(Originally posted on Digby’s Hullabaloo on July 12, 2025)
Since it’s now officially summer, I thought it would be a good excuse to cull a list of my 10 seasonal favorites for your consideration. These would be films that I feel capture the essence of these “lazy, hazy, crazy” days; stories infused with the sights, the sounds, the smells, of summer. So, here you go…as per usual, in alphabetical order:
Jazz on a Summer’s Day– Bert Stern’s groundbreaking documentary about the 1958 Newport Jazz Festival is not so much a “concert film” as it is a fascinating and colorful time capsule of late 50s American life. Don’t get me wrong, there are plenty of gorgeously filmed numbers spotlighting the artistry of Thelonius Monk, Anita O’Day, Dinah Washington, Louis Armstrong, etc. and the performances are outstanding.
The effect is like “being there” in 1958 Newport on a languid summer’s day. If you’ve ever attended an outdoor music festival, you know half the fun is people-watching, and Stern obliges. Stern breaks with film making conventions of the era; this is the genesis of the cinema verite music documentary, which wouldn’t come to full flower until a decade later with films like Don’t Look Back, Monterey Pop, Woodstock and Gimme Shelter.
Last Summer– This underrated 1969 gem is from the husband-and-wife film making team of director Frank Perry and writer Eleanor Perry (who adapted from Evan Hunter’s novel).
On the surface, it’s a character study about three friends on the cusp of adulthood (Bruce Davison, Barbara Hershey and Richard Thomas) who develop a Jules and Jim-style relationship during an idyllic summer vacation on Fire Island. When a socially awkward stranger (Catherine Burns) bumbles into this simmering cauldron of raging hormones and burgeoning sexuality, it blows the lid off the pressure cooker, leading to unexpected twists. Think Summer of ’42 meets Lord of the Flies; I’ll leave it there.
Beautifully acted and directed. In 2022, Davison and Thomas appeared in Season 4 of the Netflix series Ozark (although they didn’t share any scenes).
Mid-August Lunch– This slice-of-life charmer from Italy, set during the mid-August Italian public holiday known as Ferragosto, was written and directed by Gianni Di Gregorio (who also co-scripted the 2009 gangster drama Gomorra).
Di Gregorio casts himself as Giovanni, an easy-going middle-aged bachelor living in Rome with his elderly mother. He doesn’t work, because as he tells a friend, taking care of mama is his “job”.
One day, his landlord drops in. He wants to take a weekend excursion with his mistress and asks for a “small” favor. In exchange for forgiveness on back rent, he requests Giovanni take a house guest for the weekend-his elderly mother. Giovanni agrees, but is chagrined when the landlord turns up with two little old ladies (he hadn’t mentioned his aunt). Soon after, Giovanni’s doctor makes a house call; in lieu of a service charge he asks Giovanni if he doesn’t mind taking on his dear old mama as well (Ferragosto is a popular “getaway” holiday in Italy).
It’s the small moments that make this film such a delight. Giovanni reading Dumas aloud to his mother, until she quietly nods off in her chair. Two friends, sitting in the midday sun, enjoying white wine and watching the world go by. In a scene that reminded me of a classic sequence in Fellini’s Roma, Giovanni and his pal glide us through the streets of Rome on a sunny motorcycle ride. This mid-August lunch might offer you a limited menu, but you’ll find every morsel worth savoring.
Mommy is at the Hairdresser’s- Set at the beginning of an idyllic Quebec summer, circa 1966, Lea Pool’s beautifully photographed drama centers around the suburban Gauvin family. A teenager (Marianne Fortier) and her little brothers are thrilled that school’s out for summer. Their loving parents appear to be the ideal couple; Mom (Celine Bonnier) is a TV journalist and Dad (Laurent Lucas) is a medical microbiologist. A marital infidelity precipitates a separation, leaving the kids in the care of their well-meaning but now titular father, and young Elise finds herself the de facto head of the family. This is a perfect film about an imperfect family; a bittersweet paean to the endless summers of childhood lost.
Smiles of a Summer Night– “Lighthearted romp” and “Ingmar Bergman” are not normally synonymous, but it applies to this wise, drolly amusing morality tale from the director whose name is synonymous with somber dramas. Bergman regular Gunnar Bjornstrand heads a fine ensemble, as an amorous middle-aged attorney with a young wife (whose “virtue” remains intact) and a free-spirited mistress, who juggles a few lovers herself. As you may guess, this leads to amusing complications.
Love in all its guises is represented by a bevy of richly drawn characters, who converge in a third act set on a sultry summer’s eve at a country estate (the inspiration for Woody Allen’s A Midsummer Night’s Sex Comedy). Fast-paced, literate, and sensuous, it has a muted cry here and a whisper there of that patented Bergman “darkness”, but compared to most of his oeuvre, this one is a veritable screwball comedy.
Stand By Me– Director Rob Reiner was on a roll in the mid-to late 80s, delivering five exceptional films, book-ended by This is Spinal Tap in 1984 and When Harry Met Sally in 1989. This 1986 dramedy was in the middle of the cycle. Based on a Stephen King novella (adapted by Raynold Gideon and Bruce A. Evans) it’s a bittersweet “end of summer” tale about four pals (Wil Wheaton, River Phoenix, Corey Feldman and Jerry O’Connell) who embark on a search for the body of a missing teenager, during the course of which they learn hard life lessons. Reiner coaxes extraordinary performances from the young leads, and Richard Dreyfus provides the narration.
Summer Wars– Don’t be misled by the cartoon title of Mamoru Hosoda’s eye-popping movie-this could be the Gone with the Wind of Japanese anime. OK…that’s a tad hyperbolic. But it does have drama, romance, comedy, and war-centering around a summer gathering at a bucolic family estate. Tokyo Story meets War Games? At any rate, it’s one of the finer animes of recent years. While some narrative devices in Satoko Ohuder’s screenplay will feel familiar to anime fans (particularly the “cyber-punk” elements), it’s the humanist touches and subtle social observations (reminiscent of Yasujiro Ozu’s films) that makes it unique and worthwhile.
A Summer’s Tale– It’s nearly 8 minutes into Eric Rohmer’s romantic comedy before anyone utters a word; and it’s a man calling a waitress over to order a chocolate crepe. But not to worry, because things are about to get much more interesting.
