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!

“Sam & Kate” Makes World Premiere at Austin Film Festival with Star-Studded Cast

“Sam & Kate” cast onscreen at the Austin Film Festival on October 28th.

October 28th was the World Premiere of the film “Sam & Kate” at the Paramount Theater in Austin, Texas, during the Austin Film Festival.

“A life affirming family dramedy that takes place in a small town in the heart of the country. Dustin Hoffman plays BILL, a larger-than-life Father to Sam (Jake Hoffman) who has returned home to take care of Bill and his ailing health. While at home, Sam falls for a local woman, Kate (Schuyler Fisk). At the same time, Bill starts to fall for her mom, Tina (Sissy Spacek).”  That is the synopsis provided by IMDB, but the movie is far more intricate than that.

Darren Le Gallo, husband of Amy Adams and a first-time director, was present at the World Premiere of “Sam & Kate,” which featured veteran Oscar-winner Dustin Hoffman and Sissy Spacek appearing as the parents of their real-life offspring.  Hoffman plays Bill, the father of Jake, and a crusty old guy in the tradition of Clint Eastwood’s character Walt Kowalski in “Gran Torino.”

Writer/Director Darren LeGallo.

Sissy Spacek, mother of co-star Schuyler Fisk, gives an outstanding performance as someone afflicted by a hoarding disorder. Her bathroom scene is one of the best examples of Oscar-caliber acting from a female put onscreen this year.

There is also a back-story for her daughter, Kate, too, which makes Kate, a bookstore owner, unwilling to become romantically involved with the persistent Jake of the title, well-played by Jake Hoffman.

The stars of the film took the stage at the Paramount for a Q&A after the film screened, and both agreed that they’d been looking for something to do together when this script came their way. “It was just serendipitous,” said Spacek.

Dustin Hoffman in Austin, Texas, on October 28th.

Hoffman the elder commented that, “People get set in their ways if they’re single for too long” as explanation for why the younger couple are  older than those still single in society. Jake Hoffman’s character of Sam remarks that he can’t believe that Kate is still single, since she is obviously a beautiful and eminently eligible woman.The younger couple shared a funny story from the stage. There is a post-coital scene when Sam and Kate finally do spend a night in bed. During the set-up for filming the scene, the younger Hoffman said, to Schuyler Fisk, “I want you to come to my (real-life) wedding.” Jake also told the audience how his father told him about the script in the first place, asking him if Jake wanted to play the part of his son. When Jake heard the title of the film (“Sam & Kate”) Dustin Hoffman said, “Yeah, you prick.  You’re the lead.”

Sissy Spacek remarked on the “wonderful layered relationship” of the characters and said that doing the film “Was a no-brainer.” She described working with her daughter as “thrilling” and “exciting.”

Hoffman ended his remarks from the stage by commenting on the different ways of working that a director may select. “Some directors,” he said, “have a vision in their heads as the filming begins and they want you to duplicate what they see in their heads.  By allowing you the liberty—and, amazingly, it’s his first time out—Director LeGallo let us take the film outward and into ourselves.” He also remarked on the audience that sat patiently waiting for the Q&A with very few audience members leaving, saying, “You’re a very special audience. You were gold.” (This remark also would extend to the Opening Night audience for “The Whale” on Oct. 27th.)

 

The film was a sad, but ultimately uplifting tribute to love and kindness. Jake (as Sam) tells Kate (Schuyler Fisk) after his crusty father’s death, “It got me thinking about what I would regret, and that’s you, Kate. I can’t imagine dying without telling you what you mean to me.”

 

Elizabeth Faith Ludlow (Mary) and Elizabeth Becka (Beth) in Austin at the World Premiere of “Sam & Kate.”

Also quite good in the film was the music by Roger O’Donnell and the appearance by Henry Thomas (of “E.T” fame) as Ron, complete with singing and guitar-playing. The supporting roles of Mary (Elizabeth Faith Ludlow) and Beth (Elizabeth Becka) were also completely on target as supporting players. The duo sat together in the audience and enjoyed the film’s World Premiere.

