Weekly Wilson - Blog of Author Connie C. Wilson

Welcome to WeeklyWilson.com, where author/film critic Connie (Corcoran) Wilson avoids totally losing her marbles in semi-retirement by writing about film (see the Chicago Film Festival reviews and SXSW), politics and books—-her own books and those of other people. You'll also find her diverging frequently to share humorous (or not-so-humorous) anecdotes and concerns. Try it! You'll like it!

Category: Pop Culture (Page 2 of 38)

“FEAR” – Chapter 2: Bannon Comes Aboard

Image result for google images of Steve Bannon                                                                          Steve Bannon

Chapter 2 describes how Steve Bannon came to be involved in the Trump campaign for the presidency on or about August 13, 2016. Bannon was reading an article entitled “The Failing Inside Mission to Tame Trump’s Tongue”  in the New York Times (an article that would be just as timely today.)

Trump had no operation beyond the RNC at that point. His “campaign,” which he had announced in the infamous Trump Tower escalator speech, had been launched on July 21, 2016, and consisted of perhaps 7 people. The team was scheduling rallies in what I call Newt Gingrich territory, i.e., the cheesiest venues, “often old, washed-out sports or hockey arenas.” Bannon called Rebekah Mercer, one of the biggest and most controversial sources of campaign funding within the GOP. The family had an ownership stake in Breitbart.

Rebekah Mercer noted, “This guy Manafort’s a disaster. Nobody’s running the campaign now. Trump listens to you. He’s always looking for adult supervision.” In this fashion, Ms. Mercer urged Bannon to offer his services running the campaign, even though he admitted he had no firsthand knowledge of running such a large-scale operation. Ms. Mercer noted that Trump would accept him in this position because “This thing’s in panic mode.” She sized Trump, the outsider, up as “desperate.”

Image result for google images of Rebekah Mercer
The Mercers (Rebekah on right).(Image courtesy of jackrite blog)

That discussion between Bannon and Rebekah Mercer led to a meeting at the home of the New York Jets owner, Woody Johnson, for a fundraiser. The Mercers wanted 10 minutes with DJT. “Mananfort has got to go,” she told Trump. She added, “Steve Bannon will come in” and Trump’s response was that Bannon would never do it, to which Rebekah reassured him that Bannon most definitely would enter the fray.

Trump, in his usual style, blamed Manafort for his poor television skills (“He’s a stiff. He can’t do TV effectively.”)

Image result for google images of Reince Priebus
Candidate Trump and Reince Priebus (Image courtesy of Politico)

The next discussion revolved around 44-year-old Reince Priebus, a Wisconsin lawyer and chairman of the RNC for 5 years.Priebus viewed the month of August as a catastrophe (“A constant heat lamp that wouldn’t go away.”) Priebus had called Trump up after his negative remarks about Mexicans in his announcement of his candidacy, telling him: “You can’t talk like that.  We’ve been working really hard to win over Hispanics.”

At this point, according to Woodward, Mitch McConnell had already told Priebus to  shut the Trump funding spigot off and direct the RNC money towards Senate candidates. But Priebus decided to straddle middle ground: survival for the party and survival for him.“He had sucked up to Trump appropriately, but had also stressed his responsibilities to the RNC. He agreed to introduce Trump at rallies, referring to that as “extending a hand to a drowning man.” Priebus had said: “It wasn’t a campaign. It was a joke.” Priebus decided there was only one path forward, and that was to maximize aggression to conceal weakness.

Woodward then pivots to a meeting that took place at one of Trump’s golf courses at Bedminster (the Trump National Golf Club). Bannon was told to arrive at one o’clock and was given detailed instructions for finding the course (“Trump provided more detail than Bannon had ever heard him give on anything.”).

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Roger Ailes (Image courtesy of Wikipedia)

When Bannon arrived early, he met up with Roger Ailes, who was surprised to see him. Others supposed to be present were Chris Christie and Rudy Giuiliani. (Ailes’ reaction upon seeing Bannon was “WTF.”) Something was said (by Bannon) to Ailes to suggest that Trump was going to be “prepping” for the first debate with Hillary Clinton, which was upcoming on September 26th. Ailes was surprised that Trump was “prepping” and Bannon corrected him, noting that he, Giuiliani and Christie couldn’t get Trump to “prep” but they did show up and talk some of the potential relevant issues with him, as he played golf or after he played golf.

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Paul Manafort (Image courtesy of CNBC.com)

Paul Manafort, then the ostensible Campaign Manager (now a convicted felon), walked in dressed in yachting attire and both men were disgusted. Trump arrived and wolfed down a diet of hot dogs and hamburgers “the fantasy diet of an 11-year-old kid.” Trump chided Manafort, saying: “You’re terrible on TV. You’ve got no energy. You don’t represent the campaign. I’ve told you nicely. You’re never going on TV again.”

Trump constantly derided “the failing New York Times” but secretly considered it to be Gospel, and he was upset with the coverage. Bannon tried to convince him the story was BS, but Trump “wasn’t buying it.” (“The assassination of Manafort continued for a while.”) Typical commentary on Manafort, by Trump, to Bannon: “This thing’s so terrible. It’s out of control..  This guy’s such a loser.  He’s really not running the campaign.  I only brought him in to get me through the convention.”

Bannon laid out a battleground scenario where 2/3 of the country thought the country was on the wrong track and 75% thought we were in decline as a nation. That would set the stage for a “change agent” and Hillary was the past. Bannon underscored and emphasized that the goal was to “compare and contrast Clinton.” Steve Bannon outlined a campaign where HRC would be made the tribune and representative of a corrupt and incompetent status quo of elites who were allowing the nation to go down the tubes. Trump would become the tribune of the forgotten man who wanted to make America great again.

“And we’re just going to do it in a couple of themes,” Bannon said.#1: Immigration #2: Bring back manufacturing jobs, #3: Get out of pointless wars. Saying that those were the 3 big themes that Clinton could not defend against, Bannon went on to say, “We’re just going to hammer. That’s it. Just stick to that.” He noted that “even when she’s telling the truth, she sounds like she’s lying to you.” Trump did not.

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Kellyanne Conway (Image courtesy of NYMag.com)

They agreed that Kellyanne Conway (who had previously worked for Ted Cruz) would be the designated campaign manager, but, to avoid any mention of Manafort’s ouster in the papers, he would retain a purely honorary title as Campaign Chairman but have no real power. Of Kellyanne he said, “We’re going to put her on television every day as the female-friendly face.” (They certainly did THAT! You could not avoid Kellyanne Conway on shows like “Meet the Press” and “Face the Nation” during this period.)

Bannon added that HE would never be on TV.  Kellyanne told Trump that he was “running against the most joyless candidate in presidential history.” (One could have said the same of Cruz, had he prevailed.) Kellyanne told Trump there was “a path back.” Kellyanne told  him: “You have built a movement. And people feel like they’re a part of it.” She counseled that the Trump campaign should never do national polling, as it was misleading. It was all about the electoral college and the 270 votes, so they needed to target the right states. She also said that “People want specifics” and “You need to make good on your promises.”

Asked if she was willing to devote months of time to help him win, Kellyanne acquiesced and said: “Sir, I can do that for you. You can win this race.  I do not consider myself your peer.  I will never address you by your first name.”

And so was born the trio of first-time campaign managers with a flawed candidate who did have a national reputation. “You’re fired!”)