In fact, our young man, an introverted maths grad named Gaspar (Melvil Poupaud), who is killing time in sunny Dinard until his “sort of” girlfriend arrives to join him on summer holiday, will soon find himself in a dizzying girl whirl. It begins when he meets bubbly and outgoing Margo (Amanda Langlet) an ethnologist major who is spending her summer break waitressing at her aunt’s seaside creperie. Margo is also (sort of) spoken for, with a boyfriend (currently overseas). A friendship blooms. But will they stay “just friends”?
Originally released in France in 1996, this film (which didn’t make its official U.S. debut until 2014) rates among the late director’s best work (strongly recalling Pauline at the Beach, which starred a then teenage Langlet, who is wonderful here as the charming Margo).
In a way, this is a textbook “Rohmer film”, which I define as “a movie where the characters spend more screen time dissecting the complexities of male-female relationships than actually experiencing them”. Don’t despair; it won’t (as Gene Hackman’s character in Night Moves states regarding a Rohmer film) be akin to “watching paint dry”. Even a neophyte will glean the director’s ongoing influence (particularly if you’ve seen Once,When Harry Met Sally, or Richard Linklater’s “Before” trilogy).
Tempest– “Show me the magic.” Nothing says “idyllic” like a Mediterranean getaway, which provides the backdrop for Paul Mazursky’s seriocomic 1982 update of Shakespeare’s classic play.
His Prospero is a harried Manhattan architect (John Cassavetes) who spontaneously quits his firm, abandons his wife (Gena Rowlands), packs up his teen daughter (Molly Ringwald) and retreats to a Greek island for an open-ended sabbatical. He soon adds a young lover (Susan Sarandon) and a Man Friday (Raul Julia) to his entourage. But will this idyll inevitably be steamrolled by the adage: “Wherever you go…there you are”?
The pacing lags a little bit on occasion, but superb performances, gorgeous scenery and bits of inspired lunacy (like a choreographed number featuring Julia and his sheep dancing to “New York, New York”) make up for it.
3 Women– If Robert Altman’s haunting 1977 character study plays like a languid, sun-baked California fever dream…it’s because it was (the late director claimed that the story came to him in his sleep). What ended up on the screen not only represents Altman’s best, but one of the best American art films of the 1970s.
The women are Millie (Shelly Duvall), a chatty physical therapist, considered a needy bore by everyone except her childlike roommate/co-worker Pinky (Sissy Spacek), who worships the ground she walks on, and enigmatic Willie (Janice Rule), a pregnant artist who only paints anthropomorphic lizard figures (empty swimming pools as her canvas). As the three personas slowly merge (bolstered by fearless performances from the three leads), there’s little doubt that Millie, Pinky and Willie hail from the land of Wynken, Blynken and Nod.
(Originally posted on Digby’s Hullabaloo on July 5, 2025)
Ah, July 4th weekend. Nothing kicks off Summer like an all-American holiday that encourages mass consumption of animal flesh (charcoal-grilled to carcinogenic perfection), binge drinking, and subsequent drunken handling of explosive materials. Well, for most people. Being the semi-reclusive weirdo that I am (although I prefer the term “gregarious loner”), nothing kicks off summer for me like holing up for the holiday weekend with an armload of my favorite rock ‘n’ roll musicals. For your consideration (or condemnation) here are my Top 20. Per usual, I present them in no ranking order. For those about to rock…I salute you.
American Pop – Within the realm of animated films, Ralph Bakshi’s name may not be as universally recognizable (or revered) as Walt Disney or Studio Ghibli, but I would consider him no less of an important figure in the history of the genre. During his heyday (1972-1983) the director pumped out 8 full-length feature films (Fritz the Cat, Heavy Traffic, Wizards, et. al.) using his signature blend of live-action, rotoscoping, and traditional cel animation.
In his 1981 film American Pop, director Bakshi and screenwriter Ronni Kern ambitiously attempt to distill the history of 20th Century American popular music (essentially from Vaudeville to Punk) in 90 minutes. The narrative is framed via the triumphs and travails of four generations of a Russian-Jewish immigrant family (all of whom are involved one way or the other in the music business). Intelligently written, beautifully animated, with an eclectic soundtrack (everything from “Swanee” to “Pretty Vacant”).
Bandwagon – A taciturn musician, still reeling from a recent breakup with his girlfriend, has a sudden creative spurt and forms a garage band. The boys pool resources, buy a beat-up van (the “Band” wagon, get it?) and hit the road as Circus Monkey. The requisite clichés ensue: The hell-gigs, backstage squabbles, record company vultures, and all that “art vs commerce” angst; but John Schultz’s crisp writing and directing and mostly unknown cast carry the day.
Indie film stalwart Kevin Corrigan stands out, as does Chapel Hill music scene fixture Doug McMillan (lead singer of The Connells) as a Zen-like road manager (the director is one of McMillan’s ex-band mates). The original soundtrack is an excellent set of power-pop (you’ll have “It Couldn’t Be Ann” in your head for days). Anyone who has been a “weekend rock star” will recognize many of the scenarios; any others who apply should still be quite entertained.
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.
Dance Craze – In the book Reggae International, a collection of essays compiled by Stephen Davis and Peter Simon, sub-culturalist Dick Hebdige writes about the UK’s short-lived yet highly influential “2-tone” movement of the early 1980s:
Behind the fusion of rock and reggae lay the hope that the humour, wit, and style of working-class kids from Britain’s black and white communities could find a common voice in 2-tone; that a new, hybrid cultural identity could emerge along with the new music. The larger message was usually left implicit. There was nothing solemn or evangelical about 2-tone. It offered an alternative to the well-intentioned polemics of the more highly educated punk groups, who tended to top the bill at many of the Rock Against Racism gigs. […]
Instead of imposing an alienating, moralising discourse on a popular form (alien at least to their working-class constituency), bands like the Specials worked in and on the popular, steered clear of the new avant-gardes, and stayed firmly within the “classical” definitions of 50s and early 60s rock and pop: that this was music for Saturday nights, something to dance to, to use.
In 1981, a concert film called Dance Craze was released. Shot in 1980 and directed by Joe Massot (The Song Remains the Same), it was filmed at several venues, showcasing six of the most high-profile bands in the 2 Tone Records stable: Bad Manners, The English Beat, The Bodysnatchers, Madness, The Selector, and The Specials.
