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!

“No Ordinary Campaign” World Premiere at Chicago International Film Festival Chronicles Efforts to Cure ALS

On October 17, 2022

In Health/Medicine, Movies, Politics, Reviews

“No Ordinary Campaign” at Chicago International Film Festival Chronicles ALS Research

The documentary “No Ordinary Campaign,” directed by Michael Burke, focuses on the fight for more funding and help for patients suffering from ALS. The focal point of this fight for life is ALS sufferer Brian Wallach and his wife. Brian, a former Assistant District Attorney, met his wife. Sandra Abrevaya while working on Obama’s 2008 presidential campaign.

In this fight however, after his diagnosis at only 37, the stakes are literally life and death—for Brian and for all other sufferers of diseases like ALS. Alzheimer’s and Parkinson’s disease. With their background in politics and their friends in high places (Obama speaks in the documentary and the Mark Zuckerberg/Priscilla Chan Initiative underwrote) the couple spearheads efforts to increase awareness and funding for ALS research.

The Wallachs lead the charge in personifying “courage in impossible situations.” They use their organizational skills to unite patients and their families, nationwide, and work to raise funds, testifying before Congress for increased funding to find a cure for these neurological diseases because “hope alone does not get you a cure.” Founding iamalsorg.com is a first step to unifying the many disparate voices crying for help.

One of the impediments to care turns out to be the FDA itself, which had a 6 month wait time to apply for social security disability benefits, when the life expectancy of many ALS patients is, basically, that short. It made no sense, nor did the clinical trial of a promising new drug (AMX0035) that let patients take it, but only for a short time. Patients who were experiencing progress were cut off after the clinical trial period, for no discernible good reason.

Brian and Sandra are shown making an emotional appeal to Congress in which they said, “Do not let another generation of patients die in pursuit of the perfect. Instead, let them be the first generation to live.”

The efforts of the consortium including legislative help from Senators Dick Durbin and Lisa Murkowski, leads to success in the Accelerated Access to ALS bill being signed by President Biden in June (2022) and approval for the use of AMX0035. The group also raised $80 million in funding in 2 years, much more than had ever previously been devoted to research for a cure.

With patients (1 in 300 will get ALS) pleading for help before the Congressional committee, Representative Rosa DeLaura of Rhode Island said, “I promise you we will fight for your survival. Godspeed.”

This was the World Premiere of the documentary from Redtail Media. Katie Couric was one of the executive producers.

“Decision to Leave:” South Korean Film Screens at the 58th Chicago International Film Festival

By Connie Wilson

On October 17, 2022

In Movies, Reviews

A detective investigating a man’s death in the mountains ends up meeting and developing feelings for the dead man’s mysterious wife in the course of his dogged sleuthing.

Release date: October 14, 2022 (USA)

Director: Park Chan-woo

Screenplay: Park Chan-wook, Jeong Seo-Gyeong, Seo-kyeong Jeong

Cinematography: Ji-yong Kim

Nominations: Cannes Best Director Award, Palme d’Or,

“Decision to Leave,” another South Korean nail-biter.

South Korea’s Park Chan-wook’s newest work has been selected as South Korea’s submission for the Best International Feature Film at the Academy Awards, and Park Chan-wook won the Best Director Award, the Palme d’Or, at Cannes.

The film stars Park Hae-il (“Memories of Murder”) as police detective Hae-jun. While investigating the death of her husband , Hae-jun, who either fell or was pushed from atop a mountain he has just climbed, the detective becomes obsessed with the widow, Seo-ra, played by Chinese actress Tang Wei. Seo-ra. The detective learns that the beautiful widow helped her sick mother commit suicide and, as the film proceeds, her innocence becomes more and more dubious. As the screenplay puts it, “Killing is like smoking; only the first time is hard.” When her mother and her husbands begin dropping like flies, the detective and others are skeptical of Seo-ra’s innocence.

If I may stray from the plot for a moment, this film has more devotion to smoking up a storm than the film noir Bogart years. It reminded me how times have changed. I remember when smoking was considered “cool” and everyone savvy and in-the-know smoked. Given the fact that now we know how many serious illnesses are caused or exacerbated by smoking, I’ve read that Hollywood studios are currently faced with air brushing out the cigarettes in the hands of lead actors in films of that era, leaving them holding their hands in weird positions when the cigarettes, themselves, disappear.

There is also an emphasis in this film on modern-day technology, especially on cell phones and smart watches. Add in that age-old malady, insomnia, from which the lead investigator suffers, and “Decision to Leave” harkens back to the heavy influence of Alfred Hitchcock’s films on the young filmmaker.

