Category Archives: Documentary

Tribeca 2021: Not Going Quietly (***)

By Dennis Hartley

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

https://i0.wp.com/www.hollywoodreporter.com/wp-content/uploads/2021/03/not-going-quietly-1-1615946868.jpeg?ssl=1

You may not recognize Ady Barkan by name, but you may remember a chance encounter he had on a plane with then U.S. Senator Jeff Flake in 2017 that went viral. Barkan (diagnosed with ALS in 2016 at age 32) confronted Flake on an impending Congressional vote on a tax cut that would have negative residual effects on Medicare, Medicaid and Social Security programs that people with disabilities rely upon for health care assistance.

Nicholas Bruckman’s “warts and all” documentary charts how Barkin continues to use his skills as a longtime activist to spearhead a national campaign for healthcare reform, despite the progression of his disease. Don’t pity him-he doesn’t want it. You’ll pity yourself for not being out there making a difference like this amazing person.

Tribeca 2021: Last Meal (***)

By Dennis Hartley

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

https://i1.wp.com/tribecafilm-production.s3.amazonaws.com/uploads/film/photo_1/4832/full_Tribeca_Last_Meal_1_1080p.png?ssl=1

There is a very clever bait-and-switch in this 18-minute short. The bait is food porn…the camera lingers over glossy, hyper-stylized, TV ad-ready close-ups of mouth-watering cheeseburgers, fries, steaks, pizzas, tacos, etc. as the narrator rattles off itemized “last meal” requests by death row inmates (some more notorious than others). But faster than you can say “Where’s the beef?” you find yourself steeping in the gruesomeness of it all. Co-writer/directors Marcus McKenzie and Daniel Pricipe literally and figuratively give you food for thought regarding the ethics of capital punishment.

Tribeca 2021: Kubrick by Kubrick (***½)

By Dennis Hartley

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

https://i2.wp.com/jhvonline.com/clients/jhvonline/12-2-2020-8-09-25-AM-3752801.jpg?ssl=1

For those unfamiliar with Stanley Kubrick’s oeuvre, a cursory glance at the director’s catalog (13 movies over a 46-year span) might prompt head-scratching as to all the fuss concerning his impact on the medium. But great artists are defined by the quality, not the quantity of their work. Kubrick was notoriously averse to granting interviews, so it has been largely left up to film scholars to mull over the ultimate “meaning” of 2001: a Space Odyssey or Eyes Wide Shut.

Writer-director Gregory Monro had access to rare audio-only interviews Kubrick granted to French film critic Michael Ciment over a 10-year period. He cleverly incorporates Kubrickian visual language, rounded off by archival interviews with creative collaborators. Not a definitive portrait of the artist, but likely the closest we will ever get to Kubrick “in his own words”.

Tribeca 2021: 9/11: One Day in America (***)

By Dennis Hartley

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

https://i0.wp.com/tribecafilm-production.s3.amazonaws.com/uploads/film/photo_1/4786/full_911OneDayInAmerica_1920x1080.png?ssl=1

Tribeca is premiering this 72-minute pilot episode of an upcoming 6-part National Geographic Channel series. There have been quite a few documentaries recounting the horrors and heroics of that day, but I think this is the most affecting one I’ve seen to date. Much of the footage may be all-too-familiar, but director Daniel Bogado’s compelling, minute-by-minute network narrative-style reconstruction gives equal import to intimate testimonies of survivors and the broader historical context.

No rest for the guilty

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 27, 2021)

https://i0.wp.com/englishtribuneimages.blob.core.windows.net/gallary-content/2020/6/2020_6$largeimg_674292386.jpg?ssl=1

Good morning!

From The Guardian:

The systematic killing and maiming of unarmed African Americans by police amount to crimes against humanity that should be investigated and prosecuted under international law, an inquiry into US police brutality by leading human rights lawyers from around the globe has found.

A week after the former Minneapolis police officer Derek Chauvin was convicted of murder in George Floyd’s death, the unabated epidemic of police killings of Black men and women in the US has now attracted scorching international attention.

In a devastating report running to 188 pages, human rights experts from 11 countries hold the US accountable for what they say is a long history of violations of international law that rise in some cases to the level of crimes against humanity.

They point to what they call “police murders” as well as “severe deprivation of physical liberty, torture, persecution and other inhuman acts” as systematic attacks on the Black community that meet the definition of such crimes.

They also call on the prosecutor of the international criminal court (ICC) in The Hague to open an immediate investigation with a view to prosecutions.

“This finding of crimes against humanity was not given lightly, we included it with a very clear mind,” Hina Jilani, one of the 12 commissioners who led the inquiry, told the Guardian. “We examined all the facts and concluded that that there are situations in the US that beg the urgent scrutiny of the ICC.”

Just when you thought it couldn’t get much worse (from today’s Democracy Now )…

Outrage is growing in Philadelphia after explosive revelations that the University of Pennsylvania and Princeton University have been in possession of remains thought to belong to two children who were among 11 people killed in the 1985 police bombing of the Philadelphia home of the radical, Black liberation and anti-police-brutality group MOVE. We show an excerpt of a training video — now removed from the internet — by an anthropologist at the University of Pennsylvania and Princeton University who has been using the bones of at least one of the young bombing victims for the past 36 years — without the knowledge or consent of the families — and get response from a MOVE family member. “It makes you wonder: What else do they have?” says Mike Africa Jr., a second-generation MOVE member who grew up with the children whose remains have now been located. “What else are they covering up? What else are they lying about?”

Good God.

This development is particularly egregious if you know the details of the 1985 MOVE incident. And anyone from Tucker Carlson to your drunk uncle at Thanksgiving who tries to convince you that the increasing spotlight on these incidents is some kind of phony human rights crisis being ginned up by Lefties and/or the “liberal mainstream media” has never cracked open a history book. And now it seems that the whole world is not only watching, but judging. As any person with a conscience and a whit of humanity should.

For just a tiny fraction of that history, here’s my original 2013 review of the excellent “found footage” documentary that recounts the 1985 MOVE incident, Let the Fire Burn (currently streaming on iTunes, Apple TV, and Amazon Prime Video).