I’d heard about this Holy Grail, but it was a tough film to catch; outside of its initial theatrical run in the UK (and I’m assuming very limited engagements here in the colonies) it had all but vanished in the mists of time…until a 2024 restoration and re-release of the film.
This film is nirvana for genre fans; all six bands are positively on fire (this is music for Saturday nights-I guarantee you’ll be dancing in your living room). Thanks to cinematographer Joe Dunton’s fluid “performer’s-eye view” camerawork and tight editing by Ben Rayner and Anthony Sloman, you not only feel like you are on stage with the band, but you get a palpable sense of the energy and enthusiasm feeding back from the audience.
Expresso Bongo– This 1959 British gem from Val Guest undoubtedly inspired Julien Temple’s Absolute Beginners– from the opening tracking shot giddily swooping through London’s Soho district coffee bar/music club milieu, to its narrative about naive show biz beginners with stars in their eyes and exploitative agents’ hands in their wallets. Laurence Harvey plays his success-hungry hustler/manager character with chutzpah. The perennially elfin Cliff Richard plays it straight as Harvey’s “discovery”, Bongo Herbert.
The film includes performances by the original Shadows (Richards’ backup band), featuring guitar whiz Hank Marvin (whom Jeff Beck and Jimmy Page have cited as a seminal influence). The smart, droll screenplay (by Julian More and Wolf Mankowitz) is far more sophisticated than most of the U.S. produced rock’ n ’roll musicals of the era (films like The Girl Can’t Help It and Rock Rock Rock do feature priceless performance footage, but the story lines are dopey).
A Hard Day’s Night– This 1964 masterpiece has been often copied, but never equaled. Shot in a semi-documentary style, the film follows a “day in the life” of John, Paul, George and Ringo at the height of their youthful exuberance and charismatic powers. Thanks to the wonderfully inventive direction of Richard Lester and Alun Owen’s cleverly tailored script, the essence of what made the Beatles “the Beatles” has been captured for posterity.
Although it’s meticulously constructed, Lester’s film has a loose, improvisational feel; and it feels just as fresh and innovative as it was when it first hit theaters all those years ago. To this day I catch subtle gags that surprise me (ever notice John snorting the Coke bottle?). Musical highlights: “I Should Have Known Better”, “All My Loving”, “Don’t Bother Me”, “Can’t Buy Me Love”, and the fab title song.
Hedwig and the Angry Inch – It’s your typical love story. A German teen named Hansel (John Cameron Mitchell) falls for a G.I., undergoes a less than perfect sex change so they can marry, and ends up seduced and abandoned in a trailer park somewhere in Middle America. The desperate Hansel opts for the only logical way out…he creates an alter-ego named Hedwig, puts a glam-rock band together, and sets out to conquer the world. How many times have we heard that tired tale?
But seriously, this is an amazing tour de force by Mitchell, who not only acts and sings his way through this entertaining musical like nobody’s business, but directed and co-wrote (with composer Steven Trask, with whom he also co-created the original stage version).
Help! – Compared to its predecessor (see above), this is a much fluffier affair, from a narrative standpoint (Ringo is being chased by a religious cult who wish to offer him up as a human sacrifice to their god; hilarity ensues). But still, it’s a lot of fun, if you’re in a receptive mood. The Beatles themselves exude enough goofy energy and effervescent charm to make up for the wafer-thin plot line.
Marc Behm and Charles Wood’s script has a few good zingers; but the biggest delights come from director Richard Lester’s flair for visual invention. For me, the best parts are the musical sequences, which are imaginative, artful, and light years ahead of their time (essentially the blueprint for MTV, which was still 15 years down the road).
And of course, the Beatles’ music was evolving in leaps and bounds by 1965. It has a killer soundtrack; in addition to the classic title song, you’ve got “Ticket to Ride”, “You’ve Got to Hide Your Love Away”, “The Night Before” and “I Need You”, to name a few. Don’t miss the clever end credits!
Jailhouse Rock-The great tragedy of Elvis Presley’s film career is how more exponentially insipid each script was from the previous one. Even the part that mattered the most (which would be the music) progressively devolved into barely listenable schmaltz (although there were flashes of brilliance, like the ’69 Memphis sessions).
Fortunately, however, we can still pop in a DVD of Jailhouse Rock, and experience the King at the peak of his powers before Colonel Parker took his soul. This is one of the few films where Elvis actually gets to breathe a bit as an actor (King Creole is another example).
Although he basically plays himself (an unassuming country boy with a musical gift from the gods who becomes an overnight sensation), he never parlayed the essence of his “Elvis-ness” less self-consciously before the cameras as he does here. In addition to the iconic “Jailhouse Rock” song and dance number itself, Elvis rips it up with “Treat Me Nice” and “(You’re So Square) Baby I Don’t Care”.
Ladies and Gentlemen, the Fabulous Stains– A punk version of A Star is Born. This 1981 curio (initially shelved from theatrical distribution) built a cult base, thanks to showings on USA Network’s Night Flight back in the day. As a narrative, this effort from record mogul turned movie director Lou Adler would have benefited from some script doctoring (Slap Shot screenwriter Nancy Dowd is off her game here) but for punk/new wave nostalgia junkies, it’s still a great time capsule.
Diane Lane plays a nihilistic mall rat who breaks out of the ‘burbs by forming an all-female punk trio with her two cousins (played by Marin Kanter and then-15 year-old Laura Dern). They dub themselves The Stains. Armed with a mission statement (“We don’t put out!”) and a stage look possibly co-opted from Divine in Pink Flamingos, this proto-riot grrl outfit sets out to conquer the world (and learn to play their instruments along the way).
Music biz clichés abound, but it’s a guilty pleasure, due to real-life rockers in the cast. Fee Waybill and Vince Welnick of The Tubes are a hoot as washed up glam rockers. The fictional punk band, The Looters (fronted by an angry young Ray Winstone) features Paul Simonon from The Clash and Steve Jones and Paul Cook of the Sex Pistols.
The Phantom of the Paradise – To describe writer-director Brian DePalma’s 1974 horror schlock-rock musical take-off on The Phantom of the Opera as “over the top” would be understatement.
