Tuesday, March 13, 2012
UPDATE: WHAT EVER HAPPENED TO BABY JANE? postponed until fall
Okay, folks...it looks like Cinema 21's upcoming triple feature (written about here) has been cut down to a double feature, as What Ever Happend to Baby Jane? has been postponed until fall.
Thanks to Jeff Vanvickle (who writes the Through Taped Lenses blog) for pointing this out to me.
Here's the updated schedule for Cinema 21's classic double feature:
To Kill a Mockingbird (@4:15pm & 9:15) and The Manchurian Candidate (@7pm) runs March 16th thru 22nd at Cinema 21. Admission for each film is $5. A double feature will only set you back $8. Don't miss out!
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1962 TRIPLE FEATURE: TO KILL A MOCKINGBIRD, THE MANCHURIAN CANDIDATE & WHAT EVER HAPPENED TO BABY JANE? @Cinema 21
UPDATE: What Ever Happened to Baby Jane? has been postponed until fall. More info here.
Hot on the heels of Cinema 21's Double Indemnity/Frankenstein Must Be Destroyed double feature, Tom Ranieri and his staff have lined up yet another cinematic treat for Portland film fans. This time around, it's a triple feature of films from 1962. To Kill a Mockingbird, The Manchurian Candidate and What Ever Happened to Baby Jane? are all turning 50 this year and Cinema 21's throwing them a week-long birthday party.
A still from To Kill a Mockingbird
Nominated for 7 Academy awards (and the winner of 3, for best actor, screenplay and art direction), To Kill a Mockingbird is the most lauded of the films. Robert Mulligan's adaptation of Harper Lee's novel used to be compulsory viewing back when I was in elementary school (is it still?). If there's a kid-friendly film among the trio being celebrated this week, this is it. Featuring a stellar debut performance by a very young Robert Duvall as the iconic Boo Radley.
A still from The Manchurian Candidate
Remade in 2004 by Jonathan Demme as a Denzel Washington vehicle, the original 1962 version of The Manchurian Candidate holds up remarkably well today, rejecting any notions that this tense thriller needed updating. Boasting a stellar cast (Angela Landsbury's name may not be featured on the poster but her menacing, Oscar-nominated performance is the best in the film), tight direction by John Frankenheimer and tension-infused cinematography by Lionel Lindon, the film transforms noir tropes from the prior generation, repurposing them to potent effect, and is arguably the template for many of the best paranoia-induced thrillers of the 70s (think: The Parallax View and Three Days of the Condor).
A still from What Ever Happened to Baby Jane?
What Ever Happened to Baby Jane? is by far the creepiest (and, perhaps, the most fun) of the bunch. Bette Davis and Joan Crawford play aging sisters who have always been at odds due to a jealousy stemming from childhood. Both stars milk their roles for all they're worth here; Davis was nominated for best actress for her portrayal of Baby Jane Hudson, a character that is one of Hollywood's most sinister explorations of the psychologically damaging effects of child stardom.
If I could only make it to one of these films, What Ever Happened to Baby Jane? would be the one.
To Kill a Mockingbird (@4:15pm), The Manchurian Candidate (@7pm) and Whatever Happened to Baby Jane? (@9:15) runs March 16th thru 22nd at Cinema 21. Admission for each film is $5. A double feature will only set you back $8. Don't miss out!
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Sunday, March 11, 2012
POWFest 2012: THE 90TH MINUTE, NERVES OF STEEL & THE EIGHTH PARALLEL
POWFest comes to a close on Sunday evening with a classic screening of Nora Ephron's 1993 hit Sleepless in Seattle; a quasi-remake of Leo McCarey's (Make Way for Tomorrow) An Affair to Remember. Before that final film runs, there's still several films remaining on Sunday's schedule, including a triad of documentaries on athletes (and, yes, I consider dancers to be athletes--don't you?), most of whom are female.
A still from The 90th Minute
Jun Stinson's short documentary about Women's Professional Soccer (WPS), The 90th Minute, focuses on a Bay Area team, FC Gold Pride. Despite having won the WPS championship in the 2010 season, the team finds themselves on the verge of folding due a lack of funding.