 

“Sam & Kate” is a small indie film that Vertical films allowed the festival to screen for this Writers’ Festival, where it was definitely appreciated and enjoyed.

 

 

 

“Empire of Light” (Sam Mendes) at the 58th Chicago International Film Festival

Micheal Ward and Olivia Colman in the film EMPIRE OF LIGHT. Courtesy of Searchlight Pictures. © 2022 20th Century Studios

 

Sam Mendes, director of such wonderful films as “American Beauty,” “1917,” “Road to Perdition,” “Skyfall,” and “Revolutionary Road,” wrote and directed thr 2-hour love letter to the movies, “Empire of Light.” It is Mendes’ first attempt at scripting the films he directs. It shows.

 

Olivia Colman—the Oscar-winning actress of 2018’s “The Favourite”—plays Hilary Small, a theater manager of the Empire Movie Theatre complex, which her boss (Colin Firth), Donald Ellis, describes as “the South coast’s finest film emporium.” Filming was actually done in Margate, at Dreamland, and down the coast of Kent. (I was once an exchange student in Chislehurst in Kent.)

 

Micheal Ward as Steven, a 25-year-old Black man, comes to the Empire Movie Theatre to work. Steven and Hilary (Olivia Colman) begin a romance. Olivia is nearly twice Steven’s age, but they bond over saving a wounded pigeon. Perhaps it is Mendes’ intention to show how at certain times in one’s life, another caring concerned human being can serve as a life-line to help an individual through a tough time. In the case of these two individuals, each needs someone to lean on; Steven cares about Hilary, while Hilary cares about Steven.

 

Times are tough for Micheal because he is waiting to try to get into architecture school. He is living in a very prejudiced time associated with Margaret Thatcher and Skinheads and racist acts against minorities.

 

Times are tough for Hilary (Olivia Colman) because she recently had a nervous breakdown and was committed to St. June’s Mental Health Hospital. Historically, she had a  bad relationship with her father and feels she is being taken advantage of by men, including  her boss at the theater, Colin Firth, who views her as “a nutter” and “unemployable.” Donald Ellis (Colin Firth) had agreed to take her on as an employee at the theater, because he would “keep an eye on her.” He took advantage of her frail mental state to demand sexual servicing,  and Hilary rails against all men, saying “All these men will have their comeuppance.”

 

Cheating on his wife is but one of the boss’s failings. Donald will be spectacularly  and publicly called out by Hilary for his two-timing of his wife during the premiere for “Chariots of Fire.”

 

The film seems to have at least three themes that it tries to weave into a coherent screenplay. One theme is simply the love letter to movies which Mendes rightfully calls an escape. The second theme, (which doesn’t blend well with the movie theme), is a denunciation of racism. Steven  (Micheal Ward) and Hilary bond over helping heal the broken wing of a pigeon and begin an unlikely affair. The Black/white divide comes to the fore as a theme when a group of miscreants breaks into the theater and beats Steven to a pulp. He ends up in the hospital, with Hilary paying him visits. There, Hilary meets Steven’s Mom, who recognizes that they have a genuine affection for each other that has sustained them during  rough times.

 

The last theme in the film is that having mental issues is not the individual’s fault. As Steven (Micheal Ward) says to Hilary upon learning of her diagnosis of paranoid schizophrenia, “It’s not your fault. It’s a medical condition.”

 

The acting by everyone is top notch. Olivia Colman and Micheal Ward are ably supported by Toby Jones as Norman, the theater projectionist, Colin Firth as Donald Ellis, and Tom Brooke as Neil. The music from Trent Reznor and Atticus Ross is perfect, slow piano chords that fit the themes perfectly. The cinematography is wonderful, especially the shots of New Year’s Eve fireworks with Steven in the foreground. The theater is also a marvel and the set and art decorating are wonderful.

 

So, what’s wrong with the movie? It follows the theme that Mendes says unites all his movies: “All my films are linked by similar concerns, if you look below the surface. They’re all about one or more people who are lost and trying to find a way through.”

 

One critic went way out on a limb and said it was the best thing Sam Mendes had ever done. I  disagree.

