tag:blogger.com,1999:blog-210902282024-03-07T22:52:20.294-05:00Cine-Journal Continuing ruminations of a working film critic and professorGEORGE ROBINSONhttp://www.blogger.com/profile/07061133578423404073noreply@blogger.comBlogger449125tag:blogger.com,1999:blog-21090228.post-65641939638794152532023-03-01T14:36:00.001-05:002023-03-01T14:36:15.063-05:00This blog no longer exists<p> As you can probably tell, I have been too busy (and/or too porrly motivated) to continue Cine-Journal. The final straw was that some genius turned a 16-year-old posting into a plug for a porn site and the folks at Blogger, understandably put the entire blog behind a warning for content. </p><p>While I am completely sympathetic to their situation, there doesn't appear to be a coherent process for responding and it's a lot simpler for me to just take down the whole thing, other than this message.</p><p>It was fun for a while. I'll be back in the future with something else film-related.</p><p>Keep watching the screens!</p><p><br /></p>GEORGE ROBINSONhttp://www.blogger.com/profile/07061133578423404073noreply@blogger.com0tag:blogger.com,1999:blog-21090228.post-6647440356734436512017-11-05T05:10:00.003-05:002017-11-05T05:10:35.520-05:00My latest, and a brutally funny farce from SwedenI'll be brief.<br />
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My latest piece in Jewish Week focuses on three of the films in this year's Other Israel Film Festival, and they're all quite good. You can read it <a href="http://jewishweek.timesofisrael.com/its-all-happening-at-the-zoo/" target="_blank">here</a>.<br />
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And you probably should see the new Ruben Ostlund film, <i>The Square</i>. Like his other films, this is a withering satirical attack on the weaknesses of a certain rarified kind of liberal good will and its detachment from the real world. Where his most recent previous film, <i>Force Majeure</i>, was a barbed look at the workings of the haute bourgeois family, <i>The Square</i> is a merciless send-up of postmodern art and the corporate interests that make its exhibition possible. Two-thirds of the way into the film it starts to fly apart like a Tinguely kinetic structure and, as is usual for Ostlund, the cringe quotient is high, ratched up to almost unbearable levels by his delight in testing how much an audience can stand (both within the diegesis and in the theater). The first two thirds are about as funny as anything I've seen this year, but the end result is undeniably disappointing.<br />
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<br />GEORGE ROBINSONhttp://www.blogger.com/profile/07061133578423404073noreply@blogger.com0tag:blogger.com,1999:blog-21090228.post-16726212228072450772017-10-31T17:09:00.000-04:002017-10-31T17:09:05.770-04:00I am fine and there is nothing to report from Chambers StreetFriends --<br />
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I know that many of you have been hearing/reading about a police incident involving a truck driver who plowed through the bike lane in Lower Manhattan and ended up being apprehended by the NYPD on Chambers Street earlier this afternoon. I am happy to report that although I am actually in the neighborhood -- I teach at BMCC in about an hour -- I am fine. I saw nothing other than a lot of traffic disrupted. I'm in the building in which I teach, a few blocks away and all is well.<br />
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And as the announcer says in Fritz Lang's <i>While the City Sleeps</i>, stay tuned to the Kyne News Service for further developments.<br />
<br />GEORGE ROBINSONhttp://www.blogger.com/profile/07061133578423404073noreply@blogger.com0tag:blogger.com,1999:blog-21090228.post-91881155780062022372017-10-19T06:00:00.002-04:002017-10-19T06:00:55.437-04:00Back from the UndergroundAbout the only thing more worthless than a blogger's promises would be his bank account. That said, I hope that this post will mark a small return to activity.<br />
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It's certainly been an interesting couple of months, as witness my coverage of the NY Film Festival in Jewish Week. I have two pieces that ran during the recently concluded event, which you can read <a href="http://jewishweek.timesofisrael.com/displaced-persons/" target="_blank">here</a> and <a href="http://jewishweek.timesofisrael.com/lanzmann-turns-lens-to-women/" target="_blank">here</a>.<br />
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Perhaps more important, the paper just put my response to the <a href="http://jewishweek.timesofisrael.com/weinsteins-artistic-arrogance/" target="_blank">Harvey Weinstein controversies here</a>.<br />
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And, finally, a shout-out to a new documentary, <i>Thy Father's Chair</i>, a portrait of twin brothers, both Orthodox Jews, trying to deal with their hoarding problem. The primary focus is on their developing relationship with the cleaners,<br />
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who are specially trained to deal with this neurosis. The result is a markedly compassionate film and as such a blessed departure from the prurient freak-show treatment that the subject usually receives in the media. The film, directed by Alex Lora and Antonio Tibaldi, is currently playing at the <a href="https://www.citycinemas.com/villageeast/showtimes-and-tickets/now-playing" target="_blank">Village East Cinema</a> in
New York City, and opens in LA on
Friday, October 20, at <a href="https://www.laemmle.com/theaters/4" target="_blank">Laemmle’s Music Hall</a>.<br />
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<br />GEORGE ROBINSONhttp://www.blogger.com/profile/07061133578423404073noreply@blogger.com0tag:blogger.com,1999:blog-21090228.post-75491603279849874142017-08-26T16:59:00.000-04:002017-08-26T17:00:31.253-04:00Frederick Wiseman Shows How It's DoneMy monthly culture column for Jewish Week appeared a week or two ago and, for some unknown reason, never seemed to make it onto the newspaper's website. After last night's stealth pardon of serial Bill of Rights violator Joe Arpaio by the Commander-of-Thieves, it seems more relevant than ever and well worth repeating here.<br />
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Here's what I wrote:<br />
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<div class="MsoNormal" style="line-height: normal;">
<span style="color: red;"><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">This is why our parents, grandparents,
great grandparents came here</span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="color: red;"><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">.</span></span></div>
<span style="color: red;">
</span><br />
<div class="MsoNormal" style="line-height: normal;">
<span style="color: red;"><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">In a democracy the major institutions are
created and shaped by something like the will of the people. At their best,
they are responsive to a multiplicity of pressures<span style="mso-spacerun: yes;"> </span>reflecting the manifold interests operating
in a diverse<span style="mso-spacerun: yes;"> </span>society. It’s a maddengly
imperfect system and one that in recent years responded less to the needs of
those who cannot wield great economic power and the political clout it bestows. </span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<br /></div>
<span style="color: red;">
</span><br />
<div class="MsoNormal" style="line-height: normal;">
<span style="color: red;"><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">What brings this thought to mind is the unplanned
but felicitous collision of Donald Trump’s call for massive cuts in legal
immigration earlier this month with the <a href="http://filmforum.org/">early September schedule of Film Forum</a>,
which features the latest offering from Frederick Wiseman and the continuation
of a retrospective of his work.</span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<br /></div>
<span style="color: red;">
</span><br />
<div class="MsoNormal" style="line-height: normal;">
<span style="color: red;"><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">Wiseman is one of the last of the
pioneering documentary directors who created and sustained the tradition of
“direct cinema,” using lightweight cameras and sound equipment to gain
unprecedented access to significant moments in history or, in his case, the
daily life of great institutions. Wiseman’s </span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">work seldom touches
directly on Jewish topics -- although his brilliant essay in fiction film, “The
Last Letter” does so with exceptional power -- but his attitude and interests
bespeak a personality steeped in Jewish ethics and values, for <i style="mso-bidi-font-style: normal;">tikkun olam</i>.</span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<br /></div>
<span style="color: red;">
</span><br />
<div class="MsoNormal" style="line-height: normal;">
<span style="color: red;"><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">Consider a brief
passage midway through his 2015 masterpiece “In Jackson Heights.” We see a few
minutes of a typical workday in the office of Councilman Daniel Dromm. Two of
Dromm’s staff are fielding irate calls from constituents. We hear only their
side of the conversations, so it takes a moment before it becomes clear what
very local issue the callers are discussing. But it is impossible to miss the
interplay of exasperation, concern and slowly eroding patience in the faces of
Dromm’s long-suffering staffers. In that single scene, Wiseman encapsulates brilliantly
the microphysics of democracy, the personal side of the political and vice
versa. I can’t think of another filmmaker working in either dramatic features
or non-fiction films who better understands this reality or conveys it more
succinctly. For the system to work at all a downright Talmudic balance must be
reached.</span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhorEY95Xal9xlaqiaPQaqIYxllYM81ZilcsBqhNhp6t5OBBZljBPhc8RqJw0c2HA3pxMj7K7nwcYFZTh7PcDD__7fZa5szlSD3rUSARYSCn-M-UGK8ZMgMVbs6X89RkXn4IYXQag/s1600/at_berkeley-09.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="370" data-original-width="660" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhorEY95Xal9xlaqiaPQaqIYxllYM81ZilcsBqhNhp6t5OBBZljBPhc8RqJw0c2HA3pxMj7K7nwcYFZTh7PcDD__7fZa5szlSD3rUSARYSCn-M-UGK8ZMgMVbs6X89RkXn4IYXQag/s320/at_berkeley-09.jpg" width="320" /></a></div>
<br />
<div style="text-align: center;">
The aptly named Frederick Wiseman<span style="color: red;"><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></span><span style="color: red;"><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"> </span></span></div>
<span style="color: red;">
</span><br />
<div class="MsoNormal" style="line-height: normal;">
<span style="color: red;"><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">Wiseman’s new film, his
43<sup>rd</sup> since 1967’s landmark “Titicut Follies,” focuses on a typically
diverse projectat the heart of New York City’s wildly variegated cultural
gumbo. “Ex Libris: The New York Public Library,” which opens September 13,
offers an extended look at an essential part of the life of the city. As a
repository of knowledge in printed, digitized, microfilmed and other forms, the
NYPL is exemplary, but its role as a place in which the newly arrived can ease
their way into the city is no less important. The library offers English
classes, computer classes, children’s programs, emanating from 92 branch
libraries across Manhattan, the Bronx and Staten Island, not to mention free
computer time and wi-fi, concerts, author talks, art exhibits and more. </span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<br /></div>
<span style="color: red;">
</span><br />
<div class="MsoNormal" style="line-height: normal;">
<span style="color: red;"><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">As such, it represents
a perfect subject for Wiseman’s camera and sound recorder, a blend of the micro
and macro and a useful reminder of how American democracy should function, responsive
to the needs and desires of both the many and the few. Taken in tandem with the
older films on show from September 6 at Film Forum, ranging from “Central Park”
to the epic tetralogy, “Deaf,” “Blind,” “Multi-Handicapped” and “Adjustment and
Work,” Wiseman’s body of films offer a unique insight into the complex dance
that is required of a pluralistic democratic nation.</span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<br /></div>
<span style="color: red;">
</span><br />
<div class="MsoNormal" style="line-height: normal;">
<span style="color: red;"><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">That dance, as any Jew
should know, is predicated on society’s willingness to welcome and to
accommodate new arrivals. One need not have Wiseman’s level of access to
institutions in order to read the historical record. Nations that accept and
acclimate bearers of unfamiliar cultures are the ones that thrive. Without
debating the substantial negatives of the Roman, Ottoman or British Empires,
each of those was a long-lasting political, cultural and social phenomenon
whose impact outlived its existence, enjoying unprecedented periods of success,
power and influence. </span></span></div>
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<span style="color: red;"><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">For a number of
reasons, I would rather not see the United States continue down the imperial
path on which we have already traveled too far. But as a haven for the </span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">tired, the poor,
the “huddled masses yearning to breathe free, the wretched refuse of your
teeming shore. . . . the homeless, tempest-tost,” we’ve done pretty well.
