Category: Reviews Page 29 of 65

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

On October 30, 2020

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.

“The Comeback Trail” Will Leave You Laughing—and That’s Just What We Need!

By Connie Wilson

On October 28, 2020

In Humor and Weird Wilson-isms, Local, Movies, Of Local (Quad Cities') Interest, Reviews

George Gallo and Josh Posner took an old idea (based on a 1982 film of the same name by Harry Hurwitz) and tweaked the basic idea of “The Producers” to give us the comedy “The Comeback Trail.” The movie stars Robert DeNiro, Tommy Lee Jones, Zach Braff, Morgan Freeman, Emile Hirsch and there is an uncredited cameo from Jason Bateman.

Gallo was the creative force behind “Wise Guys,” “Midnight Run,” and “Bad Boys,” among other amusing films. This is a World Class Cast and the music by Aldo Schllaku and cinematography by Lukasz Bielan are top-notch. Budget was estimated to be $25 million.

Here’s the plot in a nutshell (as revealed in numerous trailers): Max Barber (DeNiro) and his nephew Walter Creason (Zach Braff) have just released “Killer Nuns” (“They’re nuns with a bad habit.”). It’s another bomb from Miracle Pictures. [In fact, the Miracle Pictures slogan is, “If it’s good, it’s a miracle.”]

Walter borrowed $350,000 from Reggie Fontaine (Morgan Freeman) to make the picture, and Reggie wants his money back. Since Reggie isn’t kidding about wanting repayment, Max goes to James Moore (Emile Hirsch), a wealthy investor, and James (call him Jamie) demands that the great script for a film called “Paradise” be signed over to Jamie, in exchange for helping bail Max out.

It is while at Jamie’s mansion, where filming is taking place on yet another picture, that Zach Braff, seeking an autograph, inadvertently causes Frank Pierce, the star of the picture (uncredited cameo by Jason Bateman) to fall off a building. (I wondered if Frank Pierce was modeled on Tom Cruise?) Pierce is killed,— but he was insured for $5 million.

That is the germ of the idea for Max: Hire an over-the-hill movie star of yesteryear, insure him heavily, and kill him off while making a picture. Then, collect the insurance. This isn’t too far off the idea behind “The Producers” when another Max planned to make a terrible Broadway bomb and collect for its failure. That original film with Dick Shawn (“Springtime for Hitler,” anyone?) unfortunately goes on to be a roaring success, which ruins Zero Mostel’s (Max Bialystock’s) plans.

Tommy Lee Jones is the over-the-hill Western star, Duke Montana, who is reduced to doing commercials for Big Earl’s Used Cars, while living in a retired actors’ home, where he is suicidal over his long-lost love, Bess.

THE GOOD

The dialogue frequently references famous movies of yesteryear. At one point, for instance, Morgan Freeman tells Max’s character that, if he is not promptly paid within 72 hours, “I’ll hunt you down like Redford and Newman in ‘Butch Cassidy and the Sundance Kid.’” There is an amusing exchange when Morgan Freeman—a frequent investor in numerous film projects—-marvels to his sidekick, Devin, that they are on the movie set where “Gunga Din” was filmed.

“This is where they shot Gunga Din!” says Morgan’s character.

Devin responds, “Who is Gunga Din and why did they shoot him?”

It’s throw-away lines like this, plus the stunt horse Buttermilk (an homage to Dale Evans) that will tickle the fancy of true movie buffs.

The horse (Buttermilk) has various tricks that he’ll perform upon the uttering of a code word. Say “rocket” and he’s off running like one. Say “mattress” and he’ll lie down. Say “Rhubarb” and watch out! There is also a bull whose intentions towards the cast are deadly and a hanging footbridge over a canyon that makes Duke ‘fess up that he is afraid of heights.

THE BAD

I’ve never thought that Robert DeNiro played comedy as well as drama. He always seems to be over-the-top hammy in fare like “Meet the Fockers,” but the movies were still funny. His mugging for the camera (again) doesn’t keep the lines and situations from being laugh-out-loud humor at a time when we desperately need more laughter in our lives.

The movie was filmed in and around Albuquerque, New Mexico, and will be streaming by December 18^th. Be sure to stay after the credits to see the hilarious phoney ads for “Killer Nuns” and films like “Cows from Beyond” by the mythical Miracle Films.

“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.

“Once Upon A Time in Venezuela:” Examines the Fate of the Village of Congo Mirador

By Connie Wilson

On October 25, 2020

In Education, Movies, Reviews

This documentary that showed at the 43^rd Denver Film Festival was helmed by Annabel Rodriguez Rios and Sepp R. Bruderon (editor/writer) who visited the remote village of Congo Mirador many times over the course of years, watching it shrink from a village with population of 700 to 30 families and, ultimately, to an abandoned village.

