Daniel Garber talks with Leslie Ann Coles and Barrie Wentzell about Melody Makers: Should’ve Been There

Posted in 1960s, 1970s, documentary, Journalism, Music, UK by CulturalMining.com on July 12, 2019

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

Melody Maker was a UK weekly tabloid established in 1926 as a jazz paper for professional musicians. But by the 1960s it shifted its focus, eventually becoming known as “the Bible of rock’n’roll”. Bands were formed in the classified ads at the back, and, in the front, a cover photo could launch a music career. But who were the melody makers who made it all happen?

Melody Makers: Should’ve Been There is a new documentary about the legendary paper — it’s wrters, photographers and editors – and the musicians they wrote about. Using new interview and period footage it traces its rise and fall in an oral history of the age. And the film is illustrated by the black and white pics of Barrie Wentzell, their chief photographer from 1965-1975 chronicling the the gods of rock and roll. The film was directed and produced by award-winning Leslie Ann Coles, who is the founder of Toronto’s Female Eye Film Festival.

I spoke to Barrie Wentzell and Leslie Ann Coles at CIUT 89.5 FM.

Melody Makers opens Friday, July 12th, at the Royal Cinema.

Around the world in 167 days. Film reviewed: Maiden

Posted in 1980s, documentary, Feminism, Sports, UK, Women by CulturalMining.com on July 12, 2019

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

The movie industry has its ups and downs, and so does its release dates. And this week is one of the slowest all year, with no big-budget releases, and virtually no indie movies either. And the one getting the most publicity is one I will not review, or even mention its name. I haven’t seen it, but, word has it, it’s a bizarre piece of propaganda that crept up from south of the border to appease the religious right, a fringe group in Canada but a major force in the US.

Basically, it paints reproductive rights — specifically abortion — as the terrain of depraved and greedy doctors who cruelty chop up screaming babies in order to sell their parts for profit. It could make for a good science fiction / horror movie, but they’re marketing it as a “true story”. Anyway, if you find yourself in line at a movie theatre, be sure to avoid making any Unplanned decisions in your choice of film. Avoid it at all costs.

This week, I’m talking about a new documentary with a woman who wants to sail around the world.

Maiden

Dir: Alex Holmes

It’s England in the 1980s. Tracy Edwards is a young woman who works as a bartender seaside town. She has no real goals and ambitions but is drawn to the sea. So she decides to get a job as a cook on a sailboat. But she is shocked to find no one would hire a woman, even as a cook. Boating is a man’s world, they say, and not a place for “girls”.

But this “girl” – she’s actually in her early 20s – decides if you can’t join ’em, beat ’em… at their own game. She puts together an all-women crew, and enters the legendary Whitbread round the world boat race. But first she needs sponsors and a sailboat. She mortgages her home to buy a rusty old hull and spends the next couple years in an all-male shipyard, putting it into ship-shape condition. Then there’s the money. Much as in other sports, sponsors don’t want to give any money to women. But she eventually finds someone to put up the bucks. (No spoilers, but he happens to be a king.)

The journey has four legs after leaving Portsmouth: first to Punta del Este, Uruguay; next to Western Australia and on to Auckland, NZ; then to Fort Lauderdale, Florida, and finally back to Portsmouth.

The press treats her, and the very idea of an all female crew, as a novelty, a human interest story. Do you fight

My beautiful picture

all the time? Can you control your emotions? Are you physically able? But as the journey progresses, they come to be seen as serious competitors, not just novelties. And they learn to own the media, donning swimsuits to enter a port to distract journalists after a less than stellar segment. But will they make it around the world?

Maiden – the name of the boat and the documentary – is a gripping sports movie with a feel-good ending. It interviews all the players 30 years later, but also includes stunning footage filmed by the crew themselves during their voyage.

It’s full of fascinating details… like the fact you can start smelling land at sea five days before you reach it. You really feel like you’re there with them, seaspray in your face, dodging icebergs in the south seas, or strapped to the mast. It’s an exciting, hazardous and gruelling trip around the world using only the power of wind. (GPS and the internet wasn’t around yet; you navigated using maps.) And the willpower and determination of Tracy Edwards and the rest of the crew.

Great doc.

Maiden opens today in Toronto; check your local listings.

This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.

Summer movies. Films reviewed: The Last Black Man in San Francisco, The Fireflies are Gone, Midsommar

Posted in African-Americans, Drama, Friendship, Homelessness, Horror, Housing, Music, Quebec, San Francisco, Suspicion, Sweden by CulturalMining.com on July 5, 2019

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

Summer’s here and it’s the right time to cool off by seeing movies outdoors. Open Roof Film Festival, which is on all summer on Sterling  in the Junction, pairs new Canadian and international films with live music by local bands.

Keeping with that theme, this week I’m talking about three great summer movies. There’s a misanthropic girl in Québec looking for a summer job; a man in San Francisco looking for a home; and some college students in Sweden looking for fun in the summer solstice.