Spike Lee Is Back With A Vengeance In BlacKkKlansman

Spike Lee’s new film “BlacKkKlansman,” winner of the Cannes Grand Prix award in May, is based on the early 1970s true story of Ron Stallworth, who was the first African-American hired by the Colorado Springs Police Force. Ron is played by Denzel Washington’s son, John David Washington, a new face to contend with for future roles, but previously better known as the subject of father Denzel’s television comments on his son’s football playing prowess. (John David—his full name, as he has no middle name—was drafted by the St. Louis Rams after graduating from Morehouse College in 2006 and played for the Hamburg Sea Devils as a running back in ’06 and ’07.)

Lee said of John David’s casting (“Time” August 20th cover story by Rembert Browne), “I told him, ‘I knew you before you were born.’ I didn’t have him audition or read. Even before I sent him the script, I knew brother man could do it.” And so, a star is born. IMDB even awarded John David Washington the STARmeter award in Cannes on May 9th, 2018. Expect to see a lot more of him in the future, (even if we’ve seen almost nothing of him in the past).

The improbable story that Spike Lee’s terrific cast brings to life is the story of black police officer Ron Stallworth’s infiltration of the Ku Klux Klan. It is based on Stallworth’s book “Black Klansman: Race, Hate, and the Undercover Investigation of a Lifetime,” which shows up now on Amazon with the movie’s poster as a cover, but was out as a hard cover book in June with the close-up of a single eye, peeking out through a KKK hood eye hole.

This film is a direct commentary on the subject of bigotry and racial prejudice in America, and Lee doesn’t mess around. He never has in dealing with racism, violence and inequality in America. Real news clips are used depicting Donald J. Trump speaking, as well as footage of the Charlottesville murder one year ago of 32-year-old white protester Heather Heyer, run down by a car driven by a racist demonstrater. Real film of the event ends Lee’s film, used with permission of Heyer’s mother, Susan Bro. Lee told (“Time”) “I consider her a martyr.”

That event in Charlottesville one year ago also prompted Spike Lee to say, “That is nothing more than home-grown, apple pie, red-white-and-blue terrorism,” in a telephone interview with the New York Times.

The film is certain to make the list of Best Films of the Year and deservedly so. It is Spike Lee’s best non-documentary film in years, and perhaps the strongest commentary on this incendiary topic since “Do the Right Thing” won him an Oscar nomination for Best Screenplay in 1989. Spike Lee has been telling America to “wake up” for 30 years and this latest film underscores the need with current film inserts and newsreel and other footage.

FILM REFERENCES:

The film opens with the famous scene from “Gone With the Wind” depicting Scarlett O’Hara is wandering amidst the dead, dying and wounded lying on the ground in Atlanta. It uses footage of 1915’s “Birth of A Nation” to show Klansmen celebrating the abhorrent behavior laid out for us in grim detail by none other than Harry Belafonte in a cross-cut scene with the Klan shouting “White Power!” while the African American group meeting across town shouts “Black Power!” The 70s were, indeed, a time when unrest, bred in the sixties, made it appear that race warfare was going to be our next Civil War. If it wasn’t Stokely Carmichael (using the name Kwame Ture in a speech that he gives onscreen) it was SNCC (Student Non-Violent Coordinating Committee) or the SLA (Symbionese Liberation Army) that worried white Americans.

As Alec Baldwin’s character of Dr. Kennebrew Beauregard says in the first few moments of the film, playing a White Supremacist narrator of a propaganda film, “We had a great way of life, until Martin Luther King.” He goes on to refer to the “monkeys, rapists, murderous super-predators and blood-sucking Jews” who have, in his opinion, ruined the country, calling it an international Jewish conspiracy. The “N” word is thrown around quite liberally in the film, as well as many other demeaning names for African American citizens. It is not till film’s end that Ron Stallworth’s character (John David Washington) has the chance to respond in kind to the Grand Wizard of the KKK, David Duke (Topher Grace) during a phone conversation. One small criticism I might make is that the scenes showing the great amusement of Stallworth’s fellow officers during these conversations are over-done at times.

It is a telephone conversation that sets the entire investigation in motion, as Ron Stallworth notices ads in the newspaper for Klansmen and responds by phone, posing as a loyal White Supremacist. Ultimately, he becomes a card-carrying member of the KKK—a completely unlikely scenario—but the investigation could not have gone forward without the in-person substitution of fellow officer Flip Zimmerman (Adam Driver of “Star Wars”) for Stallworth’s phone persona.

THE CAST

The cast was terrific throughout. The casting by Kim Coleman was right on the money, with many recognizable faces in the crowd. If John David Washington was an unknown before this film, it is a certainty that he will not be after this film. If you listen closely, you can hear some of Denzel’s cadence in his vocal delivery of lines, but he is clearly a talent in his own right, hitting the right notes throughout.

Contributing to the excellent ensemble, besides Washington and Driver, are Robert John Burke as Chief Bridges. I recognized him immediately from “Rescue Me” where he was Dennis Leary’s “sponsor” at AA meetings. (Bridges was also in “RoboCop”). Laura Harrier, who plays the love interest Patrice, is a more recent arrival, from “Spiderman: HomecEggoloming” in 2017. Ryan Eggold as Walter Breachway, is a face you’ll know from “The Black List,” where he was the evil husband of the female lead. (Eggold has a new medical drama starting on TV this fall and had a short-lived show that focused on his character from “The Black List.”) Eggold is the Klansman who eagerly accepts Driver as the real deal and wants to make him head of the group! Michael Joseph Buscemi plays Jimmy Creek, one of the police investigators, and, while he is not Steve Buscemi’s son, he is related (nephew?). Brian Tarantino plays Officer Clay Mulaney and Nicholas Turturro, not much in evidence since 1993’s “NYPD Blue,” is a familiar face. The dim-witted Ivanhoe is Paul Walter Hauser, most recently playing a thug in “I, Tonya” (2017). Two faces I did not recognize were Jasper Paskkonen as Felix Kendrickson, the craziest of the Klansmen, and his wife, Connie (Ashlie Atkinson), who worked with Lee in 2006’s “Inside Man.” Arthur J. Nascarella as Officer Wheaton is from “The Sopranos.” All were excellent.

THE MUSIC
Lee has worked with the same music person many times and Terence Blanchard put together a terrific score, complete with seventies hits like “It’s Too Late to Turn Back Now” and “Oh Happy Day.” The soundtrack will be terrific. We are also treated to some dancing scenes to lighten the mood, which has comic moments amongst this dead serious topic.

THE CINEMATOGRAPHY

Chayse Irvin is responsible for many of the trademark Spike Lee camera shots, most notably the double dolly shot, where the actors seem to be floating towards the camera (both actors and cameras are placed on dollies on tracks). The grainy high contrast footage, saturated colors, evocative end credits and the “wake up” call to his audience are also typical Spike Lee touches. In this film, the close-up shots of faces in the crowd at Stokely Carmichael’s (Corey Hawkins of “Straight Outta’ Compton) speech are an added plus. In order to be able to both shoot the crowd scene (which Officer Stallworth is monitoring from inside) and to focus on the faces of individuals in the crowd (Washington and Patrice, for example), a separate camera had to be set up in a side room and the actors had to be pulled aside to shoot them in close-up to integrate the close-ups into the crowd scene.

