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!

Saimi (Jaana Saarinen) ja Mielensäpahoittaja (Heikki Kinnunen), Mielensäpahoittajan Rakkaustarina, Solar Films. Credit: Solar Films.

The Finnish film “Long Good Thursday” screened at the 60^th Chicago International Film Festival on Wednesday, October star 23^rd, with star Jaana Saarinen in attendance. Director Mika Kaurismaki is not the first to tell the story of the Grump, portrayed by Finnish comedy star Heikki Kinnunen. There are a series of novels concerning the character, who has become a national icon in Finland.

The Grump, as he is popularly known, is “more of a sour milk kind of guy” (as one of his own son’s describes him). As the film opens, brothers Hessu (Likka Forss) and Pekka (Ville Tihonen) are touring a nursing home with their father. He is not impressed or amused. In fact, he flees the scene and goes to a favorite hillside to talk privately with his wife, dead from Alzheimer’s disease. Even on their way to the nursing home the Grump chides his grown sons about speaking directly to him. “You can talk directly to me. I’m not a house plant yet.” Sadly, this idea of younger folk talking past you or over you is real life; age-ism is alive and well in the U.S. and, apparently, in Finland, as well.

THE PLOT

Jaana Saarinen on October 23, 2024, at the showing of “Long Good Thursday” at the 60th Chicago International Film Festival.

Heikki’s character of the Grump, outfitted in an animal hat that rivals that of the MAGA fanatic who took over Congress on January 6^th, is plain-spoken and a hard worker. When told to take it easy he says, “I haven’t taken it easy since I was 9 and my father took me to cut trees in the forest.” Looking at pictures of son Hessu’s holiday with his family, the Grump sees nothing but suffering. He gives a list that mentions sun burn, among other holiday afflictions. The Grump hasn’t danced since the early 70s.

One day at the local supermarket, he is attracted by a wonderful scent that hints of chainsaw oil, pine bark and sawdust. He follows that scent to the check-out lane, where the owner of the pheromone that has attracted him is in a bit of an embarrassing situation. She has forgotten her wallet while trying to check out with her groceries. The Grump offers to pay for the damsel-in-distress’s purchases. This leads to the Grump becoming friends with the free-spirited Saimi (Jaana Saarinen).

Heikki still talks regularly to his deceased wife and tells her “in terms of eternity, nothing will change” but, for the here and now, he would very much like to spend more time with the attractive Saimi. When there is no answer to his musing, he says, “Silence was always a sign of consent for us.”

“Long Good Thursday” from Finland at the 60th Chicago International Film Festival.

The pair go camping on the Jawa motorcycle with side-car and, coincidentally, meet a celebrity in the woods. They encounter Finnish Sportsman of the Years 1972 and 1976, Lasse Viren, one of the Flying Finns, and Heikki says, “This is the best day of my life.” However, Heikki reassures his wife that he is still going to join her in eternity and that “ordinary is enough” will remain their life motto. The Grump is experiencing happiness and joy because of the sunny disposition of his new female friend, Saimi. He praises her wonderful aroma, which she acknowledges as perhaps the “most real” compliment she has ever received.

Saimi, who is a photographer, takes numerous photos of the Grump. They become the basis for a Helsinki art gallery show, to which she invites the Grump. She never suspects that he will take offense at her use of his image in her art. This causes them to go their separate ways, as Heikki flees the exhibit and takes a bus home, saying, “I am not some circus animal to be laughed at by the art circles of Helsinki.”

Jaana Saarinen of “Long Good Thursday”

Here’s a timely historical precedent for this plot. Remember when Jennifer Lopez publicly released the film version of her romance with Ben Affleck as “The Greatest Love Story Never Told?” Remember what happened next? Somehow. J-lo didn’t anticipate that taking every single private love note or e-mail ever sent her by Ben Affleck (who, over the years, had saved them and put them in a book as a gift for her) if publicly shared would offend her new (4^th) husband. Lopez claims it was a case of “I didn’t see THAT coming.” Everyone else did. And that’s not even factoring in her investment in an alcoholic brand when her new husband is on the wagon and a recovering alcoholic.

In this film, something comparable happens, but there is more after the supposed break, just as there is more in the Grump/Saimi story.

Q&A

Asked whether any of the lines in the film were improvised, Saarinen acknowledged that some were. She pointed to a scene with the couple walking through a field, where she points to a dark spot and declares it to be a certain kind of mushroom, only to be contradicted by the Grump who says it is “deer shit.” Jaana also admitted that, in one scene, she did not actually cut down a tree with a power saw. In regards to her character of Saimi, she said, “I’d like to be more like her, more accepting. That was the most valuable lesson for me.” Jaana also said that the water in the swimming scene was not that cold and the yard 30 or 40 kilometers from Helsinki where they shot the film was exactly as we see it onscreen. The unusual car belonged to the owner of the house and worked.

The film has wonderful music from a Japanese composer who contacted the director and asked if he could contribute his music. Tetsuroh Konishi’s contribution is wonderful, and the cinematography that took place in the area just outside of Helsinki contains lovely pastoral images from cinematographer Jari Mutikainen.

CONCLUSION

Connie Wilson & Jaana Saarinen of “Long Good Thursday” in Chicago on 10/23/2024.

This was a funny movie that suggests that it’s never too late to be happy in your old age. The 69-year-old director has been directing since at least 1978; it shows. The actors truly embody their roles and the film strikes just the right balance between humor and drama. As the lead actress’ daughter told her mother, “It doesn’t drag; it lingers.” It was a lovely character study of love and affection continuing to exist in maturity. The somewhat open-to-interpretation ending leaves you wanting another episode so we can learn what happens between the Grump and Saimi. Even the young cast members, said Jaana Saarinen, put down their cell phones during filming. “Everyone watched while we were filming.” That tells you a lot about the quality of a film when viewers under 30 will put down their electronic devices long enough to watch real life unfold.

“Long Good Thursday” was a real find, for me. If you can find this poignant Finnish film from accomplished director Mika Kaurismaki (with Heikki Kinnunen and the beautiful Jaana Saarinen co-starring) streaming, it will be a wonderful find for you.

“September 5” Is Timely Look at the Munich Massacre

By Connie Wilson

On October 23, 2024

In Movies, Reviews, Uncategorized

(Trailer is in German; Film is dubbed in English)

On September 5^th, 1972, 900 million viewers nationwide watched the first-ever live-and-in-color feed of the Olympics from Munich, Germany. A Palestine terrorist organization known as Black September chose this date, two weeks into the Olympic games, to send 8 operatives into the Olympic Village and take most of the Israeli Olympic athletes hostage. Director Tim Fehlbaum (who also co-wrote with Moritz Binder and Alex David) focuses on the ABC sports team, with Jim McKay on the air in archival footage. The ABC crew stepped up to broadcast the event live to the world. Sportscasters like Howard Cosell and Jim McKay and the late Peter Jennings (who said “I’ve been a war correspondent for 5 years, and yet I’ve never been this close to the Israeli-Arab conflict.”) are also featured.

The Toronto International Film Festival (TIFF) did not accept “September 5,” because they feared demonstrations and protests if it screened. “September 5” made its North American premiere at Telluride. It made its World Premiere at the Venice Film Festival on August 28, 2024. Based on the great reviews Paramount is distributing the film to theaters beginning November 29^th, expanding to more theaters on December 13^th. It was even difficult to find here in Chicago, with no mention of it in the program and little fan-fare in advance.

THE CAST

Peter Saarsgard is a journeyman character actor who can always be counted on to do a good job. He’s fresh off the 8- episode revisiting of “Presumed Incident,” where he played Tommy Molto, but I’ve been following his career closely since at least the Carrie Mulligan co-starring 2010’s “An Education.” In this one he portrays Roone Arledge, the ABC network big wig who is on the job in Munich. Arledge is running a tight ship, including ordering armed German Polizei out of his studio.

That studio, it should be noted, was meticulously recreated to duplicate the actual studio where Roone and his team had to cover groundbreaking live news as it happened. John Magaro (“The Big Short,” “The Many Saints of Newark”) portrays Geoffrey Mason. Mason has to step up and orchestrate the coverage of the terrorist event on the fly, doing whatever he can to put a picture on the air that will tell the story of Israeli athletes’ lives hanging in the balance and telling the world in real time. At the end of the ordeal, Arledge calls the beleaguered Mason into his office and says, “I know it may not feel like it, but you did a hell of a job.” Arledge also points out that more people watched the Munich Massacre unfold on television than watched Neil Armstrong walk on the moon.