(Originally posted on Digby’s Hullabaloo on December 7, 2013)

Attack the block: Let the Fire Burn (***1/2)

https://i1.wp.com/1.bp.blogspot.com/-3_AWz6QhAeU/UqOtZmvrwYI/AAAAAAAAPFY/4vMSpXmDR4E/s1600/af96039f301ce20daa_apm6b561e.png?w=474&ssl=1

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 an enlightening new documentary called Let the Fire Burn, 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.

Depending upon whom you might ask, MOVE was an “organization”, a “religious cult”, a “radical group”, or all of the above. The biggest question in my mind (and one the film doesn’t necessarily delve into) is whether it was another example of psychotic entelechy. So what is “psychotic entelechy”, exactly? Well, according to Stan A. Lindsay, the author of Psychotic Entelechy: The Dangers of Spiritual Gifts Theology, it would be

…the tendency of some individuals to be so desirous of fulfilling or bringing to perfection the implications of their terminologies that they engage in very hazardous or damaging actions.

In the context of Lindsay’s book, he is expanding on some of the ideas laid down by literary theorist Kenneth Burke and applying them to possibly explain the self-destructive traits shared by the charismatic leaders of modern-day cults like The People’s Temple, Order of the Solar Tradition, Heaven’s Gate, and The Branch Davidians. He ponders whether all the tragic deaths that resulted should be labeled as “suicides, murders, or accidents”.

Whether MOVE belongs on that list is perhaps debatable, but in Osder’s film, you do get the sense that leader John Africa (an adapted surname that all followers used) was a charismatic person. He founded the group in 1972, based on an odd hodgepodge of tenets borrowed from Rastafarianism, Black Nationalism and green politics; with a Luddite view of technology (think ELF meets the Panthers…by way of the Amish). Toss in some vaguely egalitarian philosophies about communal living, and I think you’re there.

The group, which shared a town house, largely kept itself to itself (at least at first) but started to draw the attention of Philadelphia law enforcement when a number of their neighbors began expressing concern to the authorities about sanitation issues (the group built compost piles around their building using refuse and human excrement) and the distressing appearance of possible malnutrition among the children of the commune (some of the footage in the film would seem to bear out the latter claim).

The city engaged in a year-long bureaucratic standoff with MOVE over their refusal to vacate, culminating in an attempted forced removal turned-gun battle with police in 1978 that left one officer dead. Nine MOVE members were convicted of 3rd-degree murder and jailed.

The remaining members of MOVE relocated their HQ, but it didn’t take long to wear out their welcome with the new neighbors (John Africa’s strange, rambling political harangues, delivered via loudspeakers mounted outside the MOVE house certainly didn’t help). Africa and his followers began to develop a siege mentality, shuttering up all the windows and constructing a makeshift pillbox style bunker on the roof. Naturally, these actions only served to ratchet up the tension and goad local law enforcement.

On May 13, 1985 it all came to a head when a heavily armed contingent of cops moved in, ostensibly to arrest MOVE members on a number of indictments. Anyone who remembers the shocking news footage knows that the day did not end well. Gunfire was exchanged after tear gas and high-pressure water hoses failed to end the standoff, so authorities decided to take a little shortcut and drop a satchel of C-4 onto the roof of the building. 11 MOVE members (including 5 children) died in the resulting inferno, which consumed 61 homes.

Putting aside any debate or speculation for a moment over whether or not John Africa and his disciples were deranged criminals, or whether or not the group’s actions were self-consciously provocative or politically convoluted, one simple fact remains and bears repeating: “Someone” decided that it was a perfectly acceptable action plan, in the middle of a dense residential neighborhood (located in the City of Brotherly Love, no less) to drop a bomb on a building with children inside it.

Even more appalling is the callous indifference and casual racism displayed by some of the officials and police who are seen in the film testifying before the Mayor’s investigative commission (the sole ray of light, one compassionate officer who braved crossfire to help a young boy escape the burning building, was chastised by fellow officers afterward as a “n****r lover” for his trouble).

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 still have go in purging the vestiges of institutional racism in this country (1985 was not  that long ago).

In a  strange bit of Kismet, I saw this film the day before Nelson Mandela died, which has naturally prompted a steady stream of retrospectives about Apartheid on the nightly news. Did you know that in 1985, there was a raging debate over whether we should impose sanctions on South Africa? (*sigh*) Sometimes you can’t see the forest for the trees.

SIFF 2021: The Earth is Blue as an Orange (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 10, 2021)

https://i2.wp.com/s3.zff.com/medialibrary/2020/09/THE_EARTH_IS_AS_BLUE_AS_AN_ORANGE_16x9_01.jpg?ssl=1

“Life during wartime” is not all about soldiers, generals, and politicians. The most overlooked participants are those who did not ask to be in the thick of it…the civilians caught in the crossfire. They are not spending time obsessing over borders, strategy, or ideology. They are just trying to keep their heads down and go about with their daily lives. Such is the plight of the Ukrainian family in this one-of-kind documentary.

Filmed near Donbass, Ukraine over a 2½-year period during and after the 2014 war in the region, it chronicles the daily life of a single mother and her four children. The mother is a writer, and one of her daughters is an aspiring film maker. There are times when the conflict intrudes (like when artillery shells explode much too close for comfort), but director Iryna Tsilyk avoids sensationalism and focuses instead on showing us the humanity of her subjects.

SIFF 2021: Caterpillars (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 10, 2021)

https://i0.wp.com/www.siff.net/images/FESTIVAL/2021/Films/Features/C/Caterpillars.jpg?ssl=1

This beautifully photographed documentary focuses on two Aka Pygmies who have set up a makeshift outdoor school for the children of their village as a community service. Bereft of funds for proper school supplies, the men take a hiatus from teaching to travel deep into the surrounding forest to harvest caterpillars, which they can easily turn into a marketable delicacy known as makongo.

Arduous as the harvesting is, that’s the easy part…now they have to hoof it to the big city, where they haggle with shady market vendors and deal with the racial discrimination Pygmies unfortunately face from other Central Africans. Director Elvis Sabin Ngaïbino uses a strictly observational approach, resulting in an immersive and fascinating study of a unique aboriginal culture as they struggle with modernization.