 

Not only did Mendes win an Oscar (for “American Beauty”)—his very first directorial job— he has done so many great films that this one, by comparison, while a nice character study urging understanding for sufferers of mental issues and acceptance of all races without prejudice against the backdrop of the love of the theater—-just doesn’t work. The disparate themes, as scripted, did not gel.

 

The idea that each individual is going to go on with his or her own life by film’s end was logical.  But the screenplay had a hard time fitting such disparate elements into one homogeneous script. Since this was Mendes’ first solo screenwriting outing, could that be the problem?

 

The movie premieres  December 9,  2022.

Meanwhile, the Austin Film Festival kicks off tomorrow, and I’ll be reviewing from there.

Jennifer Lawrence Produces and Stars in “Causeway” at the 58th Chicago International Film Festival

“Causeway,” Jennifer Lawrence.

Jennifer Lawrence has been largely quiet, of late, perhaps primarily because she got married (2019) and had a child, Cy (2022).She founded a production company, Excellent Cadaver, and that company, with Lawrence as producer and star, just completed “Causeway,” co-starring Brian Tyree Henry and directed by Lila Neugebauer. The film screened at the 58th annual Chicago International Film Festival and will open November 4th, 2022.

The weakest thing about the film is the screenplay , written by Luke Goebel, Ottessa Moshfegh and Elizabeth Sanders (who, it should be noted, are fiction writers converting to the screenwriting game). The plot meanders around with little depth or direction. It has no real “ending.” Various facets of the lead character, Lynsey, are explored and dropped into the plot, much like someone making soup out of whatever ingredients might be on hand in their refrigerator. Lynsey is a veteran. Lynsey wants to return to active duty, despite having been brain-damaged by the explosion of an IED in Afghanistan. Lynsey is a lesbian. Lynsey knows sign language and has a deaf brother, who dealt drugs and is in prison (where Mom has never visited him.) There was never any prior lead-up to the deaf brother facet of the film, but it appears to have been a desire to work with the actor Russell Harvard, who is deaf in real life and whose work Lawrence and company admired.

At the beginning of the film, we learn that Jennifer’s character (Lynsey) has been in an accident, since she is checking into a residential facility to be assisted with things as basic as brushing her teeth.  It did not immediately scream IED explosion in Afghanistan, but we gradually find this out. She improves rapidly returning to her childhood home in New Orleans and revisiting a troubled relationship with an unreliable mother (played by Linda Emond).

There are little more than fleeting references to Lynsey’s long-term issues with her mother. That is just one of the unexplored bits of business, like her brother’s earlier drug addiction, imprisonment, or deafness.

The most important relationship that is developed after Lynsey’s return from Afghanistan (and release from the residential treatment house)  comes about when her mother’s truck breaks down. Lynsey takes the vehicle to a garage where James Aucoin (Brian Tyree Henry, Lemon in “Bullet Train”) befriends her and becomes her sole friend. Birds of a feather flock together, and both are dealing with memories of horrible traumas that nearly killed them, and changed the course of their lives forever.

This willingness to drop a juicy potential plot conflict into the soup and then walk away isn’t just a flaw for Lawrence’s character. It  extends to co-star Brian Tyree Henry’s traumas, including the loss of one leg in a bad car accident that killed a small child and injured his live-in lady love. The exact nature of this accident is very briefly limned. All the details remain slightly confusing and unexplored.

This film takes us back to Jennifer Lawrence’s break-through role in “Winter’s Bone.” “Causeway” has that grainy feeling of genuine reality. You realize, while watching it, that this is no expensive blockbuster film the likes of Lawrence’s most famous roles, but is an indie film, well-acted by the principals. She is very good in it; I was disappointed that the writing was not more expertly crafted for the actors’ skillful interpretations. It’s not the only fine effort limited by the weakness of the script.

The problem is that the script goes nowhere, has no “ended” feeling, and simply leaves us scratching our heads and wondering why the writers opened up multiple myriad plot lines  and then abandoned most of them.  It’s nice to see that Jennifer Lawrence is still willing to appear in such slice- of -life films, but—aside from her as-always competent job— “Causeway” is eminently forgettable. It lacks a coherent conflict-based structure that can sustain the audience’s interest. It just rambles to a close with the feeling that none of the plot avenues laid out has reached any sort of conclusion, which is a disappointing cinematic experience for the audience.