As Katie Walsh of the “Tribune News Service” said in her piece on Director Park Chan-wook, “In its themes and style, the film pays tribute to the work of Alfred Hitchcock, the master of suspense, whose “Vertigo” inspired Park Chan-wook, as a young film student and critic, to make his own films.”

The film runs 2 hours and 18 minutes and opened in theaters on October 14, 2022.

“The Lost King” Charms at the 58th Chicago International Film Festival

By Connie Wilson

On October 16, 2022

In Movies, Reviews

The Lost King, directed by Steven Frears.

I remember when the newspapers of September 12, 2012, carried the news of the discovery of the body of Richard III buried beneath a parking lot in the town of Leicester in the U.K. I doubt if anyone not a resident of that particular city knew the behind-the-scenes story of how, exactly, Richard III came to be found, through the efforts of an obsessed member of the online Richard III Society, who would not give up her quest.

“The Lost King” is the story of Philippa Langley and, as its synopsis says: “In 2012, having been lost for over 500 years, the remains of King Richard III were discovered beneath a carpark in Leicester. The search had been orchestrated by an amateur historian, Philippa Langley, whose unrelenting research had been met with incomprehension by her friends and family and with skepticism by experts and academics. THE LOST KING is the life-affirming true story of a woman who refused to be ignored and who took on the country’s most eminent historians, forcing them to think again about one of the most controversial kings in England’s history”.

Ultimately, as scripted by co-star Steve Coogan in collaboration with Jeff Pope, it is a lovely tale with many messages for us in this age of disinformation. Coogan, it should be noted, also plays Philippa’s husband, John Langley, opposite the wonderful Sally Hawkins, the female lead from “The Shape of Water.”.

The film makes the point that “if you get in first with the first lie, and repeat it often enough,” the truth gets lost in the shuffle. And Philippa, for one, does not like it when people put people down. She is determined to gather the hard evidence to refute the bad things said throughout history about Richard III, especially in Shakespeare’s play of the same name. Philippa points out that “People find out one thing about you and that’s all that they can see.” She also informs us that it was Richard III over 500 years ago, who, during his brief reign (1483-1485) as the last Plantagenet king of England posited the principle of British law “suspects are innocent until proven guilty.”

Philippa’s family, consisting of John Langley (well played by Steve Coogan, who also co wrote the script with Jeff Pope) and her two sons, are at first bemused by Philippa’s obsession with her task. One of her sons says, “If I had 2 sons, I would first make sure they had something to eat before I went off searching for Richard III.”

The family comes around, however, even chipping in monetarily. Husband John reminds Philippa that he once sold his rare collection of Sex Pistols memorabilia to finance a new kitchen for her, so the affection the two share for each other and their children actually gets a needed renewal and boost from Philippa’s new-found passion.

The entire idea that one’s reputation can be intentionally sullied because of the motives of others is examined within the framework of this film. Philippa feels that Richard III is not the monster Shakespeare made him out to be in his play, was not responsible for the murders of his nephews in the Tower of London, and that researchers should “take the evidence and study it to draw conclusions, not the other way around.”

Husband John agrees in principle, saying, “I’m sure Mother Teresa occasionally left the lid off the milk and Genghis Khan occasionally picked up bits of litter.” So much for the character assassination of anyone at any time in history, and a vote for doing one’s homework in getting to the truth.

Ultimately, Philippa’s consulting with the University of Leicester, (much as was limned in the film “Nine to Five,”) leads to men taking the credit for work done by a woman. In this case, the University of Leicester, which was initially dismissive, tries to take almost complete credit for the remarkable find.

When it becomes clear that the body found under the car park in the chapel area of what was formerly Greyfriars Church really is Richard III, Philippa suffers from not being recognized for her hard work, but she is awarded the MBE by Queen Elizabeth in 2015.

Not only the head wound he sustained in the Battle of Bosworth (the last King of England to be killed in battle), but also the DNA examination of Richard’s successors done by John Ashton Hill, (not to mention the evidence of scoliosis of the spine) would all prove conclusively that this was his skeleton, the body of a former King of England. It disproved the incorrect theory that Richard III’s ashes had been scattered in a nearby river. Philippa then fought for the royal coat of arms to be emblazoned on Richard III’s final resting place, over the objections of others.

Stephen Frears who is a twice Oscar-nominated director and holds the David Lean Chair of Fiction Direction at the National Film and Television School in Beaconsfield, is more than equal to the task of directing this thoroughly enjoyable film. I hope he scores a third Best Directing Oscar nomination for his efforts.

The 81-year-old Frears previously gave us “The Grifters” and “The Queen,” for which his directing was Oscar-nominated. He is also the visionary who directed “Dangerous Liaisons” (1988), “High Fidelity” (2000), and the Meryl Streep vehicle “Florence Foster Jenkins” (2016). The music (Alexandre Desplat and the London Symphony Orchestra) and cinematography (Zac Nicholson) all combine to create a seamless story with relevant messages for our time. It began a theatrical run on October 7th.