Paul Williams (who composed the memorable soundtrack) chews all the available scenery as ruthless music mogul “Swan”, a man with a curious predilection for insisting his artists sign their (somewhat long-term) contracts in blood. One who becomes so beholden is Winslow (William Finely) a talented composer hideously disfigured in a freak accident (and that’s only the least of his problems). Jessica Harper plays the object of poor Winslow’s unrequited desire, who is slowly falling under Swan’s evil spell.
Musical highlights include the haunting ballad “Old Souls” (performed by Harper, who has a lovely voice) and “Life at Last”, a glam rock number performed by “The Undead”, led by a scene-stealing Gerrit Graham camping it up as the band’s lead singer “Beef”.
Quadrophenia –The Who’s eponymous 1973 double-LP rock opera, Pete Towshend’s musical love letter to the band’s first g-g-generation of most rabid British fans (aka the “Mods”) inspired this 1979 film from director Franc Roddam. With the 1964 “youth riots” that took place at the seaside resort town of Brighton as catalyst, Roddam fires up a visceral character study in the tradition of the British “kitchen sink” dramas that flourished in the early 1960s.
Phil Daniels gives an explosive, James Dean-worthy performance as teenage “Mod” Jimmy. Bedecked in their trademark designer suits and Parka jackets, Jimmy and his Who (and ska)-loving compatriots cruise around London on their Vespa and Lambretta scooters, looking for pills to pop, parties to crash and “Rockers” to rumble with. The Rockers are identifiable by their greased-back hair, leathers, motorbikes, and their musical preference for likes of Elvis and Gene Vincent.
Look for a very young (and much less beefier) Ray Winstone (as a Rocker) and Sting (as a Mod bell-boy, no less). Wonderfully acted by a spirited cast, it’s a heady mix of youthful angst and raging hormones, supercharged by the power chord-infused grandeur of the Who’s music.
Rock and Roll High School – In this 1979 cult favorite from legendary “B” movie producer Roger Corman, director Alan Arkush evokes the spirit of those late 50s rock’ n’ roll exploitation movies (right down to having 20-something actors portraying “students”), substituting The Ramones for the usual clean-cut teen idols who inevitably pop up at the prom dance.
I’m still helplessly in love with P.J. Soles, who plays Vince Lombardi High School’s most devoted Ramones fan, Riff Randell. The great cast of B-movie troupers includes the late Paul Bartel (who directed several of his own films under Corman’s tutelage) and Mary Waronov (hilarious as the very strict principal.) R.I.P. Joey, Dee Dee, Johnny and Tommy.
The Rocky Horror Picture Show– The decades have not diminished the cult appeal of Jim Sharman’s film adaptation of Richard O’Brien’s original stage musical about a hapless young couple (Barry Bostwick and Susan Sarandon) who stumble into the lair of one Dr. Frank-N-Furter (Tim Curry) one dark and stormy night.
Much singing, dancing, cross-dressing, axe-murdering, cannibalism and hot sex ensues-with broad theatrical nods to everything from Metropolis, King Kong and Frankenstein to cheesy 1950s sci-fi, Bob Fosse musicals, 70s glam-rock and everything in between. Runs out of steam a bit in the third act, but with such spirited performances (and musical numbers) you won’t notice. O’Brien co-stars as the mad doctor’s hunchbacked assistant, Riff-Raff.
Stardust – Michael Apted directed this 1974 sequel to Claude Whatham’s 1973 film That’ll Be the Day. David Essex reprises his role as restless seeker Jim MacLaine, who has finally found his true passion: music.
The first third traces MacLaine’s Beatle-like rise to fame with his beat combo “The Stray Cats” (it’s a safe bet Brian Setzer and band mates saw this film back in the day and “re-appropriated” the name).
With massive success comes the inevitable backstage squabbles and jealousies; eventually MacLaine is surrounded by music company weasels and yes-men whispering in his ear to dump his “backup” band and pursue a solo career as a rock god (who can say “no” to that?). Then comes the inevitable decline: too much drugs, sex and rock ‘n’ roll excess.
One of the best (and most realistic) films ever made about the music business. Clever casting of a number of veteran UK rockers like Adam Faith, Dave Edmunds, Keith Moon, Marty Wylde and Paul Nicholas adds greatly to the authenticity.
Starstruck-Gillian Armstrong primarily built her rep on female empowerment dramas like My Brilliant Career, Mrs. Soffel, High Tide, The Last Days of Chez Nous and Charlotte Gray; making this colorful, sparkling and energetic 1982 trifle an anomaly in the Australian director’s oeuvre. But it’s a lot of fun-and I’ve watched it more times than I’d care to admit.
It does feature a strong female lead , free-spirited Jackie (Jo Kennedy) who aspires to be Sydney’s next new wave singing sensation, with the help of her kooky, entrepreneurial-minded (and frequently truant) teenage cousin Angus (Ross O’Donovan) who has designated himself as publicist/agent/manager. Goofy, high-spirited and filled to the brim with catchy power pop (with contributions from members of Split Enz and Mental as Anything). Musical highlights include “I Want to Live in a House” and “Monkey in Me”.
Still Crazy– Q: What do you call a musician without a girlfriend? A: Homeless! If that old chestnut still makes you chortle, then you will “get” this movie. Painting a portrait of an “almost great” 70’s British band reforming for a 90’s reunion tour, Brian Gibson’s 1998 dramedy Still Crazy does Spinal Tap one better (you could say this film goes to “eleven”, actually). Unlike similar rock ‘n’ roll satires, it doesn’t mock its characters, rather it treats them with the kind of respect that comes from someone who genuinely loves the music.
Great performances abound. Bill Nighy stands out in a hilarious yet poignant performance as the insecure lead singer of Strange Fruit. Prog-rock devotees will love the inside references, and are sure to recognize that the character of the “lost” leader/guitarist is based on Syd Barrett. Still, you don’t need to be a rabid rock geek to enjoy this film; its core issues, dealing with mid-life crisis and the importance of following your bliss, are universal themes.
Foreigner’s Mick Jones and Squeeze’s Chris Difford are among the contributors to the original soundtrack. I also recommend Gibson’s 1980 debut Breaking Glass (a similar but slightly darker rumination on music stardom). Sadly, the director died at age 59 in 2004.