Reducing the number of such people that we accept or changing the basis on
which they are admitted to one centered on their ability to fill a transitory
economic role, in short, the plan offered by the current administration, would
not only betray the meaning of this country but would obviate the need for the
democratic institutions that Frederick Wiseman has painted in all their
glorious, flawed strivings.</span></span></div>
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Incidentally, I saw <i>Ex Libris</i> earlier this week. I thoroughly enjoyed it and will comment at greater length after its premiere on September 6.<br />
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GEORGE ROBINSONhttp://www.blogger.com/profile/07061133578423404073noreply@blogger.com0tag:blogger.com,1999:blog-21090228.post-2635359560234052432017-07-15T05:19:00.002-04:002017-07-15T05:22:21.137-04:00Boycott B+H Photo and VideoI have never made any secret of my non-cinematic affiliations in this blog and I certainly don't intend to start doing so now. Besides, given the huge number of filmmakers and photographers who buy needed materials from B+H Photo and Video, this really is a film-related post anyway. At any rate, they are currently under much-deserved scrutiny for their treatment of the workers in their warehouses. Since 2007, the company has been monitored by the EEOC and has repeatedly been sued for gender and racial discrmination. More than that, the work conditions in the warehouse are highly undesirable, even dangerous. To quote from a website created by the local chapter of Democratic Socialists of America (of which I am a member) in support of the boycott of the firm:<br />
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<span style="color: red;">During a 2014
fire at the Brooklyn Navy Yard ware-house, being denied access to fire
exits so management could run employees through metal detectors to check
for potential theft while flames continued to grow.</span></div>
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<span style="color: red;">Following
the fire, workers contacted the Laundry Workers’ Center (LWC) to help
them organize and address their grievances. In November 2015, almost
200 of B&H’s 240 warehouse workers voted to join the United
Steelworkers to secure a union contract.</span></div>
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<span style="color: red;"><span style="color: black;">The company's response to the organizing drive was about what you would expect. They have prolonged talks unconscionably, and threatened to move the warehouse operation to New Jersey, which would be inaccessible to the vast majority of their underpaid and largely immigrant workforce. And if all this sounds familiar, it's the same playbook union-busters have always used: Delay, Linger and Wait.</span></span></div>
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<span style="color: red;"><span style="color: black;">Of course, there are two more elements in the equation now. If Donald Trump can stay in office a bit longer -- an open question, I'll gleefully grant -- he will appoint several new members to the National Labor Relations Board and they can be expected to rule against workers regularly. And if the Orange One sticks around long enough, he will try to deport anyone he can. If it sounds like I'm joking about this, trust me, I'm not. I urge you to <a href="http://www.boycottbnh.com/">go to the website</a>, sign on to the letter supporting the workers and stay the hell out of B+H. Keep in mind, too, that much of their business now comes from the Internet, not just from NY-based customers, so spread the word anywhere you can.</span></span></div>
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GEORGE ROBINSONhttp://www.blogger.com/profile/07061133578423404073noreply@blogger.com0tag:blogger.com,1999:blog-21090228.post-8564085998085723842017-07-13T09:23:00.006-04:002017-07-13T09:32:55.479-04:00Truth Speaks LouderAs long-time readers of this blog know, I am a founding member of a group that calls itself the New York Independent Film Critics Circle. A couple of years ago we reluctantly and much debate decided to add a non-fiction film category to our annual awards, the Iras. I say "reluctantly" because up to that time we had proudly disdained the traditional segregation of non-fiction from theatrical narrative and, in fact, had given our best picture nod to several documentaries. As I scan the list of 2017 releases I've seen so far this year, I notice that much of what I have found praiseworthy turns out to be non-fiction.<br />
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Perhaps the disparity is merely reflective of my own temperament. These days I'm more likely to see a non-fiction film as anything. The part of me that is sick of CGI as a substitute for concrete images could happily skip 99% of the new fiction films and never notice the difference. This posting's selections are a case in point.<br />
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<i>Dawson City: Frozen Time</i> is the latest film from the prolific and prolifically talented Bill Morrison. As with almost all of Morrison's previous work (including an Ira best film winner, <i>Decasia</i>), the new film is a brillian assemblage of found footage in varying states of disrepair. Morrison is neither the only nor even the first filmmaker to use such footage -- Gustav Deutsch and Bruce Connor have achieved wonderful results with such material. But Morrison, working with a succession of composers and sound designers, including several of the Bang On a Can mob, has achieved the extraordinary feat of turning such footage into a kind of poetry of sound and light, a poetry that increasingly has taken on a powerful political dimension, nowhere moreso than in <i>Dawson City</i>. The film's score is by Alex Somers, the sound design by John Somers.<br />
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The film has a densely allusive structure with several thematic braids that interlace themselves seamlessly, cunningly connecting the history of nitrate film stock, the rise and fall of the mining boom town that gives the film its name, the infernal economics of extractive mining industries, the inexorable working of big capital and, even, the Canadian love of ice hockey.<br />
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Bill Morrison: Is this guy one of the world's greatest living filmmakers?</div>
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He is on the short list for sure.</div>
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Photo credit: Wolfgang Wesener</div>
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The footage is signficantly different from much of what has appeared in Morrison's work before, in large part because of its unusual provenance, which is a major part of the story. Due to a series of complicated chain reactions, Dawson City became the unintentional repository for a treasure trove of hundreds of otherwise lost silent films. they were literally frozen in an abandoned swimming pool underneath an ice rink in the town and dug up in the late 1970s when the lot on which they rested was being prepped for a new purpose. One of the results of this discovery is a massive restoration project that will eventually make these rarities available to scholars and, one hopes, exhibitors. The odd thing, which Morrison's on-screen titles explain, is that some of the films have sufred from a very different kind of deterioration than the footage in, say, <i>Decasia</i>. As anyone who has seen that film or any nitrate film that has undergone the chemical changes that the stock is prone to will tell you, the resulting images have a sort of almost liquid beauty, as if the images themselves were in eruption, with strange colors and distortions. By contrast, water-damaged clips from the Dawson City cache have sections of their images washed clean, with a gleaming, undulating white all that remains. What results is every bit as stirring but quite different in a way I can't articulate on a single viewing of the film.<br />
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Granted that filmmakers love films about film (and so do almost all film critics and scholars). But <i>Dawson City: Frozen Time </i>roots that fascination in a here-and-now that is more than navel-gazing self-regard. As I've noted above, Morrison is sensitive to the issues that are powerfully implicated in the rise and fall of Dawson City as it went from a big boomtown on the edge of the Klondike Gold Rush to a near ghost town, left behind when the gold ran out. And he even manages, amusingly, to tie in the city's rise and fall to the very early machinations of a certain real-estate mogul from Queens, a fan of the Ku Klux Klan whose name will be familiar to all.<br />
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Hotel, restaurant and brothel. Trump one-stop shopping at its finest</div>
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Morrison's production company is named Hypnotic Pictures, and it fits perfectly. Although <i>Dawson City</i> is two hours long, the film rushes by blithely. One's time in the movie is anything but frozen. </div>
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<i>Dawson City: Frozen Time</i> is playing in NYC at<a href="http://www.ifccenter.com/"> the IFC Center</a>, and it cries out to be seen on a big screen.</div>
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I wish I could be as enthusiastic about the Canadian-made doc, I Am the Blues, which just opened at the <a href="https://quadcinema.com/">newly refurbished Quad Cinema</a>. I can certainly offer an undiluted endorsement of the music on display. Director Daniel Cross chose to focus his attention on the disappearing juke joints of the Mississippi Delta and the hardscrabble Northern Mississippi hill country with a side journey into the Louisiana bayous. That variegated itinerary may suggest where the film's problems lie. Simply put, Cross seems unwilling to structure his material and the rsult is baggy, almost shapeless.</div>
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But, ah, the music!</div>
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Much of the film's running time is spent in Bentonia, a legendary spot in the delta country that spawned a unique and haunting guitar and vocal style, based on unusual guitar tunings and haunting, high-pitched -- almost falsetto -- vocals. If you have heard Skip James then you know it. The primary representative of the Bentonia sound in the film is the deft and witty Jimmy "Duck" Holmes who demonstrates his continued mastery at 70. He is joined at several delightful moments by the likes of L.C. Ulmer, another superlative guitarist and earthy singer. Elsewhere in the film we get a taste of one of my favorite blues harpists, Lazy Lester, Little Freddy King (who looks like Danny Trejo's meaner brother but is really a sweetie) and, most of all, Bobby Rush.<br />
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Bobby Rush, looking a lot less than his 83 years, rocking the Club Ebony</div>
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Photo credit: Gene Tomko<br />
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Indeed, Rush's presence, running throughout the film, gives <i>I Am the Blues</i> what structure it can offer. At one point, he turns to the camera and says, "The road is my company," and like the film itself, he meanders throughout the geography of the deep southern blues routes. Rush, who won his first Grammy earlier this year, is a superb representative of both southern soul and a surprisingly pure strain of Delta blues. He is a charming guide and host and the film benefits immensely from both his presence and his music. In fact, I wish Cross had made the film about Rush, not to shortchange the superb collection of musicians on display, but there are moments when the filmmaker is trying to shoehorn in too much material. </div>