Also instrumental in the cast and in the historical event was ABC German/English interpreter Marianne Gebhardt (Leona Benesch), whose bilingual ability allowed her to monitor German police radio and interpret German news reports for the crew. Benesch—the only female in a sea of men—at one point is sent on a coffee run, prompting a member of the ABC staff assembled to say, “You just sent away the one person who could understand this.”

Historians have generally agreed that the Munich massacre was mishandled from the very beginning. In fact some accuse the German government of a 40-year cover-up. All of the hostages were killed. Two managed to escape because of the early heroism of one of their teammates. Although the ring-leader of the Black September group and his second-in-command were killed at the Ferstenbeldbruck air base, there were actually 3 survivors of the original group of 8 Palestinian assassins. It is incredible to learn from reading up on the raid, that the three Black September survivors were released one month later in a prisoner hostage exchange after Lufthansa Flight 615 was hijacked. (*That isn’t in the movie, but you can look it up.)

THE ATTACK

“September 5” (1972) in the ABC control room during the 20th Olympics in Munich.

As the film’s title makes clear, it was September 5 of 1972—two weeks into the 20^th Olympics—when the terrorists struck. Additional reading shows that Schmuel Lakin, the Israeli delegation head, had previously expressed concern about the security of his Israeli athletes. The location of their apartments within the Olympic Village was not ideal. There had been rumors of something like the Munich Massacre occurring, coming from a reputable intelligence source, but the Germans ignored the rumors, wanting no lingering taint of the German Hitler Olympics to mar the 20^th. There were even reports that various security scenarios had been explored. What actually did occur matched rather precisely Scenario 21. The terrorists, carrying duffle bags with weapons, had only to scale a 2 metre (6 and ½ feet) chain link fence to gain access to the Israeli team’s lodging. In fact, later, it came out that the assassins were even helped in that task by a group of athletes also climbing the fence, who were either from the U.S. or Canada. They assumed (incorrectly) that the 8 terrorists sneaking over the fence were fellow athletes like themselves.

The attack took place at 4:10 a.m. on September 5^th and 300-lb. wrestling referee Yossef Gutfreund would be the only one in the room to look through the peephole, see men with guns, and attempt to hold the door closed while rousing his teammates. Thanks to Gutfreund’s action, Tuvia Sokolovsky and Gat Tsobari would escape via the second floor balcony. None of the rest of those taken prisoner would be so fortunate. They were either shot and killed in Apartment 3 or died at the airport during a totally botched attempt to escape to Cairo after being ferried to the airport in helicopters.

Almost nothing went right during the rescue attempts, primarily because hostage negotiators and special ops forces were not a top-of-mind priority in 1972. Immediately after the Munich massacre special teams were formed in Germany to deal with any such future threats. At the time, the local Bavarian police were unequipped and ill-trained. They tried various methods to rescue the athletes, none of which worked. It didn’t help that the local forces did not cut the power to the athletes’ Olympic Village apartments, so the terrorists were able to see on television exactly what the polizei were attempting to do to apprehend them. The German Constitution forbids the German Army from operating on German soil, a nod to German WWII history. We see and hear the sports team, realizing that the terrorists may have seen their feed from “the bird” satellite overhead, say, “Was it our fault?” So many mistakes are made by the locals that one crew member mutters, “No wonder they lost the war.”

TENSION

Lorenz Dangel’s music adds a great deal of tension to the white knuckle ride. There is great camerawork from Cinematographer Hansjorg Weissbrich. There is also a well-acted conflict between John Magaro as Geoffrey Mason and Ben Chaplin (“The Thin Red Line,” “Murder by Numbers”) as Marvin Bader. The disagreement is over repeating the rumor that all eleven hostages have been released, when Mason does not have two confirmed reliable sources. Bader turns out to have been right.

CONCLUSION

I was in Munich just before the 1972 Olympics as Germany was preparing for the event, having spent the summer in England as a foreign exchange student. I wanted to return for the Olympics, which the city was then constructing. By the time 1972 rolled around, I was married with an infant, was teaching school, and we had landed on the moon. I’ve always remembered the optimistic, cheerful, spirit heading into the games. Munich was my favorite city in Germany.

The disagreement over whether to suspend the games after the Munich Massacre and the failure, since then, to properly memorialize the eleven athletes who lost their lives, just adds another layer of tragedy to the grim fact that these athletes were murdered in cold blood, for no reason other than being Jewish (and, in one case, a U.S. citizen and Ohio native, as well as an Israeli citizen). This 52-year-old event seems timely with the Gaza Strip tragedy dominating our news cycle and the conflict threatening to grow larger every day.

Other excellent revisitings of the Munich Massacre can be found in Steven Spielberg’s “Munich”(2005), about the attempts by Mossad to track down and kill the perpetrators and, also, in “One Day in September,” Director Kevin MacDonald’s Academy Award-winning Best Documentary at the 72^nd Academy Awards.

“September 5” is a well-done look at the 22 hours that the ABC sports crew made history covering the Munich Massacre. It’s appropriate to remember the innocent victims: Moseh Weinberg (1^st victim, shot); Yossef Romano, shot, left to bleed out, castrated; Yossef Gutfreund; Kehat Schorr, shooting coach; Amitzur Shapira, track and field coach; Andre Spitzer, fencing master; Yakov Springer, weight-lifting judge; Eliezer Halfin, wrestler; Mark Slavin; David Berger, dual American/Israeli citizenship; Ze’ev Friedman, age 18. U.S. Gold Medalist Mark Spitzer, himself Jewish, asked for a security escort and left Germany immediately after the Munich Massacre.

Try not to miss this one when it hits theaters on November 29^th.

“Nightbitch” Screens on October 21, 2024 at the 60th Chicago International Film Festival

By Connie Wilson

On October 22, 2024

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

Marielle Heller walked the Red Carpet outside the Music Box Theater on Monday, October 21st at the 60th Chicago International Film Festival in support of “Nightbitch,” which she co-wrote and directed. The screenplay is based on the book by Rachel Yoder. Heller’s previous directing forays include “Diary of a Teen-aged Girl” (2015), “Can You Ever Forgive Me” (2018) and “A Beautiful Day in the Neighborhood” (2019). Amy Adams and Scoot McNairy play a husband and wife parenting a toddler, played by twin tow-heads Arleigh and Emmett Snowden.

“I’m never going to be smart, happy or thin ever again. And I’m pretty sure I’m turning into a dog,” says the Mother character. That line sums up the plot. All mothers in the audience will be able to relate—up to the dog part, anyway. The theme of a hassled Mom trying to cope with daily life at home with kids reminded me of Jason Reitman’s 2018 film “Tully,” but Charlize Theron had three kids and there was no werewolf-ian metamorphosis involved.

Marielle Heller on October 21, 2024, at the 60th Chicago International Film Festival.

As she took the stage to accept her Visionary award, Marielle Heller said, “This is one of my most personal films. I’m just thrilled to be bringing it here tonight.” The 98-minute film’s tag line? “ Motherhood is a bitch.” The IMDB classification lists Body Horror, Comedy, Horror, and Dark Comedy. If you liked “Can You Ever Forgive Me” which earned Melissa McCarthy an Oscar nomination, you’ll like this one. If you’re a Mom, you’ll like it twice as much. (Amy Adams won a TIFF acting award for her role.)

Q&A

After the film screened, Heller shared some insights into the production. The feeling that this could be “any city” and “any Mom” was intentional. Specifics are missing on purpose, including names. Heller is delineating the marital playbook where the wife gives up her career and her dreams to stand by her man. She is thinking, “How many women have delayed their greatness while the men around them didn’t know what to do with theirs?” Adams’ character was a successful artist and worked in an art gallery before she and her husband decided to have a child. Now, as the script says, “The whole concept of motherhood that we’re sold is basically bull-shit.”

SCRIPT
One scripted exchange between the couple has her husband saying, “What happened to the girl I married?” to which Amy Adams responds, “She died in childbirth.” The absence of specific names for our married couple is intentional. One scene (that others wanted to cut) was “the kale salad scene.” Heller described it as a difficult one for Amy Adams to play and “the heart of the film.” As she explained, “It’s that feeling of becoming more and more invisible as you age.” (Tell me about it. No, don’t. I live it daily.)

In the scene, the waiter seems to disregard Amy’s order of a kale salad on more than one occasion. The actor playing the waiter asked the director why the waiter doesn’t seem to respond to Amy Adams repeated request for a kale salad, as she dines out with former work colleagues. Heller told him, “Your ears are not tuned to the sound of any woman over 40.” Adams declares herself a “sand cow” and says, “The woman that I used to be, she’s down here in my intestines, buried in kale.”