The Last Black Man in San Francisco

Dir: Joe Talbot

Wri: Joe Talbot and Jimmy Fails

Jimmy Fails is a homeless skater from San Francisco, who travels by boardfrom placeto place. Brought up in a group home when his parents split up, he once lived in a car, and now crashes outside the city at his friend Montgomery’s place (Jonathan Majors). But he is constantly drawn back to the Fillmore district of San Francisco – once known as the Harlem of the West – and a particular house there. It’s a stunning piece of Victorian architecture complete with a witch’s hat tower. He’s helping preserve it in a gentrifying city. But he also has a hidden motive: His grandfather built that home by hand in the 1940s and Jimmy wants it back. So when the current owners move out in an inheritance dispute, Jimmy moves right in, bringing all the original furniture, carpets and photos with him. It’s an enchanted house, with intricate woodwork, hidden doors and a working pipe organ built right in. And Monty – who draws everything he sees in a sketchbook – writes a play to commemorate the house and its history. But how much is true and how much family legend? Can Jimmy actually live there permanently? Or has San Francisco become a city only for the rich?

The Last Black Man in San Francisco is an unusual, warm and wonderful story, part fact and part fiction. It’s based on Jimmy Fail’s own story – he plays himself. Another character, Kofi, jimmy’s frenemy from a group home, is played by the real Jamal Trulove, a San Francisco man falsely convicted of murder under Kamala Harris. It’s also an homage to an older San Francisco. It paints a disappearing city of soapbox preachers, panhandlers, buskers and organizers while subtly dealing with issues of poverty, housing, violence, renoviction, and environmental ruin. It’s narrated by a greek chorus of black commentators, Monty’s drawings, Jimmy’s family lore, and local legend.

This is a great movie, not to be missed.

The Fireflies are Gone (La disparition des lucioles)

Wri/Dir: Sébastien Pilote

Léonie (Karelle Tremblay) is a misanthropic teenager just finishing high school. She lives in a small city, a gorgeous inland port in northeast Quebec. near Sagueney. It’s a beautiful town but she hates it. She hates the smalltown attitude, she hates her hick friends and their pickup trucks and she despises her stepfather. She blames Paul (François Papineau) – a rightwing talk radio shock jock – for her parents divorce. Her Papa (Luc Picard) is a union organizer forced to leave town for work up north when the lumber mill closed, and now only visits every so often. Leo can’t wait to get out of this place, but in the meantime she gets a summer job tending to the local ballpark. It’s perfect – no human contact.

But when she meets a new face at the local diner she thinks things might be changing for the better. Steve (Pierre-Luc Brillant) is a loner like her, a middle-aged musician, formerly in a band, now supporting himself by giving guitar lessons in his mother’s basement. She signs up for lessons, they hit it off, and soon become friends. But can it last?

The Fireflies are Gone is a bittersweet coming of age drama about life in a picturesque but declining Quebec town. The title refers to the loss of innocence of an earlier era, but it’s also about Leo’s own ideals called into question when she discovers a hidden family secret. Tremblay is amazing as the angry young Leo and she holds this film together. And Brillant is brilliantly understated as Steve. While not perfect, Fireflies… is a good, realistic drama.

Midsommar

Wri/Dir: Ari Aster

Dani (Florence Pugh: Fighting with my Family) is a young woman in a long-term relationship with her non-commital boyfriend. Christian (Jack Reynor: Sing Street) likes Dani but doesn’t like all the responsibilities. He’d rather drink beer and smoke cannabis with his buds from college: Josh (William Jackson Harper: The Good Place) an anthropology keener; Mark (Will Poulter: The Revenant, We’re The MIllers) a self-centred twit, and Pelle (Vilhelm Blomgren) who’s from Sweden. They’re planning a summer solstice bro trip to Pelle’s home village, where there’s lots of beautiful blond women, halucinagens and free sex. But when Dani suffers an unspeakably horrible loss, they let her come too.

At first glance the isolated village seems like a happy commune full of flower children, a holdover from the sixties. They sleep and eat communally, select their sex partners, and wear handwoven traditional outfits. They still sing their ancient songs, and write their scriptures (predicted by a handicapped oracle) using ancient runes. But in fact, their beliefs predate the hippies by centuries, dating back to pre-Christian days. The friends arrive to a warm welcome but soon reveal themselves as the prototypical “ugly Americans”, photographing sacred texts, urinating on an ancestral tree, and just generally behaving horribly. But the Swedes aren’t so nice either. And when people start disappearing, one by one, they suspect foul play. Will Dani and Christian’s struggling relationship survive? And can the Americans get out of this crazy place alive?

Midsommar is a fantastically strange horror/comedy/drama, Director Ari Aster second film after the great Hereditary, but is totally different from that one. In fact it defies all usual classifications. It’s a horror movie, but shot in bright sunlight, full of happy songs and dances. It also totally reverses the moralistic streak of most American horror movies. Victims aren’t “punished” for drug use or premarital sex; in fact that’s encouraged. Rather, it’s about naïve people facing a much older and darker world than they ever imagined. It’s scary, hilarious and grotesque, overflowing with intricate anthropological hints and winks. While definitely not for everyone, I love Midsommar.

It’s a weirdly perfect movie.

Midsommar is now playing in Toronto; check your local listings. The Fireflies are Gone and The Last Black Man in San Francisco both open today at the TIFF Bell Lightbox.

This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.

First loves. Films reviewed: Yesterday, Genesis

Posted in Canada, comedy, Coming of Age, Drama, Fantasy, LGBT, Music, Quebec, Romance, UK by CulturalMining.com on June 28, 2019

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

This week I’m looking at two movies – a fantasy musical and a coming-of-age drama. There are three adolescents in Quebec wondering where their loves will go; and one man in England wondering where She Loves You, Yeah, Yeah, Yeah went.