“The Natural History of Destruction” at the 58th Chicago International Film Festival

By Connie Wilson

On October 15, 2022

In Editorial, Movies, Politics, Reviews

“Babi Yar. Context” (AP 1944 Photo)

Perhaps the most succinct thing that can be said about “The Natural History of Destruction,” a film that screened at Cannes by Ukrainian filmmaker Sergei Loznitsa, is that there is nothing “natural” in destroying what has taken civilization centuries to build. There is nothing “natural” about massive civilian loss of life. This screening was the North American Premiere of the film.

On October 22nd, the film was awarded the Silver Hugo at the Chicago International Film Festival, with the following comments:

Silver Hugo

THE NATURAL HISTORY OF DESTRUCTION (Germany, Lithuania, The Netherlands)

Dir. Sergei Loznitsa

Sergei Loznitsa has accomplished a pure cinematic experience which displaces our political positions, and compels us to empathize with the German citizens living through the war they instigated. By means of meticulous and slow editing, a complex array of scenes, rich with nuanced sonic detail, unfold in front us. The archival black and white images are breathless and relentless: they confront us without buffer with the horror of the war machine, to which there are no winners and everyone is a victim. The rare and strategic placement of speeches, as well as the occasional leak of color into the scenes, punctuate the otherwise non verbal stretches of accumulating horror: we witness war from all angles – from above and below, from close up and from afar, from within the machine performing the wreckage, from the factory assembling its parts, and from the bottom of the ruins it leaves behind.

This 1 hour and 52 minute film is based on the book by German writer W.G. Sebald, “Air War and Literature.” It has no narration, as such, and consists solely of archival material of bombs being made. Bombs being loaded onto war planes. Planes dropping bombs. Bombs exploding. Dead bodies on the ground. Civilians suffering the after-effects of the bombings.

There is, however a prelude of sorts where we see the happy civilian populace of a variety of cities—mostly in Germany, it appears, from the blimp flying overhead (OL-2129) with the German swastika on its tail. The people are enjoying life, unaware of the tragedy that is about to befall them.

Most of the footage is black-and-white, but it lapses into color periodically. What we see of the unnamed cities are bombed-out craters, buildings on fire, and complete rubble. In other words, it looks a lot like the Ukrainian cities that are being bombed by the Russians now, or like the remains of Naples, Florida after Hurricane Ian.

What little narration there is may be mumbled voices saying things like: “I’ve never seen anything like this.” “Neither have I.” “4,000 pounds just went up.” “Good show!”

The use of “Good show” pins down the bombers as being the RAF (British Royal Air Force), but the Luftwaffe is also involved in a variety of dogfights, and we hear other speakers (Churchill, Sir Arthur “Bomber” Harris, Field Marshal Mongtomery) talking about the entrance into the war of the United States: “Now we are no longer alone. We have powerful allies. Many tonnage of explosives can be carried into Germany.” Prime Minister Winston Churchill is shown being applauded by crowds in the streets and saying the British shall “stride forward into the unknown.”

Churchill is also heard saying: “We shall drive on to the end and do our duty, win or die. God helping us, we can do no other.” Churchill also urges German civilians to flee the cities where munitions are being made and watch their country burn from afar (or something else remarkably uncharitable).

A German voice, unidentified, decries the “shameful bloody campaign of today” and vows to fight on using counter-terrorism. You get the feeling that the director simply wants to make the point that killing innocent civilians of ANY country is unjustified, but the lack of identification of cities or speakers or air forces leaves one adrift. Are we looking at the ruins of Germany or of England? It probably doesn’t matter to the director, who simply wants to make the point that this sort of wanton destruction is wrong, no matter what.

British officer Sir Arthur “Bomber” Harris is heard saying, “There are a lot of people saying bombing can never win a war. So, then, I say, we shall see. Germany will make a most interesting initial experiment.”

I live near Arsenal Island in Rock Island County, Illinois. The island has been involved in making munitions for the U.S. Army for a very long time—at least back to the Civil War, when it also served as a POW camp for captured Confederate soldiers. In the event of a nuclear Armageddon, which seems more and more likely with leaders like Vladimir Putin on the loose, we will have a big target on our backs as the enemy attempts to wipe out the capabilities of this large government installation.

I hope this Ukrainian filmmaker’s plea that people wake up and quit wreaking destruction on peaceful civilians in such horrible ways finds an audience of sane leaders, but it seems less likely with every passing day. “The Natural History of Destruction” opens on October 17, 2022.