Tokyo Pop –This 1988 film is a likable entry in the vein of other 80s films like Starstruck, Breaking Glass, Desperately Seeking Susan, Smithereens and The Fabulous Stains. Star Carrie Hamilton’s winning screen presence helps to buoy the fluffy premise. Hamilton (who does her own singing) plays a struggling wannabe rock star who buys a one-way ticket to Tokyo at the invitation of a girlfriend. Unfortunately, her flaky friend has flown the coop, and our heroine is stranded in a strange land. “Fish out of water” misadventures ensue, including cross-cultural romance with all the usual complications.
For music fans, it’s a fun time capsule of the late 80s Japanese music scene, and the colorful cinematography nicely captures the neon-lit energy of Tokyo nightlife. Director Fran Rubel Kuzui (who co-wrote the screenplay with Lynn Grossman) later directed the 1992 feature film Buffy the Vampire Slayer and went on to serve as executive producer for the eponymous TV series. Sadly, Hamilton (Carol Burnett’s daughter) died of cancer at age 38 in 2002.
Tommy –There was a time (a long, long, time ago) when some of my friends insisted that the best way to appreciate The Who’s legendary rock opera was to turn off the lamps, light a candle, drop a tab of acid and listen to all four sides with a good pair of cans. I never got around to making those arrangements, but it’s a pretty good bet that watching director Ken Russell’s insane screen adaptation is a close approximation. If you’re not familiar with his work, hang on to your hat (I’ll put it this way-Russell was not known for being subtle).
Luckily, the Who’s music is powerful enough to cut through the visual clutter, and carries the day. Two band members have roles-Roger Daltrey as the deaf dumb and blind Tommy, and Keith Moon has a cameo as wicked Uncle Ernie (Pete Townshend and John Entwistle only appear briefly).
The cast is an interesting cross of veteran actors (Oliver Reed, Ann-Margret, Jack Nicholson) and well-known musicians (Elton John, Eric Clapton, Tina Turner). Musical highlights include “Pinball Wizard”, “Eyesight to the Blind” “The Acid Queen” and “I’m Free”.
True Stories – Musician/raconteur David Byrne enters the Lone Star state of mind with this subtly satirical Texas travelogue from 1986. It’s not easy to pigeonhole; part road movie, part social satire, part long-form music video, part mockumentary. Episodic; basically a series of quirky vignettes about the generally likable inhabitants of sleepy Virgil, Texas. Among the town’s residents: John Goodman, “Pops” Staples, Swoosie Kurtz and the late Spalding Gray.
Once you acclimate to “tour-guide” Byrne’s bemused anthropological detachment, I think you’ll be hooked. Byrne directed and co-wrote with actor Stephen Tobolowsky and actress/playwright Beth Henley (Crimes of the Heart, Miss Firecracker). The outstanding cinematography is by Edward Lachman. Byrne’s fellow Talking Heads have cameos performing “Wild Wild Life”, and several other songs by the band are in the soundtrack.
(Originally posted on Digby’s Hullabaloo on June 28, 2025)
With the mercury continuing to soar in many sections of the country I thought I would curate a Top 15 “hot” noirs festival. Hot-as in sweaty, steamy, dripping, sticky, sudoriferous crime thrillers (get your mind out of the gutter). If you’re like me (and isn’t everyone?) there’s nothing more satisfying than gathering up an armload of DVDs and spending a hot weekend ensconced in my dark, cool media room (actually, I don’t have a “media room” nor any A/C in my apartment…but I can always dream). Enjoy!
Ace in the Hole – Billy Wilder’s 1951 film is one of the bleakest noirs ever made:
Charles Tatum: What’s that big story to get me outta here? […] I’m stuck here, fans. Stuck for good. Unless you, Miss Deverich, instead of writing household hints about how to remove chili stains from blue jeans, get yourself involved in a trunk murder. How about it, Miss Deverich? I could do wonders with your dismembered body.
Miss Deverich: Oh, Mr. Tatum. Really!
Charles Tatum: Or you, Mr. Wendell-if you’d only toss that cigar out the window. Real far…all the way to Los Alamos. And BOOM! (He chuckles) Now there would be a story.
Tatum (played to the hilt by Kirk Douglas) is a cynical big city newspaper reporter who drifts into a sun-baked New Mexico burg after burning one too many bridges with his former employers at a New York City daily. Determined to weasel his way back to the top (by any means necessary, as it turns out), he bullies his way into a gig with a local rag, where he impatiently awaits The Big Story that will rocket him back to the metropolitan beat.
He’s being sarcastic when he exhorts his co-workers in the sleepy hick town newsroom to get out there and make some news for him to capitalize on. But the irony in Wilder’s screenplay (co-written by Lesser Samuels and Walter Newman) is that this becomes a self-fulfilling prophesy for Tatum; in his attempt to purloin and manipulate the scenario of a man trapped in a cave-in into a star-making “exclusive” for himself, it’s Tatum who ultimately becomes The Big Story. Great writing, directing and acting make it a winner.
The Big Easy – “Aw…come on, chère.” I can’t reckon why, you… but dey wuz a mess of swampy Louisiana neo noirs bag daer in the 80s- Southern Comfort, Angel Heart, No Mercy, Cat People, Belizaire the Cajun, Down by Law, and (my favorite of the bunch) Jim McBride’s slick 1986 crime drama.
Dennis Quaid and Ellen Barkin star as a NOPD detective and a D.A., respectively who become enmeshed in a police corruption investigation. Initially adversarial, the pair’s professional relationship is quickly complicated by a mutual attraction (what…you’re going to cast Dennis Quaid and Ellen Barkin in a film and not let nature take its course? I mean, come on, chère!).
Admittedly, the twists and turns in Daniel Petrie, Jr.’s screenplay may not hold up to scrutiny, but you’ll be having too much fun watching Quaid and Barkin heat up the screen to care. Great supporting cast, featuring Ned Beatty, John Goodman and Grace Zabriskie.
Body Heat – A bucket of ice cubes in the bath is simply not enough to cool down this steamy noir. Writer-director Lawrence Kasdan’s 1981 Double Indemnity homage blows the mercury right out the top of the thermometer. Kathleen Turner is the sultry femme fatale who plays William Hurt’s hapless pushover like a Stradivarius (“You aren’t too smart. I like that in a man.”) The combination of the Florida heat with Turner and Hurt’s sexual chemistry will light your socks on fire. Outstanding support from Richard Crenna, Ted Danson, J.A. Preston and an up-and-coming young character actor named Mickey Rourke.