This Apple original film premieres on November 4, 2022.

 

 

Rian Johnson’s “Glass Onion: A Knives Out Mystery” at the 58th Chicago International Film Festival

 

Kathryn Hahn accepts a Career Achievement Award from Festival Artistic Director Mimi Plauche on Octobrr 18th at the Music Box Theater.

The October 18th, 139-minute Centerpiece of the 58th Chicago International Film Festival was a showing of “Glass Onion: A Knives Out Mystery,” preceded by a Career Achievement Award to Kathryn Hahn, who appears in the film.

Benoit Blanc returns to peel back the layers in a new Rian Johnson whodunit, a sequel to “Knives Out.” This fresh adventure finds the intrepid detective (Daniel Craig) at a lavish private estate on a Greek island, but how and why he comes to be there is only the first of many puzzles.

Blanc soon meets a disparate group of friends gathering at the invitation of billionaire Miles Bron for their yearly reunion. Among those on the guest list are Miles’ former business partner Andi Brand, current Connecticut governor Claire Debella, cutting-edge scientist Lionel Toussaint, fashion designer and former model Birdie Jay and her conscientious assistant Peg, and influencer Duke Cody and his sidekick girlfriend Whiskey. As in all the best murder mysteries, each character harbors their own secrets, lies and motivations. When someone turns up dead, everyone is a suspect.

The cast of this one is just as star-studded as the cast of the first “Knives Out” movie. The central figure is a rich industrialist (think Zuckerberg) who may have stolen the idea for his success from his former girlfriend, Cassandra Brand, played by Janelle Monae. Miles Bron is played by Edward Norton.

Others in the group of dissidents include Dave Bautista as Duke Cody, Whiskey (Madelyn Cline) Birdie Jay (Kate Hudson), her assistant Peg (Jessia Henwick) Lionel Toussaint (Leslie Odem, Jr.) and the brief random appearance by Ethan Hawke. Even more noteworthy: the film is the last appearance by Angela Lansbury, who died recently, and of Stephen Sondheim, who died in November of 2021.  Daniel Craig reprises the role of Detective Benoit Blanc, complete with the Kentucky accent.

Glass Onion: A Knives Out Mystery (L-R) Edward Norton, Madelyn Cline, Kathryn Hahn, Dave Bautista, Leslie Odom Jr., Jessica Henwick, Kate Hudson, Janelle Monae, and Daniel Craig. Cr. [John Wilson/Netflix © 2022.]

The set design and costume design people deserve special kudos. For me someone who was not ga ga over the first one, will find that this one was bigger, louder and less appealing. The “mystery” part was too easy to figure out from the outset. While it is a harmless frolic, it doesn’t really have any Big Truths to impart, even though Rian Johnson (who wrote and directed both the first and second “Knives Out” film) says it is a commentary on the unequal division of wealth.

The film is going to play in 3 different theater chains for a limited period in November (23-29) hitting over 600 theaters at once, and then will stream on Netflix beginning December 23rd.

“Pfiaff” Has U.S. Premiere at 58th Chicago International Film Festival

When her sibling Zara suffers a nervous breakdown, the introverted Eva is forced to take on Zara’s job as a Foley artist. She struggles to create sounds for a commercial featuring a horse. The commercial is for a mood stabilizer known as Equili, which, among other side effects, can lead to high blood sugar inducing coma and death.

The title “Pfiaffe” derives from a diagonal dressage movement and from the French verb “to strut” or “to paw the ground”.  The film is German, with subtitles and was shot in Berlin.

“Pfiaff” director Ann Oren.

“Pfiaffe” won the Best International Feature at the Calgary International Film Festival and the Junior Jury Award at the Locarno International Film Festival. Here in Chicago, the film was nominated for the Gold Hugo New Directors Competition. Its showing on October 20th was its United States premiere.