Yesterday

Dir: Danny Boyle

Jack Malik (Himesh Patel) is a singer songwriter trying to make a career in a tiny seaside town near Suffolk, England. His diehard manager Ellie (Lily James), whom he’s known since his school days is always on the lookout for new gigs. He left his teaching job to make it big, but he can count his fan base on his fingers. He just never gets a break. In fact he’s ready to pack it in when something unusual happens: a massive, worldwide electrical meltdown.

When it’s over, everything seems slightly different in unfamothable ways. The biggest of all is he discovers “The Beatles” never existed:  none of their songs were ever written or recorded. Jack is the only one who remembers their words and lyrics.

He makes no secret that these songs are famous and he didn’t write them, but since he’s the only one who knows them, it’s up to him to correct that imbalance. He sets out writing down everything he can remember, sticking them to his wall using post-it notes. And when Ellie lands him a spot on a local TV show, his song goes viral. He is approached by ginger-haired pop sensation Ed Sheeran (Ed Sheeran) who signs him up as his opening act. Soon Jack is headed for international fame, fortune and glory. A bitter manager takes over his account when Ellie retreats to her school teaching job, and the money starts pouring in. But is this what he really wants? And will he ever get the nerve to tell Ellie… what he really wants?

Yesterday is an enjoyable movie with an appealing, though largely unknown cast. Patel (from the UK soap Eastenders) actually sings his songs, and the supporting roles – like his foot-in-mouth assistant Rocky (Joel Fry) – are fun. The thing is, Yesterday seems like a typical netflix-type movie, the plot as an excuse to bolster a single flimsy “what if” premise (what if only one man remembered the Beatles?). The story just plays out. And Kate McKinnon is painfully miscast as the greedy LA manager: she treats a quasi-realistic movie like a Saturday Night Live skit, spoiling the tone of every scene she appears in. Even so, while Yesterday is overly simplistic, it’s still cute.

Genesis (Genèse)

Wri/Dir: Philippe Lesage (The Demons)

Guillaume (Théodore Pellerin) is a 16 year old at an all boys school in Montreal. He’s known for his sharp tongue and witty remarks. He’s the clear class leader, as likely to challenge an unfair teacher as he is to burst into old Québécois camp songs. He serves as a mentor to younger kids and a friend to all. But his status, reputation and friendship are all threatened when he drunkenly kisses his best friend, Nicholas, after a school party.

His older sister Charlotte (Noée Abita) is 18 and deeply in love. She’s dating Maxime, a smart kid from a well-to-do family. But all her feelings are shattered when he suggests they (meaning he) have sexual flings with other people. What the hell? She takes his words at face value and soon picks up Theo, a much older guy she meets at a dance club. She begins to realize she’s attractive and desirable – the world is her oyster, she can have whoever she chooses. But what should her limits be and what does she really want?

Felix (Edouard Tremblay-Grenier) is a kid with braces at a boys’ summer camp. They’re located just across from the girls camp, and the two sides get together for bonfires and music. He really likes a particular girl, Beatrice, but he doesn’t know how to approach her. So he asks his counsellor for advice. Is this true live or just a crush? And will Felix have a chance to spend time with her before they all go home?

Genèse is a beautiful, tender, realistic and funny coming-of-age story about three sets of teenagers at different stages of their lives. It delves into the meaning of first love at 13, 16 and 18… and the very-real dangers it might bring. The first two stories – involving brother and sister Guillaume and Charlotte – are told simultaneously, while the third, seemingly unrelated chapter is told seperately at the end of the film. (But they are all connected.)

The acting is superb and passionate, the music and images inviting. This is a great movie.

Yesterday opens today in Toronto; check your local listings. And Genesis is playing next week, July 5-7, in Toronto at the Royal Cinema as part of the Quebec on Screen series. (It’s also a chance to see Une Colonie, another Quebec film I reviewed here.)

This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.

Dogs and toys. Films reviewed: Child’s Play, Paris is Burning, Dogman

Posted in 1980s, Animals, Crime, documentary, Drama, Horror, Italy, Kids, LGBT, violence, Women by CulturalMining.com on June 21, 2019

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

Pets, toys and dressing up are the innocent parts of childhood that supply endless bouts if nostalgic memories. That’s also what makes them useful fodder for shocking or surprising scenes in adult movies. This week I’m looking at three movies – a horror, a doc and a drama. There are drag balls run by fashion houses, a dog kennel run inside a house, and a kid’s toy ruining another kid’s home.

Child’s Play

Dir: Lars Klevberg

Andy (Gabriel Bateman) is a hearing-impaired kid who has just moved into a low-rent apartment. No dad, no friends, no one to keep him company except a mean old cat. His mom (the hilarious Aubrey Plaza) is trying her best to raise him, but her thankless job in a big box store takes up most of her time. So when a disgruntled customer returns a defective new toy – a first-generation robot named Buddi – she sneaks it home and gives it to Andy as an early birthday present. Buddi – who calls himself Chucky – is the ultimate high tech best friend. Like Siri or Alexa, Chucky records everything Andy says or does and adjusts his personality to suit it. Problem is, this particular toy has a defect – it’s missing the digital safeguards that stop it from things like using foul language.

