Making history. Films reviewed: Mark Felt: The Man Who Brought Down the White House, Goodbye Christopher Robin, BPM (Beats Per Minute)

Posted in 1920s, 1970s, 1990s, France, H.I.V., Kids, LGBT, Poetry, Politics, Pop Culture, Protest, Watergate, WWI by CulturalMining.com on October 13, 2017

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

It’s festival season in Toronto: Reel World festival brings the world’s untold stories to the big screen; and Toronto After Dark has horror, sci-fi and fantasy pics that make you laugh your ass off or will scare your pants off. Toronto after Dark and Reel World are both on right now.

But this week I’m looking at historical dramas based on real events. We’ve got protests in Paris, politics in Washington, and Pooh in East Sussex.

Mark Felt: The Man Who Brought Down the White House

Dir: Peter Landesman

It’s June, 1972 in Washington DC. Mark Felt (Liam Neeson) a top-ranked FBI agent, notices something strange: burglars were caught breaking into the Democratic National Committee in the Watergate Hotel. And they weren’t stealing money, they were looking for files. And the burglars are former Federal agents. Who is behind it all? Felt investigates. The trail leads to the White House where Richard Nixon is running for reelection. But his investigation is stifled by a suspicious political appointee named Gray. He’s the provisional head of the FBI – J. Edgar Hoover just died — and seems to be taking orders from the White House. This is a no-no. And the White House seem to know everything the FBI is doing – is there a leak in the Bureau? So Felt decides to do some leaking himself. He secretly meets with reporters from Time Magazine and the Washington Post to pass on crucial information. Will the truth about Nixon and Watergate come out and can Felt keep his identity a secret?

No spoilers here: you’ve probably heard of the Watergate scandal that brought down Nixon. And about Deep Throat – the mysterious source journalists Woodward and Bernstein used to break their stories. And the Senate Watergate Hearings which investigated it all. This movie, though, looks at it from an entirely new perspective: as a power struggle between the White House and the FBI, personified by Felt a career federal agent.

It’s also about Felt’s private life, with his depressed, alcoholic wife Audrey (Diane Lane), and his hippy daughter who disappears and who Felt thinks is a member of the Weathermen Underground. At its worst, this film seems to paint the FBI – which has plenty of its own skeletons in its closet — as the saviour of a nation. But at its best it captures the mood of a superb thriller, based on a huge, real-life conspiracy.

Goodbye Christopher Robin

Dir: Simon Curtis

A.A. Milne (Domhnal Gleeson) is a popular playwright in London’s west end just back from WWI. On the surface he’s full of witty patter, all whizbang and tiddley poo. But he’s actually he’s shell-shocked: Champagne corks or popping balloons send him diving for cover. He’s so shaken up he moves out to the country where he hopes to write an anti-war book in peace. His flapper wife Daphne (Margot Robbie) makes it clear she would much rather be partying in London. Milne has writer’s block. And the crying baby makes the situation even worse. They hire a nanny, Olive (Kelly Macdonald) to help raise their son Christopher Robin whom they call Billy Moon. But when Daphne moves back to London, and Olive to her dying mother’s bedside, Milne is suddenly left alone with a son he barely knows (Will Tilston). He has to talk to him, cook for him and entertain him.

And that’s when some serious father-son bonding kicks in. They go on adventures in the Hundred Acre Wood, climb trees, make up stories and play with Billy Moon’s stuffed animals – a teddy bear, a piglet, and a donkey. He invites his friend — an illustrator — to draw pictures of it all. And Milne begins to write poems. He sends one, Vespers, about their son praying before bed, to Daphne in London to show her he’s writing again. She submits it to Vanity Fair and soon it’s a huge hit. Milne publishes his poems and stories and, suddenly, his son and the toys he plays with – Winnie the Pooh, and Kanga and Roo – become celebrities, famous around the world. The boy is dressed up and trotted out for book tours and toy stores and radio interviews. And this upsets him. Strangers know everything about his private life and his imaginary inventions. They think he’s a fictional character come to life, but he’s not Christopher Robin. He’s Billy Moon. Can the family stop this tide of fame before their lives are ruined?