When a ridiculously coiffed director tells Eva that her sound work for the Equili commercial is not up to snuff, he suggests to her that she actually go out and learn what a horse sounds like. Eva does so and seems quite smitten with horses, in general.

The director explained that, as in the beginning of the film “Nope,” this was related to the few minutes of film thought to be the very first moving picture image ever captured. The short piece of film was captured by 19th century inventor and adventurer Eadweard Muybridge in 1878. Muybridge had been commissioned to study the movement of a galloping horse.

Then, a horsetail starts growing out of Eva’s body. Empowered by her tail, she lures a botanist into an affair through a game of submission. Lots of erotic imagery, including Eva swallowing an entire rose, stem and all.

PIAFFE is a visceral journey into control, gender, and artifice. It is sexy and proves that men always want to get a little tail. (small joke there).

But, seriously, the horse tail really works for Eva (Simone Bucio). She commences the strange affair with the botanist  and dances with abandon at a night club. We also learn a lot about how ferns are self-fertilizing hermaphrodites.

Piaffe is Ann Oren’s first feature after a decade of working as an artist. The director said, “The film began, for me, with images.” She called the film “a playful drama with comic interludes.”

She also described the lead actor having to rehearse via zoom from Switzerland, because it was shot during Covid.

Director Ann Oren of “Pfiaff.”

Asked about the choice of Simone Bucio to portray Eva, Director Oren said, “Some actresses just didn’t get the voyage of the character.”

Of Bucio’s audition, Oren said, “I saw something very special in her. Every one of her takes was so powerful.”

Director Ann Oren was present at the screening on October 20th and said, “I don’t know what to compare it to. It’s its own thing.” The film opens wide in the U.S. on November 3rd.

 

UPDATE:

Silver Hugo: October 21, 2022
PIAFFE (Germany)
Dir. Ann Oren
The audacious, unconventional PIAFFE’s emphasis on the texture and process of cinema can be seen both in its aesthetic and its engaging characters. Ann Oren’s work is a sensual journey into the erotic and unpredictable. The extraordinary sound design and use of overexposure in particular encourage a new faith in the power of cinema.

 

 

“Call Jane” with Elizabeth Banks at the 58th Chicago International Film Festival

Call Jane, with Elizabeth Banks.

“Call Jane” revisits the bad old days of the sixties and early seventies when it was illegal to get a therapeutic abortion in the United States. Elizabeth Banks plays Joy Farrell, the wife of an attorney (Will, played by Chris Messina) and the mother of a teenaged daughter, Charlotte (Grace Edwards).

Elizabeth finds herself pregnant. In the first three months, she develops a cardiac condition, cardiomyopathy, which could well prove fatal if she continues the pregnancy through to the end. She and her husband petition the hospital board to allow Joy to have a therapeutic abortion. In turning her down, the all male board announces that they had only given one such dispensation in 10 years.

I am probably one of the few reviewers who lived through this era. In fact, I had a friend, a fellow classmate on campus at the University of Iowa, who died because she attempted to self-induce an abortion. It was the odor of her body decomposing that alerted the authorities in her apartment building near campus that something was amiss. For me, movies like this are not ancient history. They are what I lived through.

The entire concept of “Call Jane” feels real, to me in 2022, with the attack on women’s rights by the GOP. The old French saying, “La plus ca change, la plus ca meme,” (The more things change, the more they stay the same) seems relevant.

What didn’t feel real to me was a twist the plot takes late in the game when “Dean” (played by Cory Michael Smith), the lead OB/GYN doctor, is let go and a person with no qualifications to perform an  abortion takes over. That, to me, seemed to sum up the desperation of the times, but I question whether the individual really went that far out on that limb of illegality.

Although Elizabeth Banks’ participation in the film is noised about, little is said about Sigourney Weaver’s turn as the original “Jane,” Helen, who spearheads the effort to provide services to desperate women, or about Kate Mara, who plays a neighbor. (Mara’s role could have easily been dispensed with entirely).