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And it's a shame, because his footage of the the shacks and farmland is evocative and poignant and if he had just let those images and the music do most of the talking, the film could have been so much more than it is.</div>
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Incidentally, the newly revamped Quad is another interesting example of the sort of Industrial Deco style that seems to be the new go-to visual environment for NYC theaters. A lot of brushed steel on the walls, pastel-colored neon and a certain odd chilliness, although the staff are charming. The interior of the one screening room I was in was, by contrast, a sea of vermillion with plush new seats. Regrettably, the still use a center aisle, so you can't sit in the middle of the image, but these are smallish rooms so the loss isn't that bad. </div>
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Intriguingly, <a href="https://metrograph.com/film/">the Metrograph</a>, which I finally got to a couple of weeks ago, is not dissimilar, although it has a downtown-hipster vibe that is not unpleasant and a bookstore/cafe which discretion kept me from visiting. the room in which<i> In Transit</i> was playing, has no center aisle and it comfortable and dark. (No red seats here.) </div>
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Right now, that screen is occupied by<i> The Rehearsal</i>, a new film from New Zealand directed by transplanted Canadian Alison Maclean. Like her previous features, <i>Jesus' Son</i> (1999) and <i>Crush</i> (1992), The Rehearsal centers on uneasy post-adolescents who are juggling sexual exploration, burgeoning artistic impulses and a search for absolution for their life-shattering mistakes. At the heart of the film is the growing attraction fist-year acting student Stanley (James Rolleston) and a much younger Isolde (Ella Edward), whose sister is a budding tennis star who was scandalously involved in a sexual relationship with her married coach. the pair meet by chance and Stanley learns of the brouhaha, which becomes the basis for a performance project he is doing with four classmates. One of those classmates is his putative landlord, the witty but dissipated Theo (Marlon Williams in a flashy, scene-stealing performance), and his disastrous fate will send the entire school into a chaotic downward spiral.<br />
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Kerry Fox works her will on Michelle Ny in <i>The Rehearsal</i><br />
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Adapted from Eleanor Catton's novel the screenplay is a sputtering, stuttering mess, with plot lines and themes left dangling and a final resolution that is deeply unsatisfying and profoundly unconvincing. What makes the film worth watching at all is a mesmerizing turn by Kerry Fox as the head of the theater school, a Lee Strasberg-type guru who is not adverse to torturing performances out of her young charges. Her energies ultimately turn out to be devoted to a major capital project involving a new building on waterfront property, and she seems all too willing to turn everyone's attentions to that goal. It's one of the few elements in the film that rings harshly true.</div>
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Finally, there is one excellent documentary that has graced local screens all spring about which I( have been rather circumspect, for reasons that will become apparent momentarily. the film, <i>Obit</i>, is a handsomely crafted and witty examination obituary department of the New York Times, directed by Vanessa Gould. As regular readers will know, my better half, Margalit Fox, is one of the key members of that staff and, as a result, is one of the key figures in the film. I hasten to say that this is an exemplary piece of non-fiction filmmaking, a warm portrait of a bunch of people many of whom I know well, and Vanessa has become a family friend, but even were that not the case, I would still recommend <i>Obit</i> because it's that good.*<br />
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Times archivist Jeff Roth plumbing the depths in <i>Obit</i></div>
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At any rate, I want to draw your attention to an opportunity for you to see the film on a big screen. It will be playing at the Thalia at Symphony Space as part of -- surprise -- a documentary series, with showdates on July 16, 23 and 29. <a href="http://www.symphonyspace.org/events/series/81/thalia-docs">More information here.</a> And for those of you who are concerned that I never step outside the New York city limits, the film is also playing at the Pacific Film Archive, Berkeley (August 11-20) and the Museum of Fine Arts, Houston (September 1-4). </div>
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*Hey, we don't have a fiduciary relationship with the filmmakers, although I did score a terrific free razor and a very handsome baseball cap advertising a lunch-meat manufacturer for attending the film's Philadelphia Film Festival screening a few months ago. But I'm warning any filmmakers who may be reading this, you'll have to top that haul if you want to get into this blog. I'm thinking maybe a case of sausages to go with the hat?</div>
GEORGE ROBINSONhttp://www.blogger.com/profile/07061133578423404073noreply@blogger.com0tag:blogger.com,1999:blog-21090228.post-5826066922689377012017-07-01T16:21:00.000-04:002017-07-01T17:04:23.534-04:00Time Passes Towards the end of Errol Morris's new film <i>The B-Side: Elsa Dorfman's Portrait Photography </i>there is a shot that for me encapsulates one of the film's central themes.<br />
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Dorfman, a spritely 80-something, is the great pioneer of large format Polaroid photography, specializing in portraits of both the famous and the ordinary, solo, in groups, <i>en famille</i>. The prints are huge, 20 inches wide and 24 inches high, about the size of a one-sheet, I think. To store them, Dorfman has them laid out flat in suitably large file drawers, sorted chronologically. In the shot in question, Morris's camera slowly rises up one of these file cabinets, the dates on the drawers moving forward in time and his inexorable camera movement reminds us that the passage of time is inescapable. All we can do is watch. Suddenly, a drawer opens and we see framed in it the dancing eyes of Dorfman.<br />
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Towards the end of the film, the photographer smiles sweetly at Morris and says, "Maybe that's when these photos have their ultimate meaning, when the person [in the photo] dies." The observation is offered casually but it underlines the meaning of that earlier shot. Time passes slowly, ineluctably. We can document that passage and while it doesn't alter the approach of death, it provides some kind of comfort. As Dorfman says of a portrait of her parents, "Now they look young."<br />
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The passage of time and the deteriorations that accompany it are at the heart of <i>The B-Side</i>, which is surely one of Morris's most effective, deeply felt and moving films to date. Not only are many of the subjects of Dorfman's photography dead -- Allen Ginsburg, Robert Creeley, Charles Olson, her parents -- but the very medium in which she excelled, the large-format Polaroid, has almost ceased to exist as well. Morris -- and Dorfman herself -- document these passages adroitly. She is a charmer, a self-described "lucky little Jewish girl who got out [of the suburbs and entombment in a conventional marriage] by the skin of my teeth." Her artistry is on full parade in the film and she and Morris make a lively collaborative team. (In New York City, the film is playing at the <a href="https://www.angelikafilmcenter.com/nyc">Angelika Film Center </a>and the <a href="https://www.filmlinc.org/now-playing/">Film Society of Lincoln Center.</a>)<br />
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The passing of time has a somewhat different meaning in Jacques Becker's last film,<i> Le Trou</i> ("The Hole," 1960), <a href="http://filmforum.org/">currently playing at Film Forum</a> in a starkly beautiful 4K restoration that captures perfectly the detail and nuance of Ghislain Cloquet's black-and-white cinematography.<i> Le Trou</i> is one of the best prison-break films ever made, a taut work in which long takes and a careful manipulation of diegetic sound combine to fray the viewers' nerves while riveting their attention.<br />
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<span style="font-family: Georgia,"Times New Roman",serif;">This is how the time goes by: Raymond Meunier, Marc Michel, Jean Keraudy, and Philippe Leroy in Jacques Becker’s <i>Le Trou</i>. Courtesy Rialto Pictures/Studiocanal.</span></div>
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The plot is simple enough. Five men facing long sentences decide to tunnel out of the high-security prison in which they are held. The film's action consists of the methodical planning and execution of this plan, counterposed with the growing intimacy of their relationship as experienced by the new guy in the cell, Gaspard (Mark Michel, a sort of Gerard Phillipe <i>manque</i>). As the plan comes closer to fruition, the tensions among the men are ratcheted up and Becker's deadpan, detached mise-en-scene makes those fractures resonate ever more loudly (albeit in strained whispers). One might jokingly say that the result is the best Jean-Pierre Melville film that Melville never made, but in truth, as great as Melville is, he couldn't match the ferocious unsentimentality of <i>Le Trou</i>. This film is like a handful of dry ice, so cold it burns you. Absolutely essential viewing, people!<br />
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GEORGE ROBINSONhttp://www.blogger.com/profile/07061133578423404073noreply@blogger.com0tag:blogger.com,1999:blog-21090228.post-72750087050378572802017-06-29T13:42:00.002-04:002017-06-29T13:42:54.001-04:00On a More Upbeat Note . . . As you probably know, the Academy of Motion Picture Arts and Sciences is rapidly adding new voters in an admirable effort to address the insane gender, racial and ethnic bias of its membership rolls. I haven't heard or seen any blowback from the blowhards (I don't actively seek out the opinions of the likes of Fox News or others of their, uh, ilk) but this strikes me as an entirely positive change.<br />
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Welcome to the Academy: A Jonas Mekas selfie from Pinterest</div>
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And it has had a nice little side-effect in that the Academy has invited several seemingly unlikely filmmakers to join. From a posting on the Frameworks list (for experimental film), here are some of the proposed new members: Jonas Mekas, Penny Lane, Pedro Costa, Arturo Ripstein, Lav Diaz, Alejandro Jodorowsky and <br />
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Idrissa Ouedraogo. I was particularly pleased to see Mekas's name for obvious reasons, his championing of independent filmmakers and his own pivotal work. (Of course, it also boosts the representation of the all-important Lithuanian nonagenarian demographic!)</div>
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<a href="http://www.latimes.com/entertainment/movies/la-et-mn-academy-new-members-list-20170628-story.html">To see a more complete list, go here</a>.</div>
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GEORGE ROBINSONhttp://www.blogger.com/profile/07061133578423404073noreply@blogger.com0tag:blogger.com,1999:blog-21090228.post-22490695707598594132017-06-29T10:01:00.000-04:002017-06-29T10:01:53.624-04:00LossesA couple of recent deaths came to my attention yesterday and I wanted to briefly pay tribute to the folks in question.<br />