Goodbye Christopher Robin is a touching story about the reality behind the beloved childrens’ books. It’s also the contrast between the British stiff upper lip – no touching or showing emotion – and all the humour and imagination yearning to escape. The movie is a bit slow in parts, and sometimes succombs to nostalgia and sentimentality, but I liked it anyway. And it also has beautiful locations and great costumes.

BPM (Beats Per Minute)

Dir: Robin Campillo

It’s the early 1990s in Paris, AIDS is at its peak and people are in a panic. The government makes speeches but does nothing and big pharma is sitting on crucial medication. Meanwhile, people are dying every day. So a group of activists launch a protest group called Act Up Paris (after its US counterpart) and spring into action.

They storm into government meetings and pharmaceutical offices, throwing plastic sacs of fake blood at the walls. Then they stage mass die-ins, falling to the floor until they’re dragged away by police. They meet in university lecture halls to hash out their disagreements: men and women of all ages and sexualities. But will their actions fall on deaf ears?

BPM is a story about the group, but especially two of its members, Sean –a scrawny, cynical latino (Nahuel Pérez Biscayart ) and Nathan, a student from a small town (Arnaud Valois). After a spontaneous first kiss – when they take over a high school to teach safe sex – they move in together: Sean is HIV positive, Nathan negative. Their relationship is intense and passionate, partly because Sean might die at any moment. BPM is a long and detailed – but very moving – look at a civil disobedience movement. It captures the fluidity and uncertainty of life and love in the midst of a crisis.

BPM, Mark Felt: The Man Who Brought Down the White House and Goodbye Christopher Robin all open 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.

Heimat Films. Movies reviewed: Schultze Gets the Blues, Window Horses

Posted in Animation, Canada, Clash of Cultures, comedy, Germany, Iran, Movies, Music, Poetry by CulturalMining.com on March 10, 2017

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

Heimat is the German word for home, homeland and fatherland… with hints of blood and soil. It’s also the name of a particular postwar film genre. Backed with strong American encouragement it helped Germans forget their economic problems and troublesome past, and look blithely forward toward a better tomorrow. Heimat films were made in southern Germany and popular in Bavaria, Austria and Switzerland, depicting traditional small towns filled with girls in blonde pigtails. Heimat films are having a comeback in contemporary Germany, perhaps in response to Conservative governments and feelings of turmoil and insecurity. They concentrate on a mixture of traditional, homogeneous, smalltown Germany, so-called authentic culture, and a longing for a simpler past. Toronto’s Goethe Films: Heimat Now series is running until March 14th.

This week I’m looking at movies about home. There’s a comedy about German man whose accordion leads him to zydeco; and an animated feature about a Canadian woman whose poems lead her to Shiraz.

Schultze Gets the Blues

Wri/Dir: Michael Schorr

Schultze (Horst Krause) is a miner in a small town Germany. This town is so small that the radio traffic report is just a long pause. The village is dominated by a railroad crossing, a motorcross track and an enormous slag pile, expelled from the mine where Schultze works with his two friends Jurgen (Harald Warmbrunn) and Manfred (Karl Fred Muller). But when the three men retire they find they have nothing to do. Chess games end in fights, and trips to the local pub means just the same old faces, over and over.

At least Schultze has his garden gnomes and his trusty accordion. Like his father before him, he’s been entertaining townsfolk with his polkas for two generations. They’re even planning on sending a cultural emissary to its twin city in Texas. Nothing ever changes, until one day, out of nowhere, he hears accordion music on his radio that isn’t quite right. It disturbs him. It’s not a polka, it’s faster, jumpier, and catchier. What is this Amerikanische music? It has entered Schultze’s brain and will not go away. Locals listen in horror and shout the N-word at him. So Schultze sets off for the swamps and bayous of America in search of Zydeco. And he finds the people in small town Texas a whole lot like the ones he left back home.