Chris Messina (“Damages,””Argo,” “The Newsroom”) plays Joy’s husband, with a bad haircut from the era. All of the male haircuts looked strange. However, the flip that Elizabeth Banks sports throughout the film looked quite timely. I smiled at the line in the script when a character is asked, “Do you smoke?” and the response was, “Everybody smokes.” (Very true).

This thought, articulated by writers Hayley Schore and Roshan Sethi, also rang true: “You think you’re in control of your life, and, just like that, you realize you’re not.” Another good line, given to Banks’ daughter, who does not want to know about unpleasant things, was, “I don’t wanna know about babies dying, or people getting shot, or periods, or Vietnam.” Director Phyllis Nagy does well with a good cast, and the cinematography from Greta Zozula is equally good.

With the current Supreme Court outlawing Roe v. Wade and throwing the country into chaos over the right to an abortion that women had enjoyed for the previous 50 years, the theme was certainly very topical. Earlier iterations of the film had Elizabeth Moss and/or Susan Sarandon attached.

The 2 hour and 1 minute film premieres on October 28th, just 5 days after the 58th Chicago International Film Festival ends.

 

“Pray for Our Sinners” at the 58th Chicago International Film Festival Has United States Premiere

Pray for Our Sinners (2022)

“Pray for Our Sinners,” a documentary written and directed by Sinead O’Shea with music by George Brennan had its United States Premiere at the 58th Chicago International Film Festival. The 1 hour and 21 minute film documents the abuse of women and children in Ireland in decades past, perpetrated with the approval of the Catholic church.

The abuse took place in Ireland for literally decades until at least the 1980s.

Sinead O’Shea focused on her own home town of Navan in central Ireland and interviewed women who, as young teenagers, were sent away to mother and baby homes and forced to give up their babies. She interviewed female victims who had suffered this fate when just teenagers, and also spoke with now adult victims of brutality in the schools, suffered as children. Much of her conversation was with Dr. Mary Randle, who, along with her doctor husband, fought against the injustices. One of the topics was the local parish priest of those years, Father Andy Farrell. (It seems that Father Farrell discovered malfeasance in church finances and was spirited out of his post when he reported it.)

In 1921 Ireland earned its independence from England, but by 1937 the Catholic Church had managed to incorporate its beliefs into Irish law. In a country where 91% were church-goers, 6% said they attended occasionally, and only 3% said they never attended church, Ireland had more people institutionalized than any other civilized country. A citizen could be sent to an institution for all manner of misbehavior, as viewed by the church. For instance, if you talked about your feelings you could be declared “hysterical” and put away.

God was everywhere. That was the point. Few women worked. There was a law forbidding women from working after marriage. Women were to be submissive and produce children. However, unwed mothers were shamed into submission and forced to go to mother and baby homes, where the nuns who ran them made it their mission to “punish” the pregnant girls. There were at least 21,000 illegal adoptions from these homes during the era. According to a 2021 study, 9,000 babies and their mothers died in the homes.

Pregnant girls were treated like criminals. Even during delivery, they would be chastised for their bad behavior in becoming pregnant in the first place. Contraception was not available if the doctor did not want the woman to have access; divorce was forbidden. As one former resident of one of the homes said, “Your mail would be read. You were made to wash floors, even when 9 months pregnant. There was no breastfeeding. They wanted to do something to hurt you.”

Writer/Director Sinead O’Shea.

If women were mistreated, children were also targeted. The Catholic church ran the schools. Corporal punishment was the norm in towns across Ireland. Into this sea of misery a husband and wife doctor team in Navan, Mary and Patrick (“Paddy”) Randle, chose to speak out when others were too cowed to do so.

A 10-year-old boy. Norman, was beaten with a leather hose with metal inserts because he was left-handed. When Paddy Randle found out, he spoke up and demanded that such abuse cease. Twenty children who were brave enough to speak out were gathered. Since the local paper would not tell their story, the “News of the World” in London interviewed the children and ran a story on Sunday, May 4, 1969, under the title “Children Under the Lash.”

When the local priests in Navon learned that the paper was going to run the story, the newspaper was seized as it was entering the city. Norman was kicked out of school by the church authorities at the age of 9 and, even today, he has no papers to document his life in Ireland. He is like a ghost without a country in “Europe’s last theocracy.”