SETS/CASTING

Marielle Heller on the Red Carpet outside the Music Box Theater in Chicago during the 60th Chicago International Film Festival on October 21, 2024.

One interesting fact was that the team looking for a house to use for filming looked at over 60 of them. Heller said, “There was more effort to make the movie seem effortless than you could imagine.” (She stumbled upon the house at 2 a.m. on Zillow). She explained that the house they were seeking should demonstrate a certain level of good taste, but “with a layer of baby crap over the good taste.” The most difficult casting was that of the BookBaby Moms. Best BookBaby Moms scene is where each confides an anecdote about their failures as keepers of the household’s pets, whether a bird, a fish or a cat. The sharing occurred after Adams said, in response to inquiries from her BookBaby friends about the couple’s recent separation, “I just had to break out of it. And I killed the cat this week, which made me aware that I’m not doing well emotionally.”

HUMOR

It is dead-pan delivery of lines like the one about the cat that will amuse anyone with a sense of humor— especially any woman who is a new mother struggling to keep her head above water. The script (a collaboration between the author of the book and Heller) is particularly good. It conveys laughs that are truisms that hit home, as when Adams says, “I needed to dig around in the dark and just find myself again.” She salutes all women who have given birth, citing “That shared bond of all you’ve given up for the continuation of the species.”

One of the best and most humorous techniques that Heller uses throughout the film is to show the socially correct response, contrasted with the actual REAL response. One such exchange occurs in the produce aisle of the grocery store in response to a work colleague who asks Amy about being home all day with her new child. (REAL response, unsaid:“I would like to feel content, but instead I feel like I’m trapped within a prison of my own making.”) Instead, she trots out the socially and politically correct response. Scott McNairy as the husband finally admits, “I didn’t see all that you were giving up by being at home.” (An apology is tendered, which Heller said made some people feel uncomfortable. As for herself: “We need to see more men apologize in movies.”) Responding to the platitude “choose happiness” with a strong slap would be the real response. “I’ll try” is what women are conditioned to respond.

DIFFICULT SCENES

There are multiple dogs in the film. When asked about the difficulties of working with animals, Heller said, “With every dog there is a trainer who is talking off-camera. I didn’t know how chaotic that would feel.” She also embraced more unscripted spontaneity than in past films,
because of the small child (actually two twin boys) whose immediate responses needed to be captured. The twins were wonderful in their part and any mother of a small boy will be able to relate to the antics of the toddler.

Asked about one of her favorite scenes, Heller singled out the scene that was her favorite scene to watch with an audience. It involved Amy’s increasing feeling that she is somehow changing and becoming more animalistic. Heller’s brother, Nate, (who played the singing male leader of the Book Babies club) accused his sister of liking gross things. In the scene Amy Adams examines some changes her body is undergoing and takes action. As someone who has a friend who absolutely loves the “Dr. Pimple-popper” television segments, I’ll leave the specifics up to you to discover when you see the film in December (it premieres December 6th), but suffice it to say that it hasn’t been done on film in any movie I’ve seen.

Marielle Heller, Director of “Nightbitch,” onstage at the Music Box Theater during the Q&A at the 60th Chicago International Film Festival on October 21, 2024.

CONCLUSION
You’ll want to put this one on your “Things that make you laugh and cry at the same time,” —especially if you’re a Mom (as I am). If you’ve ever found yourself saying, “I don’t want anything or anyone else needing me or touching me,” then this is the film for you. Remember this scripted line if you’re still just giving the politically correct response to those questions about life with a new baby, “Insist on your joy. Time is short.”
Words to live by and a good reason to see “Nightbitch.”

Director Antonio Piazza Discusses “Sicilian Letters” at 60th CIFF on October 20, 2024

By Connie Wilson

On October 20, 2024

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

Writer-Director Antonio Piazza (“Sicilian Ghost Story”), who spoke with me one-on-one on October 20, 2024.

Directors Fabio Grassadonia and Antonio Piazza, who directed “Sicilian Ghost Story” in 2017, return to the screen with “Sicilian Letters,” the story of an attempt to capture real-life Mafia crime boss Matteo Messina Denaro. The crime boss known as the last godfather was hunted for 30 years and was finally captured January 16, 2023 outside a medical facility in Palermo where he was seeking treatment for colon cancer under an assumed name. Over 100 police were involved in his apprehension that day. He was transferred to a prison with a cancer medical facility, where he died 8 months later (September 25, 2023), after slipping into a coma on September 24, 2023. At the time of his death, aged 61, it was estimated that Matteo—who had been sentenced to life in prison in absentia for the death of Giuseppe DiMatteo in 2012—was worth $4 billion dollars.

Lucia Rasso (Barbora Bobulova) with whom Matteo hides in “Sicilian Letters.”

Matteo, portrayed by Elio Germano, was known to be a cold-blooded adversary. He once killed a rival (Vincenzo Milaggo from Alcamo) and then strangled the man’s pregnant girlfriend. Matteo had been familiar with guns since the age of 14. At one point, he tells the woman harboring him (Lucia Rasso, played by Barbora Bobulova) that he was responsible for avenging her husband’s death and that he murdered the killer when he was only 17. Matteo also bragged, “I filled a cemetery all by myself.”

We see this early descent into savagery in the film’s opening scene, when Matteo steps up to murder a goat under the direction of his father, upstaging his older brother and foiling the attempts of his sister to grab the knife herself. Matteo’s father, Francesco Messina Denaro, known as Don Ciccio, died in November of 1998. By then, Matteo had been on the FBI’s Most Wanted list for 5 years, after a string of bombings in 1993 that killed two prosecutors, Giovanni Falcone and Paolo Borsellino.

PLOT

The film begins by saying “Reality is a point of departure, not a destination.” In other words, as with most films, a certain amount of poetic license has been taken with real life. But, as Director Antonio Piazza told me in a conversation on August 20^th, most of the story is true. In order to capture the last godfather, the police attempt to turn the former Mayor and Headmaster Catello Palumbo (Toni Servillo), who was Matteo’s godfather, into a trusted go-between. Catillo has just spent 6 years in Cuneo prison. The police tell him, “Our meeting is your chance to get back in the game.” They want him to help capture the arch criminal, who has been on the loose for 30 years. and Catello suggests that writing notes (“pizzini”) might be the way in. It is known that Matteo likes to read and Catello offers up the truism that incarcerated prisoners might be the last real readers on the planet. (Sad, but potentially true).

Catello Palumbo and Matteo Messina Denaro in “Sicilian Letters,” screening at the 60th Chicago International Film Festival.

Catello—an odd-looking individual with his comb-over hairdo—has returned to his long-suffering wife Elvira, who seems to take a dim view of her spouse. Catello’s hotel project is in jeopardy; it’s illegal because it’s in a nature preserve. His wife, Elvira (Betty Pedrazzi), is fed up with the circumstances the family has been reduced to during Catello’s incarceration. His daughter Latizia (Dalila Reas) is pregnant by the janitor at Catello’s old school, (a part well-played by Giuseppe Tantillo as the “simple and sweet” Pino Turino.) Elvira does a good job of defending Pino from Catello’s put-downs, but there were other instances in the screenplay where women are demeaned, but none stand up to their abuser. It was definitely a sign of those early 2000 times. One such scene has a male investigator, Captain Schiavon (FaustoRussi Alessi), screaming in the face of female investigator Rita Mancuso (Daniela Marra). There is a line in the screenplay that says,”It’s the men who make decisions at home.” Rita definitely seems angry and upset most of the time.

The police embrace Catello’s idea of using letters to ferret out Matteo’s location. The letters—known as “pizzini“—were small folded-up notes used to communicate with other members of the Cosa Nostra in order to avoid phone conversations. They look very quaint in the era of e-mail and pagers blowing up in Gaza. The pizzini remind of notes passed from student to student in schools from the forties through the sixties, now an anachronism. The idea is to use Catello’s relationship with Matteo as his godfather and the trust Matteo might have in Catello to “Let him hear his father’s voice from beyond the grave.” It seems to work—or does it?

TRUST & CORRUPTION

Investigator Rita Mancuso (Daniela Marra) and Catillo Palumbo (Toni Servillo) join forces to find Matteo in “Sicilian Letters.”

The issues of corruption and trust were huge in the film. One scripted line, “In this village we all spy on one another.” Matteo at one point executes a friend (Nando) who is suspected of stealing cocaine and tells him at the moment of truth that the issue is not the value of the drugs but that “It’s an issue of trust.” The female investigator Rita Mancuso (Daniela Marra) early in the investigation tells Catello not to trust the other investigators on the case. She suspects (correctly) that there is so much corruption that the police don’t really want to catch Matteo. Sicilian singer-songwriter Colapesce even composed a song for the film, “La mal vagita seve al mondo intero” which means “evil serves a purpose for the entire world.” Matteo is the center of an entire world using him for their own greedy purpose.