Over the hills and far away: 15 films for St. Patrick’s Day

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on March 13, 2021)

https://i1.wp.com/images.squarespace-cdn.com/content/v1/57e05e534402434aa0f846c2/1490997128394-9ZBOJERO846MPA8PIS6U/ke17ZwdGBToddI8pDm48kBnhHMbatH1BOonEGaxJHPYUqsxRUqqbr1mOJYKfIPR7LoDQ9mXPOjoJoqy81S2I8N_N4V1vUb5AoIIIbLZhVYxCRW4BPu10St3TBAUQYVKcrVnvKqDCNjZfSuaBgkz_xJCAh7arVTVUjjwUHFR6Xo1VDSlkO_HOMZAiHOevhsJt/image-asset.jpeg?ssl=1

Saint Patrick’s Day is this Wednesday, so I thought I’d help you get your Irish up and drive those snakes from your media room with 15 grand film recommendations.  Sláinte!

https://i0.wp.com/www.irishtimes.com/polopoly_fs/1.2155842.1427463426!/image/image.jpg?ssl=1

The Commitments – “Say it leoud. I’m black and I’m prewd!” Casting talented yet unknown actor/musicians to portray a group of talented yet unknown musicians was a stroke of genius by director Alan Parker. This “life imitating art imitating life” trick works wonders. In some respects, The Commitments is an expansion of Parker’s 1980 film Fame; except here the scenario switches from New York to Dublin (there’s a bit of a wink in a scene where one of the band members breaks into a parody of the Fame theme).

However, these working-class Irish kids don’t have the luxury of attending a performing arts academy; there’s an undercurrent referencing the economic downturn in the British Isles. The acting chemistry is superb, but it’s the musical performances that shine, especially from (then) 16-year old Andrew Strong, who has the soulful pipes of someone who has been smoking 2 packs a day for decades. In 2007, cast member/musician Glen Hansard co-starred in John Carney’s surprise low-budget hit, Once, a lovely character study that would make a perfect double bill with The Commitments.

https://i1.wp.com/irelandxo.com/sites/default/files/DarbyOGill.jpg?ssl=1

Darby O’Gill and the Little People – Sean Connery…in a film about leprechauns?! Well, stranger things have happened. Albert Sharpe gives a delightful performance as lead character Darby O’Gill in this 1959 fantasy from perennially family-friendly director Robert Stevenson (Mary Poppins, The Love Bug, The Absent-Minded Professor, That Darn Cat!).

Darby is a crusty yet benign b.s. artist who finds himself embroiled in the kind of tale no one would believe if he told them it were true-matching wits with the King of the Leprechauns (Jimmy O’Dea), who has offered to play matchmaker between Darby’s daughter (Janet Munro) and the strapping pre-Bond Connery. The special effects hold up surprisingly well (considering the limitations of the time). The scenes between Sharpe and O’Dea are especially amusing. “Careful what you say…I speak Gaelic too!”.

https://i2.wp.com/film-grab.com/wp-content/uploads/2019/02/madmary024.jpg?ssl=1

A Date for Mad Mary – Seana Kerslake makes a remarkable debut in Darren Thornton’s 2017 dramedy (co-written by the director with his brother Colin) about a troubled young woman who is being dragged kicking and screaming (and swearing like a sailor) into adulthood. Fresh from 6 months in a Dublin jail for instigating a drunken altercation, 20-year-old “mad” Mary (Kerslake) is asked to be maid of honor by her BFF Charlene. Assuming that her volatile friend won’t find a date, Charlene refuses her a “plus one”. Ever the contrarian, Mary insists she will; leading to an unexpected relationship.

https://i2.wp.com/media.timeout.com/images/27626/630/472/image.jpg?ssl=1

Garage – At once heartbreaking and uplifting, this 2007 character study by director Leonard Abrahamson and writer Mark O’Halloran is an underappreciated gem.

It’s a deceptively simple story about an emotionally and socially stunted yet affable thirty-something bachelor named Josie (Pat Shortt), who tends a gas station in a small country village (he bunks in the garage). When he befriends a teenager (Conor Ryan) who takes a summer job at the gas station, it unexpectedly sets off a chain of life-shaking events for Josie. Shortt (a popular comedian in his home country) gives an astonishing performance.

I like the way the film continually challenges expectations, delivering an insightful glimpse at the human condition every bit as affecting and profound as Kurosawa’s Ikiru.

https://i1.wp.com/alchetron.com/cdn/Hear-My-Song-images-db90a9de-70b4-4cd6-b53a-51d4d02265d.jpg?ssl=1

Hear My Song – This charming, quirky comedy-drama from writer-director Peter Chelsom (Funny Bones) concerns an Irish club-owner in England (Adrian Dunbar) who’s having a streak of bad luck. He’s not only on the outs with his lovely fiancée (Tara Fitzgerald), but is forced to shut down his venue after a series of dud bookings (like “Franc Cinatra”) puts him seriously in the red. Determined to win back his ladylove and get his club back in the black, he stows away on a freighter headed for his native Dublin. He enlists an old pal to help him hunt down and book a legendary tenor (Ned Beatty, in one of his best roles) who has hasn’t performed in decades (he’s hiding from the tax man). Fabulous script, direction, and acting. Funny, touching and guaranteed to lift your spirits.

https://i1.wp.com/www.intofilm.org/intofilm-production/scaledcropped/870x489https%3A/s3-eu-west-1.amazonaws.com/images.cdn.filmclub.org/film__18653-i-am-belfast--hi_res-f7d7c019.jpg/film__18653-i-am-belfast--hi_res-f7d7c019.jpg?ssl=1

I Am Belfast – I try not to use “visual tone poem” as a descriptive for the indescribable when I can avoid it…but sometimes, there is no avoiding it. As in this case, with Irish director Mark Cousins’ meditation on his beloved home city. Part documentary and part (here it comes) visual tone poem, Cousins ponders the past, present and possible future of Belfast’s people, legacy and spirit.