THE POLITICS OF Blackkklansman

In a line from the film, heard during Stokely Carmichael’s speech, he tells the black crowd: “We must unite and organize to fight our oppressor. We are being shot down in the streets by white racist cops.” He goes on to add, “If I am not for myself, who will be? If not now, when? and if not you, who?” Powerful stuff on the heels of so many recent shootings. As a student at Berkeley who remembers the protests of the Vietnam War led by Mario Savio (they were locking him up then; now there’s a statue of him on campus!) and lived through the violence of the sixties, the parallels are much more than theoretical. “Wake up!” is, indeed, a call to all right-thinking U.S. citizens when the KKK is quoted as feeling that, “We’re cleaning this country of a backwards race of chimpanzees. First the N—– and then the K—- (Jews).” Is Spike Lee going too far, when, just today, Omarosa’s book is touting the racist epithet’s popularity as used by the man who once was the star of “The Apprentice” and is now President of the United States?

Another telling line that clearly shows the parallels between these two diametrically opposed groups and times is: “We’re a family and, right or wrong, we stick together.” While that line is spoken by a police officer, the comment immediately follows, “That reminds me of another group.”

I went to hear Spike Lee speak years ago in person in Rock Island, Illinois. The author of the “Time” cover story acknowledged that Lee has a reputation for being controversial, “brash, contrarian and intellectually intimidating,”— a guy who is prickly and wonders “when black people, liberals and Americans in general will stop falling for ‘the okey-doke.'” Some have characterized Lee as “indignant.” He was all of those things that night, causing me to ditch my carefully thought-out-in advance question and remain silent. He is said not to suffer fools gladly and to be impatient. He reminds us all of things we would rather forget, like how Muhammad Ali’s status changed from the sixties, when he was characterized as a draft-dodger and thrown in jail, to Ali’s final years, when he was hailed as an American and global icon.

By “the okey-doke” Lee means the skullduggery, shenanigans, the subterfuge and bamboozling that white America uses to stay in control. It is what one of the O.J. documentaries portrayed as being how O.J. became more involved with the white community than with the black community, after he achieved football and movie stardom. As writer Rembert Browne put it in the “Time” cover story: “Lee makes movies to reopen wounds that white America would like to pretend have healed. He’s a provocateur who clearly knows what his role is: to say difficult things about both the history and the present state of race in America.”

MISCELLANEOUS:Jordan Peele Picture Jordan Peele

Spike Lee inherited this project after “Get Out” director Jordan Peele (who remains as a Producer) found himself too busy to follow up on making it. Lee was exactly the right person for the film. Jason Blum of Blumhouse Pictures (who I recently spoke with at the conclusion of a panel on horror movies at SXSW entitled “The Bleeding Edge”) is also one of the producers.

OSCAR TIME FOR LEE?

Spike Lee has made 35 films since 1983 and is 61 years old. He has also taught film in New York (Tisch Center) and been its artistic director for 16 years. He has had celebrated feuds with others, including one with Clint Eastwood when he criticized Eastwood’s two war films (“Letter from Iwo Jima” and “Flags of Our Fathers.”) Eastwood said that Spike should “shut his face.”

While that feud has been resolved, Spike Lee is still stereotyped as “an angry black man.” Given the fact that the grim story Harry Belafonte relates in the film is true and the lynching of Chicagoan Emmett Till in 1955 for supposedly whistling at a white woman happened 63 years ago (and the men who committed the act were acquitted), can we really blame Director Spike Lee for speaking out at this time in history. Or should we all just wake up

Don’t miss this movie. It’s bound to garner awards at award season…maybe even the biggest of them all.

Michael Kutza Is Honored In Chicago as Founder and Director (55 Years) of the Chicago International Film Festival

“Celebrate Michael” In Chicago on July 14, 2018 celebrated Michael Kutza’s retirement as longest-serving Artistic Director of a Film Festival in North America.

Michael Kutza, Founder and Artistic Director of the Chicago International Film Festival for the past 55 years, was feted at a gala celebration at Loews Hotel, 455 N. Park Drive, in Chicago on Saturday, July 14th.

(Photos by Connie Wilson)

Michael Kutza with Paula Wagner, producer of the “Mission Impossible” films.

Those present to honor his legendary career as the longest-serving Artistic Director of a Film Festival, (which is also the oldest Film Festival in North America), included Producer Paula Wagner, known for her collaborations with Tom Cruise on the “Mission Impossible” series (among others); Kathleen Turner, star of “Body Heat,” “Romancing the Stone” and many other films; Andrew Davis, Director of “The Fugitive”, Joe Swanberg, Steve James and many others.  Kutza started the Chicago International Film Festival in 1962 as a 22-year-old film buff.

Mr. and Mrs. Terrence Howard. (Photo by Connie Wilson)

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Terence Howard, of television’s “Empire”, (which shoots in Chicago), was present with his wife at the invitation of Chaz Ebert, widow of Roger Ebert, who served as one of the co-chairs of the event. (Howard received a call from their babysitter while on the Red Carpet). Howard said he’d only met Kutza once previously, in 2005, when given an award by the

Michael Kutza, with the co-chairs of the “Celebrate Michael” gala on July 14 at Loews Hotel, including Chaz Ebert, (widow of Roger Ebert), center.) (Photo by Connie Wilson)

Phone call from the babysitter. (Photo by Connie Wilson).

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Chicago International Film Festival, but expressed admiration for Kutza’s contributions to cinema in Chicago. He also told Chinese/American interviewer Meiling Jin that family was important in delineating a character, as it formed the basis for all human emotion.

Meiling Jin has been interviewing celebrities in the United States since high school and now, at 27, is listed as the 91st most influential media expert on films for a Chinese audience, with millions of hits daily. She also models and serves as CEO of Meiling Jin Television and Video Productions.

Kathleen Turner (Photo by Connie Wilson).

Kathleen Turner, in speaking with me, advised that “Less is more” (Mies Van der Rohe) in acting and urged directors to “trust their actors,” but also suggested that a screenwriter might wish to think about the many sets or set-ups in writing a screenplay. (As a Finalist in several screenplay competitions right now, including the Windy City Film Festival to be announced tomorrow at 2:30 p.m., as well as San Antonio’s, this was good advice for me).

(l to r), Connie Wilson, Patrick of the omnipresent hat, and Meiling Jin, CEO of Studio Meiling Productions, LLC. (Photo by Studio Meiling Productions, LLC).

Also on the program this night, besides awarding Kutza a Lifetime Achievement Award, would be bidding on a series of gala items, including a guitar signed by Tom Petty, a poster signed by the entire cast of the movie “Black Panther,” and a limited edition poster from the original “Star Wars” film (only 25 were made) signed by all the original “Star Wars” cast members.

Windy City Film Festival Opens in Chicago on July 12, 2018

The second year of the Windy City Film Festival kicked off on July 12th at the Victory Garden Biograph Theater in Chicago. This is the very same theater made famous by John Dillinger’s assassination outside it after viewing “Manhattan Melody” in the 1930s.

Windy City Film Festival

As a Finalist in the Screenplay Category, I was fortunate enough to be able both to see the interior of the remodeled theater at 2433 Lincoln Avenue in Chicago, a feature length film (“Double Major”) and a series of 8 short films.

We were all warmly welcomed and the choice of hors d’oeuvres was the best and most innovative of any festival I’ve attended as a critic (and I’ve attended a few). Plates of candies  are what they serve at the Oscar gala were arrayed, along with grapes, and the bar offered a discount to those of us who were Festival Finalists. Still, with a glass of wine reasonably priced at $7 that 20% discount wasn’t totally necessary. Bravo to the organizers!

After the opportunity to chat with fellow contestants, I was fortunate enough to chat at length with an actress in one of the selected films,  Jen Buhrow, and, later, had conversations with other contestants, including 2 directors of the shorts that we watched for 2 hours, Thom McCloud and Brad Riddell. All of the films were shot in Chicago.