THE GOOD

The plot is complicated and there are quite a few characters to follow. The acting is compelling. Elio Germano, who plays Matteo, actually moved to Palermo for a short period of time to pick up the dialect and the culture (and some Sicilian mannerisms). The part of Catello’s wife (Elvira, portrayed by Betty Pedrazzi)) was particularly interesting. She was one woman of the era who spoke up. Elvira seems very fed-up with her ex-convict husband and says so. The comic touches helped lighten the mood, as when we learn that Catello’s nickname is “Straight-shitter,” which has to do with the circumstances of his arrest. Some found Catello’s odd hair-do and the comic touches distracting, but they were well-done and necessary to prevent a grim film from becoming too depressing. There is the jab at Matteo’s sister’s “taralli,” a pastry that Matteo warns is as hard as cement. The cinematography and music also served the film well.

SPEAKING WITH DIRECTOR ANTONIO PIAZZA

Matteo’s father takes his 3 children to kill a goat for the holiday meal in an early scene from “Sicilian Letters.”

The significance of the small statue described as being the most valuable in the town’s small museum was explained to me by the director, Antonio Piazza. Not only is it true that the statue was very valuable, but it demonstrated how the Mafiosa ripped off antiquities of the country for their own benefit. The statue was called “pupu.” As Director Piazza explained, the word has different meanings in Sicilian. It can mean “puppet” and it can mean “child.” Said Antonio, “In a way Matteo is a puppet and a child.” The director explained that the existence of the “Pupu” statue was absolutely true. As Director Piazza noted, “Reading the notes left behind in Matteo’s hide-out and seeing the personal items left behind opened up a whole world to us.” The puzzle in Matteo’s hide-away was one way he passed the time while in hiding for 30 years. The real Matteo actually did write a letter to the puzzle manufacturer complaining about the missing puzzle piece. Matteo also read voraciously and watched such television shows on DVR as “The Sopranos” and “Sex and the City,” plus reading an Andre Agassi book, Baudelaire, and Dostoyevsky.

CHARACTERS

Pino Tumino, well-played by Giuseppe Tantillo, is the only character in “Sicilian Letters” who comes off as pure.

“Pino Turino (who is married to Catello’s daughter) is the only character in the movie who comes out pure,” said Antonio. “Somehow he was able to read the context, which protected him morally.” Police investigator Rita Mancuso, Antonio explained, “really wants to capture the fugitive. She’s honest and idealistic and blinded by her obsession to capture Matteo.” Asked about the accuracy of other names in the film, Antonio said that only Matteo’s name was true to life; most others were changed. We discussed the state of women at this time in history and in the world. Antonio agreed that Matteo’s sister would have been pissed off that she was a woman living in a man’s world at a time when, as the script says, “It’s the men who make decisions at home.”

Matteo was very close to his father, who died in 1998. However, his father was not the womanizer that Matteo chose to be. One small change that Antonio acknowledged was that the illegitimate child is said to be a son. In reality, the child who wrote the Father’s Day essay about her MIA father, was a girl. Matteo’s sister really did feel that Matteo should acknowledge his daughter, but the film—with its father-and-son dynamic, worked better with the child being male. The second-class citizenship of girls is made clear from the opening scene of the three children with their father and the goat. I wondered if the sunglasses perched on the small child’s head (Matteo’s illegitimate son, in the film) was meant to show a passing of the torch to the next generation in the film. Director Piazza acknowledged that the RayBan sunglasses were definitely Matteo’ signature and became iconic. Photos of him on driver’s licenses, old and young, show him wearing RayBan sunglasses. (Think Tom Cruise in “Risky Business.”)

CONCLUSION

Matteo’s father, Francesco Messina Denaro (Don Ciccio) on his deathbed in “Sicilian Letters.”

The primary themes of “Sicilian Letters” concern evil, corruption, and trust. Director Antonio Piazza said, “Your reading of the film is very much true. We are asking the audience, ‘How is all this possible?’” This continued exploration of Cosa Nostra in Sicily and the 30-year search for Matteo Messina Denaro, the last godfather, was an engrossing, well-written, well-plotted, well-acted and well-directed outing which I thoroughly enjoyed.

“Life and Other Problems” Screens at the Chicago International Film Festival

By Connie Wilson

On October 20, 2024

In Editorial, Movies, Pop Culture, Reviews

Marius the giraffe at the Copenhagen zoo.

Ten years ago in 2014, the news that Marius the giraffe was being put down by the Copenhagen Zoo went viral all the way from Hollywood to Chechnya. This Matt Kestner directed 98-minute documentary about that Marius controversy is a nominee for the Gold Hugo at the Chicago International Film Festival. It’s a philosophical examination of life, spurred by the decision by Bengst Holst of the Copenhagen Zoo, to euthanize a perfectly healthy two-year-old giraffe, simply because Marius was fighting with his father within the zoo. Holst took a very hard-nosed clinical view of life-and-death. You get the feeling that he would have done well in the Third Reich. There is no romanticizing of the death of a relatively young animal nor any feeling that Holst is remorseful about the path he has chosen (and sticks with, despite massive criticism). Bengst Holst definitely becomes “the bad guy” of the narrative, which is nominated for a Gold Hugo for Best Documentary at the Chicago International Film Festival. The documentary opens October 20^th in the United States.

BENGST HOLST: aka THE BAD GUY

Bengt Holst, Copenhagen zoo director, and television interviewer.

Television interview with zoo director Bengt Holst, who condemned Marius to death.

Holst appears in the film articulating his view that death is a part of life (which, of course, it is). He calls dying “the natural conclusion to life” and says, “Everything is life. We take life all the time. We now have a surplus to put down,” in regards to Marius the giraffe.

The backlash is immediate and harsh. One letter writer tells Holst, “You deserve to die a cruel death.” Offers come in from Sweden and the United States to give Marius a new home, but the Copenhagen zoo director rejects all offers suggesting that one zoo, in particular, is no better than a pet shop and might attempt to sell Marius for financial gain. Holst says things like, “We can’t act like death isn’t part of real life. This isn’t Disney. Death is a sad thing in our lives. You can’t live without death. It’s a sad thing, of course, but it belongs together. We’re all left alone in the end.” Another pragmatic, hard-nosed remark: “For some to survive, others must die. That’s how nature works.”

CONSCIOUSNESS

Marius.

One question that the film asks is if animals like Marius have consciousness. “Because we know we have consciousness. Do giraffes have it?” As Max Kestner says, “You look for the consciousness of other things.” One good line is “How much cognition and what kind? That’s the right question.”

The shots of owners with their pets— dogs, swans, pigs and horses— certainly makes an argument for kindness towards animals, an emotional commodity in which Holst seems lacking.

A PETA representative enters the debate saying, “They’re their own beings. Leave them alone. They’re just like us.” But Holst disagrees, saying, “We can’t even explain how a thought comes into being” and “It doesn’t matter if Marius lives or not.”

Do pets have consciousness?

ROUGH

Still, it is hard to deny that Holst has correctly pointed out that all beings on planet Earth will ultimately come to the end of their time on the planet. He is nothing if not pragmatic about the end we all will face. The next chapter in his determination to teach us all a lesson in the natural circle of life seems harsh, however. There is a public butchering of Marius’s carcass, followed by feeding the meat to the lions at the zoo. It gets even more brutal when a young girl’s pony is euthanized onscreen. That animal, too, is fed to the carnivores at the zoo.

I accept the fact that “in the midst of life we are in death” but there are a number of little kids watching Marius the giraffe being publicly butchered. Holst praises the curiosity of little kids at such a time. Judge Jeanine Piro called it a bloody spectacle and referenced it as the start of serial killers like Jeffrey Dahmer, who first killed animals. While not a Judge Jeanine fan (nor a Fox fan) I had to agree that watching Marius be cut up wasn’t exactly family friendly viewing.

I can speak to the trauma that a small child may experience when witnessing an animal being butchered—especially one that seemed quite sweet and docile.

When I was the age of the young children shown watching Marius’ being butchered, I was present for the slaughtering of a hog that had broken its leg on an Iowa farm. Of course, my father didn’t know that the animal was going to be strung up by its hind legs and have its throat slit, in full view of his 8-year-old daughter, but that’s what happened. I had nightmares for weeks. I remember the horrific noises of the dying animal. It is still vividly etched in my Little Golden Book of Unfavorite Childhood Memories. It is one thing to explain the circle of life and how Marius has gone to his great reward. But to display every aspect of Marius’ butchering and show lions eating the friendly giraffe might have been a bridge too far.