As Dr. Mary Randle described her efforts and those of her now-deceased husband to help the struggling women and children of their small Irish town. She said, “It was like a whole empire designated to punish girls and children.It’s just, yet again, a diminishment of women, how they were treated.”

I am Irish Catholic. My home county in Iowa, the Dubuque diocese, was very Catholic. Back in the sixties, drugstores in Dubuque, Iowa, would not sell the birth control pill to unwed girls. When I was in the hospital, having just given birth in 1968—a married woman, age 23—one of my doctors (who was a devout Catholic) refused my request for a prescription for the pill. He would pass such requests along to his Protestant partner, who had no such reservations.

There are political forces abroad in our land right now who would like nothing better than to deny United State females the right to purchase the birth control pill, because the ability to choose when (or if) to have a child empowers a woman. The immediate battleground is the issue of abortion, but the signs are there that that is just the first stop on the path of the current Conservative Supreme Court.

As for corporal punishment, when I was introduced to my very first classroom in the fall of 1969, a fellow teacher handed me a paddle and instructed me on the “proper” way to use it to paddle misbehaving students. I was appalled. I threw it away immediately. This disciplinary method had been ongoing in the district. If you think nothing like these Irish stories could ever go on in the United States, guess again. You just have to be old enough to have lived it, as I have.

I remember all the pregnant girls in my high school who were “drummed out of the Corps.” Once it was determined that a girl was pregnant out of wedlock, she was banished from attending class. (The boyfriend who had impregnated her suffered no such punishment.) The expectant mother would disappear to a mother and baby home run by the Catholic church. The home would house her until she delivered her child.

As one of the women in the film testifies, “There’s no point in talking about today and then, because it was so different.” Yes, it was. I remember it well. I am saddened to see the same power play(s) being perpetrated upon this generation of women in the United States via the currently red hot abortion issue. It’s done in the interests of refusing to empower women.

The most important decision a woman will make in her lifetime is whether or not to give birth. It will affect every facet of her life from that time forward. It should be her decision, in consultation with her doctors and her family. It should not be legislated or decided by a group of men in Washington, D.C.

Director/Writer Sinead O’Shea does a nice job of painting a picture of yesterday that I lived through and remember only too well. By quoting Dr. Mary Randle (“There is always a way to resist”) and painting a picture of the abuses of the Catholic Church against the weakest among their charges, O’Shea has vividly illustrated how irreparable harm can be done in the name of religion.

The law banning corporal punishment in the schools of Ireland passed in that country in 1984. Divorce is now legal and laws banning women from working are a thing of the past. The attempts to roll back Roe v. Wade in the United States under the cover of religion are ongoing and on the ballot in November.

Another documentary by Sinead O’Shea is 2017’s “A Mother Brings Her Son to Be Shot.”

“Raymond and Ray” (Ewan McGregor & Ethan Hawke) at the 58th Chicago International Film Festival.

“Raymond and Ray” premieres on Apple TV+ on October 21st.  Ethan Hawke (Ray) and Ewan McGregor (Raymond) play half-brothers in the film, offspring of a feckless father who traveled the world apparently impregnating a variety of women. Check it out and see if you agree with one of its stars (Ethan Hawke), who once said, “It’s fun to see a movie that’s made for someone over the age of 15.” This is such a film.

These two sons by different mothers whom Dad (Benjamin Reed Harris III, portrayed only after death by Tom Bowers) gave the same name, grew up together. One guesses that the duo probably survived their father because they had each other. A line from the script is “We come from chaos.”

 

“Raymond and Ray,” Ewan McGregor and Ethan Hawke, at the 58th Chicago International Film Festival.

Raymond—the more conventional of the two and an employee of the Cincinnati Water & Power Department—convinces Ray (Ethan Hawke) to accompany him to their mutual father’s funeral over Ray’s initial objections. The pair have very bad memories of dear old Dad. Raymond (Ewan McGregor) warns his half-brother regarding their father’s passing, “It’s gonna’ take a whole lot more than a hole in the ground to get him out of your head.”