THE SHORTS

Windy City Film Festival organizers Josh Hope and Mindy Fay Parks .

First, let me compliment the film festival organizers, Mindy Fay Parks and Josh Hope, on the truly great opening credit sequence that introduced several short films. They were as good (or better) than those shown at the opening of the much-larger (and 25 times older) Chicago International Film Festival.

SHORT #1:  RUNNER (Grade: “A”)

This was a riveting short piece featuring Clare Cooney and Shane Simmons. Clare is a runner and, while jogging down an alley in a suburb that had alleys that resembled those in Bridgeport, where my son lived for years, she is an eye witness to a murder. The murder appears to have been an accident caused by an argument between a young couple, when the young man shoves the girl and she falls and hits her head. Still, when the murderer then begins chasing Clare, everyone senses the danger she is in, and when the murderer later turns up at a gathering at a local bar and follows her home, the stress level goes even higher. This one was terrific! Clare Cooney not only acted in it, she directed it. Watch for her in the future.

SHORT #2:  TEN MORE (Grade: “A”)

DePaul Screenwriting Instructor and Windy City Film Festival Finalist Brad Riddell on July 12 at Opening Night.

This was my second favorite of the night. I told Director Brad Riddell that I could relate to it more easily, because, based on a roughly autobiographical brain injury he incurred, it leaves the viewer thinking about his (or her) own mortality and was not aimed exclusively at a young audience. Another huge plus for this film was its star, a local Chicago actor who looks as though he could be Adrien Brody’s brother (if Adrien Brody had a brother, which he does not). The actor’s name was David Tasques and it opens with Tasques playing the piano (which also summoned memories of Adrien Brody’s 2003 Oscar win at age 29 for “The Pianist.”) Puzzled by the water dripping through his ceiling from the floor above and the apartment of the old lady who usually bangs on the floor with her cane when the concert pianist is practicing (causing him to yell “Ten Minutes More”), Tasques’ attempts to find out what is going on leads to a surprising discovery. Director Brad Riddell has written 4 feature films and is currently working on a feature film for a Hollywood studio, as well as on a podcast. He is both a faculty member at DePaul and a working screenwriter.

SHORT #2:  MARGARET AND THE MOON (Grade “B”)

A chubby little girl is watching the film “Danse pour la luna”  that predates cinema as we know it, going all the way back to the Lumiere days and the Man in the Moon. We then see the girl being bullied at school by two young classmates and a lesson about true friendship is learned. Trevor Morgan, who made the film, circled back to the Man in the Moon  film for a sweet ending.

SHORT #3:  SPACEMAN (Grade “B+)

This one was light-hearted, as we follow the adventures of  a young man named Rupert Madursky who refuses to let NASA’s demise stop him from wanting to become an astronaut. As one character reminisces, “Becoming an astronaut was pure and American. We all wanted to grow up to be President or an astronaut.” Christopher Olva wrote, produced and edited this gem, with lighting and lenses by DePaul University. I think one reason I related to it as well as I did is that my husband and I toured Cape Canaveral when they were dismantling one of the towers and having the last NASA manned flight and it was a bittersweet thing to think of this nation’s space program being mothballed. (It still is). The film also had the advantage of being humorous in spots, as when Rupert ticks off a Russian cabdriver by saying to him (in Russian), “Cosmonaut is for second place,” when the driver asks if he is training to become a cosmonaut. (Rupert is fond of wearing NASA gear at all times.) The driver unceremoniously dumps his fare in the street.

SHORT #4:  STEP ONE (Grade: “B”)

Written and directed by Thom McCloud, who is primarily a local Chicago actor, a stressed man in a car is shown sitting near a railroad track and practicing the “Hello, I’m _____” speech that normally means the individual is going to be attending an AA meeting.  As the film opened, the car’s positioning near the railroad tracks immediately made you wonder if the driver intended to join a meeting (he has said his wife will leave him if he doesn’t attend) or if he is suicidal enough to drive that car onto the tracks. Speaking with McCloud later, he shared that the film is autobiographical and that it was shot in one day. Asked about the difficulties of making it, he singled out Pre-production, saying that raising the money to fund it was largely done through crowd funding and by him pitching in his own funds.  It was a thought-provoking piece.

SHORT #5:  CHEESE SHOP (Grade: “B”)

The director of “Cheese Shop”

The director of “Cheese Shop” shared, from the stage after the viewing, that Director Sammy Zeisel also had experience at working in a cheese shop, and learned how difficult things that are seemingly simple can be. The out-of-work actress who takes the job in the cheese shop learns that everything from wrapping wedges of cheese to mopping floors can be difficult. Cheese Shop is a bitter-sweet, funky little film…like a simple wedge of cheese, says the write-up, and it is.

SHORT #6:  BLAKOREA (Grade “B-“)

This film was also an autobiographical story of the marriage of a black G.I. suffering from PTSD and his Korean bride. Two young children are in the middle of their parents strife and are ultimately left with their black grandmother, Pearl.  Christine Swanson, its director, cast the film well and the actors all deliver. The reason it was slightly less appealing for me was difficulty with understanding the Korean battered wife. The film almost needed subtitles for some of her dialogue. I winced when the black grandmother served watermelon to her Asian/American grandchildren on a visit that turns into a permanent placement. Not sure that plays well in the P.C. world of today, but this was obviously an earnest effort and it was well done. The child actors were outstanding and the picture of the real Pearl with her granddaughter at the film’s finale was priceless.

SHORT #7:  MICKEY’s PETS (Grade:  “B-“)

Mickey’s Pets star is fourth from the right.

Ashley S. Brandon made this short documentary about Mickey’s pets, and the real Mickey, multiple tattoos covered by a lovely green dress, was present onstage following the film. She is shown with her pts, saying, “I’m never lonely and they never judge me.” Mickey is working on stuffing a peacock to enter in the 45th Annual National Taxidermy Competition in Seven Springs, Pennsylvania. The winner of the title Taxidermist of the Year will take home a $1500 prize. Mickey Alice Kioapte certainly stood out in the room full of exclusively male animal stuffers (if that is a term). Side bar: I had a boyfriend in college (Frank Cornwell) who used to be in to taxidermy, and, of course, we all know that Norman Bates was. Of course, Frank also used to work for the phone company and randomly climb a telephone pole outside my  apartment window to phone me, so THAT was odd, too, and so is this nice little film.

SHORT #8:  COME TO LIFE (Grade:  “C”)

The plot here is that, when a young man’s wife leaves town for a few days, he is lonely and so creates talking creatures, made from pillow cases and socks to keep himself company. The first problem was that the sound and the lip movements were “off,” (which I was later told was because the film was being “streamed” from a computer.  The second problem, for me, is the current insistence that all marriages onscreen must be inter-racial. If that isn’t true, then there has to be a LGBQT character or somebody has to be handicapped. [This is based on recent reviewing at SXSW and not on these shorts, but it’s getting to be a bit much.] I’m sure many of the viewers were really intrigued by the concept, but, plot-wise, I was not. I do understand that creating them onscreen must have been quite an accomplishment, but the idea that this grown man was so lonesome for his wife because she left for 2 days that he resurrected characters (from his youth?) who he said had been hiding in the attic just didn’t work for me. It sounded incredibly juvenile, since he is depicted as an adult, not a college student.

Still, impressive work from all. Go Chicago! It is an honor to have a screenplay being considered amongst the 24 others (25 total) and I have no illusions of grandeur for what is only my second solo outing in screenplay writing.