Marius’ remains.

FUZZY FOCUS

What is the meaning of life? How did life evolve? Does life end at death? Is life heading for something specific? Is there an end goal to life? Is the opposite of life not death, but loneliness, because all of life is about relationships? Is death a transformation?

There are no religious answers in this one. There are no definitive scientific answers, either, but the documentary does lean towards the scientific in search of explanations for why Herr Holst seems to act heartlessly and without any true fond feeling for poor Marius—an animal he claimed to love. You come away with the definite feeling that Marius could have been saved, but not while Herr Holst was in charge. As a sometimes Texas resident I got the feeling that Bengst Holst and Governor Abbott of Texas would get along famously.

For me, I enjoyed the philosophical discussions and sidelights. The experts choose to answer the question about life’s purpose using physics and saying that there are really two categories: the purpose you give to your own life and the purpose you claim for life, in general. After that, you have to roll up your pant legs and wade into the deep discussion, parking romantic religious illusions of a gauzy focus reincarnation or reunion after death at the door. It can get a tad pedantic, but it interested me, even though some might find it less-than-riveting.

Carnivores eat meat.

CONCLUSION

This is a film that will stir up animal activists, engage those of us asking ‘What Is the meaning of life?,” and leave viewers with more questions than it answers. I thoroughly enjoyed it. I do think that just the “pro” versus con argument of Marius’ life or death (“To be or not to be?”) would have been enough for the film, but it ambitiously took on the universal questions of life. At times, the philosophy became pedantic to the point of growing dreary, but then it comes roaring back with an animal death or a young girl witnessing the death of her pony.

With humans described as “just another evolutionary branch on the tree of life” we hear one of the scientists say, “Oh, shit! I hate humans!” Since it is a human who has decided in his infinite wisdom that Marius must die, without much support for his point-of-view, the human contention that life on earth is about the survival of the fittest does paint a picture of human life on Earth as terrible and horrible, without any higher purpose but predation, ending in death. But there is a muted plea for some sort of equilibrium between life and plants on the planet that will prevent man from turning Mars into a cold bleak planet or Venus into a boiling one. Watching Hurricane Milton ravage Florida while writing this, I certainly agree that we must be better stewards of the Earth. I mourn the opportunity that electing Al Gore would have given us 24 years ago to start on that journey of saving our planet.

Tackling a documentary in 98 minutes that addresses All of the Big Questions of Life, inspired by the death of a giraffe, is very ambitious. Maybe TOO ambitious. But Writer/Director/Editor Matt Kestner keeps the train on track, with expert assistance from a team of 6 cinematographers (Jacob Sufussen, Maria Von Hausswolff, Sturla Brandth Grovlen, Emil Aagaard, Masafumi Seki, Noah Collier) and with the able editing of Michael Haglund. I’ll be thinking about this one for a long time.

“Okie” Is Great Find @ CIFF This Weekend

By Connie Wilson

On October 19, 2024

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

The first thing that struck me about “Okie” were the gorgeous cinematic images. Kudos to Director of Photography Wojciech Kielar. There are so many panoramas and rural vistas that are shot with wide lens beauty. Creston, Illinois, never looked better. The music is good and the acting is top-notch, with Scott Michael Foster (“Greek,” “Crazy Ex-Girlfriend,” “You”) playing the lead, Louie Mulgrin.

BACKGROUND

From “Okie,” which screens this weekend in Chicago at the 60th Chicago International Film Festival on both Saturday and Sunday.

Then I read up on the husband/wife team, Kevin Bigley and Kate Cobb, who are responsible for this truly outstanding indie film. They’ve been collaborating as a team for a decade and Katie, whose directing debut this is, is currently working on a residency at Princeton, providing visual content for a Princeton student working on his PhD in composition. She is also the female lead in the film, portraying Louie’s old girlfriend, Lainey Gamble. Katie has had acting roles in television’s “Shameless,” “Scandal,” and “Grey’s Anatomy.” In 2014 she founded a production company called BigCobb productions and worked for “Funny or Die” producing content. Next up for the team will be a film called “Dirt,” which husband Kevin Bigley will also write. Kate Cobb, the director of “Okie,” graduated from Theater School at DePaul and was named Best Director at the UCLA Film Fest for her film “Dandelions.” Kate and Kevin make a dynamic producing team. I’ll be certain to watch for their next outing, because this one is great.

PLOT

Okie fair scene

Here is the plot line of “Okie” as released by the BigCobb team: Louie Mulgrin, a wealthy writer, returns to his beleaguered Oklahoma hometown after his father passes away. The town, a weathered setting, and its people have served as the subject matter for Louie’s writing. He has done relatively well writing fictionalized versions of friends and family. When Louie drops into town to pick up a few things from his deceased father’s house, he is reunited with his childhood friends, including Travis Young—who suggests that Louie ought to have enough time to hang with his old buddies for a day or so. The fair is in town and there are beers to be drunk at parties to be held.

CONCLUSION

This film is extremely well-done and professional.

Travis Young is portrayed by the writer and one of the co-stars of this indie film, Kevin Bigley (“Bojack Horseman,” “Animal Control,” “Upload”). Kevin is not only one-half of the creative team behind this expertly shot 82-minute indie film, Kevin is also the writer of wife Kate Cobb’s next film project, “Dirt.”

I’ll return to “review” more completely on November 5^th, with a few questions about plot points. I wanted to post this for any Chicago International Film Festival patrons who can still see this great flick this coming weekend (10/19 and 10/20) at 8:30 p.m. on Saturday at the Gene Siskel Film Center (164 N. State St.) and 11:45 p.m. on Sunday at the AMC Newcity 14 on North Clyburn Avenue.

“Unstoppable” Screens at 60th Chicago International Film Festival on Oct. 17th, 2024

By Connie Wilson

On October 18, 2024

In Movies, Pop Culture, Reviews

“Unstoppable,” the directorial debut of William Goldenberg, screened on October 17, 2024, at the 60^th Chicago International Film Festival. The autobiographical story of the life of Arizona State champion wrestler Anthony Robles is based on “Unstoppable: From Underdog to Undefeated: How I Became a Champion” by Anthony Robles. Goldenberg read the book and realized it would make a great film. Producers Ben Affleck, Matt Damon, David Crockett, Andy Fraser (and three others) agreed. At the end of its Chicago screening at the Music Box Theater, the crowd gave the real-life subject of the film, Anthony Robles and Jharrel Jerome (who plays Anthony in the film), a standing ovation.

Goldenberg has worked as a film editor for 25 years, winning Oscars for his work on “Argo” and “Zero Dark Thirty.” He has also been nominated for his editing work on “The Imitation Game” and “The Insider.” At 65, Goldenberg decided a film based on Anthony Robles’ book was just the ticket and bound to be a crowd pleaser. Both are true. Said Goldenberg in an interview, “Anthony helped with every part of the production, from writing the script to reviewing the wrestling scenes to make sure everything looked right…His input was invaluable—he gave us so many insights into his life that made the film feel authentic.” In fact, Robles did much more than just give feedback—he also participated in filming some of the wrestling scenes, bringing his athletic skills to the screen as Jharrel’s stunt double. Goldenberg described having Robles on set as a huge inspiration for the entire crew.

THE CAST

The cast includes such top-notch actors as Don Cheadle ( Coach Shawn Charles of Arizona State), Jennifer Lopez as Mom Judy Robles, Bobby Canavale (“Blue Jasmine”) as step-father Rick Robles, Mykelti Williamson as Eddie (Bubba in “Forrest Gump”) and Michael Pena as Coach Bobby Williams (“Crash”). Talented new-comer Jharrel Jerome (“Moonlight,” “SpiderMan: Across the Spider-Verse,” “When They See Us”) was set up to succeed in a physically and emotionally challenging role with a cast so talented, and succeed he did. He won the Tribute Award at TIFF.

Jharrel Jerome at the World Premiere of “Unstoppable” on October 17, 2024, at the 60th Chicago International Film Festival.

Asked about working with such well-known names, Jharrel said, “I’m so new that having them (the star-studded cast) look at me with respect was great. I thank them very much. The work becomes easy when you have good-ass actors.” Jharrel—who was making his first trip to Chicago—also pointed out the good job that Bobby Canavale did in turning a character who could have simply become a one-dimensional villain of the piece into a character with some vulnerability. All of the impressive cast members were excellent.