The 90th Minute is only partly concerned with the fate of FC Gold Pride, though. Much of the film is devoted to dialogue on how few opportunities there are for women athletes to compete in professional arena. Stinson traces how the progressive, gender equality provisions of Title IX paved the way for women to play sports in high schools and colleges, eventually leading to the establishment of professional leagues.
It's a solid piece that makes a strong case for the necessity of institutions like WPS; an interview with a mother who feels her daughter has a much wider range of role models to choose from post-exposure to FC Gold Pride is particularly moving.
A still from Nerves of Steel: A Year With the Portland Ballet
Nerves of Steel: A Year With the Portland Ballet is, to be blunt, not a film for newcomers to dance or films on the subject. Having recently seen Pina; a film where absolutely no prior study of dance was necessary to have a deep connection with it, I did hope that Susan Hess Logeals' piece would similarly hook the neophyte as well as those who live and breathe their enthusiasm for balletic form. I may have simply been asking too much of the film.
A still from Nerves of Steel: A Year With the Portland Ballet
What I do know, despite my lack of knowledge on ballet, is that Nerves of Steel comes off more like an advertisement for Portland Ballet than a film about it. For instance, there's a seven-plus minute sequence where Portland Ballet's Nancy Davis and Jim Lane rattle off an inordinately long list of faculty names, flatly describing the talents of each instructor and what it is they provide to their students.
Part of the problem is that the film devotes almost all of its weight to the perspective of the administrators and faculty. Other than a short chunk devoted to asking the kids how long they've been dancing, we're kept at a distance from the very people who embody the subject of the film.
A still from The Eight Parallel
Without a doubt, the most beautiful looking film I've seen at POWFest this year is Darcy Turenne's The Eighth Parallel. With a running time of under thirty minutes, the film is jam-packed with one impressive image after another, never letting up until the final credits roll. The biggest shock: Turenne shot, directed and edited the film without the aid of a crew. This is her debut film; I already want to see more from her.
A still from The Eight Parallel
I'm not usually a fan of films that fall into the extreme sports genre. But The Eighth Parallel plays by a different set of rules than most movies within that category. The film treks through Indonesia in search of women stepping outside of traditional female roles and into the world of extreme athleticism. Turenne compartmentalizes the work into vignettes highlighting each of her interview subjects, inserting sociological and philosophical context between those sections via writings sourced from academic journals.
A still from The Eight Parallel
The Eighth Parallel is a film that succeeds on so many levels. The images, pacing and stories are all combined with a strong sense of purpose. And the aforementioned academic input elevates the work into the territories of the inspirational. If I had a daughter, I'd want her to see The Eighth Parallel.
A still from The Eight Parallel
The 90th Minute, Nerves of Steel: A Year With the Portland Ballet & The Eighth Parallel will screen together at POWFest on Sun., March 11th at 3pm at the Hollywood Theatre.
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Friday, March 9, 2012
POWFest 2012: 10,000 TREES, AN ORDINARY LIFE & MARION STODDART: THE WORK OF 1000
Saturday afternoon's POWFest schedule brings a trio of thematically-connected documentaries about individuals whose lives are inextricably linked to their actions on behalf of the natural world. From tree-planting to chronicles of direct activism, the films take a complex view of three people who looked outside of themselves and chose to practice stewardship of the planet's resources.
A still from 10,000 Trees
10,000 Trees tells the story of Victor Kaufmann, a man whose wide-open plot of farmland inspired him to begin planting trees. Sarah Berkovich and Sarah Ginsburg's film catches up with Kaufmann as he is about to plant his 10,000th tree on the property; an accomplishment which Kaufmann's son describes as a "milestone," rather than the end of the journey.
A still from 10,000 Trees
For much of the film, Kaufmann comes off as simplistic in his world view; an assumption that is amply rebutted in a moment where he reads aloud from a letter written to his granddaughter. In the handwritten note, he offers up his understanding of the problems and meager solutions found in this world, showing both self-awareness and humility concerning his own role within that balance.
It's a beautiful moment in a film that already does so many things well; it's exceptionally well edited (note the moment when Kaufmann asks if he should begin describing the environment of his shed), gorgeously shot and contains more than enough air within the piece to really let the story breathe.