Michael Kutza To Be Honored as Retiring Head of Chicago Film Festival

In 1964, film buff Michael Kutza founded the Chicago International Film Festival, with silent screen star Colleen Moore. The debut of the Chicago International Film Festival (now in its 54th year) was at the Carnegie Theatre at Rush and Oak Streets, on November 9, 1965. (Photo of Michael Kutza by Connie Wilson)

Mimi Plauche will become Artistic Director of the Chicago International Film Festival, while Vivan Teng will remain Managing Editor. (Photo by Connie Wilson)

Kutza, then 22, has served as Artistic Director longer than any other film festival director in the country (55 years). The Chicago International Film Festival is the oldest film festival in North America; it is often called a Director’s Festival. Kutza will be passing the torch to Mimi Plauche as Artistic Director and VivianTeng as Managing Director.

Michael Kutza. (Photo by Connie Wilson)

Kutza’s illustrious 55-year career heading up the festival and Cinema Chicago and his contributions to film as a visionary helping advance the careers of so many luminaries in the industry will be celebrated on July 14th. He is being honored (Saturday, July 14th) with “Celebrating Michael,” an event that will take place beginning at 6 p.m. at Loews Hotel Chicago and will culminate in the presentation of a Lifetime Achievement Award to Kutza.

ORGANIZERS

Chaz Ebert, one of the “Celebrate Michael”organizers. (Photo by Connie Wilson)

Mayor Rahm Emanuel and Governor Bruce Rauner are Honorary Chairmen and the event chairs are Chaz Ebert (widow of famed critic Roger Ebert), Candace Jordan and Maria Pappas. Many celebrities will be in attendance, either in person or via video-taped salute, including Kathleen Turner (“Peggy Sue Got Married,” “Romancing the Stone”) and producer Paula Wagner (“Mission Impossible I-III”).

GALA AUCTION ITEMS

Exclusive items will be available for purchase at the Gala, including an autographed “Black Panther” movie poster, an autographed Special Edition “Star Wars” poster (one of only 25 in existence), a signed “Godfather” poster, and a guitar signed by Tom Petty, a trip to Naples, Florida and much, much more.

HONORS

Michael Kutza with Michael Douglas at the 1997 Chicago International Film Festival. (Cinema/Chicago Archives).

Kutza has been a ubiquitous presence on the Chicago International Film Festival scene and he will remain affiliated with Cinema Chicago as Emeritus CEO. Over the course of his 55-year career he has received many awards, including the Chevalier de l’Order des Arts et des Lettres from French Minister of Culture Jacques Lang at Cannes in 1984, the Silver Lion Award at the 32nd Venice International Film Festival, the Chicago “Sun Times” award for “Exceptional Contribution to Chicago” and, in 2010, placement by “Chicago Magazine” on their list of the Top 40 Chicago Visionaries. Also weighing in with awards have been the President of the French Republic for Kutza’s achievements as “an internationally recognized graphic designer, filmmaker and the Founder of the Chicago International Film Festival” in June of 2015. In 2017 Kutza was awarded the Onorificenza di Cavalierato, the highest honor awarded to someone in the arts, bestowed by the President of the Italian Republic.

CELEBRITIES

The list of those whose careers Kutza has fostered is long. A partial list would include Martin Scorsese, Rainer Werner Fassbender, Krzysztof Zanussi, Claude Lelouch, Wim Wenders, Margarethe von Trotta, Tsai Ming-liang, Mike Leigh, Michael Moore, Oliver Stone, John Carpenter, Joe Swanberg, and Taylor Hackford.

Clint Eastwood with Michael Kutza at the 38th
Chicago International Film Festival. (Official Cinema/Chicago archives).

Among those who have attended the Chicago International Film Festival over the years, a partial list would include: Harold Lloyd, Bette Davis, Jack Lemmon, Vincent Minnelli, Sophia Loren, Jack Nicholson, Shirley Maclaine, Francois Truffaut, Director Spike Lee, Director Oliver Stone, Director Steven Spielberg, Tom Hanks, Clint Eastood, Liv Ullmann, Dustin Hoffman, Will Farrell, Jodie Foster, Director Kevin Smith, Halle Berry, composer Howard Shore, Director Richard Zemeckis, Al Pacino, Clint Eastwood, Sidney Poitier, Helen Mirren, Director Claude LeLouche, Director Philip Kaufman, Jane Fonda, Chadwick Boseman, Vanessa Redgrave, John C. Reilly, Michael Shannon, Michael Stuhlbarg, Director Guillermo del Toro, Director Danny Boyle, Director Peter Bogdanovich, Ed Burns, Alan Cumming, Robert Downey, Jr., Forest Whitaker, Director Steve McQueen, Writer/Director Charlie Kaufman, Sterling K. Brown, Geraldine Chaplin, Gary Cole, Colin Farrell, Jessica Chastain, Helen Hunt, Dennis Farino, Joan Allen,Directors Lilly and Lana Wachowski, Mark and Jay Duplass, Ron Perlman, and the director of “La La Land,” Damien Chazelle.

Said Executive Board Member Byron Pollack, “Michael has had a tremendous impact on the film industry world-wide as well as on the cultural vibrancy of Chicago.” Gala co-chair Candace Jordan said, “We are pulling out all the stops to make this the most spectacular Cinema/Chicago gala ever!”

For tickets to this event, call 312-683-0121, x108, or visit chicagofilmfestival.com. Tickets start at $500.

Two Screenplay Wins for THE COLOR OF EVIL

Just received word that my screenplay based on Book #1 of THE COLOR OF EVIL trilogy (series) has won another Los Angeles Screenplay competition, this time the L.A. Edge Film Awards. Having also just gone out to see “Hereditary” with Toni Collette, which I will review momentarily, I want to quote the June 18th issue of “Time” magazine which heralded “Hereditary” as “among the films forming the swell of a new wave in horror, pictures that are smart, subtle and artfully made.”

The article goes on to say that this is not to put down the “Saw” or “Halloween” more overtly horrific films of yesteryear, but that those who say they don’t “like” horror movies means “you have haven’t met the right one yet.”

W

SXSW proved this to be true with the smash opening of “A Quiet Place,” which, in Mexico, they described as “alien on a farm.” My interview with the two young writers of that film (Scott Beck and Bryan Woods) convinced me that I should go home and write a screenplay based on THE COLOR OF EVIL, which I did in 3 weeks, while reviewing SXSW.

My script (whose ending I reworked 3 separate times) was checked over by producer John Crye for content and looked over for formatting errors (up to page 57, anyway) by founder of the Chicago Screenwriting School and AFI Film School graduate Dan Decker and then off it went to many festivals, which are now weighing in on (yet another) horror film that taps into the zeitgest of the nation right now. It has won two, is a Finalist in several, and is running above a 75% acceptance rate. (Woot!)

CONGRATULATIONS!

We would like to thank you for participating in The LA Edge Film Awards. There were a.lot of great submissions. It was very difficult to choose this month, but we are now excited & proud to announce the winners for MAY 2018!