Steve James’ “A Compassionate Spy” Opens 58th Chicago International Film Festival on October 12th, 2022

By Connie Wilson

On October 14, 2022

In Uncategorized

A Compassionate Spy

101 min | Documentary

The incredible story of Manhattan Project scientist Ted Hall, who shared classified nuclear secrets with Russia.

Director: Steve James

Producers: Steve James/David Lindorff/Mark Mitten

Cinematographer: Tom Bergmann

“A Compassionate Spy” opened the 58^th Chicago International Film Festival at the Music Box Theater on Wednesday, October 12^th. The 101 minute documentary from Kartemquin, a Chicago-based company, was written and directed by Steve James, while the cinematography was by Tom Bergmann.

The synopsis calls it “the incredible story of Manhattan Project scientist Ted Hall, who shared classified nuclear secrets with Russia.” They should add, “And got away with it.”

The sober discussion on the actions of wunderkind Ted Hall—recruited out of Harvard to work on the Los Alamos nuclear bomb project at age 18—was well done, but not the quality of the wonderful Kartemquin documentaries that have gone before.

The last Kartemquin documentary I watched was “All the Queen’s Horses” (2017) by Kelly Richmond Pope. That is not a Steve James documentary, but it was terrific and riveting.

Steve James made his bones way back in 1994 with “Hoop Dreams.” His documentary “Abacus: Small Enough to Jail” (2016) was fantastic (and Oscar-nominated). The documentary “Life Itself” about the life and career of Roger Ebert (2014) was also great. He has spent 37 years writing and directing documentaries for Kartemquin (headquartered in Chicago) and has twice been Oscar nominated.

Those were all extremely interesting documentaries that never lagged.

This one?

Not so much.

More later.

58th Chicago International Film Festival (Oct. 12-23) & Austin Film Festival (Oct. 27-Nov. 3) Next

By Connie Wilson

On October 7, 2022

In Movies, Pop Culture, Reviews

Kenneth Branaugh on October 21, 2021, with his Lifetime Achievement Award fro the Chicago International Film Festival.

If you were mourning the loss of the Nashville Film Festival, which ended yesterday, stay tuned for the beginning of the 58th Chicago International Film Festival, beginning next week. Technically, it will kick off Oct. 12 and run through the 2rd.

Then it will be the Austin Film Festival, Oct. 27-Nov. 3, which may (or may not) be followed by the Denver Film Festival (streaming).

So, keep checking for upcoming reviews of the very newest of features, documentaries and shorts.

“Red River Road” Explores an Internet Virus Threatening the Schuyler Family

By Connie Wilson

On October 6, 2022

In Best Paranormal Stories Online to Read | Paranormal Podcast, Movies, Reviews, Scary stories

“Red River Road,” for the Schuyler family, is the answer to the question, “What did you do during the pandemic?”

The talented Schuyler family can honestly say, “We made a movie.” Considering the challenges of being both the stars of the film and the entire crew, it’s quite an impressive movie, at that. Paul wrote, directed, was the cameraman, and helped score (along with Cindy O’Connor) the music for the film.

The plot: “A family of four isolating against a pandemic virus that spreads through the Internet and robs you of your ability to perceive reality—often violently—begins to unravel when they suspect one or all of them might be infected.” One screenplay line: “That’s how it gets in here. It steals reality right out from under you.” Personally, as the parent of teenagers who were very creative at securing their phones after hours, I could relate to the two boys managing to get their phones back and access the Internet (when they were not supposed to do.)

Paul Schuyler (“Wasted,” 1996; “Runner”, 2017) organized his family of four into a cast to film this horror/thriller indie film. The acting is top notch. Wife Jade does a great job of portraying the worried Mom, Anna, of two teen-aged brothers, Quinn and Shaw. Paul is Stephen for the purposes of this fictional story. [His woodworking with a blade saw put me on edge.]

The flashbacks that occur intermittently in the plot are all formed from old home movies of the family, whether they are shots at the beach or the family climbing the Eiffel Tower. This was very effective.

Shot in 10 days on a budget of $225,000 in Harwich, Massachusetts, the trivia as to HOW one both films and acts simultaneously was interesting to me and worth sharing: “Any shots that featured director Paul Schuyler and any other family members had to be blocked and framed prior to action being called. Whichever actor was closest to the camera would ‘roll camera’ then enter the scene to start ‘action’. Only after the scene was shot could they go back and look at the take to make sure everyone was properly in frame. Multiple takes were required to get a usable take, as there was no one there to operate the camera.”

There are multiple dolly shots that include the entire family. With no crew, the only way to achieve this was to connect the dolly to an array of ropes and pulleys that were manipulated by one of the actors in the scene. Usually using another actor to block any “giveaway” movements that would reveal what they were doing.