Andy starts to make friends with people in his building, like Detective Mike (a hapless cop who visits his elderly mother down the hall) and juvenile delinquents Pugg and Falyn. Together, they watch campy slasher movies on TV, laughing at the gory parts. But what they don’t realize is Chucky takes in everything at face value. Lacking a moral compass, the robotic toy sees that violence makes Andy happy, so he begins to replicate the actions just to please his best friend.

And as the unexplained dead bodies start to pile up, it’s up to Andy to stop the toy from killing everyone around him. Will anyone believe Andy that a kid’s toy is actually a homicidal maniac? And is Andy strong enough to stop him?

Child’s Play is an updated remake of the classic horror movie from the 1980s and its many sequels… and I think this version is even better. In the original, a voodoo spell puts an adult criminal’s evil soul into a kid’s inanimate doll who cynically manipulates the hapless child. But in this version Chucky is an actual robotic kid who genuinely wants to please his best friend, but is missing the parts that tell right from wrong. It’s also a cautionary tale about the dangers of the rampant technology, surveillance, and artificial intelligence controlled by huge corporations. It is also hilarious, with great acting, and horrifically grotesque scenes used for comic effect. It includes constant pop culture references, from Tupac to driverless cars. Child’s Play is a perfect dose of schlock for a Saturday night.

I liked this one a lot.

Paris is Burning

Dir: Jennie Livingston

If you’re looking for a way to celebrate LGBTTQQIAAP Pride Day with a movie, you cannot do better than watching the documentary Paris is Burning. Shot in the late 1980s when HiV was decimating the gay community, this movie shows the drag balls run in NY City by various competitive houses. It is shot from the inside, not as exploitation but as celebration of the players. It features the queens and kings of drag, mainly black and brown people, back when their world was kept down low. Since this film was made, many of its subjects have died of plague or were murdered on the streets (black and brown transwomen are  particularly vulnerable to violence.) These are people who have had an enormous influence on mainstream TV, music, fashion, language and culture.

Paris is Burning is definitely one of the ten best documentaries ever made, so if you have a chance, be sure to check out this newly-restored 4K version.

Dogman

Dir: Matteo Garrone

Marcello (Marcello Fonte) is a hardworking, dimunitive man in his thirties who lives in a run-down section of Naples. He is dark, wiry and scruffy. Marcelo is own as the Dogman, also the kennel where he cares for and grooms dogs. He is a respected member of the local business association and shares drinks with the other men in the piazza. And he hangs out with his best friend Simone (Eduardo Pesce). But friend ship doesn’t clearly describe their relationship.

Simone is a musclebound bruiser, a competitive boxer and cokehead twice Marcelo’s size. He bullies him, steals from him and forces him into embarrassing and often dangerous situations. Marcelo regards him with equal parts fear and awe. Simone is a selfstyled gangsta who needs a constant flow of cash to fuel his extravagent tastes and drug habit. Marcelo plays along, lending a hand for petty burglary in expensive mansions. But when Simone wants him to rob a shop in his own neighbourhood, he has to take a stand. Can Marcelo use his skill with animals to stop Simone from ruining his life? Or will this alpha dog prove to be too big to tame?

Dogman is a terrific drama, Matteo Garrone’s latest, about the period of unequal friendship of two men and tied to local loyalty. It’s funny tender, surprising and moving. Like all of Garrone’s movies, it’s shot on location in the same poor Naples neighbourhood, and with lots of local faces and dialect. Many of the roles are played by non-actors which gives it a gritty realism you can’t always get with movie stars. This is a great film.

Paris is Burning is now playing with Dogman at the Tiff Bell Lightbox. Child’s Play also opens today in Toronto; check your local listings.

This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.

Media. Films reviewed: Late Night, Fly Me to the Saitama

Posted in comedy, Japan, LGBT, Manga, TV, Women by CulturalMining.com on June 14, 2019

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

Spring film festival season continues in Toronto. The Japanese film fest is showing great movies at the JCCC (Japanese Canadian Cultural Centre), and the ICFF (Italian Contemporary Film Fest) which started just last night is showing films in Toronto and across Canada.

This week I’m talking about two new comedies, one that closed Inside Out, and another that’s opening at Toronto Japanese Film Fest. There’s a talk show host in New York who might lose her job, and a suburban freedom fighter in Tokyo who might lose his life.

Late Night

Dir: NIsha Ganatra

Katherine Newbury (Emma Thompson) is a late night talk show host on Network TV. She’s known for her erudite interviews, highbrow topics and funny monologues. She sticks to the tried and true, steering clear of gossip, pop culture and social networks. She’s a highly respected host and the only woman on late night TV.

She’s also tired, boring and tanking in the ratings. So much so, the network chief gives her an ultimatum: get with times or we’ll replace you. An offensive fratboy standup is already being groomed to take her place. What can she do?

In walks Molly Patel (Mindy Kaling), fresh from a chemical plant in Pennsylvania. She has no experience as a writer, but happens to be in the right place at the right time, and is hired to add some spark to a moribund, all-male writers’ room. But she faces a wall of sexist, priveleged white guys, who resent her intrusion. This has been a bastion of male writers for so long they have even co-opted women’s washroom!

And their boss, Katherine – the show’s host – is a petty dictator, who never talks to her writers but demands long hours and absolute obedience. Only the newly-hired Molly is naïve enough to flout the rules. Can Molly fit into an all-male workplace? And can she change Katherine’s mindset enough to set theshow on a new course… before she gets gets fired or the show gets canned?