THE SCREENPLAY

There is a slight feeling that the writing team (Eric Champnella, John Hindman, Alex Harris) resorted to formulaic “feel good” scripting at some points. It worked, based on the audience response. The platitudes didn’t detract from the story. Audiences will love it. (December 24^th theatrical release, according to IMDBPro).

Here are some screenplay snippets:

“I’m 21 years old and I have one more year to achieve my goal. Otherwise, for the rest of my life, people will feel sorry for me. I’m running out of time to be someone.”

Coach Bobby Williams to Anthony’s mother: “You must be an extraordinary mother.”

Jennifer Lopez as Judy Robles, discussing Anthony’s congenital birth defect with him and her fight to keep his grandmother from raising him: “If his mother doesn’t accept him, how will he ever accept himself? You can show them that anything is possible, because you showed me.”

IOWA

As an Iowa graduate, putting Shawn Hatosy, (who played the psychotic Pope in “Animal Kingdom,”) in a very small part as Tom Brands, the Iowa Hawkeye coach (cut from the Dan Gable playbook), was a waste of talent. In the script, Brands says, “At Iowa, we believe second is the same as last.” (Villain-speak). The big laugh came when Iowa is described (by Mykelti Williamson) as “corn and white people.” Ouch. (What about the world-renowned Writers’ Workshop? What about Beck & Woods and the “A Quiet Place” franchise? What about Caitlin Clark?)

One scene in the film reminded of Dan Gable’s training techniques. Gable would draw a random card from a deck of cards and then do that number of push-ups (and a lot of other over-the-top things.) The scene in “Unstoppable” that rivaled those Gable techniques was a climb up an Arizona hill in an attempt to become a Sun Devil, which Robles made on crutches. Definitely over-the-top. Very Gable-like.

Matt McDonough—an Iowa wrestler who had never lost a match—was Tom Brands’ 125-lb. champion. Anthony must wrestle Matt not once but twice in two climactic battles. Jharrel Jerome was not a wrestler before “Unstoppable.” He outlined the preparation for the role this way: for 6 months, 5 days a week, in addition to memorizing 8 or 9 matches for 3 minutes straight, Jharrel trained from 9 a.m. to 11 a.m.. From 11 to 1 p.m., Jharrel wrestled with Anthony Robles. From 1 to 3 p.m. Jharrel had to learn how to walk well on crutches. Keeping fit when two writers’ strikes delayed filming for 90 days was also difficult.

WRESTLING

Anthony Robles (center) during the Q&A with Jharrel Jerome.

Although there was a wrestling movie that starred Mickey Rourke, it dealt with the WWE brand of wrestling (“The Wrestler,” 2008). “Unstoppable” is “real” wrestling. It is, without a doubt, the most well-done film to depict “real” wrestling I’ve ever seen. “Unstoppable” is the “Raging Bull” of real wrestling. Jharrel Jerome gave credit to the former Division I wrestlers who depicted opponents and to Brian Stiff for helping block the matches and to Anthony Robles for making this a film that could well popularize “real” wrestling at the high school and collegiate level. Robles’ job—in addition to being a motivational speaker—since 2022 is coaching wrestling at his old high school in Mesa, Arizona. When the moderator of the Q&A asked what the hardest part of the shoot was, Jharrel said, “The hardest thing was everything” (to laughter).

ANTHONY ROBLES

The real-life subject of the film shared this: “I didn’t want it to just be a wrestling movie. The wrestling, in itself, told a story. Whatever you wrestle in your life, you can overcome it.” He pointed out all the things that wrestling had taught him growing up: humility, discipline, hard work. Plus, he said, “It’s a great sport that teaches people how to do the best with what you have. It can benefit your life in a lot of different ways.” (The female moderator chimed in, “But it will also hurt,” which got a laugh.) At one point, Robles is asked why he selected wrestling. He answered, half-seriously, “It’s the only sport where they can’t run away from you.”

CINEMATOGRAPHY

Jharrel Jerome.

Cinematographer for the film was Salvatore Totino, who also did the cinematography for the under-rated Beck & Woods sci-fi vehicle “65.” He came in close with his camera on Jharrel Jerome’s face and eyes. Jharrel shows what he is thinking with his eyes and his expressions (like most good actors). He is great in this part. The editor for the film was Brett M. Reed, who also edited M. Night Shymalan’s “Old” (2021) and “Transformers: Rise of the Beasts” (2023).

SCREENPLAY

Anthony Robles speaking from the stage of the Music Box Theater on October 17, 2024, at the 60th Chicago International Film Festival.

However, there were some screenplay quotes that border on saccharine. Examples: “Ain’t nothin’ to it but to do it.”

“Find a way to win.”

(Judy Robles to her son): “If his mother doesn’t accept him, how will he ever accept himself? You can show them that anything is possible, because you showed me.”

“A man’s character is his fate.”

[That last one struck me as timely in light of the looming presidential election.]

REAL LIFE Nike’s Phil Knight appointed Anthony to Nike’s Speakers’ Bureau in 2011. In 2012, ESPN used Robles as a commentator on wrestling. In 2012 President Obama appointed him to the Presidential Council on Fitness. In 2014 Anthony’s mother, Judy, earned her PhD at Arizona State, where she now works as the Assistant Dean of Students.

CONCLUSION

William Goldenberg’s Directorial Debut Unstoppable to Premiere at the 60th Chicago Film Festival 2024 (*From IMDB.com)

The music utilized in the film should be praised. Alexandre Desplat, who also composed the music in another CIFF feature, “The Piano Lesson,” composed the original score. There are several points where music helps convey the message, as when Robles is training and a rap song is heard in the background. The wrestling matches, in addition to being realistic and well-executed, build tension while expertly utilizing background music.

This one will be a crowd favorite. I liked it very much; I feel sure that audiences will, too.

(“Unstoppable” will screen again at 2 p.m. on Friday, October 18th at the AMC Newcity 14 in Chicago.)

“The Piano Lesson” Opens 60th Chicago International Film Festival, October 16, 2024

By Connie Wilson

On October 17, 2024

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

John David Washington on the Red Carpet in Chicago on Opening Night of the Chicago International Film Festival (October 16, 2024).

Opening night of the 60^th Chicago International Film Festival kicked off at the Music Box Theater in Chicago on Wednesday, October 16th, with the appearance of John David Washington (“Tenet,” “Black Klansman”) and his brother Malcolm, who directed and co-wrote (with Virgil Williams) the screenplay for “The Piano Lesson,” based on an August Wilson play. Both sons of Denzel Washington (who produced) showed up in Chicago to promote the 125 minute film, which was released on August 31^st and will screen on Netflix after a November 22^nd theatrical release.

The synopsis for the film says that the film (based on the August Wilson stage play) follows the lives of the Charles family as they deal with themes of family legacy and more, in deciding what to do with an heirloom, the family piano. Present this night to moderate the Q&A following the film was Ron O’Day Parsons, who has directed this particular play 4 times and was very familiar with the works of August Wilson and knew the playwright, himself.

THE GOOD

Writer/Director Malcolm Washington in Chicago at the Music Box Theater on October 16, 2024, at the Opening of the 60th Chicago International Film Festival.

The cast was terrific, with John David Washington playing the male lead of Boy Willie. Samuel L Jackson is Uncle Doaker and Danielle Deadwyler (“Station 11,” “Till”) ably commanding the screen as Berniece, Boy Willie’s sister. Others supporting the two leads are Ray Fisher as Lyman, Boy Willie’s simple-minded friend, Corey Hawkins as Avery, the preacher-to-be who would like to marry Berniece, and Skylar Aleece Smith as Maretha, the young daughter of Berniece. Erykah Badu appears as Lucille. The films in which Samuel L. Jackson has appeared, including “Pulp Fiction,” have collectively grossed over 25 billion worldwide, making him, by some reckonings, the highest grossing actor of all time. Watching him work is always a pleasure.

In addition to the acting—which is good, (especially in the climactic scene depicting the blessing of Uncle Doaker’s house)—the music by Alexandre Desplat (“The King’s Speech,” “Argo”) is outstanding and the cinematography by Michael Gioulakis (“It Follows,” “Us”) is also top-notch.

FROM THE PODIUM

John David Washington and his brother Malcolm seemed genuinely grateful to be present this night to answer questions from the moderator and to show their film to an audience before it goes to theaters. While accepting an award from co-chairmen of the festival Mimi Plauche and Vivian Teng John David Washington seemed very genuine when he exclaimed, “I really love what I do, so thank you, Chicago, because this is a really big deal for me.”

(*Stay tuned for a transcription of the Q&A tomorrow. I’ll throw in my experience with August Wilson’s stage play “Fences,” before it became a big Denzel Washington film with Viola Davis.)