A still from An Ordinary Life
Patricia Somers' An Ordinary Life focuses on Dot Fisher-Smith an octogenarian activist whose consciousness became roused and redirected in the upheaval that was the 1960s protest scene, bringing her to spearhead actions against logging, war, etc. At the same time, Fisher-Smith is a practicing Buddhist whose life philosophy reflects her spiritual search. She's also one hell of a talker, something that becomes abundantly apparent only a few minutes into the film.
A still from An Ordinary Life
An Ordinary Life barely has a second that isn't pushed forward by Dot's scene-grabbing personality. What this delightful character study sometimes lacks in focus, it makes up for in charm, effectively mirroring the woman who is its subject.
A still from Marion Stoddart: The Work of 1000
By far, the most inspiring of Saturday afternoon's documentary showcase is Marion Stoddart: The Work of 1000. Susan Edwards and Dorie Clark's impeccably constructed film highlights Marion Stoddart's trailblazing efforts in the mid-1960s to restore the Nashua River, after decades of neglect had left it filled with industrial waste and unusable by the communities through which it ran.
A still from Marion Stoddart: The Work of 1000
Stoddart spearheaded a campaign that began with gathering signatures, eventually forming the Nashua River Watershed Association, paving the way for a monumental reassessment of the manner in which communities, government and industry interacted with that body of water. For all that she accomplished, Stoddart comes across as someone who views herself as ordinary, stating as much for the cameras when discussing how she and her husband met.
A still from Marion Stoddart: The Work of 1000
The subtitle of the film springs from an inspirational quote that Stoddart stumbled upon in a magazine. Most people would have been satisfied enough with reading that "one person can do the work of 1000;" but then, Marion Stoddart is not most people.
Festival passes can be acquired at this link and tickets for individual screenings can be purchased here.
10,000 Trees, An Ordinary Life & Marion Stoddart: The Work of 1000 will screen together at POWFest on Sat., March 10th at 2:30pm at the Hollywood Theatre.
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Thursday, March 8, 2012
THE FILMS OF NICOLAS WINDING REFN: FEAR X (2003)
For his third feature, Fear X, Danish-born director Nicolas Winding Refn brings his uniquely effective eye for cinematic violence to America. He couldn't have chosen two more appropriate symbols for the country than the film's setting--a shopping mall--and the violence with which the plot concerns itself; it's located in the past, connoting a history of violence, as well as the dark potential for future mayhem.
Harry Caine (John Turturro) spends his days as a rent-a-cop in a Midwestern shopping mall. He squanders his nights pouring over vhs tapes filled with security footage. What Harry is looking for is an answer to his grief; his wife was murdered in the parking lot of his workplace. He says he's not in search of "who" as much as "why."
With a tightly-wound script written by Refn and novelist Hubert Selby Jr. (Last Exit to Brooklyn, Requiem for a Dream), the film offers little solace to the viewer that such questions will be answered, focusing instead on the obsession and repetition that has supplanted the vitality that one assumes once constituted Harry's existence.
As in Drive (as well as other works by its director), the influence of David Lynch is palpable in Fear X. Refn's co-opting of Lynchian atmospherics doesn't attempt to replicate the great surrealist's works, necessarily. Whereas Lynch employs his stylistic excesses to explore the extremes of human nature, Refn is less interested in the analytical than he is in scenarios and environments that sort individuals into the roles they are compelled to perform.
We're not talking Joseph Campbell here, though; Harry is neither a hero, nor particularly suited to the task that he must complete. He does undertake a journey that, depending on how you read the ending, is either frustratingly literal or symbolic in nature.
And that ending is a humdinger, I tell ya. It's likely to upset the same people who strongly disliked the conclusion of No Country for Old Men. But adventurous film goers (you know who you are); those who love nothing more than a post-screening breakdown of a movie, will be thrilled by what's offered up here.
I'm going to go out on a limb here and say that I enjoyed Fear X more than Drive. BOOM! I said it.
Fear X will screen at the NW Film Center's Whitsell Auditorium (in the Portland Art Museum) on March 11th at 5pm & March 14th at 7pm. The film is part of the retrospective series, Driven: The Films of Nicolas Winding Refn.
