-performance) by (co-screen writer) Anne Carlisle, who tackles two roles-a female fashion model who becomes the alien’s primary host, and a male model. Writer-director Slava Zsukerman also co-wrote the electronic music score.

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One Night Stand (VHS only) – An early effort from filmmaker John Duigan (Winter of Our Dreams, The Year My Voice Broke, Flirting, Sirens), this 1984 sleeper got lost in the flurry of nuclear paranoia movies that proliferated during the Reagan era.

Four young people (three Australians and an American sailor who has jumped ship) get holed up in an empty Sydney Opera House on the eve of escalating nuclear tension between the superpowers in Eastern Europe (ahem). In an effort to quell their anxiety over increasingly ominous news bulletins droning from a portable radio, the quartet find creative ways to keep up their spirits.

Uneven, but for the most part Duigan (who scripted) deftly juggles romantic comedy, apocalyptic thriller and anti-war statement. There are several striking set pieces; particularly an affecting scene where the group watches Fritz Langs’s Metropolis as the Easybeats “Friday on My Mind” is juxtaposed over its orchestral score. Midnight Oil performs in a scene where the two young women attend a concert. The bittersweet denouement (in an underground tube station) is quite powerful.

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Sammie and Rosie Get Laid  (VHS only)–What I adore most about this 1987 dramedy from director Stephen Frears (My Beautiful Launderette, Prick up Your Ears, Dangerous Liaisons, The Grifters, High Fidelity) is that it is everything wingnuts dread: Pro-feminist, gay-positive, anti-fascist, pro-multiculturalism, anti-colonialist and Marxist-friendly (they don’t make ‘em like this anymore).

At first glance, Sammy (Ayub Khan-Din) and Rosie (Frances Barber) are just your average middle-class London couple. However, their lifestyle is unconventional. They have taken a libertine approach to their marriage; giving each other an unlimited pass to take lovers on the side (the in-joke here is that Sammy and Rosie seemingly “get laid” with everyone but each other).

In the meantime, the couple’s neighborhood is turning into a war zone; ethnic and political unrest has led to nightly riots (this is unmistakably Thatcher’s England; Frears bookends his film with ironic excerpts from her speeches). When Sammy’s estranged father (Shashi Kapoor), a former Indian government official haunted by ghosts from his political past, returns to London after a long absence, everything goes topsy-turvy for the couple.

Fine performances abound in a cast that includes Claire Bloom and Fine Young Cannibals lead singer Roland Gift, buoyed by Frears’ direction and Hanif Kureishi’s literate script.

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Stormy Monday – Sean Bean stars as a restless young drifter who blows into Newcastle and falls in with a local jazz club owner (Sting). About the same time, a shady American businessman with mob ties (Tommy Lee Jones) arrives to muscle in on a land development deal, accompanied by his ex-mistress/current P.A. (Melanie Griffith). As romantic sparks fly between Bean and Griffith, the mobster puts the thumbscrews to the club owner, who stands in the way of the development scheme by refusing to sell. Things get complicated. Writer-director Mike Figgis’ tightly scripted 1988 neo-noir (his feature debut) delivers the goods on every front. Gorgeously photographed by Roger Deakins.

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Tokyo Pop  (VHS only) – 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. The fluffy premise is buoyed by star Carrie Hamilton’s winning screen presence.

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.

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Wish You Were Here – David Leland’s 1987 comedy-drama centers on a headstrong 16-year-old girl coming of age in post WW 2 England. The story is loosely based on the real-life exploits of British madam Cynthia Payne (Leland also collaborated as screenwriter with director Terry Jones on the film Personal Services, which starred Julie Walters and was based on Payne’s later exploits).

Vivacious teenager Emily Lloyd makes an astounding debut as pretty, potty-mouthed “Linda”, whose exhibitionist tendencies and sexual antics cause her reserved widower father and younger sister to walk around in a perpetual state of public embarrassment.

Bolstered by a taut script and precise performances, the film breezes along on a deft blend of belly-laugh hilarity and bittersweet emotion. Excellent supporting cast, especially Thom Bell, who injects humanity into an otherwise vile character. Sadly, the talented Lloyd never broke big; she went on to do a few relatively unremarkable projects, and then dropped off the radar.

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Word, Sound, and Power – This 1980 documentary by Jeremiah Stein clocks in at just over an hour but is the best film I’ve seen about roots reggae music and Rastafarian culture. Barely screened upon its original theatrical run and long coveted by music geeks as a Holy Grail until its belated DVD release in 2008 (when I was finally able to loosen my death grip on the sacred, fuzzy VHS copy that I had taped off of USA’s Night Flight back in the early 80s), it’s a wonderful time capsule of a particularly fertile period for the Kingston music scene.