I’m pretty sure Cousins is going for the vibe of the 1988 Terence Davies film Distant Voices, Still Lives, a similar mélange of sense memory, fluid timelines and painterly visuals (I know Cousins loves that movie, because he gushed over it in his epic 15-hour documentary, The Story of Film). The lovely cinematography is by Christopher Doyle. A rewarding experience  for patient viewers.

https://i1.wp.com/media.irishpost.co.uk/uploads/2018/04/18143457/In-Bruges-Irish-Post-3.jpg?ssl=1

In Bruges – OK, full disclosure. In my original review, I gave this 2008 Sundance hit a somewhat lukewarm appraisal. But upon a second viewing, then a third… I realized that I like this film quite a lot (happens sometimes…nobody’s perfect!).

A pair of Irish hit men (Brendan Gleeson and Colin Farrell) botch a job in London and are exiled to the Belgian city of Bruges, where they are ordered to lay low until their piqued Cockney employer (an over the top Ray Fiennes) dictates their next move. What ensues can be perhaps best described as a tragicomic Boschian nightmare (which will make more sense once you’ve seen it). Written and directed by Irish playwright Martin McDonagh, who deftly demonstrates the versatility of “fook” as a noun, an adverb, a super adverb and an adjective.

 

https://i2.wp.com/www.bfi.org.uk/sites/bfi.org.uk/files/styles/full/public/image/into-the-west-1992-001-boys-on-white-horse-in-countryside.jpg?ssl=1

Into the West – A gem from one of the more underappreciated “all-purpose” directors working today, Mike Newell (Dance With a Stranger, Enchanted April, Four Weddings and a Funeral, Donnie Brasco, Pushing Tin). At first glance, it falls into the “magical family film” category, but it carries a subtly dark undercurrent with it throughout, which keeps it interesting for the adults in the room. Lovely performances, a magic horse, and one pretty pair o’ humans (Ellen Barkin and Gabriel Byrne, real-life spouses at the time).

https://images.squarespace-cdn.com/content/57e05e534402434aa0f846c2/1539367221561-PYCVN3RUX1YMLIG5X9XM/millers-crossing-albert-finney?content-type=image%2Fjpeg

Miller’s Crossing– This 1990 gangster flick could only come from the unique mind-meld of Joel and Ethan Coen. The late Albert 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.

https://i1.wp.com/www.intofilm.org/intofilm-production/scaledcropped/1096x548https%3A/s3-eu-west-1.amazonaws.com/images.cdn.filmclub.org/film__2889-my-left-foot--hi_res-c8f8521a.jpg/film__2889-my-left-foot--hi_res-c8f8521a.jpg?ssl=1

My Left Foot – This was the first (and best) of three collaborations between writer-director Jim Sheridan and actor Daniel Day-Lewis (1993’s In the Name of the Father and 1997’s The Boxer were to follow). This intensely moving 1989 biopic concerns Christy Brown, a severely palsied man who became a renowned author, poet and painter despite daunting physical roadblocks.

Thankfully, the film makers avoid the audience-pandering shtick of turning its protagonist into the cinematic equivalent of a lovable puppy (see Rainman, I Am Sam); Brown is fearlessly portrayed by Day-Lewis “warts and all” with peccadilloes laid bare. As a result, you acclimate to Day-Lewis’ physical tics, allowing Brown to emerge as a complex human being, not merely an object of pity.

Day-Lewis deservedly picked up an Oscar. Brenda Fricker also earned her supporting Oscar as Brown’s mother. Don’t let Day-Lewis’ presence overshadow 13-year old Hugh O’Conor’s contribution as young Christy; it’s also a great performance.

https://i1.wp.com/i.kinja-img.com/gawker-media/image/upload/s--3ZwibVbB--/c_scale,f_auto,fl_progressive,q_80,w_800/clxmlrakwefwgckbacgy.jpg?ssl=1

Odd Man Out – An absorbing film noir from the great director Carol Reed (The Third Man, The Fallen Idol). James Mason is excellent as a gravely wounded Irish rebel who is on the run from the authorities through the dark and shadowy backstreets of Belfast. Interestingly, the I.R.A. is never referred to directly, but the turmoil borne of Northern Ireland’s “troubles” is most definitely implied by word and action throughout F.L. Green and R.C. Sherriff’s intelligent screenplay (adapted from Green’s original novel). Unique for its time, it still holds up remarkably well as a “heist gone wrong”/chase thriller with strong political undercurrents. The great cast includes Robert Newton and Cyril Cusack.

https://i0.wp.com/static.seattletimes.com/wp-content/uploads/2016/07/3329d26a-4de5-11e6-a37b-6eebb9eecd1f-780x501.jpg?resize=780%2C501&ssl=1

Older Than Ireland – “They” say with age, comes wisdom. Just don’t ask a centenarian to impart any, because they are likely to smack you. Not that there is any violence in Alex Fegan and Garry Walsh’s doc, but there is a consensus among interviewees (aged from 100-113 years) that the question they find most irksome is: “What’s your secret to living so long?” Once that hurdle is cleared, Fegan and Walsh’s subjects have much to impart in this wonderfully entertaining (and ultimately moving) pastiche of the human experience. Do yourself a favor: turn off your personal devices for 80 minutes, watch this wondrous film and plug into humankind’s forgotten backup system: the Oral Tradition.  Original full review

https://i2.wp.com/img.resized.co/irishpostcouk/eyJkYXRhIjoie1widXJsXCI6XCJodHRwczpcXFwvXFxcL21lZGlhLmlyaXNocG9zdC5jby51a1xcXC91cGxvYWRzXFxcLzIwMTZcXFwvMDdcXFwvVGhlLVF1aWV0LU1hbi0xLmpwZ1wiLFwid2lkdGhcIjo3MDAsXCJoZWlnaHRcIjozNzAsXCJkZWZhdWx0XCI6XCJodHRwczpcXFwvXFxcL3d3dy5pcmlzaHBvc3QuY29tXFxcL2lcXFwvbm8taW1hZ2UucG5nXCJ9IiwiaGFzaCI6ImQ3NGFkNTI0MWZiZmUwMTI0NTFkMDZhNTIxYTRkMjQ0Y2YxZTEzNTQifQ==/the-quiet-man-1.jpg?ssl=1