Best Narrative Feature

It’s Just a Game
by Wilder Troxell
in Narrative Feature
Runner Up
Aakashee Pullover
by 24 OURS
in Narrative FeatureBest Documentary Feature
Crownsville Hospital: From Lunacy to Legacy
by Richard Stevens
in Documentary Feature, Additi

Runner Up
The Bateman Lectures on Depression
by Scott Bateman
in Documentary Feature2nd Runner Up
A Piece of Germany
by Ela Beken
in Documentary Feature

Best Narrative Short
Help Wanted 
by Michael Madden
in Narrative Short 

Runner Up
A View from The Mountain
by Anthony Stoppiello
in Narrative Short2nd Runner Up
No Wonder!
by Anjani Pandey
in Narrative Short

3rd Runner Up
The Projection
by Oleksandr Herasymenko
in Narrative Short

Best Documentary Short
Namibia
by Matthieu VINEL
in Documentary Short

Best Director
The Bateman Lectures on Depression
by Scott Bateman
in Documentary Feature

Best Screenplay
THE COLOR OF EVIL
by Connie Wilson

Runner Up
The Serum
by Tom Thorpe

2nd Runner Up
Joseph (4th)
by Ian Davies

3rd Runner Up
Diu
by Haritrushi Purohit

Best Actor –
Mac Estelle“Mac”- ‘Help Wanted’

Best Actress –
Aloknanda Roy“Subha” – ‘Aakashee Pullover’

Best Supporting Actor –
Virgil Apostol “Kade” – ‘A View From The Mountain’

Best Supporting Actress –
Rene Michelle Aranda “Lucy” – ‘A View From The Mountain’

Best Cinematography –
Namibia
by Matthieu VINEL
in Documentary Short

Best Score –
Crownsville Hospital: From Lunacy to Legacy
by Richard Steven

Best Visual FX –
The Bateman Lectures on Depression
by Scott Bateman
in Documentary Feature

Best Editing-
The Bateman Lectures on Depression
by Scott Bateman
in Documentary Feature

 

Time” said of “Hereditary”, “It’s a movie about feeling small and inconsequential in the larger pattern of danger churning all around us.” Those who have been horror afficionados for years will remember that “Invasion of the Body Snatchers” was often said to be a film about Communism and the cold war threat, although that was denied by the writer and director. Nevertheless, it was films like that one (which was remade several times to varying degrees of success) that captured the mood of the moment.

Whatever your opinion of it, horror is hot, right now.

If anyone out there is reading this: I’ve got literally hundreds of short stories that can be made into great onscreen movies, part of my 50+ year love affair with film and residing in such collections as “Hellfire & Damnation” (Books 1, 2 and 3) and “Ghostly Tales of Route 66.”.

I also wrote THE COLOR OF EVIL, 3 novels that follow a young boy with the paranormal power of Tetrachromatic Super Vision (a real thing, by the way) and put him in peril because others don’t understand that it isn’t necessarily a predictive power. By book three, when we’ve followed Tad (McGreevy) and Stevie (Scranton) and Jenny (SanGiovanni) and Janice (Kramer) through their junior and senior years of high school and on into adulthood, you’ll feel that you know them well.

Set in Cedar Falls, Iowa, in 2003-2005, the books are right in touch with today’s mania of the moment, and I hope those of you in a position to see for yourself check out the e-book boxed set (THE COLOR OF EVIL series by Connie Corcoran Wilson) and find out for yourselves.

Director William Friedkin Screens “The Devil & Father Amorth” in Austin, Texas

William Friedkin came to town (Austin, TX) to show his 70 minute documentary, “The Devil and Father Amorth.” (Photo by Connie Wilson)

Acclaimed Director William Friedkin came to the South Lamar Alamo Drafthouse in Austin, Texas, on Saturday, May 12th, at 7 p.m. with his 70 minute documentary “The Devil & Father Amorth.” It screened to a packed house that came as much for the Q&A that followed as for the dry examination of the Vatican’s exorcist, whom Friedkin described as “the most spiritual man I ever met.”

The film, shot in 2016, was the first time an actual exorcism was allowed to be filmed, but the permission came with restrictions: only Friedkin could be present. No cameramen. No lights. And little action, as it turned out, except for the exorcism of a 31-year-old Italian architect named Gabriela Amorth, who had been unsuccessfully treated 8 times previously.  The actual exorcism, on May 1, 2016, was filmed by Friedkin using a small handheld camera and what he termed a GoPro, which, he said, is often used with drones. He certainly has experience in actually shooting scenes himself, as he proved during the shooting of “The French Connection” when he wrapped himself in a mattress in the back seat of a car driven at 90 mph and shot on the fly through the streets of New York City, (with no formal permissions to do so).

 Amorth was 91 at the time of the filming and Friedkin said he did not set out to film an exorcism. “I had no intention of making this film. I was in Lucca, the birthplace and home of Puccini, getting the Puccini prize for filming his operas. I was just there for 8 days in Lucca and I learned that the Leaning Tower of Pisa was only 30 miles away. From there, you could get a direct flight to the Rome airport, a one-hour flight.” Friedkin said he sent an e-mail asking if it would be possible to meet with Father Amorth, the world’s most famous exorcist, and he received the tentative yes, with conditions. Graydon Carter of “Vanity Fair” magazine (the recently retired publisher) urged Friedkin to go to Rome and interview Amorth and write an article for the magazine.

Friedkin at the South Lamar Alamo Drafthouse on Saturday, May 12th, with “The Devil and Father Amorth.” (Photo by Connie Wilson)

Friedkin did, in fact, write a 6,500 word article for “Vanity Fair” and shot the film we saw this night, which was far from the fiction of “The Exorcist.” He stressed that the Vatican has a very “hush hush” policy about exorcisms, so there really is no way to find out the truth of whether they work or not. But, after observing the 9th such attempt to rid the pretty architect of her demon, this film, dedicated to William Peter Blatty, who died in 2017, was the result. Asked if he thought Blatty would like the film, Friedkin said, “I think he would love it, which is why I dedicated it to him,” but he also noted that Blatty thought Amorth was a charlatan.

With 62 million people in Italy, 500,000 of whom ask for an exorcism to be performed annually, Blatty is not as quick to throw out the idea of an exorcism being ineffectual. Far from being an agnostic, as Wikipedia says he once was, Friedkin professed to believe in Jesus and said, “Who is anybody to say there’s no God?  We don’t know.  There are so many myths in the Bible, but there are billions of people who believed Jesus Christ was the son of God, because emotion trumps logic every time.” Friedkin went on to cite non-believers like Christopher Hitchins, who spoke out against the canonization of Mother Theresa, but, asked if he would banish religion and replace it with rational thinking if he could, he repeated,“Emotion trumps reason every time.  It’s why you have religion.  You cannot banish religion.”

During the Q&A, in addition to sharing that Father Amorth was an avid critic of the Vatican, but never experienced blowback from the Holy See because he was so popular, he was asked about the state of filmmaking today.

Said Friedkin, “They’re not for me,” of today’s movies, calling them spandex movies.  “There’s never any real danger or real suspense. It’s opium for the eyes.  There’s very little being done that I like.” He did, however, cite “A Quiet Place” as one of the few movies he’s seen that he liked very much.

William Friedkin at the Alamo Drafthouse, Austin, Texas,on May 12, 2018. (Photo by Connie Wilson)

When asked if anything weird or supernatural occurred during the filming of the 1972 classic “The Exorcist” Friedkin recalled how he received a phone call at about 4 a.m. from his D.P. (production manager) saying, “Don’t come to work tomorrow. The set burned to the ground about 2 hours ago.” Friedkin said that insurance did pay for the catastrophe and that some theorized that a pigeon (there were birds flying about in the area and on the set) may have flown into a light box, but, he noted, “there was a watchman sitting outside” and he thought the entire set burning down was unusual.  “I did not make the film as a doubting Thomas,” he said.  “I made the film as a believer.”