Brody, the dog, also performed admirably, creating tension at key moments in the generally well-paced one hour and 29 minute film.

The film won a Special Festival Award, the Spirit of Independent Filmmaking, at the Stony Brook Film Festival; it is easy to see why. “Red River Road” is able to be rented ($4.99 and up) on Amazon Prime.

Nice work, Schuyler family. Definitely answers the question “How I spent my pandemic quarantine enforced vacation.”

“Sheet Music” by Jaran Huggins Screens at Nashville Film Festival

By Connie Wilson

On October 4, 2022

In Movies, Music, Pop Culture, Reviews

It’s hard to grab an audience’s attention in 15 minutes. The attention span of the average audience member is about that of a gnat, especially these days, with so many things competing for our attention.

That being said, if I had been in Writer/Director/Producer Jaran Huggins’ shoes while writing directing his short “Sheet Music,” I would have started the 15-minute short with the song that concludes “Sheet Music.”

What song?

“The Song We Sing,” is the song, performed by Chloe Kibble, a Nashville girl whose father was one of the members of the group “Take6.” She is truly wonderful delivering the closing original song; her gold dress is the perfect wardrobe choice.

Kudos to the writer of the song, Bryard Huggins, who wrote the lyrics. He is an accomplished performer who tours with Gladys Knight as her featured guest artist. Bryard has released 6 albums and 7 singles. Bryard Huggins is the brother of “Sheet Music” Writer/Director/Producer Jaran Huggins, a recent graduate of Temple University (BFA in Film and Media Arts.)

“Sheet Music”—the 15-minute short that Jaran created, which screened at the 53^rd Nashville Film Festival— has some things going for it, but most of what makes it truly riveting happens in the final frames, when Chloe Kibble lets loose with “The Song We Sing.” Yowza! That girl can sing! I wanted to hear more of Chloe and to hear her sing much earlier in the short.

The plot, according to the press notes, “Tells the story of two Black performers who are able to find their liberation in the roots of oppression.” There really is not much evidence of “oppression” onscreen, other than the white usher failing to bring the about-to-perform female singer a glass of water.

For the first approximately 13 minutes, nothing happens.

Two Black performers wait backstage to perform in a white establishment in a Black neighborhood. The two are Adryan Coogan Jr. (played by Ty Norwood Jr.) and Leilani Drakeford (played by J.C. Willis). Leilani did a credible job with a not-very-riveting script. Her inability to get the white usher to bring her a drink of water is our clue that she and her accompanist are victims of oppression, along with a less-than-welcoming white doorman who opens the club door for the duo.

The production designer (Kimberly Redman) has done a fantastic job of reproducing a slightly down-at-the-heels small dressing room of the era. There are appropriate posters and, as J.C says, the dressing room is a small closet that might have belonged to the janitor. Then again, are dressing rooms in small, seedy establishments glitzy, as a general rule?

The conflict that Jaran shows us comes from Adryan forgetting the duo’s sheet music. The lead singer (J.C. Willis)—one half of the team billed outside as “Adryan Coogan Jr. and J.C. Willis” of “The All American Ragtime Blues” duo—doesn’t seem that concerned about the missing sheet music. However, the pair is waiting for their call to go onstage, which is imminent. Because of the MIA sheet music, the pair ultimately walks out, hand-in-hand down the alley.

This struck me as a poor way to launch a singing career (or any career). I was not overwhelmed at the logic of the two getting a shot at performing in front of an audience (that will be mostly white) and simply walking out, leaving the club owner to deal with the fall-out.

So, to sum up: 1) Slow opening

2) Not very interesting dialogue; the first 13 minutes dragged.

3) Adequate articulation of the dialogue (better from Leilani Drakeford than from Ty Norwood, Jr.). For me, the couple’s decision to stiff the owner of the night club and run off was a very bad idea for a duo trying to jump start their performing career.

4) Great sets and costumes. (Kudos, Kimberly Redman).

5) Great performance of the song “The Song We Sing.”

I’m not sure whether this short was originally created for a thesis at Temple or if it is merely a way for Jaran to launch a film career, but, if he is as talented as his brother Bryard, his anticipated move to Los Angeles may prove fruitful. There wasn’t enough of the music, but the one song was thoroughly enjoyable. After 13 minutes of waiting for it, it was like a cool drink after a long hot walk up a steep hill.

This Harriet Tubman quote from the press notes is prominent: “Every dream begins with a dreamer who dares to dream.” I don’t want to get into a debate with Harriet Tubman, but the quote made me think of that other oft-used quote (author unknown): “Every journey of 1,000 miles begins with one small step.”