Stein interviews key members of The Soul Syndicate Band, a group of studio players who were the Jamaican version of The Wrecking Crew; they backed reggae superstars like Jimmy Cliff, Bob Marley, Burning Spear, and the recently departed Toots Hibbert (to name but a few). Beautifully photographed and edited, with outstanding live performances by the Syndicate. Musical highlights include “Mariwana”, “None Shall Escape the Judgment”, and a spirited acoustic version of “Harvest Uptown”.

Tribeca 2021: Poser (**½)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 12, 2021)

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All About Eve for millennials. Co-directors Noah Dixon and Ori Segev’s dark satire centers on an Ohio-based emo chick named erm…“Lennon” (Aujolie Baker) with vague aspirations to become a songwriter who (when not working at her dreary dishwasher gig) buzzes around the fringes of the Columbus underground scene, ostensibly to do “research” for her podcast (that may or may not have followers).

Sullen and deadpan, it’s no wonder that Lennon doesn’t have any friends. However, once she ingratiates herself with a darling of the local indie music scene (Bobbi Kitten) she begins to emerge from her shell…in a rather discomfiting way. What ensues is a cross between the (far superior) underground scene satire The Last Big Thing and Single White Female.

SIFF 2021: The Salt in Our Waters (***1/2)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 17, 2021)

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Writer-director Rezwan Shahriar Sumit’s sumptuously photographed variation on the venerable “city mouse-country mouse” scenario concerns a metropolitan sculptor (Titas Zia) who travels to a remote fishing village in the Bangladeshi Delta for a sabbatical. Inspired by the beauty of the coast (as well as one of the young women), he begins work on new pieces. Some villagers are puzzled by his sculptures (which they view as “idols” with no practical purpose) but are hospitable to their guest.

However, when the fishermen find their nets are suddenly coming up short (due to rising tides), the recently arrived outsider becomes a convenient straw man for the “Chairman”, the local head cleric and village leader. A compelling, beautifully acted drama that makes salient observations on tradition vs. modernity and science vs. fundamentalism.

Blu-ray reissue: An Unmarried Woman (****)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 12, 2020)

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An Unmarried Woman – Criterion Collection

I was overjoyed to learn this 1978 career high from the late writer-director Paul Mazursky (Bob & Carol & Ted & Alice, Blume in Love, Harry and Tonto, Tempest, Down and Out in Beverly Hills, Moscow on the Hudson) was getting the Criterion treatment, because it is ripe for rediscovery.

Jill Clayburgh delivers a tour-de-force performance as an upscale Manhattanite who works at an art gallery. One day she meets her Wall Street broker husband of 16 years (Michael Murphy) for lunch, after which he suddenly and unexpectedly creates a public scene, blubbering and blurting out he has fallen in love with another woman.

Clayburgh’s reaction, as she reels first from shock, then goes from pain to anger to physical revulsion (within about 30 seconds) remains one of the best moments of acting I’ve ever seen. That’s just the warm-up for Clayburgh’s journey of emotional recovery and independence, which in retrospect is deeply rooted in the “self-actualization” movement of the 1970s.

Clayburgh was nominated for an Oscar, which she would have clinched in a less competitive year (she was up against Geraldine Page, Ingrid Bergman, Ellen Burstyn and Jane Fonda). Brilliantly written, directed, and acted. Outstanding support from Alan Bates, Cliff Gorman, Patricia Quinn, Kelly Bishop, Linda Miller and a scene-stealing 16 year-old Lisa Lucas.

Criterion’s Blu-ray has a restored 4K transfer. Extras include insightful and enlightening 2005 audio commentary by Mazursky and Clayburgh (although it makes you sad that they are no longer with us…both come across as such warm and generous creative spirits).

In one interesting anecdote, Mazursky talks about initially offering Jane Fonda the part. Fonda read the script, then turned it down with a comment to the effect that she was only interested in films that make a political statement (she had also already committed to working on Coming Home).

Sometime after the film came out, Fonda reached out to him and said she was sorry she had turned down the role, because after seeing it she realized An Unmarried Woman is very political, especially in light of its empowering feminist message.

There are also new interviews with Michael Murphy and Lisa Lucas, as well as a new interview with author Sam Wasson on Mazursky’s work. Excellent package…A+!