John David Washington (L) and Virgil Williams (R)

John David Washington and screenwriter Virgil Williams (a Chicago native) in foreground at the screening of their film “The Piano Lesson” on October 16, 2024, in Chicago at the 60th Chicago International Film Festival.

60th Chicago International Film Festival Kicks Off Oct. 16-27

By Connie Wilson

On October 16, 2024

In Movies, Pop Culture, Reviews

2015 Chicago International Film Festival Poster

Chicago, Illinois (October 15, 2024) – Governor JB Pritzker has proclaimed tomorrow, October 16, 2024 as “Chicago International Film Festival Day” in the state of Illinois, in honor of the Opening Night of this year’s Festival, the 60th edition of the longest-running competitive film festival in North America. Opening Night will take place at the iconic Music Box Theater, with a 6:30 p.m. showing of John David Washington’s and Maicolm Washington’s new film, “The Piano Lesson.” (John David and Malcolm are the sons of Denzel Washington.)

The Chicago International Film Festival made its debut November 9, 1965 at the original Carnegie Theatre at Rush and Oak Streets in Chicago, Illinois; The Festival runs from October 16 – 27, 2024 at venues throughout the city.This year, its 60^th, the Chicago International Film Festival presents 122 feature films and 71 short films, and welcomes more than 200 filmmakers, actors, artists, and industry professionals to Chicago over the course of the Festival. It is my 21^st Chicago International Film Festival, many of them as Press, all as Cinema Chicago member and film enthusiast.

I’ve been trying to get ahead of the rush (especially on documentaries) of films being shown this year.

“Memoir of a Snail”

Today, I finally got to see “Memoir of a Snail,” an Australian animated film that I’ve been just missing at various film festivals, most recently in Nashville. The New York Times gave it a glowing review and it has been racking up nominations and wins for Best Animated Film in places like London, Ottawa and Catalonia. Writer/Director Adam Elliot is coming to Chicago with the film and it is definitely one of the more unusual animated films I’ve seen (Disney it isn’t.)

The film’s release date was June 12, 2024. It is an R-rated animated story of the lives of twins Grace and Gilbert Pudel. Told Primarily by Grace, her largely unhappy life left me feeling fairly gloomy by the end of the 94-minute biographical tale. It did have a take-away message for all of us: “The worst cages are the ones we create for ourselves.” And there was a bit of a “surprise” happy ending that helped alleviate the sadness of this melancholy piece.

Original it is. It’s not every animated film that has a pyromaniac, a kleptomaniac, and an alcoholic with sleep apnea folded into a family tale of loss and heartache, with some adult humor thrown in to leaven the mix. One of the things that makes this film so unusual (besides the tear-filled eyes of the animated figures in nearly every scene) are the voice actors who represent them. It’s not often that you see a voice cast any more talented or well-known than this one, which has Sarah Snook, Eric Bana, Jackie Weaver and Kodi Smit-McPhee participating.

DOCUMENTARIES: SNEAK PEAK

But my purpose in posting tonight, one day before the film festival gets underway, was to rank order four documentaries that I have seen, in case you venture out. These are not complete reviews, but small sneak peaks, as some are not yet released and embargoed until those dates.

Marius the giraffe at the Copenhagen zo

“Life and Other Problems:” I absolutely loved this documentary. It is filled with age-old questions like “What is the meaning of life?” and they arise because the head of the Copenhagen zoo in Denmark plans to euthanize a perfectly healthy 2-year-old giraffe at the zoo. This sets off a firestorm of controversy. My complete review of the documentary will appear on October 20^th (Sunday), the date of its official release.
Adam Kinzinger.
“The Last Republican” – Adam Kinzinger was a rising star in the Republican party until he stood up for what he believes in and called out Donald J. Trump on his instigation of January 6^th. I read Kinzinger’s book (“Renegade: Defending Liberty and Democracy in Our Divided Country”) and he represented an area in Illinois quite near where I live. Plus, his successor (Darrin LaHood) grew up practically next door. I also found the fact that Director Steve Pink previously directed “Hot Tub Time Machine” interesting. It’s a well-done look at the price that those who stand up for their principles may have to pay in the face of the cult-like following of a Donald J. Trump. It was 88 minutes of a repetition of history that all voters should see before November 5^th. Most interesting little-known fact: when Kinzinger was 12 years old, he was so “in” to politics (even then) that he dressed up as Jim Edgar (Illinois Governor) for Halloween. (I wonder if anyone knew who he was supposed to be?) See this one if you want a reminder of what went down on January 6^th and how truth has fallen victim to the cult of personality.

‘Slice of Life: The American Dream. In Former Pizza Huts.” North American Premiere at 60th Chicago International Film Festival (Oct. 16-27,

“Slice of Life: The American Dream. In Former Pizza Huts” (83 minutes) – This one gives us the history of the founding of Pizza Hut in 1958, with one of the actual founders onscreen (Dan Carney). It is a North American Premiere. It is also a look at the rise and fall of the Pizza Hut franchise, which was sold to PepsiCo for $319 million. Since then, former Pizza Hut buildings have been converted into churches, BBQ joints, taco restaurants, karaoke bars and everything in between. It’s interesting and informative. (My husband and I wondered what happened to all the Pizza Hut restaurants we used to frequent.) My favorite anecdote from the documentary was how the founding Carney brothers (Dan and Frank), trying to save money, accepted the offer of a free oven being discarded by another restaurant, which had thrown it out. They took the oven and installed it for the opening of their new business, but somebody forgot to clean it out. The bird’s nest inside caught fire on the Big Opening Night, filling the room with smoke, so they had to cancel the festivities. Anecdotes like that will keep you watching.

“My Stolen Planet” – This documentary from Iran reminded me of one I saw at another CIFF that had been shot entirely on a cell phone. That one was documenting how Palestinians had to go to great lengths to enter Israel to work and the technical quality, of course, was raw. That didn’t affect the important information that seeing the documentary conveyed, which has added immensely to my understanding of the current Gaza Strip hostilities and how they arose. Likewise, this documentary contains important insight into the life of a woman in Iran, but much of it is gleaned from abandoned Super 8 film left behind by those who have fled the country because of its repression of women. No singing. No music No dancing and rules about dress and deportment that have famously cost innocent victims their lives. The problem I had with the film is that the old Super 8 clips jumped so badly that I have not yet finished it, because I began to get a terrible headache from the jumpy frames. Or perhaps it was just the sheer desperation and gloom of seeing entire classes of young Iranians being taught to shout (in unison) “Death to America!” (or that slogan on buildings as a car passes by.) Director Farahnaz Sharifi, who is a much honored Iranian filmmaker and was forced into exile in 2022, is to be applauded for her bravery in sharing her story. I will finish the 82-minute film because it is an important glimpse of a people crying out for help in the fact of an oppressive regime. However, it comes in at #4 because it was the last of the ones I have seen, to date, and my eyes need to recover. My soul will still be tearing up for the women depicted in this film, but my eyes will be fine after a brief respite.
“My Stolen Planet.”

Chicago International Film Festival: 2016-2023 (Con’t).

By Connie Wilson

On October 13, 2024

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

(*Photos are nearly all mine, taken at the respective film festivals. Installment #2 describing festivals of the past 21 years I’ve attended.)

Peter Bogdanovich.

2016: Damien Chazelle showed up to promote “La La Land.” He was very gracious and friendly. I anticipated “La La Land” winning for Best Picture (and so did most of the Academy when the team of Warren Beatty and Faye Dunaway somehow announced the wrong film as Best Oscar winner that year), but it did not. Peter Bogdanovich was given a Lifetime Achievement Award . Also present were Geraldine Chaplin as the head of the jury, a Tribute to Director Steve McQueen, and Danny Glover appearing with the Nigerian film “93 Days” about the spread of the Ebola virus epidemic in Africa. It was bloody disappointing. Both adjectives apply. Glover was presented a Visionary Award.

Geraldine Chaplin.

Chadwick Boseman of “Black Panther”

Sterling K. Brown

Damien Chazelle, Writer/Director of “La La Land” and “Whiplash.”

Closing night Tribute to Michael Shannon, along with showing of Guillermo del Toro’s “The Shape of Water.”

Playwright/actor (“August: Osage County”) Tracy Letts, at the showing of “Lady Bird” in Chicago in 2017.