Chinatown – There are many Deep Thoughts that I have gleaned over the years via repeated viewings of Roman Polanski’s 1974 “sunshine noir”.
Here are my top 3:
1. Either you bring the water to L.A. or you bring L.A. to the water.
2. Politicians, ugly buildings and whores all get respectable if they last long enough.
3. You may think you know what you’re dealing with, but, believe me, you don’t.
Of course, I’ve also learned that if you put together a great director (Polanski), a killer screenplay (by Robert Towne), two lead actors at the top of their game (Jack Nicholson and Faye Dunaway), an ace cinematographer (John A. Alonzo) and top it off with a perfect music score (by Jerry Goldsmith), you’ll likely produce a film that deserves to be called a “classic”, in every sense of the word.
Cool Hand Luke – “Still shakin’ the bush, boss!” Paul Newman shines (and sweats buckets) in Stuart Rosenberg’s 1967 drama. Newman plays a ne’er do well from a southern burg who ends up on a chain gang. He gets busted for cutting the heads off of parking meters while on a drunken spree, but by the end of this sly allegory, astute viewers will glean that his real crime is being a non-conformist.
Highlights include Strother Martin’s “failure to communicate” speech (Donn Pearce and Frank Pierson’s screenplay is agog with classic lines), Harry Dean Stanton singing “The Midnight Special”, that (ahem) car wash scene and George Kennedy’s Best Supporting Actor turn. Also in the cast: Ralph Waite, Dennis Hopper, Wayne Rogers, Anthony Zerbe, and Joy Harmon steaming up the camera lens as the “car wash girl”.
Detour – Nothing good ever happens on a dark desert highway. Many consider Edgar G. Ulmer’s artfully pulpy 1945 programmer as one of the greatest no-budget “B” crime dramas ever made. Clocking in around 70 minutes, the story follows a down-on-his-luck musician (Tom Neal) with whom fate, and circumstance have saddled with (first) a dead body, and then (worst) a hitchhiker from Hell (Ann Savage, in a wondrously demented performance). In short, he is not having a good night. Truly one of the darkest noirs of them all.
Dog Day Afternoon – As far as oppressively humid hostage dramas go, this 1975 “true crime” classic from Sidney Lumet out-sops the competition. The AC may be off, but Al Pacino is definitely “on” in his absolutely brilliant portrayal of John Wojtowicz (“Sonny Wortzik” in the film), whose botched attempt to rob a Brooklyn bank turned into a dangerous hostage crisis and a twisted media circus (the desperate Wojtowicz was trying to finance his lover’s sex-change operation).
Even though he had already done the first two Godfather films, this was the performance that put Pacino on the map. John Cazale is at once scary and heartbreaking as Sonny’s dim-witted “muscle”. Keep an eye out for Chris Sarandon’s cameo. Frank Pierson’s tight screenplay was based on articles by P.F. Kluge and Thomas Moore.
High and Low– Akira Kurosawa’s multi-layered 1963 drama is adapted from Ed McBain’s crime thriller King’s Ransom. Toshiro Mifune is excellent as a CEO who risks losing controlling shares of his company when he takes responsibility to assure the safe return of his chauffeur’s son, who has been mistaken as his own child by bumbling kidnappers.
As the film progresses, the tableau subtly shifts from the executive’s comfortable, air-conditioned mansion “high” above the city, to the “low”, sweltering back alleys where desperate souls will do anything to survive; a veritable descent into Hell.
While the film is perfectly serviceable as an absorbing police procedural, it delves deeper than a standard genre entry. It is also an examination of class struggle, corporate culture, and the socioeconomic complexities of modern society.
The Hot Spot – Considering he accumulated 100+ feature film credits as an actor and a scant 7 as a director of same over a 55-year career, it’s not surprising that the late Dennis Hopper is mostly remembered for the former, rather than the latter. Still, the relative handful of films he directed includes Easy Rider, The Last Movie, Colors, and this compelling 1990 neo-noir.
Don Johnson delivers one of his better performances as an opportunistic drifter who wanders into a one-horse Texas burg. The smooth-talking hustler snags a gig as a used car salesman, and faster than you can say “only one previous owner!” he’s closed the deal on bedding the boss’s all-too-willing wife (Virginia Madsen), and starts putting the moves on the hot young bookkeeper (Jennifer Connelly). You know what they say, though…you can’t have your cake and eat it too. Toss in some avarice, blackmail, and incestuous small-town corruption, and our boy finds he is in way over his head.
In the Heat of the Night – “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 here as well, I always found 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.
Night Moves – Set in Los Angeles and the sultry Florida Keys, Arthur Penn’s 1975 sleeper stars Gene Hackman as a world-weary P.I. with a failing marriage, who becomes enmeshed in a case involving battling ex-spouses, which soon slides into incest, smuggling and murder. As always, Hackman’s character work is top-notch. Also with Jennifer Warren (in a knockout, Oscar-worthy performance), Susan Clark, Edward Binns, Harris Yulin, James Woods and Melanie Griffith (in her first credited role). Alan Sharp’s intelligent, multi-layered screenplay parallels the complexity of the P.I.’s case with ruminations on the equally byzantine mystery as to why human relationships, more often than not, almost seem engineered to fail.
The Night of the Hunter – Is it a film noir? A horror movie? A black comedy? A haunting American folk tale? The answer would be yes. The man responsible for this tough-to-categorize 1957 film was one of the greatest acting hams of the 20th century, Charles Laughton, who began and ended his directorial career with this effort. Like many films now regarded as “cult classics”, it was savaged by critics and tanked at the box office upon initial release (enough to spook Laughton from ever returning to the director’s chair).
Robert Mitchum is brilliant (and genuinely scary) as a knife-wielding religious zealot who does considerably more “preying” than “praying”. Before Mitchum’s condemned cell mate (Peter Graves) meets the hangman, he talks in his sleep about $10,000 in loot money stashed somewhere on his property. When the “preacher” gets out of the slam, he makes a beeline for the widow (Shelly Winters) and her two young’uns. A disturbing (and muggy) tale unfolds. The great Lillian Gish is on board as well. Artfully directed by Laughton and beautifully shot by DP Stanley Cortez.