Blu-ray Reissue: Mystery of the Wax Museum [1933] (***1/2)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on July 11, 2020)

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Mystery of the Wax Museum – Warner Archive Collection

“Images of wax that throbbed with human passion!” Get your mind out of the gutter…I’m merely quoting the purple prose that graced the original posters for this 1933 horror thriller, directed by the eclectic Michael Curtiz (Adventures of Robin Hood, The Sea Hawk, Yankee Doodle Dandy, Casablanca, Mildred Pierce, King Creole, et.al.).

Beautiful (and busy) Fay Wray (who starred in King Kong the same year) captures the eye of a disturbed wax sculptor (a hammy Lionel Atwill) for reasons that are ah…more “professional” than personal. Wray is great eye candy, but it is her co-star Glenda Farrell who steals the show as a wisecracking reporter (are there any other kind of reporters in 30s films?). Farrell’s comedy chops add just the right amount of levity to this genuinely creepy tale. A classic.

The film was considered “lost” until a lone, worn out print was discovered around 1970. It was originally filmed in the long-defunct Two-Color Technicolor process, adding to the challenge of an accurate restoration. Thank the gods for the UCLA Film and Television Archive and the Film Foundation, who tackled the project with their usual aplomb (with a little sugar from the George Lucas Family Foundation). The result is a glorious print that will make buffs wax poetic (sorry). Extras include the documentary Remembering Fay Wray.

Tribeca 2020: Banksy Most Wanted (**½)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 25, 2020)

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Almost everybody knows what internationally celebrated guerilla street artist Banksy does, but despite years of investigative journalism, amateur-to-professional sleuthing and “outings”…nobody but he/she/themselves knows who the real McCoy(s) is/are. Co-directors Aurélia Rouvier and Seamus Haley give it a whirl in their slickly made but ultimately frustrating documentary. Promising leads are followed, but no Big Reveals.

The best parts of this globe-trotting quest are the glimpses at Banksy’s brilliant work, which continues to defy logic as to how he/she/they manage to pull it off while cunningly remaining hidden in plain sight. To be fair, the directors had a tough act to follow: Banksy’s own meta-documentary Exit Through the Gift Shop (2010).

Blu-ray reissue: Backbeat (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on July 6, 2019)

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Backbeat – Shout! Factory Blu-ray

By the time the Beatles “debuted” on The Ed Sullivan Show in early 1964, they already had a rich 7-year history. The four polished pros in their slick suits didn’t just pop out of Liverpool fully formed as such; they had already paid their dues toiling in sweaty cellar clubs and seedy strip joints. The most formative (and tumultuous) time for the band was the pre-Ringo “Hamburg period”, a series of gigs in Germany from 1960-1962.

Iain Softley’s 1994 drama is set during this period and lasers in on the close, volatile friendship between John Lennon (Ian Hart) and original Beatles bassist Stu Sutcliff (Stephen Dorff). The film also delves into Sutcliff’s star-crossed relationship with a beautiful German hipster named Astrid Kirchherr (Sheryl Lee), who is credited for inspiring the band’s signature “mop top” haircuts. Kircherr also encouraged Sutcliff to pursue his painting (he was much more accomplished as an artist than as a musician). Absorbing take on a fascinating and bittersweet chapter of the band’s history, with sensitive acting and direction.

Shout! Factory’s 2K transfer is sharp and audio is dynamic. Extras include commentary track by Iain Softley, Ian Hart, and Stephen Dorff.

SIFF 2019: This is Not Berlin (****)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 25, 2019)

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Less Than Zero meets SLC Punk…in the ‘burbs of Mexico City. Set circa 1985, writer-director-musician Hari Sama’s semi-autobiographical drama is an ensemble piece reminiscent of the work of outsider filmmakers like Gregg Araki, Gus Van Sant and Larry Clark. The central character is 17 year-old Carlos (Xabiani Ponce de León), a shy and nerdy misfit who has an artistic (and sexual) awakening once taken under the wing of the owner of an avant-garde nightclub. Intense, uninhibited, and pulsating with energy throughout. Sama coaxes fearless performances from all the actors.

SIFF 2019: Barbara Rubin and the Exploding NY Underground (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 1, 2019)

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Just when I thought I knew everything about the Warhol Factory scene, this fascinating documentary introduces an overlooked player. Barbara Rubin was a Zelig-like character who moved to NYC at 18, became enmeshed with some of the era’s most culturally significant artists…then became one herself as a pioneering feminist filmmaker. And many years before Madonna dabbled in Kabbalah culture, Rubin embraced it full-bore, taking the traditionally patriarchal Orthodox Jewish community head on while re-inventing herself.