Ewan McGregor and Ethan Hawke can spin gold out of dross; their excellence in these roles was expected. Ethan Hawke, in particular, plays a character who has been a jazz musician for his entire life and is a reformed drug addict. Hawke delivers some scene-stealing moments playing the trumpet, both at the funeral and in a jazz club after the service is over, accompanied by co-star Sophie Okenodo as Keira. Hawke portrayed 50’s jazz trumpeter Chet Stevens in the 2015 film “Born to be Blue” and  spent about 8 months learning to play the trumpet prior to that outing. It shows—although Hawke claims no expertise as a trumpeter.

Ray’s (Ethan Hawke) reputation in life has been that he attracts women “like shit attracts flies,” so Sophie Okenodo is written well in an interesting departure from expectations. Kudos to the writer/director Rodrigo Garcia. I loved lines like this one when the sons hear what a charming fellow their dead father was to others. Says Ray (Ethan Hawke): “Does whipping our asses with a belt count? ‘Cause, if it does he was a hoot.”

Rodrigo Garcia previously wrote 5 episodes of one of my All Time Favorite television series, “Six Feet Under” between 2001 and 2005. Only two other writers ( the show’s creator, Alan Ball, and one other writer wrote more ). “Six Feet Under” was a great training ground for this film, as it examined the family that ran a funeral parlor, and there are many scenes shot in a funeral parlor in this movie. The quirky funeral director is well-played  by Todd Louiso and Vondie Curtis Hall plays the Reverend West.

Others have criticized the writing: too middle-of-the-road, too predictable, not far enough into either comedy or drama. I disagree. As someone who has been reviewing film for 52 uninterrupted years, “Raymond and Ray” showed the audience insights that few other films have even attempted, and did so with humor.

I agree that the many “reveals” became a bit much by film’s end, but the script delivers on some nuggets that have not often been examined at all. One Eternal Truth that Rodrigo Garcia illuminated for the audience is that we all belong to something greater than ourselves.

But the one that resonated, with me, came at film’s end, when the two brothers have lived up to their father’s odd wish that they actually physically dig his grave.Raymond (Ewan McGregor) says to Ray (Ethan Hawke), “We never really knew him, did we?” This truth is driven home again and again as the duo converse with others in their father’s life, including some of the women he loved and left.

I learned this lesson IRL, as someone who has buried both parents. I was constantly being brought up short by remarks made to me about what a lovely, sweet woman my schoolteacher mother was. It’s not that I didn’t love my mother or that I didn’t agree that she was “lovely,” It’s that the self a parent reveals to his or her offspring is often a completely different human being than the one the son or daughter experiences. It is jarring to hear from others about what a great conversationalist one’s parent has been—with and to others. That was the Eternal Truth that this screenplay illustrated so beautifully.

Spanish actress Maribel Verdu, as Lucia, enlivens the entire film. A veteran of “Y tu Mama Tambien” and “Pan’s Labyrinth,” the Spanish actress was a stand-out.

Certain aspects of the film deserve special praise. The music (Jeff Beal) is great and the cinematography by Igor Jadu-Lillo is, as well. Alfonso Cuaron (“Gravity,” “Roma,” “Children of Men”) is one of the executive producers.

“Raymond and Ray,” Running time: 106 MIN.
• Production: An Apple TV+ presentation of an Esperanto Filmoj Limited, Mockingbird Pictures production. Producers: Alfonso Cuarón, Bonnie Curtis, Julie Lynn. Executive producers: Shea Kammer, Gabriela Rodriguez.
• Crew: Director, screenplay: Rodrigo García. Camera: Igor Jadue-Lillo. Editor: Michael Ruscio. Music: Jeff Beal.
• With: Ethan Hawke, Ewan McGregor, Maribel Verdú, Tom Bower, Vondie Curtis Hall, Sophie Okonedo.

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

“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

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-wookJeong Seo-GyeongSeo-kyeong Jeong

Cinematography: Ji-yong Kim

Nominations: Cannes Best Director AwardPalme 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.

 

 

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