Chief among the inhabitants of the village is Tamara Vilsamil, who is a rabid Chavez supporter and seems to be doing quite a bit better, financially, than the rest of the village. She brags, at one point, that she owns 50 hectares of land and that it is “as good as money in the bank,” saying that she can always sell a cow if she needs money.

Several old-time residents of the city on stilts talk about “the fatal night,” which, they say, has come. Throughout the time that the documentary is filming sedimentation continues to plague the village with remarks like “sedimentation is killing us all.”

The backdrop of the documentary is an upcoming election and, at one point, ring-leader Tamara says, “I’m going to get our comrades and kick their asses.” There is a lot of talk about North American government planning to take over the town and the nation and a lot of jingoistic talk about “the Fatherland.”

Near the end of the film Vilsamil and another representative from the watery town journey to Maracaibo. She says, “Going to Maracaibo is as important as Obama going to Cuba.” We see the duo being served breakfast in what appears to be the palace in Caracas and Vilsamil says, “Confo is running out of time. The town is already lost. It’s just mud and snakes left.”

The final scenes of the film show a deserted, watery, abandoned wreck of a town

“Til Kingdom Come” Explores the Evangelical/Jewish Connection

By Connie Wilson

On October 24, 2020

In Education, Movies, Reviews

“Til Kingdom Come” has played both the 56^th Chicago International Film Festival and the 43^rd Denver Film Festival, spelling out the close relationship between evangelical Christians and the Jewish community in Israel. The 77-minute film is directed by Director Maya Zinshtein.

It’s difficult to understand how this symbiotic partnership has flourished, given the prophecies in evangelical texts that have 2/3 of Jews being killed and 1/3 ultimately converting to the evangelical view of things, in the final analysis. The film’s write-up says, “They donate sacrificially to Israel’s foremost philanthropic organization, the International Fellowship of Christians and Jews, because they fervently believe the Jews are crucial to Jesus’s return.”

There are also the disturbing positions of evangelicals on same sex marriage, gays, legalized abortion, and many other issues, including the Arab Palestinians’ right to live peacefully on the West Bank. (This is the issue that Vanessa Redgrave championed, to her detriment, many years ago when she was receiving a 1977 Best Supporting Oscar for her film work in the Holocaust drama “Julia.”)

At the outset of the film, we hear rural Kentucky Pastor Boyd Bingham IV say, “We are the people who brought DJT to power and he pushes our agenda.” It should be mentioned that VP Mike Pence is a noted evangelical, as is Secretary of State Mike Pompeo.

According to the film, there are 650 to 800 million evangelicals around the world. They have single-handedly become some of the biggest donors to Israel, raising $4 and $5 million at a crack, even while, on the film, an official from Louisville, Kentucky, proudly proclaims that the state is now down to only one facility where a legal abortion can be obtained. (Shades of the sixties!)

There is film of the youngest Bingham preacher at the Binghamtown Baptist Church on a 1982 pilgrimage to Israel and his great joy at the moving of the Israeli consulate to Jerusalem. (It is Israeli Premier Bebe Netanyahu’s goal to annex the West Bank.)

Two million Arabs live under Israeli sovereignty in Jerusalem now. When the embassy was moved, 58 PalestiniIsrans were killed and 2,771 were injured, all in protest of the move.

It was an interesting documentary, which is more than I can say for “I Am Greta.”

“Meat the Future” Explains How Meat Can Be Grown in Labs and Replace “Real” Meat

By Connie Wilson

On October 24, 2020

In Education, Health/Medicine, Local, Movies, Of Local (Quad Cities') Interest, Reviews

Now playing the 43^rd Denver Film Festival, “Meat the Future” is a Liz Marshall documentary that explains the brainchild of cardiac surgeon Uma Valeti, who has formed Memphis Meats to bring meat grown in laboratories to market.

Dr. Valeti actually was a trained cardiac surgeon at the Mayo Clinic, but he had been haunted for years by the idea that, in order to eat meat, animals must be grown to adulthood and then slaughtered. Not only did the idea that “in the midst of life, we are in death” affect him as a child, he also became aware of the growing demand for meat that cannot be met by standard methods.