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I first met Roger Greenspun when I was a graduate student in the film program at Columbia, By that point he had been removed as the second-chair film critic at the New York Times, allegedly a victim of Abe Rosenthal's contempt for cinema. His primary crime, apparently, was taking the likes of Robert Bresson and Clint Eastwood seriously. (That was hardly the most significant of Rosenthal's loathesome activities as the newspaper's managing editor but the one that had the most direct impact on my circle of friends and colleagues.) Roger was an occasional contributor the The Thousand Eyes, if memory serves, of which I was managing editor, and we spoke from time to time. He was immensely generous and helpful to a struggling newcomer. Indeed, he gave me the single best piece of career advice I ever received, one which I have passed along frequently: "Write as often as your editors will let you, as long as they'll let you." In the days before the Internet, that was doubly true. He was candid and quietly wittyin our conversations; it has been several years since I saw him sitting on the aisle halfway up the incline at the Walter Reade Theatre and I missed him. Needless to say, I will miss him even more now.<br />
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Detroit has produced many great jazz musicians -- the Joneses, Elvin, Hank and Thad, come to mind immediately -- but in recent years few have shone more brightly than the mercurial pianist Geri Allen, who died Tuesday at 60. Besides being a brilliant improviser and composer, she was also an important educator, director of jazz studies at the University of Pittsburgh. For a small sample of her work, <a href="https://www.youtube.com/watch?v=gkCHb5R43XI">check out this YouTube clip </a>from a recital at the Guggenheim Museum. <br />
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<br />GEORGE ROBINSONhttp://www.blogger.com/profile/07061133578423404073noreply@blogger.com0tag:blogger.com,1999:blog-21090228.post-31122195561209773352017-06-23T09:51:00.000-04:002017-06-23T09:54:08.189-04:00Don't Let This Slip Through the CracksOne hesitates to talk about any film being Albert Maysles's last. The protean non-fiction filmmaker left behind a team of collaborators and many projects in various states of completion. But if the New York Times can call the marvelous 2015 film <i>In Transit</i> his final completed work, I won't argue. My only real concern is that at a modest 76 minutes this gentle, thoughtful film won't find an audience competing against the likes of Sofia Coppola and Michael Bay. Add to that the fact that it is only <a href="https://www.maysles.org/">playing once a day at the Maysles Harlem-based documentary theater</a> and there is a real danger of it disappearing without finding the audience it deserves.<br />
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;"><i>In Transit</i>, directed by Maysles along with Nelson Walker, Lynn True, David Usui and Ben Wu, is
brisk yet expansive. Maysles and his co-directors follow the Empire
Builder, American’s busiest long-distance train route as it goes between
Chicago, Portland, OR, and Seattle and vice versa. </span><br />
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">This part of the Northern Plains States is
being transformed by the oil boom in the Dakotas and the impact of that
economic upturn is one of the central realities of the film. A pleasant
21-year-old says “I figure seven years in the oilfield I’ll be set for life.”
The oil workers seem, on the whole, a likable if bibulous bunch and they blend
in nicely with the train’s fascinating mix of working-class commuters, kids on
college break and people seeking something more. There is a perky young woman,
very pregnant and causing some worry for the train crew, who is heading home to
Minneapolis, with the baby four days overdue, an older woman who has just been
reunited with the daughter she gave up for adoption nearly a half-century
earlier, a church elder who knew Martin Luther King, who has a wonderfully calm
and earnest talk with a troubled younger man, telling him, “You’re having this
conversation on a train with somebody . . . so that you can have a
conversation, perhaps on a train, with someone else who needs to talk.”</span><br />
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">"Someone who needs to talk. . . . " A quiet moment from <i>In Transit </i></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">Superficially, with its intercutting of
the bleak but beautiful winterscape of the Great Plains and the gentle
procession of day-into-night-into-day, the film looks like a cousin of one of
Frederick Wiseman’s epic examinations of democratic institutions. But Wiseman
takes a long view, placing his subjects in an expansive chronological framework
even in his films that are set over a single day, giving his attention to the
big-picture interaction of these people in a larger sociopolitical context. By
contrast, Maysles and his collaborators are actually distilling the essence of
the passing of time, focusing on intimate moments between strangers in a
celebration of our mutual humanity. Wiseman and the Maysles brothers have
always been two sides of the cinema-verité coin, complementing one another in
their presentation of the richness of contemporary human experience. </span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">At a time when the people with their hands on the tools of power in America are apparently deadset on besmirching the nation's history and humanity in ways one would have thought impossible, <i>In Transit</i> performs a task whose value is incalculable. It reminds us of the basic decency of people, their hopes and dreams. Needless to say, that is something that all the Trumps and Ryans and McConnells can't squelch, despite their determination to do so.</span></div>
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GEORGE ROBINSONhttp://www.blogger.com/profile/07061133578423404073noreply@blogger.com0tag:blogger.com,1999:blog-21090228.post-60206773799618291232017-06-19T10:58:00.002-04:002017-06-19T10:58:30.838-04:00New Filmmakers NY program at Anthology This WednesdayJust wanted to pull your coat to a promising evening of new films that run an interesting spectrum from documentary on the failure of NY's Off-Track Betting Corp. to some X-rated erotica. (Okay, maybe that isn't as wide a spectrum as I thought). New Filmmakers New York has been offering evenings of such work at AFA for many years now, and they are always rewarding as a showcase for the next-gen creators of moving-image art, if you'll pardon the jargon.<br />
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At any rate, here's the details, courtesy of the <a href="http://newsletter.newfilmmakers.com/q/iKVgPXEctkW-QtlcADRrsJyO1g2RvFKykc1hfhUjHE_ez3nQrMtjxR3VB">organization's website/newsletter</a>:<br />
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NewFilmmakers</span><br />
Wednesday / June 21st<span style="font-size: large;"> </span><br />
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ALL SCREENINGS AT<br />
</span></span></span><span style="font-size: x-small;"><span style="color: black; font-family: "arial";"><a href="http://newsletter.newfilmmakers.com/q/FN80g67RtPtARnop6JeSBLIXKrC5nVHoLUWhpqXpdcW_PgnGMwntuZ300" style="font-family: Arial;">ANTHOLOGY FILM ARCHIVES</a><br />
</span><span style="font-family: "arial";">SECOND AVE & 2ND STREET</span></span></div>
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<span style="color: black; font-family: "arial"; font-size: x-small;"><span style="font-size: x-small;">Passes for Whole Evening only $7</span></span><br />
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<tr><td style="text-align: center;" valign="top" width="253"><span style="font-size: x-small;"><span style="font-family: "arial";"><span style="color: red;"><span style="text-decoration: underline;">6:00PM NEWFILMMAKERS DOCUMENTARY PROGRAM</span></span><br />
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Joseph Fusco FINISH LINE: THE RISE AND FALL OF OFF-TRACK BETTING <br />
Finish Line: The Rise and Demise of Off-Track Betting' is the
only documentary film to tell the story of the defunct OTB system in New
York, and show why it closed, who benefited politically, and how the
taxpayer ultimately paid the price for its demise.<br />
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<span style="color: red;"><span style="text-decoration: underline;">7:15PM NEWFILMMAKERS <br />
SHORT FILM PROGRAM</span><br />
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Aymeric Nicolet WILD <br />
Michael Thomas KYLE<br />
Steve Hally TWISTED SOBRIETY <br />
Brandon Salerno HALF EMPTY<br />
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<span style="text-decoration: underline;"><span style="color: red;">8:30PM NEWFILMMAKERS <br />
FEATURE PRESENTATION</span><br />
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Steve Silver THE WATCHTOWER <br />
A story of love and survival in New York City's notorious Hell's
Kitchen as declining West side Irish and Italian gangs compete for
their bloody share of the action.</span></span><br />
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<span style="font-size: x-small;"><span style="font-family: "arial";">
<span style="color: red;"><span style="text-decoration: underline;">9:45PM ALTFEST <br />
LATE NIGHT EROTIC PROGRAM</span></span><br />
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Urvashi DAYBREAK <br />
Jesse James and Lilith Luxe BIRTH </span></span></td></tr>
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GEORGE ROBINSONhttp://www.blogger.com/profile/07061133578423404073noreply@blogger.com0tag:blogger.com,1999:blog-21090228.post-19164841667009423492017-06-17T13:55:00.003-04:002017-06-18T12:23:15.703-04:00News RoundupA couple of totally unrelated news items worth sharing on this rainy (in NYC, anyway) Saturday afternoon. (I could have been watching <i>Boston Blackie Goes Hollywood</i>, but instead I'm taking the time to pass along these tidbits.)<br />
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Sub-Saharan Africa may be the most neglected group of film industries on the planet. That is why I take great pleasure in passing along this release from the Film Foundation and others:<br />
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<span style="background-color: white;"><span style="color: red;"><b><span style="font-family: "calibri" , "sans-serif";">THE
FILM FOUNDATION’S WORLD CINEMA PROJECT, UNESCO, AND THE PAN AFRICAN
FEDERATION OF FILMMAKERS (FEPACI) SIGN AGREEMENT TO RESTORE AFRICAN
FILMS</span></b></span></span>
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<span style="background-color: white;"><span style="color: red;"><span style="font-family: "calibri" , "sans-serif";">NEW
YORK, NY (June 12, 2017) – Martin Scorsese, founder and chair of The
Film Foundation, Irina Bokova, the Director-General of the United
Nations Educational, Scientific and Cultural Organization
(UNESCO) and Aboubakar Sanogo, the North American Regional Secretary of
the Pan African Federation of Filmmakers (FEPACI) joined together
Wednesday, June 7 to sign a letter of agreement formalizing their
partnership on the African Film Heritage Project, a
new initiative to preserve African cinema.</span></span></span><br />
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<span style="background-color: white;"><span style="color: red;"><i><span style="font-family: "calibri" , "sans-serif";">“I’m proud to be partnering with FEPACI and UNESCO on this critically important project,” said Martin Scorsese</span></i><span style="font-family: "calibri" , "sans-serif";">,
<i>“and I’m excited to have already restored the first film of the
program. I believe that cinema is the perfect way to open up one’s mind
and curiosity and share different cultures with people around the world.