The Quiet Man – A John Ford classic. I’ll admit to never having been a huge John Wayne fan, but he’s perfect in this role as a down-on-his-luck boxer who leaves America to get in touch with his roots in his native Ireland. The most entertaining (and purloined) donnybrook of all time, plus a fiery performance from the gorgeous Maureen O’Hara round things off nicely. Although quite tame by today’s standards, I’ve always found the romantic scenes between Wayne and O’Hara to be surprisingly erotic for the time. The pastoral valleys and rolling hills of the Irish countryside have never looked lovelier onscreen, thanks to Winton C. Hoch and Archie Stout’s Oscar-winning cinematography.

https://i2.wp.com/cinemontage.org/wp-content/uploads/2019/08/Secret_Roan_Inish_1994_5RGBfeat-678x381.jpg?resize=678%2C381&ssl=1

The Secret of Roan Inish – John Sayles delivers an engaging fairy tale, devoid of the usual genre clichés. Wistful, haunting and beautifully shot by the great cinematographer Haskell Wexler, who captures the misty desolation of County Donegal’s rugged coastline in a way that frequently recalls Michael Powell’s similarly effective utilization of Scotland’s Shetland Islands for his 1937 classic, The Edge of the World. The seals should have received a special Oscar for Best Performance by a Sea Mammal. Ork, ork!

https://i0.wp.com/www.animationmagazine.net/wordpress/wp-content/uploads/Song-of-the-sea-post4.jpg?ssl=1

his 2014 animated fantasy from writer-director Tomm Moore centers on a melancholic lighthouse keeper named Conor (voiced by Brendan Gleeson), who is raising his young son and daughter following the tragic loss of his wife, who died in childbirth.

After his daughter is nearly swept away by the sea one night, Conor decides the children would be better off staying with their grandmother in the city. The kids aren’t so crazy about this plan; after a few days with grandma they make a run for it. Before they can wend their way back home, they are waylaid by a band of characters that seem to have popped right out of one of those traditional Irish fairy tales that Conor’s mother used to tell him as a child.

Moore’s film has a timeless quality and a visual aesthetic on par with the best of Studio Ghibli. There is a genuine sense of heart in Moore’s use of hand-drawn animation; something sorely lacking from the computer-generated “product” glutting multiplexes these days.

No music, no life: Top 10 music docs of the decade

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on January 30, 2021)

https://i2.wp.com/media.americansongwriter.com/wp-content/uploads/2020/02/30063513/2-martin-1.jpg?ssl=1

Without music, life would be a mistake. – Friedrich Nietzsche

After 11 months of hunkering down, I’d imagine “Netflix fatigue” is setting in for some (you know…when you spend more time scrolling for something “interesting” than actually watching anything). Buck up, little camper… there are still many worthwhile films-you just need to know where to look. With that in mind, I’ve combed my 2011-2020 review archives and picked out the 10 top music docs of the decade. If music be the food of love, play on!

https://i0.wp.com/media.npr.org/assets/img/2013/07/02/3_wide-2108b65b6c39e9b1f75ee9453f01785617e61b87-s800-c85.jpg?ssl=1

Big Star: Nothing Can Hurt Me – Founded in 1971 by singer-guitarist Chris Bell and ex-Box Tops lead singer/guitarist Alex Chilton, the Beatle-esque Big Star was a anomaly in their hometown of Memphis, which was only the first of many hurdles this talented band was to face during their brief, tumultuous career. Now considered one of the seminal influences on the “power pop” genre, the band was largely ignored by record buyers during their heyday (despite critical acclaim from the likes of Rolling Stone).

Then, in the mid-1980s, a cult following steadily began to build around the long-defunct outfit after college radio darlings like R.E.M., the Dbs and the Replacements began lauding them as an inspiration. In this fine 2013 rockumentary, director Drew DeNicola also tracks the lives of the four members beyond the 1974 breakup, which is the most riveting (and heart wrenching) part of the tale. Pure nirvana for power-pop aficionados.

https://i2.wp.com/img.apmcdn.org/54ace2715a72849f4196416e8d14ccd3742cc9de/uncropped/edd8de-20161108-iggy-pop-and-the-stooges-in-gimme-danger.jpg?ssl=1

Gimme DangerWell it’s 1969 OK, all across the USA/It’s another year for me and you/Another year with nuthin’ to do/Last year I was 21, I didn’t have a lot of fun/And now I’m gonna be 22/I say oh my, and a boo-hoo (from “1969” by The Stooges)

They sure don’t write ‘em like that anymore. The composer is one Mr. James Osterberg, perhaps best known by his show biz nom de plume, Iggy Pop. Did you know that this economical lyric style was inspired by Buffalo Bob…who used to encourage Howdy Doody’s followers to limit fan letters and postcards to “25 words or less”? That’s one of the revelations in Jim Jarmusch’s 2016 cinematic fan letter to one of his idols.

Jarmusch is a bit nebulous regarding the breakups, reunions, and shuffling of personnel that ensued during the band’s heyday (1967-1974), but that may not be so much his conscious choice as it is acquiescing to (present day) Iggy’s selective recollections (Iggy does admit drugs were a factor).

While Jarmusch also interviews original Stooges Ron Asheton (guitar), and his brother Scott Asheton (drums), their footage is sparse (sadly, both have since passed away). Bassist Dave Alexander, who died in 1975, is relegated to archival interviews. Guitarist James Williamson (who played on Raw Power) and alt-rock Renaissance man Mike Watt (the latter-day Stooges bassist) contribute anecdotes as well.

A few nitpicks aside, this is the most comprehensive retrospective to date regarding this influential band; it was enough to make this long-time fan happy, and to perhaps enlighten casual fans, or the curious. (Full review)

https://ca-times.brightspotcdn.com/dims4/default/4efe1f2/2147483647/strip/true/crop/2048x1152+0+0/resize/840x473!/quality/90/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F3b%2F25%2Fb3c5f4d6e55ca03895769e4838ef%2Fla-la-ca-1102-heart-of-a-dog-movie04-jpg-20151105

Heart of a Dog – I love Laurie Anderson’s voice. In fact, it was love at first sound, from the moment I heard “O Superman” wafting from my FM radio late one night back in the early 1980s. It was The Voice…at once maternal, sisterly, wise, reassuring, confiding, lilting, impish. Hell, she could read the nutritional label on a box of corn flakes out loud…and to me it would sound artful, thoughtful, mesmerizing.