In the course of this film, we meet Ira Van Eelen, whose father in Amsterdam may have been the Godfather of Clean Meat, starting experiments with growing meat in a lab as far back as 2010. Dr. Valeti took the idea and has made it a reality—if an expensive reality—making it possible to cultivate meat that tastes like meat, from the cells of chickens and ducks and beef cattle, in a cultured lab setting over the course of 4 weeks, whereas it takes from 14 to 24 months to raise an animal from birth to slaughter.

SLAUGHTER

In order to feed humans, pigs and cows and other living mammals are slaughtered. It’s a reality that has driven many to become vegetarians. Even Dr. Valeti admits having tried vegetarianism for a while. The success of things like tofu burgers, however, has not been nearly as close to “the real thing” as the cultured meats that Valeti’s Memphis Meats has been able to produce.

Early news articles (April, 2016) showed a pound of what appeared to be ground beef with the label $18,000 – 1 lb. of ground beef from Memphis Meats. The three original investors put $3.1 million together but, since their successes, investors like Bill Gates and Richard Branson, along with David McLennan, the CEO of Cargill, have come onboard to underwrite the group’s efforts. Draper Fisher Jurveston, an investment firm for those looking to underwrite promising technologies, reports that the group now has “more money coming at them than they want to take” and mentioned a figure of $4 billion.

What are the “good” and the “bad” things about “clean meat”? (“clean meat,” as a term,has tested more positively than “cultured meat” in P.R. studies).

THE GOOD:

Animals are a big part of the carbon footprint problem and, with this technology, the need to raise so many animals on feed lots, is bypassed, thereby decreasing the carbon footprint of the industries that are now producing our meat. The film mentions a timeline of 20 to 30 years by which time animals would not need to be raised for meat. This is, as the film put it, ‘a huge paradigm shift.”
Supply – The documentary posits the belief that, despite all the efforts that currently exist to feed the world’s people, we need to step up production. Comparing 4 weeks of preparation time (clean meat) to 14 to 24 months (real meat) is educational.
No more slaughtering living creatures for our beef, pork, poultry or fish.

THE BAD:

As you can imagine, meat producers are not at all sure that this idea is a “good” thing for them, their industry, or the public They maintain that the government must learn how to regulate cell-based meats. Both Sonny Perdue (Secretary of Agriculture) and Dr. Scott Gottlieb of “Face the Nation” appearances talk about “clean meat.”
The Good Food Institute says we need the equivalent of a Manhattan Project to move the initiative forward. Why do I get the feeling that, just like the electric car, the “old way” meat people will kill the idea of cultured cells becoming edible meat, just as the fossil fuel industry killed the electric car?
Expense – currently, it is prohibitively expensive to create “clean meat” with figures of $1700 per pound mentioned. The use of markets and technology to solve problems cannot be supported enthusiastically enough, but I do wonder if this Bold Brave Idea might end up like the hydrogen car. (Remember that one?)

“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.

“How Did You Like Them Apples?” (A: I Didn’t)

By Connie Wilson

On October 20, 2020

In Health/Medicine, Humor and Weird Wilson-isms, Movies, Reviews

Apples

Greek director Christos Nikou has crafted a film about a pandemic that causes amnesia and a bureau, the Disturbed Memory Department for Amnesiacs, that works to re-educate those so affected.

It opens with the main character, Aris (Aris Servetalis) knocking his head against a wall and, shortly thereafter, he is on a bus but has no idea where he is going.

Many others are affected. Apples enter the plot as being good for the memory, according to a local grocer, while Aris hungrily wolfs them down onscreen.

During the course of the re-education of Aris, the Bureau sets him up with housing, walking around money, and a set of instructions as to what he is supposed to do. The Learning How to Live New Identity Program will have us watching Aris bicycle, solicit a lap dance, attend a costume party, go to a movie, take Polaroids of all new experiences and do the Twist, a dance made popular in the U.S. in 1960 by Chubby Checker. [Why would a song that is 70 years old be playing at the disco? No idea. Maybe that is considered “cutting edge” in this film’s country of origin.]

I’m a big fan of plots that have a beginning, a middle, and an end.

This plot has a beginning and a long middle. It has no end.

It won a Slovene Film Festival award for Best Sound and has nominations in several other Feature Film competitions, including both the 56th Chicago International Film Festival and the 43rd Denver International Film Festival.

One of the things I found most off-putting about the film is the fact that Alzheimers Disease is basically rampant in this country now. It’s truly not a “funny” thing to lose all sense of identity and not know where you are going or who you are.

I did not like this film for that and other reasons that have nothing to do with the argument that it posits amnesia as a cure and not a disease.

Losing your mind is not funny and too many people I have personally known, including my father, have experienced it, so no recommendation from me for this one.

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.”