2017: The film “Marshall” was a big one this year, with Chadwick Boseman and Sterling K. Brown in attendance. I had the opportunity to speak with Vanessa Redgrave about her direction of the film “Sea Sorrow,” concerning the immigrants washing up on the shores of countries like Greece. Redgrave was there with her son and quoted former First Lady Eleanor Roosevelt, saying that the plan was to take countries like England to court to force them to deal with the immigrants flocking to their shores. The films that impressed me this year were “Lady Bird” (Tracy Letts in attendance), Ruben Ostland’s Swedish film “The Square,” and Michael Shannon appearing on behalf of “The Shape of Water,” as was Michael Stuhlbarg (“Call Me By Your Name”). I remember chatting with Michael Stuhlbarg in the lobby area. As I spoke with Michael Shannon on the Red Carpet, he asked me, “How did you like me in ‘Hud?;” I attribute this to Shannon’s puckish sense of humor, as “Hud” was a 1963 Paul Newman vehicle, which I well knew. I also asked him what his favorite role was, and he said, without hesitation, “Take Shelter,” which also happens to be my favorite of his many fine films. I was surprised that he would answer the question at all, as it’s a little like asking someone which child is their favorite.

Director Steve Gukas and star of “93 Days” Danny Glover.

Michael Stuhlbarg: Dr. Robert Hoffstetler (aka, Dmitri) in “The Shape of Water.”

Sir Patrick Stewart give Lifetime Tribute Award at the 53rd Chicago International Film Festival on October 25, 2017.

William Friedkin (Oct. 15, 2018).

Viola Davis.

Ron Perlman in the background and Guillermo del Toro on the Red Carpet at the Chicago Film Festival. (2010).

2018: This year the U.K.’s Steve McQueen’s film “Widows” screened and he was given an award. Among those who appeared on behalf of the film were Viola Davis, Cynthia Erivo, and Brian Tyree Henry. (Seen more recently co-starring in the 2022 Jennifer Lawrence film “Causeway.”) William Friedkin—the GREAT William Friedkin—appeared and was given a Lifetime Achievement Award. I had just heard him in Austin at the Alamo Drafthouse on Lamar talking about his film project, “The Devil and Father Amorph,” where he went in, solo, with a GoPro Camera and filmed a demonic possession and an exorcism. It was a far cry from “The French Connection” (1971), “The Exorcist” (1973) and “To Live and Die in L.A.” (1985), but it was a “local boy makes good” moment, as Friedkin began his career working for WGN and making documentaries. Carey Mulligan also received an Artistic Achievement Award and appeared to promote Paul Dano’s film “Wildlife.”

Helen Hunt at the screening of “The Sessions” on October 20th in Chicago.

Jason Reitman was on hand with “The Front Runner” about the ill-fated Gary Hart campaign for the Senate. When I spoke with Reitman in Nashville last month, where he was promoting his latest film “Saturday Night,” he made the humorous comment that I might be the only one in the theater during the Q&A who had seen “The Front Runner” and said, “I guess audiences are more enthused about SNL than about Gary Hart.” “The Hate U Give” showed this year as did Joel Edgerton’s “Boy Erased.” And—-most notably for me—Robert Forster was present with “What They Had,” a wonderful film that co-starred Michael Shannon and dealt with the effects of Alzheimer’s on the family unit. I took the opportunity to tell Robert Forster how much I had enjoyed his 1969 appearance in “Medium Cool” for Haskell Wexler and he was very gracious in saying I was too young to have seen it when it was new (wrong.) I will always remember this exchange with Robert Forster, because he died exactly one year later to the day on October 11, 2019, a fact which has stuck with me.

Vanessa Redgrave and son being interviewed by Connie Wilson

Interviewing Vanessa Redgrave on the Red Carpet in Chicago.

Steve McQueen and (founder) Michael Kutza

Michael Kutza (CIFF founder) points out that the Black Perspectives Artistic Achievement award is one inch taller than the Oscar while awarding it in presenting it to Director Steve McQueen.

Robert Forster, taken exactly one year to the day before his death.

Gael Garcia Bernal in Chicago to receive a Tribute and screen his second film on October 26th, 2019. (Photo by Connie Wilson).

2019: The thing I remember the most about the 55^th CIFF, besides the screening of “Clemency,” was the appearance of Gael Garcia Bernal with his directorial effort, “Chicuarotes.” This was the largest crowd I remember seeing crowded in to a theater, all to see Bernal. I had a seat, but others were sitting on the steps to the theater. I left before the film ended; I felt bad that so many didn’t have a real seat.

2020: This was the year of the pandemic. I watched “One Night in Miami” (Regina King) via streamer and others by streaming, like most of America.

Rebecca Hall, director of “Passing,” in Chicago in 2021.

Kenneth Branaugh on October 21, 2021, with his Lifetime Achievement Award from the Chicago International Film Festival.(Photo by Connie Wilson.)

2021: This was the year that Sir Kenneth Branagh showed up with “Belfast,” which seemed to have a good shot at winning an Oscar. Rebecca Hall also appeared, promoting her film “Passing,” about a Black woman passing for white. For that one, I actually bought the book and read it, as it was short. Todd Haynes “The Velvet Underground” also screened and the documentary “Punch 9 for Harold Washington,” which was a local success story about the election for Mayor.

58th Chicago International Film Festival logo

2022: The opening film was the documentary “A Compassionate Spy” by local director Steve James. His documentaries are great, but this one was a bit of a slog. Kathryn Hahn received a Career Achievement Award and the film “Glass Onion: A Knives Out Mystery” was highlighted. The Al Sharpton documentary “Loudmouth” gave us a look at the activist’s life, while “For Love & Life: No Ordinary Campaign” was promoted by Katie Couric and detailed the harrowing journey of Chicago attorney and Obama supporter Brian Wallach as he is diagnosed with Lou Gehrig’s Disease and fights for himself and other patients in the same boat.

John C. Reilly and film critic Connie Wilson

Connie Wilson with John C. Reilly at the 2011 Chicago Film Festival.

“We Need to Talk About Kevin” (2011) brought John C. Reilly to the CIFF AMC screening. He sat one seat from me (empty seat in-between) watching the Tilda Swinton co-starring film about a psychopathic school shooter. Watching him watch this intense hard-hitting film reminded me of sitting across from Nelson Algren at the Englert Theater in Iowa City, Iowa, watching him viewing the adaptation of his book “Walk on the Wild Side” (1962) for the first time. (Later that night, Nelson had a small brush with the law when he was caught smoking what we used to call “ditch weed” on a country road, but nevermind about that.) Watching someone see their creative effort onscreen for the first time is unique. I’ve never seen any of my screenplays put on the screen, but I’ve been present when they were given table reads at the Windy City Film Festival and the San Antonio Film Festival, and it’s an experience I can’t convey or describe well enough.

2023: It was my 20^th anniversary. I was back where I started, which, was pretty much me buying my own tickets and attending and writing up my thoughts on the films (with memories of having done so for the past 50 years). In 20 years of attendance, I had only ever asked for one “free” ticket. I saw Michael Berg’s “We Grown Now,” which was fantastic in its recreation of the Cabrini-Green Housing Projects and Michael Shannon was present with his directorial debut, “Eric Larue.” Emerald Fennell appeared in support of “Saltburn,” which I liked very much. “The Bikeriders” brought Director Jeff Nichols to town, who directed Michael Shannon in “Take Shelter,” which he had told me many years before was his favorite role. Since Michael Shannon and Jeff Nichols are close, it was a good year for the festival, especially in terms of the top-notch films secured, including “The Killer” (Michael Fassbender) and Clare Cooney’s full-length film “Departing Seniors.” My favorite film of the festival was “Dream Scenario” with Nicolas Cage, directed by newcomer Kristoffer Borgli. It was razor sharp and hilariously funny, while being a very smart satire on what sells in America. Cage deserved an Oscar nomination for his performance.

May December. (L to R) Natalie Portman as Elizabeth Berry and Julianne Moore as Gracie Atherton-Yoo in May December. (Cr. Francois Duhamel / courtesy of Netflix). My least favorite 2023 film.

Carey Mulligan, appearing in support of “Wildfire” in 2018.

Emerald Fennell at the Music Box Theater in Chicago at the 59th Chicago International Film Festival on October 20, 2023. (Photo by Connie Wilson).

Director of “Dream Scenario,” Kristoffer Borglii at CIFF 2023.

Jeff Nichols in Chicago at the closing night of the 59th Chicago International Film Festival on October 22, 2023.

Jason Reitman in Chicago with “The Front Runner,” closing film of the 54th Chicago International Film Festival. (Photo by Connie Wilson in 2018.

John Papsidera, Connie Wilson & Jason Reitman

(L to R) Casting Director John Papsidera, Connie Wilson, and Writer/Director Jason Reitman in Nashville at the Nashville Film Festival showing of “Saturday Night” on September 21, 2024,