Late Night is a clever look at late-night TV. While not a slapstick comedy, it does have a enough character jokes, awkward situations and one-liners (some work, some don’t) which keep you smiling if not always rolling on the floor. It follows the dynamics of a cruel but insecure boss trying to change, and the newby who keeps getting herself in trouble.

It also follows the two main characters’ lovelifes. Katherine has a faithful but reclusive husband (John Lithgow). Molly is initially hit on by writers from the show: the womanizer Charlie (Hugh Dancy) and the snobbish Tom (Reid Scott) who both think a woman writer is there to date, but not to take seriously.

Emma Thompson is believable as the talk show host and Mindy Kaling (she’s also the movie’s writer) is fun as the small-town, fish out of water.

I liked this movie.

Fly me to the Saitama (翔んで埼玉)

Dir: Hideki Takeuchi

It’s present-day Tokyo (sort of). It’s actually a feudal version dressed in modern garb, patrolled by violent Robocop storm troopers dressed in clingy, white bodysuits who capture and expell any “outsiders” from beyond the city’s borders. The most reviled place of all is Saitama, a suburban prefecture just to the city’s north. It’s known as Dasai-tama, Urusai-tama, Mendokusai-tama, Ahokusai-tama (meaning out of fashion, inconvenient, noisy… and worse.) Your status is determined by your Urban Index Rating.

Momomi (Nikaido Fumi) is the Student Council President at the prestigious Hakuhodo Academy. He’s an arrogant snob who dresses like Little Lord Fauntleroy with a blonde pageboy haircut. He is the son of the deeply corrupt, hereditary governor of Metropolitan Tokyo and next in line to take the throne. And he is served by his mysterious butler Akutsu (Iseya Yusuke) who anticipates his every move.

But order is threatened by the arrival of an unknown wealthy aristocrat named Rei (Gackt). Rei spent many years in America and can distinguish the various neighbourhoods of Tokyo merely by sense of smell. And his urban rating is higher even than Momomi’s. Momomi is furious and wants to have him killed… until their first kiss. Momomi is swept away in his arms. But Rei has a secret…

He’s actually from Saitama! If the secret is revealed he will be humiliated, expelled from Tokyo, or maybe even killed. Can Momomi accept Rei’s true identity? And can Rei overthrow the powers that be and free the people of Saitama forever?

That’s a very quick and simple sketch of this movie, but it’s actually about so much more. Fly Me to the Saitama is an absolutely bizarre, over-the-top satire of urban culture, based on a gag-style manga from the 1980s. The characters all wear elaborate rococo costumes and multi-coloured, enormous hairstyles. Like in many girls comics (aka shojo manga) both of the main romantic characters are boys, in this one Momomi is played by a woman. And the whole movie is loaded with plays on words, and references to old Japan. Still, with a bit of suspension of disbelief, I think it’s totally understandable.

It’s directed by Takeuchi Hideki, who brought us Thermae Romae, about a Roman centurian who is magically transported through time from a Roman bath to a Japanese sento. This movie is also fantastical and bizarre, and will keep you shaking your head in bewildered wonder. Fly Me to the Saitama is already smash hit in Japan, one of the few local film successes so far this year, grossing over a billion yen. If you’re into Japanese pop culture, this movie is a must-see.

Late Night opens today in Toronto; check your local listings. Fly me to the Saitama is playing at the Toronto Japanese Film Festival.

This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.

Daniel Garber talks with immigration attorney Judy Wood about the new biopic Saint Judy

Posted in 2000s, Biopic, Drama, L.A., Migrants, Movies, Refugees, Resistance, Trial, US, violence, Women by CulturalMining.com on June 14, 2019

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

It’s the early 2000s in L.A. Judy Wood (Michelle Monaghan), an immigration lawyer and single mom, discovers a shocking case. A young woman – a school teacher who defied Taliban oppression in Afghanistan – is incarcerated in California awaiting deportation. But sending her back to her home village would be like a death sentence. Why isn’t she considered a refugee? Trouble is women are not a minority group, and her religion, language and nationality – Muslim and Pashtun – are the same as her oppressors. Which means she’s not a “persecuted minority” and doesn’t qualify for asylum. What can she do?

Saint Judy is a new biopic based on real events that tells the story of this important trial. It centres on Judy Wood, an immigration lawyer – still practising in LA – who changed the Law of Asylum.

I spoke to Judy in Los Angeles via telephone from CIUT 89.5 FM in Toronto.

Saint Judy has its Canadian Premier on Thursday, June 20 in Oakville, and its Toronto VOD launch on Friday, June 21 at the Revue Cinema in a benefit for Sistering.  Judy Wood will appear in panel discussionsat both screenings.

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Women in the Arts. Films reviewed: Wild Nights with Emily, The Souvenir, Mouthpiece

Posted in 1800s, 1980s, Addiction, Drama, drugs, LGBT, Movies, Poetry, Romance, Toronto, UK, Women by CulturalMining.com on June 7, 2019

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

Spring festival season continues with the Toronto Japanese Film Festival which starts today and the Italian Contemporary Film Festival beginning on Thursday.

This week I’m looking at three new movies about women in the arts. There’s a poet in New England who can’t get published, a filmmaker in Sunderland who can’t finish her movie, and a writer in Toronto whose mind is torn asunder.

