September 23, 2011. TIFF aftermath. Films reviewed: Where Do We Go Now?, Drive, Limelight

Hi, this is Daniel Garber at the Movies, for culturalmining.com and
CIUT 89.5 FM, looking at high-brow and low-brow movies, indie, cult,
foreign, festival, genre and mainstream movies, helping you see movies
with good taste, and movies that taste good, and what the difference
is.

With the closing of this year’s TIFF — with all of its orgiastic
excess of filmic stimulation, eye candy, and brain prods — you may be
suffering from withdrawal. But have no fear — there’s no need to go
cold turkey, because Toronto’s Fall festival season is positively
brimming with good smaller film festival to keep your addiction alive.

Coming soon are: Toronto After Dark, the Toronto Palestinian Film
Festival, Planet in Focus, the Real Asian Film Festival, and the
European Union Film Festival, among others. And TIFF itself continues
on all year, showing their programmed films at the Lightbox. So if you
missed a good movie at TIFF, even if it doesn’t get a wide release,
you may be able to catch it later on in the year.

But first, the awards. Phillipe Felardeau won the Toronto Best
Canadian feature prize for Monsieur Falardeau — and it’s already gone
on to become Canada’s entry for a Best Foreign language Film Oscar.

The People’s Choice Award at TIFF is often used as an indicator of
who’s going to win a Golden Globe and later get nominated for an
Oscar. Past years’ winners include Slumdog Millionaire, The King’s
Speech, and Precious. It’s voted on not by a panel of judges, but by
the moviegoers at the festival themselves. What this also means is
that sometimes a completely unknown movie — one with no “buzz” at all– can come out of left field, and take this award.

This year’s surprise is a film out of Lebanon, called:

Where Do Go Now? (Et maintenant, on va où?)
Dir: Nadine Labaki

The movie takes place in a small village, a town divided equally
between Muslims and Catholics. It’s surrounded by landmines, and all
too often, people get shot or blown up. Up at the top of a hill is the
graveyard where women dressed in black from both sides meet to bury
the dead. The town itself is peaceful, and after some brave kids
weather the landmines to set up an antenna, the mayor declares it’s TV
night in the town square, and everyone gathers to watch the blurry
movie.

The danger, though, is that the fragile peace will break, and the men
will start killing each other again in reprisals. So the women of the
village formulate a plan: anytime news about violence reaches the
village, they will hide it or distract the men. Gradually — with the
cooperation of the Priest and the Imam — their plans escalate and
their schemes get more and more elaborate. They stage religious
miracles, and even secretly bring in Eastern European strippers –
anything to hide the fact that someone in the village was killed in an
incident.

Will it work? Can they create an island of piece in turbulent Lebanon?
And will their final, shocking surprise serve to jolt the men away
from their never-ending violence?

I thought the movie had an extremely slow beginning, with a handmade
feel to it – sort of like an even-lower-budget Big Fat Greek Wedding
meets Little Mosque on the Prairie. It’s a comedy, but a lot of the
jokes fell flat. And it’s a musical, but some of the songs just don’t
translate well. The ensemble plot, with dozens of characters, leaves
you confused until you can figure out who everyone is.

That said, in the second half, when the pace picks up and the story
gets interesting, it becomes good. And the ending is just great –
clever and imaginative, and leaves you with a much better feeling
than you came with. Nadine Labaki – who is also a member of the cast – is
the first female director to win the TIFF People’s Choice award, and
it’s nice to see her touching story about an important topic given a
boost. I’m curious as to where the movie will go now.

Another movie that opened at the festival is

Drive
Dir: Nicolas Winding Refn

Ryan Gosling plays this guy in a satin jacket who drives cars around,
plain-looking cars but with souped-up engines that can outgun any
police car. He can tumble a car, flip it over on a highway, and
still remain absolutely calm, a Japanese toothpick still in his mouth. He’s the
strong silent type, good at heart. By day, he works in a garage, and
is sent out by his shady boss Shannon (Brian Cranston) to do movie
stunts. (This is LA, so, of course,  it’s always about the movies.) And by night, he
serves as the driver for bank heists and robberies.

He falls into almost a family relationship with pretty waitress Irene
(Carey Mulligan), and her son, little Benicio, and takes them for
drives around the city. But when her husband, Standard, is released
from prison, his good life starts to fall apart and the violence
builds. He becomes embroiled in a scheme involving sinister gangsters
Rose and Nino (Albert Brooks and the great, neanderthalic Ron
Perlman). He ends up holding a dufflebag with a million dollars in
stolen money. What should he do with it? Will he settle down as a
champion stock car racer? Or will violence rule the day?

This is a fantastic — though sometimes horrifically violent, and
weird – movie. (Every once in a while you think – what is this? Is
this for real? Who are they trying to kid? You lose the connection for a moment, but then you slip right back into it.) It looks like a rejig of an 80’s movie like Thief,
with the driving bass (bubbadubba dubbadubba bubbadubba…) background music, and the
night scenes with glowing lights all around. The movie titles are
scribbled, Andy Warhol-style, in hot pink, and strange Eurodisco
dominates the soundtrack. The violence is almost comical, though
bloody. This is NOT your usual action thriller, but a clever, Danish
take on LA film noir. Great movie.

Next, another look at the louche underculture, this time in Manhattan
in the 90’s. A documentary

Limelight
Dir: Billy Corben

Peter Gatien, a Canadian nightclub promoter who lost an eye in a
hockey game as a kid, was known for his black eye patch, his canny
business practices, and how he had his hand on the pulse of all of New
York clublife in the 80’s and 90’s. He was a behind-the-scenes guy,
but he brought in demimonde celebs – the club kids – to bring in the
cool crowd. He opened famous places like Tunnel, the Palladium and
Limelight (not so affectionately known as slimelight by clubgoers) a
club opened inside of a church.

So everything’s going good, until Giuliani, the law and order supreme,
was elected mayor of New York. But when the drug of choice changed

from coke to MDMA to crack cocaine, so did the mood in the clubs, from

selfish and driven, to touchy-feelie, to insane. Giuliani vowed to
“clean up” the city. And he despised nightclubs, sex and dancing as
musch as drugs. Used to be the people in the burrows and New Jersey
would travel into the city on weekends for fun. By the end of his
reign, the term bridge and tunnel crowd seemed to be a better
description of the people in Manhattan who were so desperate they’d
migrate out of the city just to dance all night.

Well, Giuliani chose Peter Gatien, as his nemesis, and launched a
full-scale attack, an elaborate scheme to paint him as a drug dealer
and criminal. This movie traces, in minute detail, all the players
involved in his trial – the rats, the dealers, the feds, the femme
fatale, and the legendary club kids like murderer Michael Alig.

It’s an interesting movie, about a fascinating topic, with a great
segment giving a history of the evolution of music, nightclubs, and
drugs, worth seeing, but it’s just too long. It gets bogged down with way too many
talking heads against acid-green lighting.

Drive is playing now, Limelife opens today, and  Where Do We Go Now?
won the 2011 People’s Choice Award at TIFF.

This is Daniel Garber at the Movies for CIUT 89.5 FM, and on my web
site, Cultural Mining . com.


3 Responses

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  1. Bassam Fattouh said, on September 30, 2011 at 6:36 am

    where do we go now?!!! overcame everybody’s expectations congragulation 🙂 check out
    this review about the movie you would like it
    http://bassamfattouh.wordpress.com/2011/09/28/where-do-we-go…bassam-fattouh/


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