It’s hard to describe her 2015 film; I’m struggling mightily not to pull out the good old reliable “visual tone poem”. (Moment of awkward silence). Okay, I blinked first…it’s a visual tone poem, alright? Even Anderson herself is a somewhat spectral presence in her own movie, which (like the artist herself), is an impressionistic mixed media mélange of drawings, animations, video, and even vintage super 8 family movies from her childhood.

You could say that Death is Anderson’s co-pilot on this journey to the center of her mind. But it’s not a sad journey. It’s melancholy and deeply reflective, but it’s never sad. (Full review)

https://ca-times.brightspotcdn.com/dims4/default/60207eb/2147483647/strip/true/crop/1600x900+0+0/resize/1486x836!/quality/90/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F66%2F5f%2F7cae5d31aa4d3524094dcb15728e%2Fla-la-ca-1105-janis-010-jpg-20151109

Janis Joplin: Little Girl Blue – In Amy Berg’s 2015 documentary, we see a fair amount of “Janis Joplin”, the confident and powerful cosmic blues-rocker; but the primary focus of the film is one Janis Lyn Joplin, the vulnerable and insecure “little girl blue” from Port Arthur, Texas who lived inside her right up until her untimely overdose at age 27 in 1970.

“She” is revealed via excerpts drawn from an apparent trove of private letters, confided in ingratiating fashion by whisky-voiced narrator Chan Marshall (aka “Cat Power”). This is what separates Berg’s film from Howard Alk’s 1974 documentary Janis, which leaned exclusively on archival interviews and performance footage. Berg mines clips from the same vaults, but renders a more intimate portrait, augmented by present-day insights from Joplin’s siblings, close friends, fellow musicians, and significant others.

Despite undercurrents of melancholy and sadness and considering that we know going in that it is not going to have a Hollywood ending, the film is surprisingly upbeat. Joplin’s intelligence, sense of humor and joie de vivre shine through as well, and Berg celebrates her legacy of empowerment for a generation of female musicians who followed in her wake. On one long dark night of her soul, that “ball and chain” finally got too heavy to manage, but not before she was able to wield it to knock down a few doors. (Full review)

https://s.yimg.com/ny/api/res/1.2/f1lunLGUTPvnocmRfneSIA--~A/YXBwaWQ9aGlnaGxhbmRlcjtzbT0xO3c9ODAw/https:/media.zenfs.com/en-US/rollingstone.com/63bdfd47fb402f1295fab69ba1f719c2

Linda Ronstadt: The Sound of My Voice – Ronstadt (and that truly wondrous voice) is the subject of this intimate 2019 documentary portrait by directing tag team Rob Epstein and Jeffrey Friedman (The Celluloid Closet, Howl, Lovelace). The film is narrated by Ronstadt herself (archival footage aside, she only appears on camera briefly at the end of the film).

Bad news first (this is a matter of public record, so not a spoiler). While Ms. Ronstadt herself is still very much with us, sadly “that wondrous voice” is not. In 2012 she was diagnosed with Parkinson’s disease (she mentions in the film that it runs in her family), which has profoundly affected her ability to sing. That said, she remains sharp as a tack; in turns deeply thoughtful and charmingly self-effacing as she reflects on her life and career.

For those of us “of a certain age”, Ronstadt’s songbook is so ingrained in our neurons that we rarely stop to consider what an impressive achievement it was for her to traverse so much varied musical terrain-and to conquer it so effortlessly at each turn.

What struck me most as I watched the film is her humility in the wake of prodigious achievement. I don’t get an impression the eclecticism stems from calculated careerism, but rather from a genuine drive for artistic exploration. (Full review)

https://ca-times.brightspotcdn.com/dims4/default/b0f602e/2147483647/strip/true/crop/512x343+0+0/resize/840x563!/quality/90/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F47%2F9a%2Fe0f5fce18882116aa8d97fcdea13%2Fsdut-in-this-publicity-image-release-20160829-025

Miles Davis: Birth of the Cool  – Few artists are as synonymous with “cool” as innovative musician-arranger-band leader Miles Davis. That’s not to say he didn’t encounter some sour notes during his ascent to the pantheon of jazz (like unresolved issues from growing up in the shadow of domestic violence, and traumatic run-ins with racism-even at the height of fame). Sadly, as you learn while watching Stanley Nelson’s slick and engrossing 2019 documentary, much of the dissonance in Davis’ life journey was of his own making (substance abuse, his mercurial nature). Such is the dichotomy of genius.

https://i0.wp.com/consequenceofsound.net/wp-content/uploads/2016/03/screen-shot-2016-03-08-at-11-21-50-pm.png?ssl=1

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 this engaging and beautifully crafted 2011 BBC documentary. 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 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 infamously overproduced the album). Insightful interviews with artists who have worked with Martin (and admiring peers) round things off nicely. (Full review)

https://i2.wp.com/mixmag.asia/assets/uploads/images/_facebook/Sakamoto.png?ssl=1

Ryuichi Sakamoto: Coda – There’s a wonderful moment of Zen in Stephen Nomura Schible’s 2018 documentary where his subject, Japanese composer Ryuichi Sakamoto, after much experimentation with various “found” sounds, finally gets the “perfect” tonality for one single 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 also say it is but a series of such Zen moments, a deeply reflective and meditative glimpse at the most intimate workings of the creative process. It’s also a document of Sakamoto’s quiet fortitude, as he returns to the studio after taking a hiatus to engage in anti-nuke activism and to battle his cancer. A truly remarkable film.

https://i2.wp.com/www.indiewire.com/wp-content/uploads/2015/02/the-theory-of-obscurity-still.jpg?ssl=1

The Theory of Obscurity  – As defined in The Theory of Obscurity: a film about The Residents (and by the artists themselves) the Residents are not a “band” …so much as they are an ongoing art installation.