Both are true, but it would be a good idea to have talent, drive, stick-to-it-iveness, and maybe some influence with somebody at the top who can help you as you dream your dream or struggle towards your goal(s).

I wish Jaran Huggins the very best as he sets about making his dreams come true.

As for me, I would have started with the show-stopping song and lost most of the dialogue that preceded it. The conflict was not that evident in the dressing room scenes that lead up to the song.

Sitting through the pointless dialogue at the outset was still worth it, to hear Chloe Kibble, who was glorious. I wish she had had more to do (and sing) in the film.

“Program 1: Obsession, Compulsion and Disorder” at the 53rd Nashville Film Festival

By Connie Wilson

On October 3, 2022

In Best Paranormal Stories Online to Read | Paranormal Podcast, Humor and Weird Wilson-isms, Movies, Pop Culture, Reviews, Scary stories

Program 1: Obsession, Compulsion and Disorder.

I watched the films in the streamed package twice. There were 6. At the end, there was a discussion group with 9 films discussed. Not sure what happened to 3 of the films, but they didn’t reach me in Illinois.

Here are capsule summaries of the 6 I saw:

“Inevitable”

“The Inevitable”

Iranian Director Milad Faraholahi has created a very dark short that is synopsized this way: “A disturbed girl has a horrible nightmare in which two muddy figures ask her to open a mysterious box. To get rid of that, she decides to kill herself in her nightmare just to wake up.” I felt I needed to know more about what, exactly, unhinged the lead. Suicide is a pretty dire solution to a problem. As far as the scary quality of the house in which the young girl finds herself, thanks to excellent sound effects and music from Milad Movahedi and cinematography from Hashem Moradi, all of the tried-and-true things that are guaranteed to scare us are used super effectively. Creepy sounds. Lights that turn on and off. Dripping water. Mysterious footprints. A door handle that turns menacingly. Knives in water. Blood on pages of a book. I think some subtitles during the phone conversation would have helped, as my four years of French did not prepare me to know what was said. I could barely hear it; I did not understand it, as a result, although, at one point, my computer coughed up the directive “Une erreur imprevue d’est produite” so my complete comprehension of the plot was definitely compromised. Apologies. I did think the creepy sets and the unhinged performance of the lead served the piece well and that the director has a real future in making more shorts or longer films. There are many talented Iranian filmmakers and one, in particular, who caught my eye at SXSW and directed “Everything Will Be All Right” came to mind immediately. I hope this young director (and his crew) pursue more creepy, scary films, because this one was one of the most frightening that I saw…and I mean that in a good way!

“Bowlhead”

Would someone’s skull really make a good bowling ball? (Food for thought; it’s hard to say.)

The Winnetka Bowl has a dedicated bowler in Joe Harsley as Henry. I was immediately reminded of the 1986 film “Henry: Portrait of a Serial Killer” starring Michael Rooker. This Henry is just as diabolical as that Henry, and his ruse of attempting to return a wallet lost at the bowling alley to a hapless victim leads to a scene that shows Henry overpowering the female victim and then making his victims’ heads into bowling balls (hence the title). Henry definitely comes off as someone who is “not right” and the rest of the plot proves it. (*Note to self: do not go bowling in Winnetka.)

“A Home Invasion”

“A Home Invasion”

Maddie Downes and Evan Marshall collaborated to make this serio-comic “AHome Invasion” short, which, they said, was inspired by the couple in Missouri who were seen brandishing firearms and threatening Black Lives Matter protesters in their front yard. The couple is seen fighting at the beginning of the piece, removing their wedding rings, and arguing about who will get custody of the dog, Cooper ( played by Scoober). Then, a friend (Nathan) finds the runaway dog outside the couple’s home and, while attempting to return the pooch, ends up uniting the bickering mates, who pull out guns and plan to face the assailant, (who is only trying to do them a favor.) Nathan is shot, for his troubles. Travis Prow handles the cinematography (nice shot at the opening, coming into the house through the window from outside) and the music is courtesy of Joshua Rutkowski. The cast of players, in addition to Evan Marshall (who was promoted to lead actor after an older actor dropped out) includes Jessica Bishop, Henry Koly and, of course, Scoober the dog (as Cooper). A sarcastic commentary on America’s fixation on guns (which seems to override all other preoccupations).