Wild Nights with Emily

Wri/Dir: Madeleine Olnek

It’s the 1860s in Amherst Massachusetts. Emily Dickinson (Molly Shannon) is an unmarried woman who rarely ventures outside. She has everything she needs her big wooden home. She can wear the same white dress every day, listen to piano music, and bake shortbread, which she gives to the local kids who gather outside her window. And whenever a thought occurs to her she scribbles it down on a scrap of paper. But these are more than random thoughts, they are poems, and ones that flout conventional writing. They don’t have titles, they don’t rhyme and they’re written in free verse (before that term even existed).

That’s what she does during the day. Night time is whole other ball game. You see, far from reclusive and repressed, Emily Dickinson has a passionate ongoing relationship with her sister in law, Susan. Susan (Susan Ziegler) is a childhood friend who married her brother Austin, but has a sexless marriage. Instead she shares her bed with Emily. And much of Emily’s poetry consists of love letters sent to Susan. But despite all her efforts, just a handful of her poems were published during her lifetime. Instead they were gathered together by her brother’s mistress Mabel (Amy Seimetz).

Wild Nights with Emily is a historical comedy, but it’s far from a spoof. It’s a meticulously reworked view of Emily Dickinson. It restores her same-sex relationship that had previously been expunged and erased – literally – from her original manuscripts. The actual handwritten poems appear on the screen in this movue, at times word by word. While at times the film has an academic, PBS feel to it, and the acting is somewhat mannered, I liked it anyway.

It manages to render her wonderful poetry to the big screen while keeping a light and irreverent tone.

The Souvenir

Wri/Dir: Joanna Hogg

It’s the early 1980s in England.

Julie (Honor Swinton Byrne) is a well-to-do young filmmaker in her early twenties. She’s smart and cute with an asymmetrical boyish haircut. She’s trying to shoot her first movie in the northern port of Sunderland. She observes all, quietly taking snapshots and recording film footage all around her, presenting her plans to the profs and producers she has to deal with. And she rents out space in her beautifully mirrored whitewalled apartment. But when she meets Anthony (Tom Burke) her world changes.

Anthony is older and more worldly than Julie, a louche dandy into velvet robes and pocket squares. He’s tall, pale and speaks in a blasé, elongated drawl. He gives her gifts of scanty lingerie and garters that fit his fantasies. They escape by train to Venice for sexy romps among renaissance frescos. She’s in his thrall.

But something is not quite right. She comes home early one day to find a stranger wandering around her home. Anthony is in constant need of cash. And unknown burglars ransacked her apartment stealing her jewelry and movie camera. Something’s off about Anthony. Hmm… worldly, pale, intense, elaborate clothing, secretive. Is Anthony a vampire? Nothing so exotic. He’s just a run-of-the-mill junkie, and threatens to pull her into that world. What will happen to their relationship? And will Julie ever complete her film?

The Souvenir is a beautifully shot, well-acted, semi-autobiographical drama. It incorporates long takes of natural scenes, uses mirrors and reflections, great period costumes and a nice eighties soundtrack. It combines Joana Hogg’s older film work and photos with new footage. So why don’t I like it?

It could be the genre – I’m not a great fan of addiction movies. Or it could be the endless conversations about nothing in particular. Or the lack of humour. Or the overly-restrained dialogue. But my main problem is it’s boring. While I can sympathize with the main character, there just isn’t enough going on. The filmmaking scenes and cuts to the movie-within-the-movie detract from the main story… which isn’t all that interesting to begin with. Two hours of nothing, however well executed, is just too long.

Mouthpiece

Dir: Patricia Rozema

It’s winter in downtown Toronto. Casandra (Amy Nostbakken, Nora Sadava) is a 30-year-old punk. Her idea of dressing up is a black sweater without moth holes. She greets her dates with a snarl and tells sex partners she isn’t into comitment. She works as a writer/bartender. But when her mother (Maev Beaty) dies suddenly from a stroke she is faced with her hardest piece ever… She has two days to write a eulogy for her mother’s funeral. Can she overcome her guilt, anger and self doubt in time to give a sweet heartfelt eulogy? Or will the upcoming funeral turn into the fiasco that everyone dreads?

Mouthpiece sounds like a conventional drama, but it’s anything but. Cass is played by two women simultaneously, noticeable only to themselves and the audience. The two halves of Cassandra’s soul sleep together in spoon fashion, share a bath and keep each other in check. But when there’s a crisis or internal debate all breaks loose, with the two Casses wrestling, punching and shouting, doing practically anything to get the other side to shut up. It’s a constant pas de deux, at times moving in absolute symmetry, or scrambling and climbing over each other like puppies.

Mouthpiece was originally a stage play written and performed by the two Cassandras, Nostbakken and Sadava. This explains their flawless fluidity of movement, their perfect give and take as the two sides compete and coalesce into one soul, movement that only comes from repeated performances. And as a movie, Rozema manages to capture a closeup intimacy you might not catch on stage. Mouthpiece works perfectly on the screen as a beautiful, funny and moving film.

Mouthpiece and Wild Nights with Emily all open today in Toronto; check your local listings. And The Souvenir playing as part of a Joanna Hogg retrospective with TIFF Cinematheque.