Working together, we can help ensure that Africa’s
richly diverse cinematic heritage will be preserved, restored, and made
available.”</i></span></span></span></div>
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<span style="background-color: white;"><span style="color: red;"><span style="font-size: 12.0pt;">In the context of
UNESCO’s International Coalition of Artists for the General History of
Africa, and working in association with their partner and FIAF member
archive Cineteca di Bologna, the project will
locate and restore an initial selection of 50 African films, identified
by FEPACI’s advisory board of African archivists, scholars and
filmmakers. Initially launched in February at the Pan-African Film
Festival of Ouagadougou (FESPACO), the alliance has completed
its first restoration: SOLEIL O (1969), directed by Med Hondo,
considered to be one of the founding fathers of African cinema. The
restoration premiered recently at the 70th Cannes Film Festival.</span></span></span></div>
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<span style="background-color: white;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid4pfFuAyl9NfGfOPnUChX-nNEJBOu9swB0i4L68kD_dh2aHLHsQTmTqiUbifNcsrzg9uEDquQ8ci7hNbrgQrmMNlnE3I7aQ2IYRpwlIhu0bMtruphXb3bka-eaQcmzKQj2bgs1w/s1600/Photo+2.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid4pfFuAyl9NfGfOPnUChX-nNEJBOu9swB0i4L68kD_dh2aHLHsQTmTqiUbifNcsrzg9uEDquQ8ci7hNbrgQrmMNlnE3I7aQ2IYRpwlIhu0bMtruphXb3bka-eaQcmzKQj2bgs1w/s320/Photo+2.JPG" width="320" /></a></span></div>
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<span style="background-color: white;"><span style="font-size: 12.0pt;">L-R:
Mahen Bonetti (Founder and Executive Director, African Film Festival
Inc.), Aboubakar Sanogo (North America Regional Secretary, FEPACI),
Martin Scorsese (Founder
and Chair of The Film Foundation), Irina Bokova (Director-General,
UNESCO), Yemane Demissie (Associate Professor, New York University)</span></span></div>
<div align="center" class="m_-6874076803703976342MsoNoSpacing" style="text-align: center;">
<span style="background-color: white;"><span style="font-size: 12.0pt;">Photo credit: Dave Alloca/ Starpix</span></span></div>
<div style="text-align: center;">
<span style="background-color: white;"><span style="font-size: 12.0pt;">Courtesy of The Film Foundation</span></span></div>
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<span style="background-color: white;"><span style="color: red;"><span style="font-size: 12.0pt;">An extensive survey
to locate the best existing film elements for each of the 50 films will
be conducted in African Cinémathèques and archives around the world.
Following restoration, these films will be distributed
worldwide at festivals, museums, universities and other venues and made
available via digital platforms and other formats. </span></span></span></div>
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<span style="color: red;"><span style="font-size: 12.0pt;"><span style="color: black;">Much closer to home, the excellent avant-garde documentarian Lynne Sachs has an interesting program in collaboration/conjunction with fellow filmmaker Mark Street on view on Saturday, June 26 at the Microscope Gallery (</span></span></span><span style="color: red;"><span style="font-size: 12.0pt;"><span style="color: black;"><span style="color: black;">1329 Willoughby Avenue, #2B, </span><span style="color: black;">Brooklyn). She can explain it better than I can:</span></span></span></span></div>
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<span style="color: red;"><span style="color: blue;"><span style="font-family: "helvetica"; font-size: 10pt;"><span style="color: black;">Link to Microscope Gallery:</span></span></span></span></div>
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<span style="color: red;"><span style="color: blue;"><span style="font-family: "helvetica"; font-size: 10pt;"><a data-saferedirecturl="https://www.google.com/url?hl=en&q=http://www.microscopegallery.com/?page_id%3D19593&source=gmail&ust=1497808219193000&usg=AFQjCNFTrKApH-5CaNsjPLy09qaDuusPrQ" href="http://www.microscopegallery.com/?page_id=19593" target="_blank">http://www.microscopegallery.c<wbr></wbr>om/?page_id=19593</a></span></span></span></div>
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<span style="color: red;"><span style="font-family: "helvetica"; font-size: 10pt;">Link to Advance Tickets:</span></span></div>
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<span style="color: red;"><span style="color: blue;"><span style="font-family: "helvetica"; font-size: 10pt;"><a data-saferedirecturl="https://www.google.com/url?hl=en&q=https://microscopegallery.ticketleap.com/lynne-sachs--mark-street-a-marriage-of-remakes/dates/Jun-26-2017_at_0730PM&source=gmail&ust=1497808219193000&usg=AFQjCNHiwAXzzCIr6ZB6cyMX0qfKwhpFyw" href="https://microscopegallery.ticketleap.com/lynne-sachs--mark-street-a-marriage-of-remakes/dates/Jun-26-2017_at_0730PM" target="_blank">https://microscopegallery.tick<wbr></wbr>etleap.com/lynne-sachs--mark-s<wbr></wbr>treet-a-marriage-of-remakes/da<wbr></wbr>tes/Jun-26-2017_at_0730PM</a></span></span></span></div>
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<span style="color: red;"><span style="color: blue;"><span style="background-color: white;"><span style="color: blue;"><span style="font-family: "helvetica"; font-size: 10pt;">Both
of us have been making experimental films for more than three decades.
We've been together as a couple for almost that long. So it is with
curiosity and a tremor of fear that we embark on an unusual filmmaking project
that involves each of us remaking a few selected short films from the other's
body of work. The remake production process will start with picking
up the camera and reacting to the other person's selected films with a
combination of humor, insight, irony, pathos and perhaps critique.</span></span></span></span></span></div>
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<span style="color: red;"><span style="color: blue;"><span style="background-color: white;"><span style="color: blue;"><span style="font-family: "helvetica"; font-size: 10pt;"><br /></span></span></span></span></span></div>
<span style="color: red;"><span style="color: blue;"><span style="background-color: white;"><span style="color: blue;">
</span></span></span></span><br />
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<span style="color: red;"><span style="color: blue;"><span style="background-color: white;"><span style="color: blue;"><span style="font-family: "helvetica"; font-size: 10pt;">We will screen some of our older short films along with new remakes of those
films (not shot-by-shot, but using the original film as inspiration). Lynne
may pick up on an element of Mark's film that he didn't even know was there!
Mark may choose to ignore the content of one of Lynne's films in favor of a
formal excavation. This will be an evening of doppelgangers, updates and sly
renovations. The films will be shown in tag team fashion: a clip from Lynne's completed 2001
film leads into Mark's 2017 remake; Mark's completed 2015 film is
followed by Lynne's 2017 remake and so on. </span></span></span></span></span></div>
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</span></span></span></span><br />
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<span style="color: red;"><span style="color: blue;"><span style="background-color: white;"><span style="color: blue;"><span style="font-family: "helvetica"; font-size: 10pt;">We will close out the program with a short film we
made together as the XY Chromosome Project, the collaborative project we
created in 2001. After the screening, we will invite a conversation about
form, context, time, gender and more -- contemplating the frisson that
emerges between an older work and its newer progeny.</span></span></span></span></span></div>
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GEORGE ROBINSONhttp://www.blogger.com/profile/07061133578423404073noreply@blogger.com0tag:blogger.com,1999:blog-21090228.post-55427354499439623322017-06-17T06:52:00.003-04:002017-06-17T19:39:09.567-04:00From Boom to Bus (er, Limo)<!--[if gte mso 9]><xml>
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<br />
<div class="MsoNormal">
This is the sort of juxtaposition that film critics gag for.