In his 2016 film, Director Don Hardy Jr. took on the unenviable task of profiling a band who have not only refused to reveal their faces in any billed public appearances over a 40-year career but continue to this day to willfully obfuscate their backstory (and the fact that publicity is handled through their self-managed “Cryptic Corporation” puts the kibosh on any hopes of discovery).

Attempting to describe their music almost begs its own thesis-length dissertation; it’s best understood by simply sampling it yourself. Just don’t expect anything conventional. Or consistent; they are experimental in every sense of the word.

The Residents have been more musically influential than one may assume; members of Devo, Primus, Ween and the Talking Heads are on hand to testify as such. I was a little surprised that Daft Punk isn’t mentioned, especially since they literally wear their influences on their sleeves (well, in this case, their heads). While The Residents are not for all tastes, Hardy has fashioned an ingratiating, maybe even definitive, portrait of them. (Full review)

https://i1.wp.com/stmedia.startribune.com/images/1crew0916.jpg?ssl=1

The Wrecking Crew – “The Wrecking Crew” was a moniker given to an aggregation of crack L.A. session players who in essence created the distinctive pop “sound” that defined classic Top 40 from the late 50s through the mid-70s. With several notable exceptions (Glen Campbell, Leon Russell and Mac “Dr. John” Rebennack) their names remain obscure to the general public, even if the music they helped forge is forever burned into our collective neurons.

This 2015 documentary was a labor of love in every sense of the word for first-time director Denny Tedesco, whose late father was the guitarist extraordinaire Tommy Tedesco, a premier member of the team.

Tedesco traces origins of the Wrecking Crew, from participation in co-creating the legendary “Wall of Sound” of the early 60s (lorded over by mercurial pop savant Phil Spector) to collaborations with Brian Wilson (most notably, on the Beach Boys’ seminal Pet Sounds album) and backing sessions with just about any other chart-topping artists of the era you would care to mention.

Tedesco has curated fascinating vintage studio footage, as well as archival and present-day interviews with key players. You also hear from some of the producers who utilized their talents. Tedesco assembled a group of surviving members to swap anecdotes…and they have got some great stories to tell. Tedesco’s film is a celebration of a unique era of popular art that (love it or loathe it), literally provided the “soundtrack of our lives” for some of us of a (ahem) certain age. (Full review).

Who needs the Peace Corps: Zappa (****) & White Riot (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on January 2, 2021)

https://i0.wp.com/www.udiscovermusic.com/wp-content/uploads/2020/02/Frank-Zappa-GettyImages-103451254.jpg?ssl=1

“A lot of what [The Mothers of Invention] do is designed to annoy people to the point where they might, just for a second, question enough of their environment to do something about it. As long as they don’t feel their environment – they don’t worry about it – they’re not going to do anything to change it and something’s gotta be done before America scarfs up the world and shits on it.”

– Zappa, on Zappa…from Zappa

Directed by actor Alex Winter (yes…”Bill” as in “Bill & Ted”), Zappa (****) is the best film portrait of composer-musician-producer-actor-satirist-provocateur Frank Zappa I’ve seen to date (and I’ve seen a lot of ’em). Intimate and moving, it covers all aspects of his career, but it’s the first doc to (rightfully) position him as one of our greatest modern composers (not just a “rock star”).

While there are brief performance clips, this is not a Zappa performance film (there are plenty of those already) but rather a unique attempt to get inside his head; to understand what inspired him, what pissed him off, but mostly what drove a Picasso-like need to create up until the end (which came much too soon when he died of prostate cancer in 1993, just weeks before his 53rd birthday).

In a recent IndieWire interview, Winter expounded on his decision to take an intimate approach:

“I came up in the entertainment industry, where you’re surrounded with mythologizing and so much bullshit. It’s so hard to tear those things down and find human beings there or retain your own humanity. So I think there was an aspect of my own interest in Zappa, how he retained his humanity and the consequences he faced for living the life that he did that compelled me all the way through.”

Winter was given unprecedented access to the family archives, so he had his work cut out for him:

“For me, the gold in his vault was hours and hours and hours of him shooting the shit. The stuff that we made narration out of was literally him on his easy chair in the basement talking to Matt Groening or talking to a musician or a pundit. We just cut all the other people out and made a narrative. Then we chopped the narrative up, so he would start his prison story in ’68, he would keep it going in ’85, and he would end it in ’92. We’d use all of that in one sentence. So, we were very aware of the idea of trying to demystify yourself while you re-mythologize yourself which was something Zappa did himself.”

One prevalent theme in Winter’s portrait is that Zappa was an artist with intense creative focus (the one time I got to see him perform in Troy, New York in 1976 I remember marveling how he was able to sing, play and conduct the band…all while chain-smoking through the entire set). His perfectionism and 3-dimensional chess mindset (as Winter appears to be implying) could have contributed to Zappa’s reputation as a brusque and manipulative “boss” with some of his players.

That said, there is also a well-chosen roster of former band members (Ruth Underwood, Howard Kaylan, Mark Volman, Steve Vai, et.al.) and creative collaborators on hand to parse his strengths and weaknesses from a first-hand view, and offer illuminating insight into the blood, sweat, and toil that went into producing such an impressive body of work (over 60 albums released in Zappa’s lifetime, plus uncounted hours of live and studio tapes spanning 30 years that languish in the family vaults). Some of them do acknowledge that Zappa could be cold and dismissive…well, an asshole.

But as The Burning Sensations sang: Pablo Picasso never got called an asshole. Winter’s main thrust isn’t about the traumas and psychodramas. It is about the creative process of an iconoclast who (by his own admission), worked day and night composing the music that he wanted to listen to, simply because no one else was. And if other people happened to like it…he was cool with that.

“Zappa” is currently streaming on various VOD platforms

https://i0.wp.com/static.independent.co.uk/s3fs-public/thumbnails/image/2016/07/18/13/rock-aginst-racism-6.jpg?ssl=1

As a musician, Eric Clapton has rarely played off-key…but he really hit a sour note with music fans attending a 1976 concert in Birmingham, England. During the performance, Clapton launched into a shocking, racial epithet-laden anti-immigrant harangue, essentially parroting the tenets of the fascistic, far-right National Front organization that was gaining substantial political power and declaring his glowing admiration for former Conservative MP-turned demagogue Enoch Powell.