The chatty Friedkin (whom the interviewer/moderator referred to as “Billy,” which struck me as odd, since the man is 82) probably would have stayed and talked to us for hours, or so it seemed, but the staff needed to clear the hall for the influx of theater-goers coming to see the original “The Exorcist” on the big screen.

Meeting William Friedkin in person (and giving him a copy of “It Came from the 70s: From The Godfather to Apocalypse Now was a real thrill for me. The man has made 15 films in 53 years and given us such classics as “The French Connection” (he was the youngest director to win Best Director at age 32 and the film also won as Best Picture), “The Exorcist,” “Sorcerer” and many, many more. I hope he continues to thrive in life.

The film ended with film of the funeral of the subject of the film, 92-year-old Father Amorth, who caught pneumonia and died very shortly after this documentary was made. The testimony of various psychiatrists and psychologists and the news that the very condition of being possessed is now termed ‘disassociative personality disorder- demonic possession’ was mentioned several times. Said Friedkin, “After I filmed it, it occurred to me that I should take it to 2 or 3 of the best brain surgeons in the world and let them debunk it.  The psychiatrists now recognize demonic possession, although they’ve removed a few disorders from the books, like homosexuality and narcissism.” He noted, with a nod to the current political climate, “I guess they feel that everybody from the top on down in this country has that.”

One thing that came out of the evening was that Blatty’s book was sheer fiction, because Blatty couldn’t find any way to break the church’s policy on letting anyone witness an exorcism and the only two reported ones in this country occurred in the 1922 in Early, Iowa, and in 1949 in College City, Maryland, which is the one that “The Exorcist” was based on. Said Friedkin, “The church does not really want people to know that there are people out there who have gone through it (an exorcism) and it has not been successful.” He described his own emotional experience while witnessing Gabriela’s exorcism as “terrifying” saying, “The fits come and go, like epileptic fits.” He also shared the fact that John Paul II was an exorcist in Poland before he became Pope and passed on 2 cases to Father Anorth when he ascended to the top position in the church hierarchy. And, said Friedkin, his life was threatened for the only time in his 82 years when Gabriela’s boyfriend demanded all the film he had shot of the exorcism back and Friedkin refused, causing her boyfriend, a member of the sinister Pyramid Cult, to threaten to kill him and all of his family. (Friedkin did not return the film.)

As a parting thought, Friedkin said, ‘There is a far deeper dimension to the Universe.  If there are demons there must be angels.”

Things I Learned at the Nail Shop: Annette Bening as Super Hero

When you go to the nail shop in Austin, you are surrounded by technicians who mainly speak to one another in Vietnamese (at least, I think it’s Vietnamese). Otherwise, you have only the large flat-screen television to occupy you. I learned that Annette Bening is going to be a Super Hero in the Marvel franchise—or, at least, that’s what the talking heads said, and it set off a fair amount of discussion amongst the three women and two men onscreen at the time.

 Annette Bening is being touted as a Super Hero for a Marvel movie. This caused a phenomenal amount of interest on the program I was watching (don’t know the name of it; think it’s local). The African-American young man, who had been talking about tickets to go backstage at a Justin Timberlake concert by signing up somewhere, posed the rhetorical question, “Which would you rather see? Annette Bening in a Marvel movie or Justin Timberlake?” (Please… May I phone a friend?)

It could be a very funny “riff” for “SNL” to take on this rumor, as all the icons of yesteryear seem to be fading into oblivion, since “Vanity Fair’s” Editor for decades,Graydon Carter, recently retired and the rumors are also rampant that Anna Wintour (memorialized, fictionally, in the film featuring Emily Blunt,  “The Devil Wears Prada”) may have just attended her final Met Gala. (Oh, the humanity!)

When you couple the above news with Elton John announcing that he is not going to tour any more after his final tour and the many headline names (Tom Petty, to name one) who shuffled off this mortal coil, often very unexpectedly, you begin to see the future. It is filled with Kanye (West) moments. And Justin Timberlake, who gave up bringing sexy back to going all woodsy on us and giving us a perfectly forgettable Super Bowl Halftime Show. [If my choices are watching Annette Bening in anything and Justin’s Super Bowl show, I’m going for Bening. (Sorry, Justin.)]

I was recently offered a deal where I could stream old classic movies for a monthly fee. It was suggested to me, in particular, because I review film, and, of course, how could I be “up” on ALL the movies of the past. (How could ANYONE be “up” on all the movies of the past, is more like it; I think I’m pretty solid on anything from 1955 on, but I’ve been outsourcing the Marvel epics.)

I need to make you aware of the soy bean crisis and the teacher crisis, so pardon me while I leave you with these images of the potential Super Hero at Sixty (birth year: 1958) and the interesting fact that her parents, staunch Episcopalians, were from Iowa. I wonder what they thought when they heard she was marrying Warren Beatty, then known as the World’s Biggest Womanizer?

Amy Schumer’s “I Feel Pretty” Sets Off Controversy

OK…So, I went to see Amy Schumer’s new movie “I Feel Pretty” (and received a button that says “I Feel Pretty Awesome,” which I wore all day).I liked it—the button AND the movie.

There, I’ve said it. I liked it.

I thought it was insightful and funny and I liked lines like, “I met this baby the other day that was wack as hell.” [You can see the meeting with said baby in the clip I just posted of the movie trailer]. The trailer contains the best parts of the film, and, no, it isn’t a laugh-out-loud funny movie, because Amy is trying to make the point that (to quote a line from the movie):  “This line/movie is for every girl who is ready to believe in herself.” Or, “I think a lot of people are all confused about themselves…You doubt yourself over and over. What if we didn’t care about how we looked?” 

The premise is that, when Amy hits her head, she suddenly sees herself as perfect. She no longer has the crippling insecurities that beset her prior to being hit in the head. It takes another blow to her skull to turn her back into insecure Amy. One of the lines spoken to her boyfriend in the film (Ethan, well played by Rory Scovel) is: “She is awesome. She is the complete package. Your girl can handle herself in a knife fight!” Or, as Ethan says to Renee, “You know who you are and you don’t care how the world sees you.”

The movie  makes a plea for “The strength and wisdom to say ‘I’m better than all that. We are real women.”

Why is she being pilloried on social media for making such undeniably positive statements? The answer seems to be that some think she is too pretty to be saying these things? Is that it?  Amy is too pretty to make a statement that benefits all women everywhere? (Sheesh) Get over your bad selves, nit-pickers. And, to the newly-wed Amy: YOU GO, GIRL!

I couldn’t help but empathize with what she must be thinking and feeling as people hurl brick-bats at her for articulating the undeniable truth that most of us are insecure in some way and that it can often become almost a debilitating disease, if it inhibits us too much or prevents us from becoming our true, authentic, best selves. The film also gets the point across that TOO MUCH confidence is, well, too much.

That is probably what the uproar is all about: mid-movie Amy briefly becomes a jerk to her friends (played by Aidy Bryant of SNL as Vivian and Busy Philipps as Jane) and we want to LIKE Amy and empathize with her. If she’s confident and thinks she’s great and is enjoying herself, well, we can’t have THAT now, can we? How dare she!?

If you watch the trailer (above), you’ll see the funniest parts of the movie, complete with Amy’s attempt to win a bikini contest (she doesn’t), but, mainly, you’ll see her becoming a jerk as she gives in to her uber confident inner self,  confidence which was triggered by a fall from a Soul Cycle bike that dumped her on her head.  I’m thinking that her in-your-face confidence was just too much for some females to stomach. Be reassured: she doesn’t STAY a jerk.

Girls always seem to accept other girls, or women other women, only if they are sweet and malleable and supportive and “nice,” as my husband euphemistically terms it. It still isn’t acceptable in society to be sassy and funny and irreverent, if you’re female. You still get labeled as “a bitch” if you display any of those characteristics, even though Amy Schumer rose to fame because of  the irreverent salacious humor of her stand-up act (and, yes, I HAVE seen her act, “live”). [It can’t be the men who are complaining and giving the film a thumbs down on YouTube, can it?]

I thought the opening sequence where she is participating in a Soul Cycle class with model-thin women and her bike seat gives away and she experiences a jarring blow to her vagina was note-perfect. She hobbles out with her pants torn and in pain. Have none of you (females) who are giving it a thumbs down on YouTube never experienced the crushing pain of falling onto the metal part of a boy’s bike? No? [Okay, then. It must be just me.]

I’ve also been involved in exercise classes where it was quite obvious I did not belong. My favorite story is the one where, somehow, I ended up LEADING the class and had NO idea where I was to “lead” them. It was a lot like the scene in “Animal House” where the marching band marches into a brick wall. I also remembered my husband once commenting  that I was only equipped to compete in the Olympics in the “400 yard roll” or some such joke. (He WAS kidding, but his humor was lost on me at the time.)

I actually wrote several humorous essays about exercise classes I have known and published them in “Laughing through Life, so if you want to hear all about the types of things that befall Amy in her class, but happened, IRL, to me, you can order a copy on Amazon.

But that’s not the point.

The point of the movie as written and directed by Abby Kohn (“2009’s “He’s Just Not That In To You”) and Marc Silverstein (husband of *BusyPhilipps,”How To Be Single”) to me, was that Amy wants each and every one of us who is female to feel comfortable in our own skins. So what if we have too much junk in the trunk? Forgetaboutit. So what if we are not rail-thin?  Move on. Get over it! Be confident.

BUT, and this is important, do NOT lose good friends because you become an insufferable ego-maniac.

Other good things about the movie:

Michael Andrews selected the music (“This Girl Is On Fire” for one) and it is great. Michelle Williams plays the daughter of a cosmetics icon who has a very soft voice like Jackie Kennedy’s (okay, you’re too young to remember how Jackie’s voice was very soft and not forceful at all, and Marilyn Monroe’s was the same way, so just work with me here) and, therefore, has a hard time being taken seriously. She also is involved in some serious sibling rivalry with her handsome brother, Grant LeClair (Tom Hopper), who comes on to Amy at one point (Amy remains true to Ethan, so why did the haters not note THAT?)

Many critics praised the appearance of Lauren Hutton as Gramma LeClaire (Lily LeClaire) in “I Feel Pretty,” who founded the cosmetics company, which is attempting to turn out an affordable cosmetics line suitable for sale in Target stores.

Lauren appears as a retired model, which she really is. She made her film debut in 1968 in “Paper Lion” and still works as a model, apparently because she is still reed-thin.

Lauren definitely has been out in the sun too much for too long and she has done nothing to diminish the age-related wrinkles caused by too much sun exposure. I actually looked up her age, after the film, since I was hoping she was older than me. She was…but not by that much.

For someone who is listed as 74 (birthday: Nov. 17, 1943) she is thin, but, aside from that, she might consider whether the path she wants to take is the one taken by Jane Fonda, or the one taken by others, which doesn’t have to mean plastic surgery, but does mean trying to diminish age-related deterioration. Yes, I know. This is in direct opposition to the message of the movie, but the message of the movie for a young woman is quite different than for a “mature” (don’t say “old”) woman: society has not moved forward enough to accept prune-like visages that could have remained recognizable if the owner of the face had taken the slightest precautions.

To me, since we are only given one face, it is irresponsible not to at least try to keep it looking halfway decent. While that also applies to our bodies, I agree with Amy that a woman in today’s society ought to NOT have to be reed-thin to be considered attractive. We women have to bear children and cook and clean and, usually, also work,and genetics will get you every time, so not all of us will remain emaciated in our golden years. Lauren is reed-thin, so she gets to keep modeling. She looks like hell, facially, but nevermind that, as long as she is thin.

That, to me, was the message for we “mature” types and, yes, that was a contradiction of the first magnitude, which I blame(d) on the age difference between the character Amy is playing (Renee Bennett) and the one that Lauren Hutton is playing (Lily LeClaire).

And probably something that the writers never considered, either, since the male writer (Marc Silverstein) is also the husband of Busy Philipps, [whois supposed to be getting a talk show this fall] and Abby Kohn might have tried  for Jane Fonda for the Lauren Hutton role—or any other mature actress who has not thrown caution to the winds and abandoned her face to extensive sun damage.

 

 

Fans Have Spoken: Mr. & Mrs. John Krasinski as Mr. & Mrs. Fantastic Four

Guest Editorial by Zayn Allen

Comic book movies are great and all but when they’re rebooted more than once, problems can occur.  Fantastic Four is that type of comic book movie.

Marvel’s First Family, should not be disrespected. Growing up seeing comic book heroes on the movie screen gives young viewers role models that stay with them for life. The cinematic portrayals of the Punisher, the Hulk, Spider-Man, and the X-Men all have one thing in common: reboots can be a “good” thing. The one thing that all the Fantastic Four films have in common is  mediocre casting, and the same dry guy villain.

Fans want more. Fans want realism. Fans want chemistry. And fans have been pushing for real life couple John Krasinski and Emily Blunt to portray Mr. and Mrs. Fantastic. (*What a waste THAT would be! CW)

Best known for his role in the American adaption of television’s “The Office” as Jim Halpert, John Krasinski can be goofy. After the release of A Quiet Place (which he also directed), he has proven that he can take on a serious role as well. He should fit nicely within the MCU (Marvel Cinematic Universe) and is honestly the best choice for Reed Richards at the moment.

As for Emily Blunt, she is (1) beautiful, (2)possesses a serious but yet delicate presence, and (3) she can be a force to be reckoned with, simultaneously.  Her role in Edge of Tomorrow as Rita Vrataski proves just that.  Sue Storm is both a powerful hero and a caring person.

AUSTIN, TX – MARCH 09: Director/Executive Producer/Writer/Actor John Krasinski attends the ‘A Quiet Place’ Premiere 2018 SXSW Conference and Festivals at Paramount Theatre on March 9, 2018 in Austin, Texas. (Photo by Rick Kern/Getty Images for Paramount Pictures)

Why not cast Emily blunt as Sue Storm and her real-life husband John Krasinski as Reed Richards?

While Emily Blunt has been quiet on the fans dream casting. John Krasinski has been quiet open with Screenrant:

Oh yeah, the Fantastic Four. I would love that! I mean listen, I’m still getting into the whole superhero thing. I didn’t read comics as a kid, not as many, I read some but not as much, but I’m a huge superhero fan so, yeah, I’d love to do something like that. If they’re are any left! A lot of these have been taken, but the ones that are left, yeah, I would love to do something like that. And listen, I’d love to work with her (Emily) again so any chance I got would be great.

At the moment everything is still up in the air, especially with the Disney/Fox situation. With the X-Men, Spiderman, and Hulk characters newly rebooted, the Fantastic Four should not be that hard to include in Phase 4 of the MCU.

MCU’s Phase 4 is starting after the release of Avengers: Infinity Wars, Part 2, set for a 2019 release. That would be a perfect time to reboot the Fantastic Four and bring John Krasinski and Emily Blunt to the screen in the roles.

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