The Postman Always Rings Twice – A grimy (but strapping) itinerant (John Garfield) drifts into a hot and dusty California truck stop and” last chance” gas station run by an old codger (Cecil Kellaway) and his hot young wife (Lana Turner). Sign outside reads: “Man Wanted”. Garfield wants a job. Turner wants a man. Guess what happens.
An iconic noir and blueprint for ensuing entries in the “I love you too, baby…now how do we lose the husband?” sub-genre. Tay Garnett directs with a wonderfully lurid flourish. Harry Ruskin and Niven Busch adapted their screenplay from the James M. Cain novel.
Touch of Evil– Yes, this is Orson Welles’ classic 1958 sleaze-noir with that celebrated and oft-imitated tracking shot, Charlton Heston as a Mexican police detective, and Janet Leigh in various stages of undress. Welles casts himself as Hank Quinlan, a morally bankrupt police captain who lords over a corrupt border town. Quinlan is the most singularly grotesque character Welles ever created as an actor and one of the most offbeat heavies in film noir.
This is also one of the last great roles for Marlene Dietrich (“You should lay off those candy bars.”). The creepy and disturbing scene where Leigh is terrorized in an abandoned motel by a group of thugs led by a leather-jacketed Mercedes McCambridge presages David Lynch; there are numerous flourishes throughout that are light-years ahead of anything else going on in American cinema at the time. Welles famously despised the studio’s original 96-minute theatrical cut; there have been nearly half a dozen re-edited versions released since 1975.
The Wages of Fear / Sorcerer–The primeval jungles of South America have served as a backdrop for a plethora of sweat-streaked tales (Werner Herzog’s Fitzcarraldo and Aguirre: TheWrath of God come to mind), but Henri-Georges Clouzot’s 1953 “existential noir” sits atop that list.
Four societal outcasts, who for one reason or another find themselves figuratively and literally at the “end of the road”, hire themselves out for an apparently suicidal job…transporting two truckloads of touchy nitro over several hundred miles of bumpy jungle terrain for delivery to a distant oilfield.
It does take some time for the “action” to really get going; once it does, you won’t let out your breath until the final frame. Yves Montand leads the fine international cast. Clouzot co-scripted with Jerome Geronimi, adapting from the original Georges Anaud novel.
If you’ve already seen The Wages of Fear, you might want to check out William Friedkin’s 1977 action-adventure Sorcerer, which was greeted with indifference by audiences and critics upon initial release. Maybe it was the incongruous title, which led many to assume it would be in the vein of his previous film (and huge box-office hit), The Exorcist. Then again, it was tough for any other film to garner attention in the immediate wake of Star Wars.
At any rate, it’s a well-directed, terrifically acted “update” of Henri-Georges Clouzot’s 1953 film noir (I refer to it as an “update” in deference to Friedkin, who bristles at the term “remake” in a letter from the director that was included with the 2014 Blu-ray).
Roy Scheider heads a superb international cast as a desperate American on the lam in South America, who signs up for a job transporting a truckload of nitroglycerin through rough terrain. Tangerine Dream provides the memorable soundtrack.
How does one describe Sun Ra’s music? Whether you label it “free jazz”, “avant-garde”, “experimental”, or “free-form”…to the uninitiated ear, it might as well be music from outer space. That perception would suit its creator just fine, because he was from Saturn, after all.
I should probably back up a moment.
Herman Poole Blount was actually born in Birmingham Alabama, and as we learn in Christine Turner’s bio of the late jazz pioneer, was a natural musician. He starting playing piano as a child and was composing and sight reading by his early teens. The “Saturn” quotient entered his personal mythology at some point in his 20s or 30s (the timeline was subject to change, depending on to whom he was recounting his story of being “teleported” to the planet, where alien beings instructed him to speak to the world through his music).
The veracity of this story is moot; because whatever (or whoever) sparked this visit from the Muse, from that moment forward Sun Ra dedicated every waking minute of his life to not only push his musical boundaries, but to create a simpatico cosmology that embraced elements of philosophy, quantum physics, and Black consciousness.
Turner mixes recollections from former members of the Arkestra, historians, music scholars, and archival Sun Ra interviews with amazing performance footage to paint a fascinating (if not definitive) portrait of a unique artist whose true origin remains a bit of a mystery. I’m compelled to quote my favorite line from Close Encounters of the Third Kind: “Einstein was probably one of them.”
Never pick up a stranger. Aspiring St. Louis filmmaker Paula (Brianna Middleton) has a chance encounter at a checkout counter with former classmate Sloane (Stella Everett), who is running the register. There is an instant spark between the pair; it turns out that Paula had a secret crush on Sloane in their high school days.
Faster than you can say “Thelma and Louise”, free-spirited Sloane quits her job and sweet-talks the hidebound Paula into a spontaneous road trip to California-against the advisement of Paula’s mother, who senses (as we do) that This Girl is Trouble. Paula is too head-over-heels to pick up these signals (and clearly, she has never seen Something Wild).
Director and co-writer Josalynn Smith honors the venerable “road noir” tropes well enough, and the two leads have good chemistry, but the third act fizzes a bit by leaving a startling narrative development curiously unexplained. Still, it’s a promising directorial debut.
Jonas Åkerlund ‘s rock doc is a fairly straightforward portrait of William Michael Albert Broad, noted member of the Bromley Contingent. Okay…you know him better as Billy Idol, and “The Bromley Contingent” (which featured future members of The Clash and Siouxsee and the Banshees, among other seminal punkers) was basically an unofficial fan club that followed the Sex Pistols around on their earliest UK gigs. Billy, of course, was destined for bigger things, so he did not remain a mere fanboy for long.
Mixing archival footage with present-day ruminations from Idol (still alive!) Åkerlund retraces the rocker’s trajectory from co-founder of Generation X (one of the first punk bands to perform on the BBC’s Top of the Pops program) to MTV superstar and beyond.
The price of fame is paid in full along the way; sex, drugs, and rock and roll takes its toll…but like some kind of sneering, leather-clad Energizer Bunny, Idol somehow just keeps going, and going. The present-day Idol is thoughtful, self-reflective, and surprisingly candid about where he’s been and where he’s headed. Being partial to Idol’s pre-MTV output, I found his punk era to be the most absorbing portion of the doc, but overall it should be an enjoyable ride for fans.