“Black Dragon”

“Black Dragon”

“Black Dragon,” filmed on location in Alamanee County, North Carolina, is one of the most polished of the shorts. It was inspired by the 1968 My Lai Massacre during the Vietnam War, which wiped out a Vietnamese village but resulted in only a 3 and ½ year prison sentence for those involved in the Ukrainian style war crime of wiping out an entire village. Matthew Del Negro from “City on a Hill” plays Colonel Palmer who has a small son (Eddy, played by Chris Day) about the age of the Vietnamese girl in the short, Chau, who is played by Celia Au. Chau has the power to bring the dead back to life. Eddy, the Colonel’s son, has suggested that his dad “has an angel watching over ” him. The angel is going to make some demands of the Colonel that will result in many deaths. Alex Thompson directed and co wrote the piece with Nathaniel Hendricks and Harper Alexander handled the cinematography while Jeffery Alan Jones was in charge of sound design. It is a very professional and polished short piece. If you click on Matthew DelNegro (see link above) you’ll recognize him from “City on a Hill” and it was a nice touch that his surname (DelNegro) fit the title of this short (“Black Dragon”).

“Lemons”

Lemons

Parker Gayan wrote and directed this short film about what would happen if you cut into a lemon and found a USB drive. He has a conversation with a Black friend (Stephen Guma) about his discovery, and there is an appearance from The Lemon Man. I was particularly taken with the idea that Parker is wearing a neck brace throughout the piece. When asked if the neck brace had anything to do with the lemon theme, he said, “No. It was an unrelated accident.” Parker’s attempts to look up something_something.lemon, which results in nothing, was also amusing. I couldn’t help but think of the simpler days before computers, which someone like me remembers. Not only would we never have imagined cutting into a lemon to find a USB drive, we didn’t have USB drives back in the dim dark ages of my youth. It also reminded me of a skit one of my 7^th grade English classes once put on for our Ad Campaigns in the Classroom unit, where the young boys who created a Mole-busters van also came into the classroom to the strains of the famous Ray Parker, Jr., “Ghostbusters” theme song (“Who you gonna’ call? Mole-busters!”) I enjoyed this loopy short way too much considering its lack of gravity and excess of levity. (The director, in an interview that followed the film, said you can get a really inexpensive Lemon Guy costume on Etsy, in case you were wondering.) I apologize for the random mention of the “Mole-buster” unrelated class unit, but it did win a Scholastic Books contest, at the time, naming me “one of the 10 Most Creative teachers in America” (it came with a cash prize). Somehow, this clip summoned such unrelated memories of random merriment, and random happy thoughts are always welcome.

“Lemons” by Parker Gayans.

“The Unlocking”

This one and “Inevitable” were probably the 2 creepiest shorts, although “Black Dragon” is close. Certainly a giant lemon is not creepy and the bickering couple with the guns, while concerning from the standpoint of safety to the community at large, is not “scary” or “creepy.” Both “Inevitable” and “The Unlocking” were. This is a Thomas Brush film and he certainly demonstrates an over-active imagination, as the character even says, “Please fix my brain!” It was interesting to me that the house where this was filmed was actually a childhood haunt, a home where a friend of the director’s lived . The director had always considered the house “creepy.” He got permission to use the house as the setting for the film (cinematography by Joshua Murray). This story of a completely bonkers guy in a tutu who will ultimately attack our hero and do substantial damage to him was frightening in the same way that a strange noise in your own kitchen late at night can be terrifying if you are home alone. First, we see the protagonist walking around in the house in the dark trying to investigate who might have come in when he left the door unlocked ( he was advised by others to leave the door unlocked; chaos ensues) but the OCD (Obsessive Compulsive Disorder) from which the main character suffers is not misplaced over-anxious worrying, but honest-to-God real-life danger,realized at the film’s climax.

“The Unlocking,” by Thomas Brush.

The filmmakers spoke about their films afterwards, often giving contact information and extra details (such as that regarding the house that is the setting for “The Unlocking.”) There were 2 additional shorts discussed at length, but I was not sent either short.

Nashville Film Festival Screens “Still Working 9 to 5” on Sunday, October 2, 2022

By Connie Wilson

On October 2, 2022

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

Back in 1981, Dolly Parton’s theme song snagged an Oscar nomination for the film “9 to 5.” (Her song lost to the theme from “Fame”).

Some 42 years later the documentary “Still Working 9 to 5” by Camille Hardman and Gary Lee is playing the Nashville Film Festival. It is a documentary that heralds and memorializes the struggles of working women for “raises, rights and respect.” Women have, historically, been valued less than their male counterparts in the work force. That realization caused star Jane Fonda, in partnership with Gary Lane, to try to make a film that would be informative on this topic.

In 1970, one in every three women in the work force was engaged in clerical work, generally as a secretary. There were 20 million such office workers in the 1970s and they were routinely subjected to sexual harassment, poorer wages than their male co-workers and many other inequities. Not only were the women’s good ideas co-opted by male superiors (and then presented as the men’s own) but the women were often not promoted when they were as qualified (or more qualified) than the male worker (whom they had often trained). The men got the promotion. One line from the film that particularly resonated with me, an excuse for this obviously unfair labor practice: “Well, he does have a family to support.”