Clapton wasn’t the only U.K. rock luminary at the time who sounded like he was ready for the white room with no windows or distractions. David Bowie infamously stated in one interview “I think Britain could benefit from a fascist leader. After all, fascism is really nationalism… I believe very strongly in fascism, people have always responded with greater efficiency under a regimental leadership.”  (Bowie would later blame it on the drugs, laughing off the comments as “theatrical observations”). Rod Stewart made the unfortunate comment “…immigrants should be sent home.”

Something else was trending in the U.K. music scene circa 1976-the burgeoning punk movement. In addition to its prime directive to shake up the rock establishment that included the likes of Messrs. Clapton, Bowie and Stewart, there was an anti-fascist political ethos streaking through the punk ranks.

Granted, there was a certain segment of the “skinhead” subculture that became synonymous with National Front rhetoric…but not all skinheads were NF sympathizers. In short, it wasn’t simply Mods vs. Rockers anymore. The U.K. music scene had become …complicated.

In her documentary White Riot (***), Rubika Shaw takes a valiant stab at sorting all that out in 80 minutes; specifically through the lens of the “Rock Against Racism” movement that was ignited (in part) by Clapton’s ill-advised foray into spoken word performance in 1976, and culminated in a game-changing 1978 rally/music festival in London’s Victoria Park headlined by The Clash, Steel Pulse, and The Tom Robinson Band that was attended by an estimated 100,000.

Shaw mixes archival clips and interviews with present day ruminations from some of RAR’s movers and shakers, primarily represented by photographer/political activist David “Red” Saunders. Sanders, whose background ran the gamut from underground theater player and war photojournalist to doing professional photography for ad agencies, periodicals, and album covers, was the co-founder of Temporary Hoarding, the punk fanzine that became the “voice” of RAR.

In the film, Saunders recalls how he kick-started RAR with this letter to the U.K. music press:

When I read about Eric Clapton’s Birmingham concert when he urged support for Enoch Powell, I nearly puked. What’s going on, Eric? You’ve got a touch of brain damage. So you’re going to stand for MP and you think we’re being colonised by black people. Come on… you’ve been taking too much of that Daily Express stuff, you know you can’t handle it. Own up. Half your music is black. You’re rock music’s biggest colonist. You’re a good musician but where would you be without the blues and R&B? You’ve got to fight the racist poison, otherwise you degenerate into the sewer with the rats and all the money men who ripped off rock culture with their chequebooks and plastic crap. Rock was and still can be a real progressive culture, not a package mail-order stick-on nightmare of mediocre garbage. We want to organise a rank-and-file movement against the racist poison in rock music – we urge support – all those interested please write to:

ROCK AGAINST RACISM,

Box M, 8 Cotton Gardens, London E2 8DN

P. S. ‘Who shot the Sheriff’, Eric? It sure as hell wasn’t you!

[Signed] Peter Bruno, Angela Follett, Red Saunders, Jo Wreford, Dave Courts, Roger Huddle, Mike Stadler, etc.

Now there is a mission statement that says: “Let’s kill it before it grows.”

And it was growing; “it” being the influence of the National Front. Initially flitting about the fringes of British politics as a coalition of radical right-wing groups in the 60s, the organization had a more centralized platform by the end of the decade. They had found a “champion” of sorts in Enoch Powell, a Conservative Party politician who gave an inflammatory address in 1968 dubbed the “Rivers of Blood speech”.

The speech was a populist appeal against non-white immigration into Britain, advocating (among other things) a repatriation program. While not as radical as the NF’s stand on immigrants (basically “round ’em up and send ’em all back”) it gave them a sense of empowerment to have a high-profile government official as an ideological ally (sound familiar?).

Stand back and stand by…there’s more.

There are a number of items that “sound familiar” in Shaw’s film, particularly in the recounting of an August 1977 clash in the streets between members of the National Front (who had organized an anti-immigrant march) and counter demonstrators. There was a strong police presence; the day would come to mark the first time they used riot shields on mainland Britain.

A number of the Bobbies also let their white slips show by demonstrating a marked preference for using strong arm tactics against the counter-demonstrators (many of whom were people of color), while coddling the NF marchers (August 2020 in Kenosha, Wisconsin…anyone?).

Modern parallels resonate well outside the Colonies. From an April 2020 Guardian article:

Contemporary Britain is battling far-right rhetoric similar to that which divided the country in the 1970s, with the Brexit debate revealing how politicians continue to stoke racial tension, according to the director of a film about the formation of Rock Against Racism (RAR).

Rubika Shah, the director of a new documentary about the lead up to RAR’s march and concert in east London’s on 30 April 1978, says the UK is still struggling to counter the far-right populism that made the National Front a force in the 1970s.

“There are so many similarities,” Shah said. “I hope people look at some of the stuff that was happening in the late 70s and think: ‘Wow, this is actually happening now.’” […]

Shah said she deliberately included National Front slogans such as “It’s our country, let’s win it back” to show their echoes in modern campaigning, such as Dominic Cummings’ “Take back control” mantra that was used during the Brexit referendum. “It’s scary how that language creeps back in,” she said.

The director said she was shocked to hear Boris Johnson use the term “invisible mugger” to describe the Coronavirus, as “mugger” was a word used by the National Front and right-wing media to describe black people in the 1970s.

Make America Great Again!

Shaw’s film is engaging, fast-paced, and infused with a cheeky “D.I.Y.” attitude. Considering all the angles she covers, it may be a little too fast-paced; political junkies might find themselves craving a deeper dive into backstory and context. Music fans may be disappointed that despite the film’s title (taken from the eponymous Clash song), the film is not exclusively “about” the punk scene (tiny snippets of performance footage is the best you’ll get).

Still, it’s a fascinating bit of sociopolitical history, and an uplifting reminder that even in the darkest of times, a righteous confluence of art and politics can affect real and positive change.

“White Riot” is currently streaming on various VOD platforms