Schultze Gets the Blues is a simple, endearing comedy about a big-bellied man looking for meaning in music. I have to admit watching this movie felt, at first, like watching paint dry. I guess I’m a city boy used to a faster pace. But once I adjusted to the slower small-town rhythms, it was funnier, fascinating, almost profound. I ended up liking it.

Window Horses

Wri/Dir: Ann Marie Fleming

Rosie Ming (Sandra Oh) is a young woman with pigtails who lives in Vancouver but dreams of Paris. Her mom died, and her dad abandoned her when she was just a little girl so now she lives with her kind but overprotective grandparents.

She works in a fast food joint, and loves poetry, berets and the romance of far-off France. She writes down the words that come to her as she strums at her guitar, and publishes a collection of these poems at a vanity press. Imagine her surprise when she’s invited to a poetry festival far away. Not in Paris, France, but in Shiraz, Iran. With her grandparents consent she arrives there, a Chinese-looking Canadian dressed in a black chador, the most conservative type of Iranian dress, a combination black hijab and full-length gown.

At the poetry festival, she seems out of place. Iran is a land of poetry and Shiraz its poetic capital. At poetry slams she tries to understand what she hears, but the poems in Farsi, German and Chinese evade her. Gradually she meets people who had heard of her… through her father. Far from abandoning her, she discovers her dad was forced to leave her and kept away from her by outside forces. Not only that, but he was Iranian, loved poetry and once lived in Shiraz. His story, and its connection to Rosie May is gradually revealed through the music, the poetry and the people who seek her out. But will she ever discover the truth about her Iranian father?

Window Horses is a visually and musically beautiful movie, portraying a naïve Canadian woman exposed to a colourful and culturally rich country. This is an animated film with simple drawings. Rosie is a stick figure with two lines for eyes, who almost disappears in her Chador. Others have faces decorated with oblong jowls and curlicue eyes. Animation shifts from traditional two dimensional figures to sepia -coloured 3-D frescoes. Voices are provided by Sandra Oh as Rosie, with Don McKellar, Ellen Page and Shohreh Aghdashloo in other roles.

I like this movie.

Window Horses starts today in Toronto; check your local listings. And Schultze Gets the Blues is playing at the Heimat Now series at the Goethe Institute in Toronto.

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 filmmaker Ross Sutherland about his new documentary Stand By for Tape Back-Up at Hot Docs

Posted in Cultural Mining, documentary, Movies, Poetry, Pop Culture, TV, UK by CulturalMining.com on May 22, 2015

Ross Sutherland interview with Daniek Garber 1 © Jeff Harris for culturalminingHi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

Alladin had his magic lamp, King Arthur his Excalibur. What do we have to define ourselves? What talismans can protect us against outside forces? Or can our lives be summed up as a list of “likes” on Ross Sutherland interview with Daniek Garber 3 © Jeff Harris for culturalminingFacebook?

Well one man in the UK discovered his lost history and the meaning of life in a most unusual place: a dusty, plastic VHS tape at his grandfather’s house. It was viewed, reviewed and pondered. It contained the fears, memories and nightmares of his childhood, as seen on broadcast TV.

Stand By for Tape Back-Up is the title of a new autobiographical documentary having its world premier at Hot Docs, Toronto’s international documentary film festival. But it’s not like any conventional documentary you’ve ever seen.

It consists entirely of VHS footage of movies and Ross Sutherland interview with Daniek Garber 2 © Jeff Harris for culturalminingtv shows — from Michael Jackson music videos to clips from Ghostbusters and Fresh Prince of Belair — played again and again with the unseen filmmaker’s voiceover. Rewinds, pauses and fast forwards guide the viewers to new heights of pschedelic rapture and and the depths of abject confusion. It’s hilarious, haunting, terrifying, profound, poetic… and extremely whack.

I spoke to Ross Sutherland in Toronto on location at the Hot Docs Media Lounge.

Photos © Jeff Harris for Cultural Mining.

%d bloggers like this: