Category: Pop Culture Page 27 of 74

Any trends or popular fads may be described, whether it would be something like the hula hoop or the pet rock or simply new slang.

BEE GONE: A POLITICAL PARABLE

Texas politicians have been involved in the contesting of the presidential election results far more than those of other states including: Texas Attorney General Ken Paxton (recently reported by his staff for taking bribes in the service of a wealthy realtor), U.S. Senator Ted Cruz, Lt. Gov. Dan Patrick and U.S. Rep. Louie Gohmert. The “Metro & State” portion of the Austin American Statesman, today, had an entire story entitled: “Four Texas Republicans Who Have Humiliated Us.”

Cruz is going to contest Arizona’s election returns today—in just a few moments, in fact, inside Capitol Hill on the Senate Floor. (See some of those remarks at the end of this article.) Gohmert has had various legal actions thrown out of court. Former Ken Paxton aides reported him to the FBI and then began resigning in droves. An anti-trust lawsuit against Google was underway, but now, because Paxton’s former deputies are all accusing him of crimes in the service of wealthy donor Nate Paul (an Austin real estate investor), Paxton is seeking $43 million to go forward with the Google lawsuit with outside legal help. Paxton hired outside firms to conduct the suit, saying, “The legal services cannot be adequately performed by the attorneys and supporting personnel of the attorney general’s office.”

This was not true before Paxton was reported for misconduct in office, as the Attorney General’s office had thousands of employees and Deputy Attorney General Darren McCarty was leading the investigation, prior to Paxton’s misconduct in office. Mateer, McCarty and Ryan Bangert, another senior lawyer involved in the case, all resigned after reporting Paxton to the FBI. All 8 of Paxton’s accusers have quit or been fired and 4 alleged in a lawsuit that the attorney general created a hostile work environment, including deploying armed guards, to force them out.

Google, of course, has assembled “the best lawyers unlimited money can buy.” Now, Texas tax-payers are being asked to foot the bill for hiring outside counsel to the tune of millions. The allocated amount to pay the monthly bills is $43 million, if approved by the Legislature. If Google doesn’t end up paying those charges, Texas will try to recoup its costs in court. A second firm (Keller Lenkner) has laid out a similar payment plan. Texas has the largest Republican-controlled state attorney general’s office in the country. With roughly 750 lawyers and 4,000 total employees. It’s for the state to hire outside counsel. Paxton most recently hired outside lawyers last month, for his failed suit seeking to overturn Joe Biden’s victory in the presidential election.

Today, in the Austin American Statesman opinion piece (see below) entitled “Cruz’s Stunt Shows Contempt for Voters’ Will” the newspaper had this to say about all the shenanigans ongoing today on Capitol Hill:

“The Electoral College challenge planned by Senator Ted Cruz and other Republicans reeks of an audacious stunt, a desperate act to keep Donald Trump in the White House.

But this is no political game. Something far greater is at stake here, something Americans hold dear: our nation’s standing as a democracy, the legitimacy of its government coming from the consent of the governed.

Cruz, a dozen other senators and about 140 Republicans in the U.S. House—including newly elected Rep. Pete Sessions, whose district includes a swath of northern Travis County, and Williamson County’s Rep. John Carter—plan Wednesday to stymie the confirmation of the Electoral college results.

They won’t succeed in preventing Joe Biden from being sworn in January 20th as president. But they risk inflicting lasting and unspeakable damage, cratering the public’s confidence in our elections and deepening the partisan divides that make it harder for Americans to confront the pandemic, achieve an economic recovery and tackle other pressing challenges.

“The Christmas Cats Flee the Bee,” sixth book in the Christmas Cats series (www.TheXmasCats.com).

No kidding. It’s amazing that number isn’t higher, given the barrage of disinformation from Trump and conspiracy theories on social media. Equally disingenuous, Cruz says “the unprecedented allegations of voter fraud” demand Congress’ intervention, ignoring the lead role he and other GOP officials played in amplifying those baseless claims.

Cruz would have Americans believe that a new “Electoral Commission” is needed to scrutinize the elections administered and certified by the states, opening the door for legislatures to pick a different president than the people did. Nevermind the fact that at least 86 judges across the political spectrum have heard—and dismissed—all claims of election irregularities. Or the fact that former Attorney General William Barr said the Justice Department found no widespread fraud that would change the outcome of the election. Or that a national coalition of election security officials, including some appointed by Trump, said “there is no evidence that any voting system deleted or lost votes, changed votes, or was in any way compromised.”

Cruz’s crusade is not about election security It’s about pandering to a diehard Trump base that he hopes will propel him to the White House in 2024. It’s about the flurry of fundraising emails from Cruz, Carter and others seeking campaign donations to “join the fight”—as if it costs them anything to show up Wednesday and raise objections on the floor of Congress,

To no one’s surprise, Trump has handled defeat the same way he’s managed other political setbacks: Spread lies and conspiracy theories. Pressure key officials to bend the rules. The appalling audio of Trump’s hour-long phone call last weekend with Georgia elections officials shows the leader of the free world demanding a “recalculation” of the votes to keep him in power–as if the results of an election were negotiable.

Trump’s antics have tested our nation’s commitment to self-governance and created a rift within the Republican Party. Our democracy still stands because others within the GOP—from local elections officials to Republican-appointed judges—have shown their fidelity to the Constitution and the will of voters.

Laudably, a growing chorus of Congressional Republicans, including Sen. John Cornyn and Rep. Chip Roy of Hays County, have refused to take part in challenging the election results on Wednesday. In a statement with 6 other members of the U.S. House, Roy said taking such an action would “unconstitutionally insert Congress into the center of the presidential election process…(and) would amount to stealing power from the people and the states.”

Taken during a McCain rally at the Cedar Rapids Municipal Airport during the 2008 presidential campaign. Cover of Volume II of “Obama’s Odyssey: The 2008 Race for the White House.” (Available on Amazon in paperback and e-book).

Plenty of issues, from tax policies to judicial nominees, are fair game for partisan fights. But the underpinnings of our democracy, the very notion that voters decide the elections must be sacrosanct.

Honoring the will of the voters should not be a Republican or a Democratic norm, but an American one. The efforts to subvert that, first in failed lawsuits by Texas Attorney General Ken Paxton and Rep. Louie Gohmert, now in the charge led by Cruz, are nothing short of seditious.

Cruz’ gambit on Wednesday will fail, too.

But what a shameful spectacle!

*******

“We cannot simply declare ourselves a national board of elections on steroids!” (Mitch McConnell) If we overrule the election results, we damage our democracy. This election was not even unusually close The electoral college count was almost identical to what it was in 2016.

If this election were overturned by unsupported allegations from the other side, our democracy would enter a death spiral. Every 4 years would be a scramble for power. If we overrule the voters, we can damage the Republic forever.

The effects would go even beyond the elections themselves. Self government requires a shared commitment to the truth and a shared respect for the ground rules of our system. We cannot keep drifting apart into 2 separate tribes with a separate set of facts with nothing in common but a respect for the common institutions we share.

Every time since 2000, said McConnell, such a dispute took place. Republicans condemned those baseless attacks back then, said McConnell. “There can be no double standard.” We must not imitate and escalate what we repudiate,” said McConnell. It must not be “an endless spiral of partisan venom.”

Belmont Town Hall meeting on campus in Nashville, Tennessee, 2008.

“Honor the people’s decision,” said McConnell. “Show that we can still muster the patriotic fervor not only in victory, but in defeat.”

“It would be unfair and wrong to overrule the voters on this extraordinarily thin premise.”

I will vote to defend our system of government as we know it”

(The above from Mitch McConnell)

******

From Chuck Schumer:

The Congress does not decide the outcome of elections; the people do.

American people elected Joe Biden and Kamala Harris to be the next Pres. and VP of the U.S. And yet a number of our colleagues have organized an effort to challenge our free and fair election. They have no evidence of widespread voter fraud to change our election. That’s because there is none. They know that President Trump and his allies have lost no fewer than 62 legal challenges, rendered by many Republican judges appointed by President Trump.

In the process of objecting, they will embarrass themselves, their party and the United States of America. Merely accepting the results of an election is considered an act of political courage.

Barack Obama in Davenport, Iowa (River Center) during the 2008 caucus season.

That anyone, much less an elected official, would be willing to tarnish our democracy in order to burnish their personal political future, senators of good will from both sides of the aisle will explain why these challenges must be dismissed.

What message will we send today? What message will we send to every dark corner of the world where elections are stolen? What will we show those people? Will we show them that truth matters. There will always be a stronger coalition ready to push back, ready to defend everything we hold dear.

Let those words ring in the ears of every Senator. Let us do our duty to support and defend the Constitution of the United States, so help us God.”

(From Chuck Schumer)

****

Biden on the caucus campaign trail in Iowa prior to the 2008 presidential race. Don’t worry: I’ll be back to politics by the end of the week.

From Ted Cruz:

We have seen and will continue to see a great deal of moralizing from both sides of the aisle. We are gathered at a time when democracy is in crisis. Recent polling show that 39% of Americans believe that the election was rigged. That is a profound threat to this country and any administrations that will come.

I believe that there is a better way. Let me be clear: I am not arguing for setting aside the results of this election.

The Hays-Tilden election of 1876 appointed a 10-day investigatory commission. (Cruz wants to establish such a commission).

Podcast of December 17th: Christmas Book(s) for Sale!

By Connie Wilson

On December 15, 2020

In Books, Local, Of Local (Quad Cities') Interest, Pop Culture

“The Christmas Cats in Silly Hats,” Book #1. (www.TheXmasCats.com for all 5 in the series, currently).

I posted the scheduled appearances for the rest of 2020 previously. This Thursday (Dec. 17) will, in fact, involve telling the audience about books for sale, but whether it will be Sean Leary’s book or not remains to be seen. The evening will focus on the six-book series “The Christmas Cats in Silly Hats” if previously scheduled guest Sean Leary cannot make it, [due to a soccer game this time]. Always have a “Plan B,” when preparing a program, whether it is a radio show, a podcast, a television show, or something else. I’ve done very little talking about my own books on the 38 programs so far. Maybe this is the week—a week before Christmas—to talk about a 6-book Christmas series? I guess we’ll know by Thursday. One way or the other, you’ll get to hear about an appropriate literary purchase for the holiday ahead.

On December 24th there will be a replay of a previous program, and on December 31st (New Year’s Eve) that will happen again.

There are six books in “The Christmas Cats in Silly Hats” series, all of which can be seen by going to www.TheXmasCats.com. I would urge potential listeners to go out to the website while they are listening to me talk about how the books came to be.

Again, this is not a “for sure” program listing, as perhaps Sean will be able to join us to talk about his new book “Subliminal Cartography.” Maybe. Maybe not.

If not, you’ll hear the story of the newest book (“The Christmas Cats Flee the Bee”) first, as it is the newest release. I’m on schedule with completing the series for my granddaughters, as I always vowed to discontinue the series when the girls had outgrown Santa Claus. Their twelfth birthday is January 11th; the final book is out, and all six of the books are available on Amazon in time for Christmas gift giving, if you hurry.

So, what are the books and what were the ideas behind them?

Book #1: The Christmas Cats in Silly Hats

This book came out of the non-stop fighting between our two cats, the older cat and a new arrival, who joined us from the ravine as winter came on. They had to learn how to get along, and that is the “moral” of Book #1.

Book #2: The Christmas Cats Chase Christmas Rats

The girls were three when I began the series and they were selecting the next animal that the Christmas Cats, a gang of do-gooders, would aid. Rats came up next. Among other morals of this book it includes an admonition against prejudice and a plea to be helpful and kind to others.

Book #3: The Christmas Cats Encounter Bats

Living here in Austin, as I am currently, this one should be a big seller at Book People, but, alas, it has no “spine” and I learned the valuable lesson that books in Book People (the largest independent bookstore in Austin) must have a spine, so that readers can read the title as they browse in the store (not that there is much “browsing” during the pandemic. The moral: do not fear or destroy animals simply because you are unfamiliar with them. There is a “master plan” for every creature and that bat or insect or snake also has a reason for living.

Book #4: The Christmas Cats Fear for the Deer

Inspired by the deer kill staged at Scott County Park in Scott County, Iowa, the Christmas Cats rescue the hapless deer in the park and hustle them to the North Pole, where they learn to help Santa in his annual delivery of gifts. The illustrations by Gary McCluskey for this one are outstanding, and it is one of my two favorite books in the series. For the first time, a hard cover edition was available, although it is not listed on Amazon, which doesn’t help.

Book #5: The Christmas Cats Care for the Bear

This one should be one of the most popular, as it is an anti-bullying tome. The little bear is being bullied because he has funny fur and is chubby. The good lesson to be learned: bullying is wrong.

Book #6: The Christmas Cats Flee the Bee

Donnie Drone wants to take over the hive because he doesn’t like the Queen Bee. He colludes with a less-successful hive to wrest control of the hive. All the worker bees in the hive begin to realize that they could all die if Donnie Drone remains in power, and they unite to drive him off. A timely political parable for our current time(s).

Podcast Guests in December Limned

By Connie Wilson

On December 10, 2020

In Editorial, Interviews, Movies, Of Local (Quad Cities') Interest, Pop Culture, Texas

Tonight’s guest on the 7 p.m. (CDT) Weekly Wilson podcast is Dylan Kai Dempsey, a New York-based writer/filmmaker and film critic. He covers all the major festivals and his reviews have been published in “Vanity Fair,” “Variety,” “NoFilmSchool,” “Nonfiction.fr” and “IonCinema.com.

In addition, Dylan is developing a graphic novel, #LikesforLukas” plus a TV series based on his own award-winning pilot script.

Dylan has also taught film, both at Tufts University, his alma mater, and in Paris. He began hi career as a development intern for Bona Fide Productions in Los Angeles and Rainmaker Productions in London.

Tune in “live” tonight (Thursday, December 10th) as Dylan and I discuss the future of cinema: “Can the movies survive the pandemic?” “If they do, what will the theaters of the future be like?”

On December 17th, the guest will be Quad City author Sean Leary, talking about his newest book.

On December 24th and December 31st, since those dates are Christmas Eve and New Year’s Eve, respectively, you can expect re-runs of some of the previous 37 interviews done since February of 2020, with the replays available, as always on the blog and on the Bold Brave Media Global Network blog.

January will see some more political discussions as a new president is sworn in. What will happen between now and January 20th? Stay tuned for further developments and discussions.

“Drowning” (2020): Mom Obsesses Over Son’s Service

By Connie Wilson

On November 1, 2020

In Movies, Pop Culture, Reviews

“Drowning” is a Melora Walters film, produced by Sergio Rizzuto’s Potato Eater Productions, in conjunction with Room in the Sky Films, Eight Trick Pony and Hero LA . Walters wrote, directed, and stars in the film. She has 110 credits as an actress, including “Boogie Nights,” and “Dead Poets’ Society.” She has 3 credits as a writer and 4 as a director.

This film premiered in North America in Austin, Texas, at the Austin Film Festival on October 29, 2019 after its World Premiere in Rome. The log-line is “A mother deals with the grief associated with her son going off to war.” It is based on Walters’ own life. Sometimes, when we are very close to the story, we need someone who isn’t integrally involved to step up and give us honest feedback. Stay tuned.

The cast in this one is quite experienced. They all do a fine job. Since Melora Walters is Mira Sorvino’s best friend, we even have a few minutes onscreen of the 1995 Best Supporting Actress Oscar winner (“Mighty Aphrodite”). Others include Gil Bellows as her boyfriend Frank (produced “Temple Grandin,” acted in “Ally McBeal,” “Shawshank Redemption”), Jay Mohr as Henry (“Suicide Squad,” “Last Comic Standing”) and Joanna Goings as Catherine (“Search for Tomorrow,” “Another World”). Goings plays Ms. Walters’ therapist; interesting side-note, both women were once married to Dylan Walsh (“Nip Tuck”). Also, Sergio Rizzuto as Charlie, the son, and Jim O’Heir in a brief part shown on a television screen.

Here’s the problem with the film (and some suggested fixes):

After we establish that Rose (Melora Walters) is concerned to the point of obsession about her adult son’s going off to war (Iraq and Syria), her concern becomes quite tiresome very quickly. Here’s one line from the script, “It just feels like I can’t breathe until he comes home.” I have a friend who once said, as her son was getting married, “I don’t know what I’ll do if I can’t see him every day.”

Advice: Get over it! He’s getting married. He’s an adult now. (Yes, I have 2 adult children).

Another scripted line, “We have no control. We cannot even protect ourselves We want to say it will be all right, but we can’t.” A well-meaning casual acquaintance tries to counsel Rose, telling her, “Everything about you says you’re sad. I’m talking about the will to live.”

Rose’s boyfriend, played by Gil Bellows, wants her to move to New York with him, but she repeatedly turns down his invitation to the point that her nervous worrying about her adult son in the Army (“You sound like a parrot over and over and over.”) causes Frank (Gil Bellows) to finally say, “You just need to calm the fuck down, Rose.”

Unfortunately, that never really happens and there really isn’t any more to the story.

That much is for sure. Rose tries therapy, but the photography and swimming lessons with Jay Mohr don’t seem to be helping much.

I have these suggestions for ways in which the script could have been transformed from one long whine fest to something more dramatic. We might have had 82 well-acted minutes that actually go somewhere:

During the swimming lessons, Rose seems to have a suicidal moment, and there is a similar moment (pills?) when in her apartment. Why not let one of these attempts come close and put Rose in the hospital, where she has a Eureka Moment and realizes that—among other unresolved plot lines—she supposedly has a daughter in college studying chemistry that she should continue trying to stay alive to mother (in addition to her adult son)? Maybe it will sink in, as scripted, that the young soldier had drug abuse issues before he enlisted, so his enlistment was all for the best (Rose’s boyfriend, Frank, tells her this.) The Eureka moment could involve (a) Rose’s boyfriend, Frank (b) Rose’s hitherto not-heard-from college-age daughter and/or (c) the mysterious guy with the hat who stops by in a restaurant and calls her a “beautiful, sad woman” while quoting Schopenhauer. (“The only salvation is to live life.”)
Why not have son Charlie (Sergio Rizzuto) actually get injured while in Iraq? There any number of dramatic opportunities that could occur if Charlie had some sort of injury. (Not saying that Charlie should die, since Rose would probably not survive that. Just a scare, perhaps, that makes both of them aware that life is a gift and we should all make the most of it.)
Why not have Rose accept Frank’s offer to re-locate to New York City? It could be presented as a break-through moment. The Schopenhauer quote could be worked in somehow. One way to show that Rose is turning the corner on her fixation over her son’s service obligation would be to have her quit being so obsessed with answering her phone. Watching someone answer a phone is almost as exciting as watching someone driving. Both of these pursuits dominate a lot of screen time.

These plot suggestions are just the most obvious ones. It could be something totally off-the-wall like an unexpected romance with one of the much younger men who enter the bookstore where Rose works. Example: Rose is working and Peter (who is actually Mira Sorvino’s husband, Christopher Backus) comes in and flirts with her and, even though he is 17 years younger than Rose, they become a couple.

Again, the carpe diem refrain is no matter what the age difference, as Woody Allen once famously said, “The heart wants what it wants” and at least Rose would be advancing towards something other than lying on her fabulous green velvet couch eating potato chips. Maybe she could start up with the pool guy (Jay Mohr).

Whatever is decided upon from the options above, I’m available, if they want to work on getting an ending for this character study shot in and around Los Angeles. [And, yes, I’ve written 3 award-winning screenplays that will probably never see the light of day.] This one can be seen on YouTube.com.

“One of These Days:” A Snapshot of Small-town Texas Life at Hands On Contest

By Connie Wilson

On October 30, 2020

In Movies, Pop Culture, Reviews, Texas

Bastion Gauthier (Writer/Director) takes the topic of an annual endurance contest (Hands On) in Texas to win a pickup truck and turns it into a small-town tragedy. The contest promises thrilling entertainment to spectators and the chance of a lifetime for the participants, but it ends in real tragedy.

The contest organizer, Joan Dempsey, well-played by Carrie Preston, will be remembered by fans of television’s “The Good Wife” for playing Elsabeth Tascioni, a slightly off-beat but brilliant attorney. Carrie played the part in 14 episodes from 2010 to 2016 and won a Primetime Emmy Award for Outtanding Guest Actress in a Drama Series in 2013. She was nominated again in 2016. Joan is organizing the competition for Boudreaux’s Auto and Truck Dealership and she is very believable as a small-town employee of that car dealership.

The central contestant role is played by Joe Cole as Kyle Parson. Kyle and his wife and infant child are struggling, financially, and, as the script says, “He really needed a win.”

The rest of the cast of competitors who show up to try to win the truck by outlasting the others is a motley crew, with 20 people who seem to fit the bill often described as “poor white trash,” one of whom declares that what they are doing “isn’t rocket surgery.”

THE GOOD

In addition to Carrie Preston, who is always good in her roles, the “bad guy,” Kevin, played by Jesse C. Boyd, becomes a central figure. There are a variety of types that we can recognize from small-town life, whether it is the completely self-absorbed ear-bud wearing guy beating rhythms to the song that only he can hear on the truck’s chassis or the Bible-quoting Fundamentalist who occasionally requests that they all number off. We get a pretty good idea of the twenty competitors still standing, during the 119 minute movie, and there are those we root for and those we’d like to see quit or be disqualified—perhaps just on the basis of general nastiness.

The film won a special mention at the Zurich Film Festival and was a nominee for awards in Nashville.

THE BAD

Three things really detracted from the film:

#1) Cinematographer Michael Kotschi felt it would be a good idea to have the camera action be jerky at times, shooting forward down streets without any real attempt to focus. We can’t really call it “cinema verité (“Z”). It’s Cinema “F” as in “Failed.” The effect did nothing to enhance the film, but it did a lot to detract from it. I gave my GoPro camera to two eleven-year-olds to film a wedding over Labor Day; they did a better job of filming. The only good thing is that Kotschi did this hand-held herky-jerky treatment primarily on shots of streets, not when we were focused on the inter-action of the contestants in the parking lot of the Hands On contest. My advice to Michael Kotschi: STOP THAT!

#2) For reasons I do not understand Writer/Director Bastion Gauthier ended the film and then added 20 to 30 minutes of additional background on our male lead, Kyle Parson. The information conveyed to us at the END of the film, (when Kyle is no longer a factor in the competition to win the truck), helps us to understand the plot’s events.. Adding the information at the end of the film was an odd and not very logical placement. It definitely belonged in the film, but chronological order would have been a better choice than tacking it on at the end.

#3) We never learn who won the truck.

I found the film to be interesting, aside from the three complaints mentioned above, but it had the potential to be more.

“On Fellini’s Footsteps” Retraces Fellini’s Career

By Connie Wilson

On October 30, 2020

In Movies, Pop Culture, Reviews

Frederico Fellini

Meandering through Rome and Cinecittà, Gerald Morin, who worked with Fellini for over a decade, creates a touching portrait of the man, enriched by anecdotes from Fellini’s most important collaborators. The write-up on IMDB says it “throws us back to an era that is engraved in our collective memory.”

I’ve been reviewing film non-stop for 50 years, so, yes, I have the era “engraved in my collective memory.” I still remember the Anita Ekberg scene in the Trevi fountain in Fellini’s “La Dolce Vita”, and I recall that Fellini’s films were dream/nightmare fantasy experiences.

Fellini was a visionary who “saw” exactly what he wanted to put on film, but he often didn’t “see” it util he arrived on set, in a free form sort of creative inspirational style, of which one cameraman said, “We don’t know, the day before, how we will shoot. His mind is like a camera.”

Sometimes, Fellini would change the actors’ lines while they were filming. It was all in the service of inspiration and, as Fellini himself told a “New Yorker” interviewer (Lillian Ross): “I am trying to free my work from certain constrictions—a story with a beginning, a development and an ending. It should be more like a poem with meter and rhythm.” It was Fellini’s devotion to being “in the moment” that often saw him go to bed with one idea and wake up with another.

Still, “8 and ½” (so named because that was how many films Fellini had made to that point) was named one of the 10 Best Films Ever Made and he was awarded a Lifetime Achievement Award by the Academy of Motion Picture Arts & Sciences in April of 1993, his 5^th Oscar.

A talented artist, Fellini was constantly making sketches of both his sets and the costumes he wanted the actors to wear. Said Norma Giacchero, his script supervisor, “His sketches were very helpful.” His set designer said, “Fellini’s world was his own. The real world didn’t interest him.” Cameramen who worked with Fellini talked about his use of the zoom, which he employed while the camera was moving. He did this to change the focal distance and width of the shot. He worked by sequence and used the zoom in unusual ways, going from 50 mm. to 250 mm. long range.

Among the adjectives that his co-workers used to describe him were charming, obsessed, never satisfied, impatient, prompt and demanding. Still, many of his long-time collaborators mention his sense of humor and his “desire to dominate matter.”

“8 and ½” began shooting May 9 of 1962 and completed shooting October 14, 1963. Stumped by the plot he wanted to film, Fellini finally decided it should be about a director who no longer knows what film he wants to make. He described it as having past, present and conditional (fantasy) elements and it was soundly condemned by many, who considered it immoral. Still, it was nominated for the Palme d’Or and received 12 Oscar nominations, 4 of which it won, including Best Foreign Language Film and Best Costume Design in Black and White.

During this documentary, which was shot in 2013, a glimpse is shown of an ecclesiastical fashion show (red-robed Cardinals) where nuns and priests roller skate past shipwrecks of cobwebbed skeletons, scenes from 1971’s “Roma.” As a former colleague put it, “Nobody touches Fellini for bringing dreams to life.”

Although the film does not allude to Fellini’s fascination with and dabbling in LSD and Carl Jung-ian psychiatry after he fell into a depressive period, the films after 1963 often reflected those interests.

Fellini tried working with Hollywood stars (Broderick Crawford, a stand-in for the ailing Humphrey Bogart in the unsuccessful 1955 film “Il Bidone” and Donald Sutherland as Casanova in that film.) His collaborations with Marcello Mastroianni are best remembered. Antonio Bardini, his barber, said, “Marcello wanted to be Fellini and Fellini wanted to be Mastroianni.”

Fellini died at 73 of a heart attack one day after celebrating his 50^th wedding anniversary to wife Gulietta Messina in 1993.

“A Good Man” Is French LGBQT Film from Denver Film Festival and Cannes

By Connie Wilson

On October 28, 2020

In France, Movies, Pop Culture, Reviews

“A Good Man” is a LGBTQ French film directed by Marie-Castille Mention-Schaar. It is a Cannes Official Film Selection and the film had subtitles, but the trailer does not. (Dust off your French from high school or college.) Noemie Merlant, who was so powerful in last year’s “Portrait of a Lady on Fire,” plays the lead of a trans-man. There is some controversy over the fact that the part of a trans man is not being played by a real trans man.

I thought a better title for the film might have been crafted based on the scene where a nurse, leaving the hospital room of the new mother after her shift, bids the patient good night with the farewell phrase, “Good night, Sir/Ma’am.”

Noemie Merlant

The farewell causes the new mother/father to smile, as he/she has just given birth to a baby boy, a sacrifice that Ben/Sarah made so that he/she could achieve his/her goal. That goal is stated in the film as, “I want to be me and have a normal life.” Ben tells his older brother, Antoine, “I want the same as you. No more. No less.” The script also contains the advice, “The management of truth is the key to a rescue.”

THE GOOD

I’m all for people of any sex and/or ethnicity seeking “life, liberty, and the pursuit of happiness.” Freddy McConnell, a trans man, gave birth to his own son, Jack, and the “Guardian” journalist made a film with Director Jeanie Finlay about it called “Seahorse,” so the topic of a trans man giving birth to his own child IRL has been done before. The performances of the two leads (Noemie Merlant and Soko) are excellent.

The opening ocean panorama of the main character looking out at the sea from the Cote d’Azur is gorgeous. There are many other beautiful cinematic shots within the film, including some spectacular sunsets. But most of us want a story, as well, and there is definitely a story here.

Ben, the central character, was born Sarah Adler on April 28, 1990. The conflict comes when Ben’s love, Aude (Soko, who played Samantha in “Little Fish”) —after his decision to bear their child because they cannot adopt and Aude is infertile— tells Ben, “Right now, I don’t exist. You play every part. You play them all. I need to find mine.”

And….Poof!….Aude’s gone.

Another conflict is between Sarah/Ben’s mother, who mourns the loss of daughter Sarah and has difficulty accepting that Sarah has become Ben. There is also conflict between Ben and his male friends, whom he has kept in the dark. Some of Ben’s friends are more accepting than others.

THE BAD

Director Marie-Castille Mention-Schaar

It’s really difficult to follow who is whom and whether the apparently female girl at the bar (Sarah) does, in fact, turn out to become “Ben” later in the film. There is frequent jumping back and forth in time, between the present and the past. While audiences are savvy and will do their best to keep up, it can become difficult to figure out exactly who is whom, then and now.

The departure of Aude, Ben’s love, while understandable, seems very selfish. It reminded me of someone I know who—while his wife was delivering twins—-began an affair with a co-worker and left his wife, who had to go through childbirth alone. There is something about bringing new life into the world that mitigates for a united front to support that new life.

Poor Ben is forced to go through most of the pain, suffering, and confinement of delivery on his own, endure being viewed as a freak by some and suffering the loss of the support of the person closest to him, for whom he has sacrificed a great deal. The departure of Aude does set off a nicely done rapprochement with his estranged mother, however. Mom, watching the new-born baby attempting to suckle, says, “You think it’s a matter of instinct, but it’s not at all.”

The end of the film is slow, although cinematically beautiful. It reminded me of the famous painting “A Sunday Afternoon on the Island of La Grande Jatte” by Georges Seurat. We also get a quick glimpse of the reunited couple strolling through that scene with their baby.

I felt very sorry for Ben/Sarah, who had to give up the new life he had carved out for himself, reveal his previous identity to the world, and go through childbirth without the woman of his dreams by his side. While I understood Aude’s feelings of being “left out,” Ben might wish to re-consider their relationship in light of the loyalty he has shown, versus that demonstrated by Aude.

“A Perfect Enemy” Is a Film To Intrigue from Director Kike Maillo

By Connie Wilson

On October 24, 2020

In France, Local, Movies, Of Local (Quad Cities') Interest, Pop Culture, Reviews

The intriguing film “A Perfect Enemy” starring Tomasz Kot (Cold War), was directed by 45-year-old Spanish-born director Kike Maillo. Maillo helmed the 2012 film “Eva,” when 37, and it won him the Best New Director award from the Cinema Writers Circle Award in Spain and an award for Best Special Effects (2012). This time out, the basis for the complicated story is a novel by Amelie Nothomb, “Cosmetique de l’ennemi,” but the script was written by Maillo, aided by screenwriters Cristina Clemente and Fernando Navarro.

Architect Jeremiasz August has just concluded a lecture about architecture (“Perfection is when there is nothing left to take away.”) and is in a cab on his way to the airport.

Furthermore, it is an airport that Jeremiasz actually designed, with a beautiful model of his work in the center of a spacious waiting area.

Amidst a deluge outside the lecture hall, a young blonde traveler asks if she can share a cab with the architect. Tessel Textor (Athena Straites)—a petite blonde—does clamber inside the cab in the downpour and begins a pretty much non-stop barrage of information about herself. The Good Samaritan act of allowing her to share the cab causes both the architect and the young blonde to miss their flights, so their conversation continues—more or less—-in the VIP lounge of the airport.

August appears to be growing very tired of the non-stop chatter. There is some symbolism overtly explained. When Tessel first enters the cab,she explains that her name can mean “weaver of words,” although she is not a writer. (August tells her it’s not too late to start.)

There is a third character—a beautiful woman named Isabelle, who was married to August but disappeared twenty years earlier. We see Isabelle (Marta Nieto) primarily strolling about a charming cemetery and, later, in her apartment. Her relationship with August is confirmed further along in the film by photos of the couple that adorn her apartment.

Things begin to become very surreal and fantastical at the airport. There are clear signs that Tessel is “not right in the head” (if she is even there) and her annoying monologue is beginning to irritate the reserved architect. There are several trips to view a model of the airport. Each time, airport model has small changes occurring involving splotches of blood, etc. (Take note). The exchanges in the rest room(s) are even more central to the plot and even weirder.

Ultimately, August is on his flight. We anticipate that violence will occur at any moment, especially since Tessel followed August into the men’s lavatory and spends a fair amount of time playing with a knife throughout the film.

Now, August is on his flight. Tessel says to August, “Lower your voice.”

“Why?” asks August.

“Because you’re still on the plane,” responds Tessel. That was not where we thought August was when he raised his voice, so settings are shifting and mysterious things are occurring; the endless stories that Tessel tells are beginning to form a mosaic of sorts, coming together to form one tapestry.

The best comparison, for the viewer, to capture what may be going on in this film is to mention “Fight Club” and how it dealt with reality.

I enjoyed the film. First of all, it was well acted, (although Tessel would have been more convincing if she hadn’t been wearing 10 pounds of colored eye make-up in every scene plus what looked like camouflage pajamas).

Aside from that faux pas on the costuming, the principals carry out the somewhat confusing exchanges of dialogue proficiently, the music is good (Alex Baranowski), the sets are great, the cinematography is above average (Rita Noriega) and the ultimate resolution of the plot is clear.

Another plus: the actors are all speaking English. I finally gave up on the subtitles of an Iranian film that was supposed to feature a burning theater. Did not make it through to the end of that one. Gave it my best shot; that’s 2 hours of my life I’ll never get back.

Enjoyed this one all the way through to its thought-provoking conclusion.

“Kubrick by Kubrick” Entertains at the 56th Chicago International Film Festival

By Connie Wilson

On October 20, 2020

In Movies, Pop Culture, Reviews

Stanley Kubrick, “A Clockwork Orange,” 1971.

Stanley Kubrick was a legendary perfectionist whose demands for more and more takes for a scene in one of his movies would nearly drive the actors to drink. This documentary, showing at the 56^th Chicago International Film Festival, discusses that facet of Kubrick’s work and personality.

Sterling Hayden, interviewed in the documentary “Kubrick by Kubrick,” admitted that he had lost it the day they were shooting “Dr. Strangelove: Or How I Learned to Stop Worrying and Love the Bomb.” There had already been 38 takes. Hayden notes that Kubrick’s response to his apologies for repeatedly messing up his lines was, “The terror that is in your eyes may just give us the quality we want.”

The foremost authority on Kubrick’s life and works, Michael Cement, guides the viewer of this documentary on Kubrick’s works, aided by the taped interviews of the Master, himself. As Roger Ebert says, in one filmed segment, “He worked entirely on his own schedule. It was kind of inspiring.”

was referencing the fact that Kubrick shot almost all of his films within 25 miles of his country estate in England and had a complete studio with the necessary sound systems and cameras, so that he could turn out such films as:

1999 Eyes Wide Shut

1987Full Metal Jacket

1980The Shining

1975Barry Lyndon

1971A Clockwork Orange

19682001: A Space Odyssey

1964Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb

1962Lolita

1960Spartacus

1957Paths of Glory

1956The Killing

1955 Killer’s Kiss

With just 13 films in 43 years Stanley Kubrick cemented his reputation as one of the greatest directors of all time. Whether it was the 7 months spent shooting “A Clockwork Orange” or the 5 years he spent directing Tom Cruise and Nicole Kidman in Kubrick’s final film, “Eyes Wide Shut,” Kubrick was a perfectionist, “quintessentially a perfectionist,” according to his set designer Ken Adams.

The stories involving 105 and more takes on a single scene abound, and yet, as Malcolm McDowell (“A Clockwork Orange”) said, “If he trusts you, you’re all right. If not, watch out.”

With clips from nearly all of Kubrick’s feature length films and his own recorded remarks, this documentary directed by Gregory Munro with music by Vincent Theard is totally enjoyable for the Kubrick fan.

It ends with Tom Cruise reminiscing how he was called in the middle of the night with the news that Kubrick—who was then directing “Eyes Wide Shut” with Cruise and Kidman—had died in his sleep at age 70. Cruise pronounces the news unbelievable. Even today, it is.

Kubrick seemed a fierce force to be reckoned with forever.

Rachel Brosnahan Plays Jean in “I’m Your Woman,” an Amazon Original Film at the 56th Chicago International Film Festival

By Connie Wilson

On October 19, 2020

In Movies, Of Local (Quad Cities') Interest, Pop Culture, Reviews, Television

Rachel Brosnahan

Rachel Brosnahan, familiar to television audiences as Mrs. Maisel, has a different role as Jean in the feature length film, “I’m Your Woman,” an Amazon original movie now showing at the .56^th Chicago International Film Festival and a nominee for the Golden Hugo award.

The film unfolds a bit like peeling back the layers of an onion. Jean (Rachel Brosnahan) is married to Eddie, who is a professional thief. It’s the seventies and they live in a very seventy-ish house, with Jean basically a bird in a gilded cage—a bird who can’t cook. Although she knows that Eddie (Bill Heck) is a thief—she knows almost nothing about his associates or the true nature of his job or, apparently, anything about the true nature of the man himself.

Much of the film concerns Jean’s “coming of age” as a woman. She is suddenly gifted with a small child, courtesy of Eddie, whom she names Harry. Later, we hear a story about how “Harry” (played by Jameson and Justin Charles) came to Eddie and Jean’s house in the first place, but we never know if it is the truth or another example of the things we’ll never know for sure.

Enter Cal (Arinze Kene), an associate of Eddie’s who appears at Jean’s house in the dead of night and insists she and Harry must flee. Cal is Black and, later, we meet Terri (Marsha Stephanie Blake), who is his wife and the mother of his son Paul.

From there, things get interesting.

One of the strongest things about the Julia Hart directed film, (which Julie Hart and Jordan Horowitz wrote), is the fact that you don’t feel as though you’ve seen this film a million times before. It’s an original way to tell the story. It unfolds slowly at times, more quickly at others, with exciting chase scenes involving 70s autos and more and more revelations that will keep the viewer enthralled.

In addition to the theme of Rachael Brosnahan’s growth into full womanhood, there is plenty of action, mystery and suspense. Good performances, an interesting tale, and lessons to be learned all contribute to the appeal of “I’m Your Woman.”