On the one hand, we have <a href="http://filmforum.org/film/il-boom-film">Il Boom, apreviously unreleased satirical comedy from 1963,</a> directed by Vittorio de Sica
from a screenplay by Cesare Zavattini, the pairing that created such pillars of
neo-realism as <i style="mso-bidi-font-style: normal;">Bicycle Thieves</i> and <i style="mso-bidi-font-style: normal;">Shoeshine</i>. On the other, <a href="http://www.lincolnplazacinema.com/now-playing/the-journey.aspx">The Journey, a new filmabout the negotiations that led to the Good Friday agreement bringing peace,more or less, to Northern Ireland</a>, with Colm Meaney and Timothy Spall as Martin
McGuinness and Ian Paisley, respectively. (<a href="http://www.ifccenter.com/films/the-journey/">Also at the IFC Center</a>.) A half-century old film whose themes
of greed and the fecklessness of the rising bourgeoisie are more timely now
than they were when the film was made, and a period drama made topical by the
outcome of last week’s UK elections that seem to be dragging the Democratic
Unionist Party into a hard-right coalition with the Tories. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And three male lead performances that demand audience
attention, even if neither film is an unalloyed joy. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I tell you, the job doesn’t get much easier than this: black
(-and-white) to the future and a glossy heritage production that is newly
relevant. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I don’t even feel the urge to resist the obvious because it’s
also a totally logical pairing of films and themes and, in a screwball way, the
complement one another.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
De Sica and Zavattini were always men of the left, albeit a
soft, humanist left that placed little faith in institutions or solutions. At
the heart of their best films of the 1940s, there is a powerful intersection of
family melodrama and liberal politics, groping towards some sort of class
analysis but always caught out short by an overwhelming sense of despair. The
motor that drives those films is their full-blooded embrace of the neo-realist
ethos, a wholehearted commitment to working with non-actors, locations shooting
with available light and the immediacy that comes from placing untried
performers in situatins that are pretty close to their own daily reality. They
are happy to embrace the downward spiral of their narratives and as a result,
their films are genuinely “male weepies” as someone (I believe it was Raymond
Durgnat) called the films.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnfIMey1qCx89KZ2IGyYq5oAZw_PQHbacHrGsmh5QRWDyHKev_7gaZrzQnz9o9p1L3AUf7x5GWIrzASuK-zC5uSvpBLh-8mGbZD1L-HGG7G3osqQBCdPfGJLu5MmNayOwHQJviJA/s1600/1_ILBOOM.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="901" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnfIMey1qCx89KZ2IGyYq5oAZw_PQHbacHrGsmh5QRWDyHKev_7gaZrzQnz9o9p1L3AUf7x5GWIrzASuK-zC5uSvpBLh-8mGbZD1L-HGG7G3osqQBCdPfGJLu5MmNayOwHQJviJA/s320/1_ILBOOM.jpg" width="180" /></a></div>
<div class="MsoNormal" style="text-align: center;">
An eye for a guy (Alberto Sordi)?</div>
<div class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And they are overwhelmingly male-centered. Think of how
quickly the female characters in <i style="mso-bidi-font-style: normal;">Bicycle
Thieves</i> disappear from the narrative. Like most of the films that come
before and after it, the film is about incompetent fathers, literal and
figurative, and the weaknesses of masculine institutions like the Church, the
police, the Communist Party. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Alberto Sordi, who stars in <i style="mso-bidi-font-style: normal;">Il Boom</i>, is made to order for this universe. Sordi is a
paradigmatic tottering tower of male insecurities. From his early work with
Fellini in <i style="mso-bidi-font-style: normal;">The White Sheik</i> and <i style="mso-bidi-font-style: normal;">I Vitelloni</i>, through his brilliant turns
in Alberto Lattuada’s <i style="mso-bidi-font-style: normal;">Mafioso </i>and
Nanni Loy’s <i style="mso-bidi-font-style: normal;">Why?</i>, Sordi is the embodiment
of the preening but ineffectual male, a twitchy, neurotic Babbit who swings
between overweening, blustering pride and self-abasing confession in the face
of failure. There is something weirdly Nixonian about him with his rapid mood
swings, near-teariness and five o’clock shadow.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNPxujdm2znLgLkt5gRtsA3IgT8SBRwoR0FTsccxbV5MBTkPMC0sbBSXq1HsX8aYlnjwtDI1GZG_HkVL9oawFhsyKrPcXJn7y7XrgrWS7fvl_olwtWlqIgTVE-9xfXur1MLEFwHQ/s1600/4_ILBOOM.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="799" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNPxujdm2znLgLkt5gRtsA3IgT8SBRwoR0FTsccxbV5MBTkPMC0sbBSXq1HsX8aYlnjwtDI1GZG_HkVL9oawFhsyKrPcXJn7y7XrgrWS7fvl_olwtWlqIgTVE-9xfXur1MLEFwHQ/s320/4_ILBOOM.jpg" width="236" /></a></div>
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The feminine principle (Gianna Maria Canale)</div>
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Sordi’s ingenious performance in Il Boom is ample reason to
see the film. He is virtually never off-screen, and his unerring drive towards
self-immolation is darkly funny, a sort of chaotic, perverse inversion of
Harold Lloyd, all forward motion, much of it pointless, all of it
self-defeating and destined for disaster.</div>
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In <i style="mso-bidi-font-style: normal;">Il Boom</i>, Sordi
plays the sort of go-getter (or, more accurately, a go-not-getter) who infests
the seamier precincts of the Italian “economic miracle.” His is a sort of
quasi-corporate middleman, vaguely corrupt and always in debt, perpetually one
deal away from wealth or catastrophe. Picture Sammy Glick played by Peter
Sellers and you have some sense of the character. From the film’s outset he is
so deep in debt that he faces losing everything, including his wealthy wife
(Gianna Maria Canale). Desperately he turns to friends and colleagues looking
for loans but he has built such a secure façade of success that no one believes
he’s serious. Finally, he throws himself on the (non-existent) mercies of a textiles
tycoon and his manipulative gorgon of a wife; they are prepared to make him a
deal, swapping a large sum of cash for . . . one of his eyes. </div>
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It’s the sort of metaphor-made-horribly-real that Bertolt
Brecht loved, and de Sica and Zavattini happily play it for a sort of black
farce. The problem is that once this premise is finally brought to the fore,
about halfway through the film’s brisk 88-minute running time, there really isn’t
anywhere else for it to go. There are some particularly inventive moments of Kafkaesque
wit in the hospital towards the end of the film, culminating in a doomed
attempt by Sordi to blackmail his way out of the deal, but the end is
signposted and foreordained, all but inescapable.</div>
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The film is on surer ground in the first half, with its
mordant depiction of a “dolce vita” of staggering mediocrity, a vivid display
of conspicuous consumption of every sort that is a bleakly funny reminder that
having fun is an all too serious business. <i style="mso-bidi-font-style: normal;">Il
Boom</i> feels more timely in the post-Cold War America of the ‘90s and beyond
than it may have in ‘60s Rome. With its joylessly “happy” couples it anticipates
the emptiness of Bret Easton Ellis and his ilk, except that its ironies and
actually witty and Sordi is charming in a way that his American equivalents
never are.</div>
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The timeliness of <i style="mso-bidi-font-style: normal;">The
Journey</i> is more obvious, although not what the filmmakers intended I’m
sure. The fiasco that was the Tory election campaign has ended with Teresa May
desperately relying on Ian Paisley’s old party, the DUP to build a feeble
coalition that will probably be short-lived. As a result, media attention has
fallen on the Unionists, and the result has been to call attention to the fact –
hardly news to anyone who knows the history of the Troubles – that the DUP lives
by the worst sort of reactionary, fundamentalist ideology. They are anti-LGBTI,
climate-change deniers, harshly opposed to abortion under any circumstances
and, despite the changes brought about in the peace talks, still ardently
nationalist. </div>
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World's worst road trip? Colm Meaney and Timothy Spall want to know "When will we be there?" </div>
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The premise of the film, directed by Nick Hamm from an
original screenplay by Colin Bateman, is that during the 2006 negotiations
Paisley must take a plane back to Belfast for his 50<sup>th</sup> wedding
anniversary party. As part of the rules governing the peace talks, Sinn Fein’s
lead negotiator McGuinness must accompany him as a deterrent to assassination.
Mainpulated by British Intelligence (personified by John Hurt in one of his
last performances as a Yoda-like sage), the two are confined to an armored limo
that will take them to the airport while giving them an unexpected couple of
hours alone together, with only a young driver (Freddie Highmore), who is
actually an MI-5 op.</div>
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As you might expect, this becomes an opportunity for Meaney
and Spall to show off their considerable array of acting tricks. Although he is
crucified by large steel-rimmed glasses, false teeth and a Belfast accent this
is at once impressively accurate and yet distracting, Spall manages to steal
most of his scenes; Meaney has the less obvious toolkit but makes much of it
and when the two are sharing the screen he holds his own, subtly and
impressively.<br />
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<div style="text-align: center;">
A forest in the middle of their journey (Spall and Meaney)</div>
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The problem with <i style="mso-bidi-font-style: normal;">The
Journey</i> is pretty basic. Bateman’s script attempts to boil down several
hundred years of complex history and several years of complex negotiations into
95 minutes of rather oversimplified talk. Some of it is good talk. Bateman’s
wonderful BBC series <i style="mso-bidi-font-style: normal;">Murphy’s Law</i> was
a vivid calling card that introduced him to American audiences as a clever
writer and deft constructionist. But apart from the lead performances there is
something superficial and mechanical about the film, starting from the script.