My own father (born in 1902) refused to support me in my desire to go to law school after completing my undergraduate degree, because there was a perception that there were “women’s jobs” and “men’s work. One male interviewee on the street articulated it this way in the documentary: “They (women) should do feminine work.” In the 60s, feminine work was being a nurse, a secretary, or a teacher. Other fields were not “suitable” because we women would just be taking up space that should rightfully be occupied by a male head of a family. (Oh, how time have changed!)

It was attitudes like these that were foisted on the American female work force and caused one worker, Lilly Ledbetter, to ultimately sue, when she learned that she was one of four managers doing exactly the same job as her three male co-workers, but the men were being paid $6,000 a month while she was being paid only $3,000 a month. Women in general, made only 60 cents on the dollar in the late 70s and the gender pay gap In the U.S. meant that we ranked #51 on a list of the world’s most equitable work forces. A white woman worker at the time the film was released (1980) made 79 cents on the dollar in comparison with a male worker, while a Latino female worker fell even further behind, making only 54 cents on the dollar when compared to a man.

When Lilly Ledbetter sued in Alabama, the resulting bill, the Lilly Ledbetter Fair Pay Restitution Act was the first bill that Barack Obama signed as President in 2009. The characters in the original “9 to 5”—Lily, Violet and Doralee—needed their jobs. They were not simply working to supplement their spouse’s incomes. They were career women before society allowed women to have lucrative careers. Only 6 out of every 100 of the clerical staff, if female, ever advanced to management in the 70s.

As nearly the only girl in my group of 10 high school female friends with a working Mom (a schoolteacher), I lived through that era. It was “okay” for a woman to be a nurse, a secretary, or a teacher, but when I mentioned becoming a lawyer, my father expressed the same sentiments that the men on the street in this documentary articulated. It was (then) okay for a woman to have a job to supplement her husband’s income, (or as a hobby), but “real work” was for men.

This double standard caught the attention of Jane Fonda, well-known (and often vilified) for embracing and examining important cultural issues and trying to make a difference. Some called “9 to 5” a “militant feminist cry.” Others termed it “a breakout cultural moment.” As a busy rebel and pusher of causes, Fonda knew she wanted Lily Tomlin for the cast. Dolly Parton entered, Fonda said, when she heard Dolly singing on the radio; it occurred to her that Parton could probably act as well as sing. One of the screenwriters had originally envisioned the film focusing on 5 women, but that number was whittled down to 3.

Fonda also realized that “a spoonful of sugar helps the medicine go down.” She and Gary Lane understood that comedy rather than drama was the best way to get their message across. Colin Higgins—writer of such hits as “The Best Liittle Whorehouse in Texas,” “Harold and Maude,” “Foul Play” and “Silver Streak” —was brought in to write and direct.

Jane Fonda, Lily Tomlin, and Dolly Parton in ‘Still Working 9 to 5.”

The studio wanted a movie star, not a television actor. Dabney Coleman (now 90) was known for television appearances on shows such as “The Love Boat,” “Mary Hartman, Mary Hartman,” and “The Mary Tyler Moore Show.” The studio preferred that either Steve Martin or Richard Dreyfuss play the part of Frank Hart, the sexist, egotistical, lying, hypocritical bigot (think Trump on steroids).

The film went on to become the second highest-grossing film of the year, second only to “The Empire Strikes Back,” taking in $100, 409, 707 at the box office. This documentary—which reunites Jane Fonda, Lily Tomlin, Dolly Parton, Dabney Coleman, and other commenters, like Rita Moreno— is shot against the backdrop of the turbulent years of the ERA (Equal Rights Amendment) movement, with Phyllis Schlafly’s Eagle Forum mobilizing opposition to giving women equal rights under the Constitution. (The ERA bill missed the deadline for passage and so never became law; my silver bracelet is still in my jewelry box.) The Clarence Thomas Supreme Court hearings are also revisited.

When asked if they intended to light the fire of feminine revolt against injustice back in 1980 with their movie “9 to 6” Fonda said, “Secretaries are lighting the fire; we’re just fanning the flames.” As one protest sign said, “Women are pissed off about being pissed on.”

When the Broadway version of “9 to 5” came to Broadway in 2009 (and again in a 2019 revival) it was quite interesting to see Harvey Weinstein (THE Harvey Weinstein), an investor in the play, say, “This play could run forever simply on the attitude of employees toward their boss. I know that everyone in my company wants to kill me.”

It was a great film back in 1980 and it’s a great documentary for the U.S to contemplate.— then and now. There’s also a new rendition of the Oscar-nominated theme song, featuring Kelly Clarkson and Dolly Parton.