Related links:
The Films of Nicolas Winding Refn: Pusher
The Films of Nicolas Winding Refn: Pusher II: With Blood on My Hands
The Films of Nicolas Winding Refn: Pusher III: I'm the Angel of Death
The Films of Nicolas Winding Refn: Drive
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POWFest 2012: EI VOOR LATER (EGGS FOR LATER) & ANGEL FOR HIRE
POWFest 2012 serves up a double bill of documentaries on fertility-related issues for its Saturday (3/10) afternoon screenings. One film, Angel for Hire, takes more of a historical perspective on its topic, adding perspective and focus to a story being told in the present, while the other, Ei Voor Later (Eggs for Later), is more in the mold of Ross McElwee (Sherman's March) piece; a personal story told by its filmmaker, overflowing with charm and easy identification.
A still from Ei Voor Later
Ei Voor Later (Eggs for Later) picks up just as its director/subject Marieke Schellart is about to celebrate her 36th birthday. She candidly addresses the camera about her growing anxiety as a woman who wants children but hasn't yet found herself in a situation that has produced them. Schellart allows us to tag along with her as she investigates having her eggs medically frozen, granting her options for conception beyond her natural window of opportunity.
A still from Ei Voor Later
Unlike in the U.S., the scientific community of the Netherlands, where Schellart lives, is only beginning to come to grips with the technology and social implications of the procedure. As such, Ei Voor Later becomes just as much involved in discourse around these issues as it is about one woman's journey. The most entertaining moments in the film center around the debate as it occurs in Schellart's own circle of family and friends. Ei Voor Later is a fun and involving take on a subject that might have been dry and impersonal in less capable hands.
A still from Angel for Hire
Mary Flynn and Nina Goodby's Angel for Hire locates its dramatic arc in the story of one woman's fears that her surrogacy contract with an infertile couple may force her to have a cesarean section, due to complications with the pregnancy. The film intercuts its primary tale with the background of Noel Keane, a lawyer who in the mid-70s became a pioneer in surrogacy practice.
A still from Angel for Hire
Keane's story adds a necessary historical layer to the film that enriches the entire piece. And, even though the presentation of Angel's present-day application of Keane's work is impressive, I couldn't help but wish that the film had spent even more time on chronicling the struggles of the past, such as the story of Baby M. As it stands, Angel for Hire shifts from a very good documentary to completely absorbing one each time it delves into the history of its topic.
Angel For Hire (Trailer) from Nina Goodby on Vimeo.
Festival passes can be acquired at this link and tickets for individual screenings can be purchased here.
Ei Voor Later (Eggs for Later) & Angel for Hire will screen together at POWFest on Sat., March 10th at 3pm at the Hollywood Theatre.
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Wednesday, March 7, 2012
POWFest 2012: THE SILENT TRUTH & SISTERS IN ARMS
Regardless of what your political views are on the military and military service, there are two must-see documentaries dealing with women in the military at POWFest this year.
First up is The Silent Truth; a look at the death of LaVena Johnson, a young female soldier whose demise while serving in Iraq was ruled a suicide by the U.S. Army. Director Joan Brooker-Marks (Larry Flynt: The Right to Be Left Alone) gives Johnson's father and mother, John and Linda Johnson, the opportunity to tell the story of their struggle to get to the bottom of what they feel are a suspicious set of circumstances surrounding their daughter's death; their own investigation leading them to a horrifying truth about systemic mistreatment of women in combat situations.
A still from The Silent Truth
Brooker-Marks was clearly operating on a relatively small budget here but, very much to her credit, she's quite well-versed in laying out a compelling story, regardless of any economic restraints. Her technique here includes the use of rough but very effective animation, emotionally compelling interviews with the Johnson family and the film's military consultant Colonel Ann Wright, and a well-rounded argument aided by ample research. The Silent Truth is a heartbreaking documentary of great importance and it needs to be viewed by as many people as possible.
A still from The Silent Truth
A still from Sisters in Arms
Beth Freeman's Sisters in Arms explores the participation of women in combat situations via the stories of three Canadian soldiers. The documentary doesn't spend any time quibbling over the issue of these women's right to be in combat. Instead, the film proves the worthiness of its subjects through a balanced examination of their domestic and occupational lives, peppering in an appropriate amount of context related to the history of women in the Canadian army. It's a very successful piece that reveals much about the kind of women rarely seen in film. What more could you ask for from a documentary?
A still from Sisters in Arms
The Silent Truth and Sisters in Arms will screen together at POWFest on Sun., March 11th at noon at the Hollywood Theatre.
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