As a result, the film reduces its fraught subject matter to a pair of dueling foxy
grandpas playing at comic one-upsmanship, and its climax to whether or not
Spall’s Paisley can crack a joke. For someone who began his career in the
London fringe scene before moving on to the RSC, Nick Hamm has a depressingly
literal-minded approach to the film’s mise-en-scene, falling back on the
overdetermined symbolism of an abandoned church and graveyard for key scenes of
the film.</div>
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<br /></div>
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Still, there are those two clever vaudevillians to watch,
Messers Spall and Meaney, and their charms might keep you from remembering who
they are supposed to be and who the DUP really are.</div>
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GEORGE ROBINSONhttp://www.blogger.com/profile/07061133578423404073noreply@blogger.com0tag:blogger.com,1999:blog-21090228.post-56725154376486121382017-06-15T10:19:00.002-04:002017-06-15T10:19:33.738-04:00As Promised, the Prodigal Returns (Now, about that fatted calf . . .)After an eventful year that included a lot of teaching, four herniated cervical disks (fun for the whole family), a bedbug infestaion (more fun and loads of serious expense) and a national election about which the less said the better, here I am again back at the old lemonade stand. (Yes, we frequently use real lemons, but I'd rather talk about the good movies I see.) As the new media economy devours print journalism and pukes it up whole as another Murdoch enterprise, I realized that I both wanted and needed to writing about something more than Jewish film which, needless to say, my gig at The Jewish Week, doesn't really permit.<br />
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Although I enjoy using my Twitter feed (@GRCommunicati13), it's not exactly a brilliant communication device, not even in the hands of a bold practitioner like our President Agent Orange. A 140-character limit doesn't leave room for much nuance. Notwithstanding the death-of-cinema whiners, there are plenty of complex and intelligent films being released right now that deserve more than a tweet.<br />
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There continue to be film and media stories that cry out for comment and/or wider dissemination. New movies keep escaping from the film asylum, old movies present new readings. So here we all are again. As long-time readers of this blog know, my promises of diligent updating are worth less than tips from Donald Trump's hairdresser, albeit more artfully phrased, so I won't tell you how frequently I'll be posting. Let us all hope it happens more often than someone hitting four home runs in a major-league game (take a bow Scooter Gennett, if only for that very 1920s name).<br />
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In the meantime, here is <a href="http://jewishweek.timesofisrael.com/the-cinema-of-schisms/">my latest from the Jewish Week</a>.<br />
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<span class="DashboardProfileCard-screenname u-inlineBlock u-dir" dir="ltr"></span>GEORGE ROBINSONhttp://www.blogger.com/profile/07061133578423404073noreply@blogger.com0tag:blogger.com,1999:blog-21090228.post-10724885866794952492017-06-12T20:02:00.003-04:002017-06-12T20:02:55.383-04:00COMING SOON TO A THEATER NEAR YOU!!!Yes, like Nixon, I'm back, tanned and rested and ready for a fight.<br />
There have been a few changes made, and I'll detail them very soon.<br />
For the moment, all you need to know is that I'm red and ready.<br />
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<br />GEORGE ROBINSONhttp://www.blogger.com/profile/07061133578423404073noreply@blogger.com0tag:blogger.com,1999:blog-21090228.post-38793713542050906522016-04-14T10:33:00.001-04:002016-04-14T10:34:57.758-04:00Cine-Journal Goes TribecaWhat were you expecting, Leningrad Cowboys?<br />
Not on this budget, cookie.<br />
<br />
The Tribeca Film Festival begins its fifteenth run officially today, and I'm hoping to revive this blog long enough to cover a lot of titles. I've already had <a href="http://www.thejewishweek.com/arts/film/hungary-buenos-aires-and-beyond" target="_blank">my say on the Jewish and Israeli films</a> for The Jewish Week, so let me give you a head start.<br />
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<br />GEORGE ROBINSONhttp://www.blogger.com/profile/07061133578423404073noreply@blogger.com0tag:blogger.com,1999:blog-21090228.post-6315288173389466102015-07-29T13:43:00.003-04:002015-07-29T13:43:25.835-04:00A Quick Head's-UpThought that if you are reading this blog, you'll enjoy <a href="http://Thought that if you are reading this blog, you'll enjoy my tribute to Theodore Bikel for Jewish Week. Back with some actual music reviews shortly!" target="_blank">my tribute to Theodore Bikel </a>for Jewish Week.<br />
Bikel's acting career is a perfect antidote to the Method actors who were dominating the screen at the same time. Watching Brando is like watching a workshop -- you can't wait to find out which interpretation of the role he'll finally decide to offer; naturalistic actors like Bikel just decide who the character is and live it. <br />
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Back with some actual film reviews shortly!GEORGE ROBINSONhttp://www.blogger.com/profile/07061133578423404073noreply@blogger.com0tag:blogger.com,1999:blog-21090228.post-29740083329319820092015-07-19T13:22:00.002-04:002015-07-19T13:22:36.192-04:00A Bit of Film History and a BargainThanks to <a href="https://www.fandor.com/keyframe/daily-kiarostami-costa-tarr" target="_blank">Fandor's daily </a>news flash, which I recommend unequivocally, I learned a few minutes ago of a terrific DVD package that readers of this blog will want to grab quickly. As many of you may recall, a few years ago the New Zealand Film Archive discovered a print of the long-lost 1927 John Ford feature <i>Upstream</i>. Given the small percentage of Ford's silent films that have survived, the rescue of any of them is noteworthy and I, for one, was ecstatic. Ecstasy is often blunted by the concerns of day-to-day living -- not to be too ponderous about it (okay, it's too late) -- and I promptly forgot the whole thing until I saw an item on the Fandor site announcing the availability of a DVD, <i>American Treasures from the New Zealand Film Archive</i>. The entire package retails for only $25 (and can be had cheaper on Amazon, if you don't have any moral qualms about Jeff Bezos and Co.) or you can make a donation to the National Film Preservation Fund and get it free. At any rate, <a href="http://www.filmpreservation.org/dvds-and-books/treasures-new-zealand" target="_blank">there's more info here</a> and the NFPF site is well worth a look itself.<br />
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<br />GEORGE ROBINSONhttp://www.blogger.com/profile/07061133578423404073noreply@blogger.com0tag:blogger.com,1999:blog-21090228.post-38278347246883671162015-07-17T17:04:00.004-04:002015-07-17T17:06:55.556-04:00If It's Sunday, Bring an UmbrellaI'm starting to prepare for <a href="http://www.jasa.org/community/nextact/sundays-at-jasa" target="_blank">my fall class at JASA</a>, which will be a collection of a dozen underrated British films ranging from <i>Picadilly</i> (1929) to <i>Raining Stones</i> (1993). Consequently, I've been looking at the twelve films I chose and getting a vivid reminder that, Francois Truffaut notwithstanding, there are great British films, albeit not as many as one would wish. Somehow with the Ashes being contested right now (and England getting well and truly waxed by the Aussies at Lord's this week), it seems appropriate to have just seen Robert Hamer's splendid 1947 noir <i>It Always Rains on Sunday</i>.<br />
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<div style="text-align: center;">
Tommy and Rose in Happier Days</div>
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Like most <i>films noirs, </i>it's a bleak number in which nobody gets what they want and everyone gets what's coming to them. Although the central plot is almost ridiculously straightforward -- Tommy Swan (John McCallum) breaks out of prison and heads for London's Jewish-dominated East End, home of his old girlfriend Rose (Googie Withers) -- but this is an ensemble piece in which Hamer moves deftly and gracefully among a half-dozen storylines and twice as many significant characters. In a sense, <i>It Always Rains</i> is really a film about a soon-to-disappear neighborhood, Bethnal Green when it echoed to the sound of Yiddish and the streets were filled with peddlers, a working-class neighborhood reminiscent of New York's Lower East Side. (Like the Lower East Side, the East End merely exchanged one striving ethnic group for another with the Latino population moving onto the bottom rungs of the Manhattan socioeconomic ladder and the South Asian and West Indian poor as their London counterparts.)<br />
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Urban Claustrophobia in the Rain</div>
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One might not think of Ealing as a studio for film noir, but the mix of eccentric locals and salt-of-the-earth working poor is as typical of the studio as any of their comedies, which usually boast the same blend. When you note that the screenwriters include Hamer (whose next film would be <i>Kind Hearts and Coronets</i>), Henry Cornelius (<i>Genevieve</i>) and frequent Hitchcock collaborator Angus MacPhail (who also worked on Ealing vehicles for comics Will Hay and Tommy Trinder), then the frequently playful tone makes more sense. MacPhail, in particular, was a favorite of Ealing honcho Michael Balcon (perhaps not coincidentally, himself a Jew), and Ealing has always felt to me like a family operation writ large, sort of a super-sized version of a John Ford set with everyone falling easily into familiar and familial roles.<br />
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It certainly worked that way for McCallum and Withers, who married after the film was completed and remained happily hitched until his death in 2010 at 91. There is an unmistakable chemistry between them, edgy, even a little barbed, but utterly sexual, and it gives the film almost as much drive as Hamer's liquid direction.<br />