This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com

Bustin loose. Films reviewed: Ma, Rocketman PLUS ReelAbilities Film Festival

Posted in 1950s, 1960s, 1970s, 1980s, Disabilities, drugs, High School, Horror, Music, Musical, Psychological Thriller, Thriller, UK by CulturalMining.com on May 31, 2019

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

Spring festival season continues in Toronto with Inside Out and Reelabilities playing through Sunday. ReelAbilities is a film festival showing shorts and features (along with panel discussions) dealing with disabilities. They are made by actors and filmmakers with disabilities, and the characters or topics of the films touch on issues relevant to people with a wide range of abilities. This includes physical disabilities, deafness, and many others areas, ranging from Tourette’s to one of the most segregated and discriminated groups: people with intellectual disabilities. And the festival itself is designed and planned to make the movies accessible to all viewers, with subtitles on the screen and locations fully accessible to people who use wheelchairs.

This week I’m looking at two new movies, a musical and a thriller/horror. There’s a man who turns to music to overcome his stodgy and repressive upbringing; and some teenagers who turn to a surrogate mom to escape their restrictive parents.

Ma

Dir: Tate Taylor

It’s winter in small town America. Maggie (Diana Silvers) is a 16-year- old girl from San Diego starting at a new school. She just moved there so her single mom Erica (Juliette Lewis) could start a job as a cocktail waitress in a nearby casino. Luckily she quickly makes friends with the popular kids at school, a clique that includes the take-charge girl Haley (McKaley Miller), and their designated driver Andy (Corey Fogelmanis). A typical Saturday night consists of convincing a random adult to buy them alcohol, and then getting drunk at an abandoned rock pile on the outskirts of town. (Lots of fun.)

But things take a turn for the better when they meet Sue Ann (Octavia Spencer), a middle-aged assistant at a veterinary hospital. She says they can use her basement as their party headquarters, a place to listen to music, dance and get drunk. Word spreads quickly until every kid in town knows that’s the place where they can par-tay without grownup supervision — except Sue Ann, of course, whom they all call “Ma”. It’s a kids’ paradise. Or is it?

Maggie feels something is not quite right.

What they don’t realize is that all of their parents, even Maggie’s mom, went to high school together back in the 80s. Sue Ann went there too, something bad happened, and she wants payback. Is Sue Ann just lonely and enjoys reliving her teenaged years with local kids? Or is there something more sinister going on? And will the sins of the parents fall on their children?

Ma is a pretty good psychological thriller / teen horror movie. The casting is good, not just the main roles but even the small parts, like Allison Janney as the foul-mouthed animal doctor, Dominic Burgess as a flamboyant casino manager, and Luke Evans as Ben, a dickish security exec. But the story is a bit muddy, with the point of view shifting from Sue Ann, to Maggie to Erica. It’s not a spoiler to say this is a thriller/horror, so you know something bad is going to happen, but most of the movie is suspense leading up to the violence rather than the violence itself. Is it scary? More creepy than scary. Is it gory? A little, toward the end. And the story seems a bit lopsided, almost as unbalanced as Sue Ann herself.

While Ma is not perfect, I did enjoy watching it.

Rocketman

Dir: Dexter Fletcher

It’s England in the 1950s. Little Reggie Dwight (Matthew Illesley) lives with his standoffish RAF dad, his self-centred mum and his kindly grandmother. He’s an ordinary kid until the day his fingers touch the keys of a piano, and suddenly everything changes. He discovers he can play perfectly, by ear, any song he hears on the radio. He enrolls in the Royal Academy of Music and starts on the path to be a professional musician.

Later, in his twenties, he works as a backup musician for a touring American soul band. He learns about rock and roll and gets his first kiss… from a guy! And he learns to reinvent himself. Reginald Dwight becomes Elton John (Taron Egerton), and the pudgy, shy boy gradually becomes the flamboyant pop star. Together with his writing partner and platonic best friend Bernie Taupin (Jamie Bell) they head to London and then on to Los Angeles.

There he meets the handsome manager John Reid (Richard Madden), who takes Elton under his wing, promising incredible fame, fortune and success. But is it true love? Soon Elton John rises to the top, becoming the world’s biggest pop star playing to stadium-sized audiences… even as his personal life spirals into a decadent morass of depraved sex, drugs, alcoholism. Will Elton ever find peace with his parents, overcome his self doubt, come out publicly as gay, and find true love?

Rocketman is a biopic about Elton John from his life a a child until a low point midway through his career at a drug rehab centre. It’s also a musical. By musical, I mean an actual, old-school musical, one where the characters at any moment might burst into song accompanied by elaborately choreographed dance numbers. The dance scenes include everything, from 50s rock’n’roll dance routines, to abstract modern dance in a swimming pool, to writhing bodies at a 70s sex orgy.

The songs they sing tell Elton’s life by singing his (and Bernie Taupin’s) actual hit songs, rearranged chronologically to fit the storyline. I’m not a fan, to say the least, of most music biopics, and had very low expectations for Rocketman, but I actually really liked it. It’s a beautifully produced, seamlessly directed and highly stylized movie that moves without pause from start to finish. It has outrageous costumes, and great music – with the actors doing their own singing. And they’re really good at it, especially Taron Egerton.

If you like Elton John’s music – and even if you don’t – you won’t be disappointed by Rocketman.

Rocketman (which opened Inside Out) and Ma both start today in Toronto; check your local listings. ReelAbilities and Inside Out are both on through Sunday.

This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.