As Queen Eleanor muses in The Lion in Winter: “What family doesn’t have its ups and downs?” Writer-director Zoe Pepper’s twisted dark comedy thriller is like a 21st-Century take on James Goldman’s classic tale of family dysfunction. In this case, the prodigal son has not returned to the manor for a brief visit, but for an indeterminate stay.
Cory (Travis Jeffrey) and his very pregnant wife Jasmine (Maria Angelico) have been hit with a double whammy: Cory has been laid off and the couple have been evicted. Broke and desperate, Cory shows up on the doorstep of his upper middle-class parents’ estate and asks if it’s okay that they stay a few days . His judgemental father (Michael Hurst) and ice-queen mother (Linda Cropper) seem wary at best. They agree, but with some “tough love” caveats. As temporary lodging morphs into “taking up residence”, family tensions mount, old wounds reopen and an epic battle between father and son for the title of King of the Castle ensues. This is the most trenchant Australian social satire I’ve seen since Don’s Party.
Tribeca’s closing night selection this year is a riveting eco-doc that profiles Indigenous rights activist Juma Xipaia (the first female Indigenous chief of her people in the Middle Xingu) and her husband Hugo, who heads up a government special ops team that locates and shuts down illegal mining operations in Brazil’s Amazon region.
Richard Ladkani’s doc unfolds like a Costa-Gavras political thriller; early on in the film we see harrowing footage of Juma participating in a protest outside of the National Congress Palace in Brasilia where riot police suddenly fire a fusillade of live rounds into the crowd. A distraught Juma kneels beside a tribal activist who appears to be gravely wounded, pleading for him to respond (he doesn’t) until fellow demonstrators pull her away, out of the line of fire.
Juma, we learn, is no stranger to the threat of violence; she has survived a number of assassination attempts over the years and continues to be under threat. Yet she soldiers on, fighting outside and (eventually) inside of Brazil’s political system for her people…as does her husband (Juma and Hugo form an eco-warrior power couple).
Ladkani follows Hugo and his team on several missions; these scenes play like they are straight out of an action film, but instilled with an all-too-real sense of danger (the illegal miners are frequently armed and rarely happy to see the government commandos). Mining has been prohibited since Brazil’s Federal Constitution of 1988, as it not only wreaks havoc on the Amazonian ecosystem, but has a number of negative health effects on the Indigenous peoples of the region.
Ladkani’s film is slickly made and lushly photographed, but doesn’t pull any punches regarding its heavy subject matter. When you consider 10,000 acres of the Amazon rainforest are destroyed every day, the sense of urgency here becomes all the more palpable.
Many were increasingly of the opinion [that humans] made a big mistake in coming down from the trees in the first place. And some said that even the trees had been a bad move, and that no one should ever have left the oceans.
― Douglas Adams, from The Hitchhiker’s Guide to the Galaxy
What makes us “human”…is it nature, or nurture? How many times have you heard admonishments like “don’t wolf your food” or “you’re acting like an animal”? Are we not mammals, after all?
Writer-director David Verbeek tackles that age-old question in this speculative fiction yarn about the discovery of a young woman (Jessica Reynolds) who has literally been raised by wolves. Naturally, her first accommodation in the “civilized” world is a cold, clinical research facility, where she is poked and prodded and ogled at by people in white coats.
Frightened and confused, she barely has time to acclimate to these alien surroundings before a pair of cultish survivalists spirit her away to an abandoned offshore oil rig. The couple imprint themselves as parental figures and methodically indoctrinate her into their vision of an impending environmental apocalypse.
The trio seem well on their way to forming a cozy family unit-until the young woman discovers (much to her chagrin) that her “parents” have feet of clay (you can take the wolf-girl out of the forest…).
I see touchstones like The Wild Child, The Emerald Forest, Altered States, and Charly; but Verbeek has put a unique 21st Century spin on some time-worn themes. His secret weapon is Reynolds, who delivers an extraordinary performance that runs the gamut from running around on all fours and dining al fresco on small game to making small talk with her customers at the grocery checkout counter.
Rimmer: [pretending to be interested in art to impress Legion] Now, this 3-dimensional sculpture in particular is quite exquisite. Its simplicity, its bold, stark lines. Pray, what do you call it?
Legion: The light switch.
Rimmer: The light switch?
Legion: Yes.
Rimmer: I couldn’t buy it, then?
Legion: Not really. I need it to turn the lights on and off.
– From the comedy series Red Dwarf (written by Rob Grant and Doug Naylor)
That exchange is chiefly played for laughs of course, but it also makes a point about the subjectivity of “art”. In my 2007 review of the documentary My Kid Could Paint That, I wrote:
Whose judgment determines the intrinsic and/or monetary value of a painting-a local newspaper reporter, a New York Times art critic or Mike Wallace? Does the eye of the beholder still count for anything? Does it really matter who painted it, if you feel it’s worth hanging on your wall? Who wrote Shakespeare’s plays-Francis Bacon or the Earl of Oxford, and do you care? Does it really matter that the Monkees didn’t write any of their hits or play their own instruments?
How about an artist whose “art” was literally garbage? Would you label their work as same? In this fascinating documentary, director Toby Perl Freilich profiles the life and work of performance artist/self-billed “eco-feminist” Mierle Laderman Ukeles, who holds the title of (unpaid) Artist in Residence at the NYC Department of Sanitation.
That is not to say all of her work is garbage. Frelich mixes the septuagenarian artist’s recollections with archival footage to glean what led to Ukeles’s decades-long obsession with transforming the mundane tasks of everyday housewives and maintenance workers into a form of socially-conscious high art.
Ukeles didn’t pop out of the box fully formed. Early in her career, she experimented with everything from abstract sculptures to inflatable “air art”. But it wasn’t until after her marriage in 1966 that she discovered her path. In a 1969 manifesto, she stated in part:
Maintenance is a drag; it takes all the fucking time (lit.) The mind boggles and chafes at the boredom. The culture confers lousy status on maintenance jobs=minimum wage, housewives=no pay. […] Everything I say is Art is Art. Everything I do is Art is Art. “We have no Art, we try to do everything well.” (Balinese saying). […]My working will be the work.
Maintenance Artist is a thought-provoking film worth hanging on your wall.