<br />GEORGE ROBINSONhttp://www.blogger.com/profile/07061133578423404073noreply@blogger.com0tag:blogger.com,1999:blog-21090228.post-61308406703757654672015-07-02T20:24:00.001-04:002015-07-02T20:24:21.262-04:00And another good guy bites the dust . . . . RIP Sergio Sollima, director of such hard nuggets of politically driven action cinema as <i>The Big Gundown</i>, <i>Face to Face</i> and <i>Violent City</i>. At 94, he was one of the very last of the Italian filmmakers who gave us the westerns of the '60s and the crime films of the '70s. These guys were the product of a society that was much more fragmented and polarized politically than the U.S. in the same period. (You're probably thinking "more fragmented than the U.S during Vietnam?" Compared the Red Brigades and their train-station-bombing fascist counterparts, yes.) That reality was reflected in the films they made. Italy in the period was like a <br />
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Who you callin' ugly, chump?</div>
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gigantic version of the Warner Brothers backlot during the Depression, recycling and reinventing popular genres (mostly American) with ferocious abandon. Although Leone rightly got most of the attention, it was the second-tier guys like Sollima, Corbucci, Lizzani, DiLeo, who made the wheels turn, and they were anything but untalented.That said, there's <a href="http://blogs.indiewire.com/thompsononhollywood/rip-spaghetti-western-director-sergio-sollima-20150702?utm_source=tohDaily_newsletter&utm_medium=sailthru_newsletter" target="_blank">an excellent appreciation </a>of his life and career at IndieWire, written by Dennis Cozzalio. GEORGE ROBINSONhttp://www.blogger.com/profile/07061133578423404073noreply@blogger.com0tag:blogger.com,1999:blog-21090228.post-72058138777773425412015-06-27T17:36:00.002-04:002015-06-27T17:36:57.014-04:00Iran's Ongoing War on Its Filmmakers . . . .I have written in this space many times about film people who are prisoners of conscience around the world, but it seems as if an inordinate number of these cases take place in Iran. Perhaps that is merely one more tribute to one of the world's most creative film industries. Reminds me of the story Mark Twain tells about an editor friend who, when asked about an incident in which he was tarred and feathered and ridden out of town on a rail, replied: "If it weren't for the honor of the thing, I'd have just as soon walked."<br />
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The latest bludgeoning of freedom of expression in the Iranian film community is the sentencing of writer-producer Mostafa Azizi. Azizi is currently in Evin Prison, having been handed an eight-year sentence for "insulting the Supreme Leader," among other charges. For more information and a guide to writing to push for his release, <a href="http://www.pen-international.org/newsitems/iran-release-writer-and-film-producer-mostafa-azizi/" target="_blank">go here</a>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzwlSrtQO4Jg18LinNBfgI_lUx9XJWWvC0bc-pY0R1IIHOqY4EQBHfisz1-EG_h2OuuoK9M0S1oS5Ws7Gzi7LtsxDzWKBwShLNCHG4sc0pGGs51lF31x1C5MdTOOdHYpAfJ9xlCg/s1600/Mostafa_Azizi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzwlSrtQO4Jg18LinNBfgI_lUx9XJWWvC0bc-pY0R1IIHOqY4EQBHfisz1-EG_h2OuuoK9M0S1oS5Ws7Gzi7LtsxDzWKBwShLNCHG4sc0pGGs51lF31x1C5MdTOOdHYpAfJ9xlCg/s320/Mostafa_Azizi.jpg" width="320" /></a></div>
<div style="text-align: center;">
Get this man out of prison!</div>
<br />
<br />
<br />GEORGE ROBINSONhttp://www.blogger.com/profile/07061133578423404073noreply@blogger.com0tag:blogger.com,1999:blog-21090228.post-18529763779254115002015-06-26T23:55:00.000-04:002015-06-26T23:57:13.185-04:00Bit of a Let-Down from Eran RiklisAmong the prominent Israeli directors to have emerged in the past two decades, Eran Riklis is perhaps the one with the most uneven output. His best work -- <i>The Syrian Bride</i> and <i>The Lemon Tree</i> certainly come to mind -- is quite good indeed. He made a string of disappointing films after <i>Cup Final</i>, his first success, but lately he has been turning more predictably interesting films, laced with a warmth and humanity that reminds me often of Leo McCarey.<br />
<br />
So his latest, <i>A Borrowed Identity</i>, which opened theatrically today, really is unfortunate. It's not terrible, but it feels rather studied. When it played the Israel Film Center Festival this spring I wrote this:<br />
<br />
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mso-para-margin-bottom:10.0pt;
mso-para-margin-left:0in;
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<![endif]--><span style="color: red;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><i> A Borrowed Identity,</i> like its literary
source, is a <i style="mso-bidi-font-style: normal;">bildungsroman</i> that
traces the youth of a young Israeli Arab, Eyad (Tawfeek Barhom) as he picks his
way through the minefield of ethnic identity and Jewish-Arab conflict. Although
there are moments of levity, <i>Borrowed </i>is essentially the latest installment
the director’s ongoing search for the human side of the crisis. As in his best
films. . . Riklis is trying to
find the some reason for optimism but the material stubbornly refuses to
provide one. Instead, it is his own dogged commitment to a cinematic humanism
that is the most hopeful element in the film. </span></span><br />
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Better than the Material: </div>
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Eyad (Tawfeek Barhom) and Edna (Yael Abecassis)</div>
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<span style="color: red;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">Although <i>A Borrowed Identity</i> pivots on
the literal event invoked in its title, the name of the film also serves as a
reminder of the uniquely ambiguous status of the Israeli Arabs. Eyad encounters
the expected racism in the larger society, but finds allies among his
classmates at the elite arts school he attends in Jerusalem. He also becomes
involved with someone even worse off than he, Yonatan (Michael Moshonov), whose
muscular dystrophy has already put him in a wheelchair. The problem with “A
Borrowed Identity” is that, despite some nice very acting, the film is
sluggishly paced and too often feels like a rather obvious version of a ‘50s
problem picture. And yet, against all odds, the final fifteen minutes is
genuinely moving, as Riklis’s complex language of camera movement pays
emotional dividends.</span></span></div>
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GEORGE ROBINSONhttp://www.blogger.com/profile/07061133578423404073noreply@blogger.com0tag:blogger.com,1999:blog-21090228.post-13737178591186334062015-06-16T04:40:00.002-04:002015-06-16T05:02:26.970-04:00Listen to the Silent(s)Now here is <a href="http://new-york.czechcentres.cz/program/event-details/summer-on-the-roof4/" target="_blank">a film series that looks like a lot of fun</a> and adds titles to the general mix that could include some potential rediscoveries. The Czech Center is offering a "Rooftop Cine-Concert Series" Tuesday evenings this summer that will include a nice selection of Czech and American films from the late silent period, one pre-code classic (Sternberg's <i>Blonde Venus</i>, a typically delirious Dietrich vehicle) and one 1937 ham-and-egger, Sam Wood's <i>Madame X </i>(which makes the cut because it includes uncredited work from Gustav Machaty). All the silents will feature live musical accompaniment, the most exciting of which, to my mind, are the presence of jazz great Henry Grimes playing for <i>A Woman of Affairs </i>(Clarence Brown), Jiří Bárta playing cello at <i>An Old Gangster's Molls</i>, a 1927 Czech film directed by the euphoniously named Svatopluk Innemann, and Ben Model accompanying Machaty's <i>Erotikon</i>. The combination of silent films with live music and the presence of several Czech films that are virtually unseen in the U.S. makes this one a keeper. Add a little summer moonlight, dance music before the film and is sounds like a very pleasant evening in New York.<br />
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Karel Schleichert and Ita Rina get ready to drink the Kool-Aid in <i>Erotikon</i></div>
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GEORGE ROBINSONhttp://www.blogger.com/profile/07061133578423404073noreply@blogger.com0tag:blogger.com,1999:blog-21090228.post-86107809957540825392015-06-11T08:36:00.003-04:002015-06-11T08:38:23.537-04:00Sir Christopher Lee, R.I.P.It gives me real sadness to say that Christopher Lee died this week at 93. Although the obits will talk about the Rings trilogy and the gravitas he lent to the deplorable Star Wars prequels, I prefer to think of him for much of his work for Hammer Films, which he frankly disdained. I can understand his impatience with the subject -- for a long time it was the only thing he was ever asked about -- but some of the Terence Fisher films, particularly the early Draculas and most of all <i>The Devil Rides Out</i>, are really splendid and he is superb in them. <br />
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We were very, very amused:</div>
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Victoria Regina (Mollie Maureen), Mycroft and Sherlock (Christopher Lee and Robert Stephens)</div>
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in Wilder's masterpiece, <i>The Private Life of Sherlock Holmes</i></div>
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I actually met Lee once at a press conference after a screening of the
Bond farago, <i>The Man With Golden Gun</i>. I asked him about <i>The Private Life
of Sherlock Holmes, </i>of course the best film of his career and he brings a great deal to it, <i></i>and he lit up like the Blackpool Illuminations. He
clearly was sick of hearing about the Hammer films and bored with the
Bond tour and, as he said to me, working with Wilder was one of the
great thrills of his career. <br />
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At any rate, if what some believe is true, I'm sure Peter Cushing is working on a bang-up welcome for his old friend. GEORGE ROBINSONhttp://www.blogger.com/profile/07061133578423404073noreply@blogger.com0