Light on their feet. Dykes in the Street, We are the Radical Monarchs, Gordon Lightfoot: If You Could Read My Mind, Diamantino

Posted in 1950s, 1960s, 1970s, 1980s, documentary, Fantasy, Feminism, Folk, LGBT, Movies, Music, Portugal, Protest, Refugees, Sports, Toronto, Women by CulturalMining.com on May 24, 2019

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

Spring festival season continues in Toronto with Inside Out LGBT Film Festival. It premiers queer movies and docs from around the world. This week I’m talking about films at InsideOut and some general releases.There’s a musician who’s a light foot, a soccer player who is light on his feet, and some women marching in solidarity, boots on the ground.

Inside Out LGBT Film Festival

Inside Out opened last night and runs for the next 10 days. It features some major releases, like the Elton John Biopic Rocketman, Mindy Kaling’s Late Night, and the latest chapters in Armistead Maupin’s amazing serial Tales of the City.

I’m not allowed to talk about any of those films yet, but let me tell you about a couple of great new docs on radical lesbians.

Dykes in the Street

Dir: Almerinda Travassos

…looks at the evolution of the dyke march in Toronto over the past 35 years. It started in 1981 with 300 women matching down Yonge and Bay streets organized by Lesbians Aganst the Right. This informative documentary combines talking heads with historical footage from the period. It talks to women who were there then and at subsequent marches ten, fifteen and thirty-five years later, as it becomes more inclusive and diverse.

Another radical lesbian documentary is shot in Oakland California:

We Are the Radical Monarchs

Dir: Linda Goldstein Knowlton

…tells about a new alternative to scouts and girl guides. Founded by Anayvette Martinez and Marilyn Hollinquest the Radical Monarchs go camping, learn fun songs and chants and earn badges. But they also wear berets reminiscent of the Black Panther Party, and learn about social justice activism and black and brown history in Oakland.  There’s even a Black Lives Matter badge! Adorable kids working for a good cause.

These are just a few of the dozens of great movies playing at InsideOut.

Diamantino

Wri/Dir: Gabriel Abrantes, Daniel Schmidt

Diamantino (Carloto Cotta) is a Portuguese soccer player at the top of his game. Like no other player, he can weave his way through a crowded field as if he’s all alone. His secret power? he sees other players as enormous fluffy pink dogs frolicking in the grass. That’s the source of his success. Diamantino is fit, popular and incredibly rich. He owns a mansion and a yacht. He’s also naïve, gullible and very stupid. Which makes him vulnerable to adversaries and villains alike.

When he first encouters refugees he is so upset he decides to adopt a teenaged boy from Africa who loves soccer. What he doesn’t realize is the “teenaged refugee” is actually the much older Aisha (Cleo Tavares) a gorgeous, lesbian secret agent. She is working undercover to find evidence of fraud and corruption in Diamantino’s many businesses.

Diamantino also has twin sisters, Sonia and Natasha (Anabela and Margarida Moreira), the real villains. They depend on their brother to finance their lavish lifestyle and don’t want to lose it… so they start spying on the spy. Something seems suspicious about that boy. Throw in some right-wing nationalists who want Diamantino to endorse their cause, and an evil scientist named Dr Lamborghini (Carla Maciel) – who drives a Lamborghini! –  and you can see all the obstacles our hero has to face. Can Diamantino survive a cruel world and remain a soccer great?

Diamantino is a bizarre and fantastical comedy, an explosion of pastel eye-candy across the screen. It’s told in an exaggerated storybook style, but deals with important issues. I can’t keep calling every movie “like nothing you’ve ever seen” but it’s safe to say this one really is.

I liked this one a lot.

Gordon Lightfoot: If You Could Read My Mind

Wri/Dir: Martha Kehoe, Joan Tosoni

Like many Canadians I’ve heard of Gordon Lightfoot and vaguely familiar with some of his songs. But before watching this documentary I knew little about his life. Originally from Orillia Ontario, he worked his way through the folk scene in Toronto’s Yorkville and NY City’s Greenwich Village. He studied music in LA and learned to compose and arrange at an early stage, and began writing his poetic lyrics even earlier. His widely covered songs range from traditional folk melodies, to country and western, pop, rock and even the long neglected ballad genre. (The Wreck of the Edmund Fitzgerald – a six-and-a-half minute retelling of a shipwreck the year before, became an unexpected smash hit in the 1970s.)

This movie fills in a lot of gaps about his music, his career, personal problems (like alcoholism) and the meaning behind many of his lyrics. It shows him composing, recording and performing his hits, giving an inside perspective rarely seen. My only criticism is it didn’t need the overwrought ass-kissery, celebrity musicians gushing about how great Lightfoot is. (He knows it, and we know it – it feels like a eulogy, and he’s very much alive.) Luckily, that only takes up about 10-15 minutes. The rest of the documentary is outstanding, with unequalled visual and sound research. They found a recording of him singing in the church choir as a teenager, and footage of him chatting with Alex Trebec in the 1960s. There are countless family photos and films and period shots of Toronto streets meticulously covering sixty years. Just amazing. And all his best songs and performances spread out from beginning to end, getting better and better as it goes.

I went in expecting nothing, and was blown away by this great music doc.

Gordon Lightfoot and Diamantino both open today in Toronto at Hot Docs cinema and theTiff Bell Lightbox, respectively. Check your local listings. Dykes in the Street and We are the Radical Monarchs are two of many fine movies at Inside Out over the next 10 days.

This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.

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