Runaways. Films reviewed: Across the Waters, Wonderstruck

Posted in 1920s, 1940s, 1970s, Denmark, Fantasy, Jazz, Kids, Manhattan, Movies, Nazi, WWII by CulturalMining.com on October 20, 2017

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

Film Festival season continues in Toronto. Planet in Focus is an environmental film festival that bring eco heroes – like astronaut Roberta Bondar – to Toronto along with amazing documentaries from around the world. Everything from a grocery co-op in Brooklyn to a plastic recycling plant in Shandong, China to Genetically Modified Organisms, which are, well, everywhere. Go to Planetinfocus.org for more information.

ImagineNative is indigenous films and media arts, including an art crawl around the city, a wall is a screen, and many workshops, breakfasts and events. It has scary movies, westerns, docs, dramas, animation and so much more. Go to imaginenative.org for details.

This week I’m looking at two movies about people running away. One has a boy and a girl running away to New York City to find family. And the other has a father fleeing Copenhagen to save his family.

Across the Waters

Dir: Nicolo Donato (Brotherhood)

It’s 1943, in German-occupied Copenhagen. It’s an uneasy peace, but because of an agreement the Germans leave the Danes alone. Arne (David Dencik) is a guitarist in a jazz band. He is passionately in love with his wife Miriam (Danica Curcic) and they spend all their free time having sex. But only after they put their 6 year old son to bed. Jacob (Anton Dalgård Guleryüz) likes listening to Danish poems and playing with his teddy bear. Everything is going fine – no need to worry about the Nazis; this is Denmark, not Poland. Until that knock on the door comes one night – the Germans are coming! Run! Now!

The family is Jewish and the Nazis are there to take them away.

There’s only one way to escape; and that’s by boat to neutral Sweden. But how? They make their way north to a small port called Gilleleje, where they hear the fisherman are helping people across the sea. But when they get there things aren’t as good as they hoped.

One fisherman named Kaj is demanding high fares. But Arne and Miriam are nearly broke. There are way too many refugees in the town to keep them a secret from the Nazis. While some of the locals – the police chief, the pastor – are risking their lives to save fellow Danes, others have questionable motives. Who can be trusted, and who is collaborating? And will the family escape to Sweden?

Across the Waters is a fictional retelling of a true story. The movie is Danish but it was shot in Ireland to give it that period, seaside look. I always like a good WWII drama, and there have been some great Danish films, like Flame and Citron and Land of Mine, that deal with the topic. This one is smaller and more of a family drama than an action thriller, but it does keep the tension and suspense at a high level. (Including a scene reminiscent of Melville’s Army of Shadows.)

Worth seeing.

WonderStruck

Wonderstruck

Dir: Todd Haynes

It’s the late 1970s in Gunflint Lake, Minnesota. Ben (Oakes Fegley) is a 12 year old boy who lives with his aunt’s family. He suffers from strange dreams since his mom, a librarian, was killed in a car accident. Some nightmares involve being chased by wolves, but others are stranger still. They tell a continuous story, night after night, and they’re silent, and in black and white — just like an old movie.

These dreams tell a parallel story about Rose (Millicent Simmonds) a 12-year-old girl who lives in her father’s mansion in 1927 like a bird in a gilded cage. He’s a rich, divorced man in Hoboken, New Jersey. Rose’s head is in the stars – she spends most of her days reading title cards at silent movies or collecting photos she cuts from magazines. She’s obsessed with a certain pale-skinned movie actress named Lillian Mayhew (Julianne Moore).

Rose doesn’t go to school. But when she discovers her local theatre is switching to talkies she she knows it’s time for a change. She’s deaf and can only communicate by writing things down or reading words on a screen. So she bobs her hair and takes the ferry into Manhattan where she hopes to find the legendary actress.

Ben, meanwhile, is an orphan. His mom never told him who his birth father was. But looking through her things he finds an old bookmark with a message. It was tucked into a book about a museum collection, and the message was written by someone named Danny who visited their town before he was born. Could this be his dad?

But when he tries to call him up long distance, lightening strikes — literally. The electric shock travels through the phone line, leaving Ben deaf (just like Rose). But he catches a bus to New York City anyway, arriving at the Port Authority carrying just the name of a bookstore and a handful of cash. There he meets another 12-year-old named Jamie (Jaden Michael) who befriends him and says he’ll help him find his (possible) dad.

Jamie gives Ben a place to stay… a storage rooms at the Museum of Natural History (where Jamie’s father works). Will Ben find his dad? And will Rose find the movie star? Can two deaf 12-year-olds survive in a huge city? And what connects the two runaways?

Wonderstruck is a wonderful kids movie about seeking the unknown. It’s full of dreams, coincidences, and flashbacks, too many for it to be a real story. But it works great as a kids’ fantasy. It’s also beautifully made, using amazing animated paper models to tell part of the story. And through ingenious special effects, it incorporates the two main characters into what looks like period footage — of streetlife in New York in the gritty but colourful 70s,  and the fuzzy black-and-white 20s.

Just wonderful.

Wonderstruck opens today in Toronto; check your local listings. Across the Waters is playing Sunday afternoon as part of the Chai Tea and Movies programme. Go to tjff.com for details.

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

Goethe Films: Margarethe & Barbara. Films reviewed: Hannah Arendt, Rosa Luxemburg, Marianne & Juliane

Posted in 1910s, 1960s, 1970s, Germany, melodrama, Movies, Nazi, Terrorism, WWI, WWII by CulturalMining.com on September 29, 2017

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

Margarethe von Trotta is a leading German director and one of the only women in the New German Cinema (Neuer Deutscher Film) of the 60s, 70s and 80s. She co-wrote and co-directed (with Volker Schlöndorff) the first commercially successful film of that movement – The Lost Honour of Katharina Blum. Though her films are about dynamic women and told from a female point of view, von Trotta has distanced herself from some schools of feminist cinema. She creates movies about women, but not “Frauenfilm” (women’s movies).

She started her career as an actress, so she knows how to draw amazing performance from her actors. And she has a decades-long working relationship with one actor in particular: Barbara Sukowa.

Barbara Sukowa is a reknowned actor with a beautiful, square face that she completely transforms to match each character she portrays. She can play a role as both passionate and restrained, her emotions churning just beneath the surface.

This week I’m looking at three great films (based on historical figures) directed by Von Trotta and starring Sukowa. They’re part of a special series called Goethe Films: Margarethe and Barbara playing on the 3rd, 5th and 12th of October at the TIFF Bell Lightbox. There’s a melodrama about a revolutionary, a family drama about a terrorist and her sister, and an intellectual drama about a journalist-philosopher.

Hannah Arendt (2012)

It’s the 1960s in New York city. Hannah Arendt (Sukowa) is German-born writer and philosopher who is part of the intellectual scene in that city. She studied philosophy under Heidegger – and was his lover — but when the Nazis came to power she was stripped of her credentials as a Jew, while he embraced Nazism. She fled to France and later the US. Now she is offered a strange assignment by The New Yorker magazine – to cover the upcoming trial in Jerusalem of the notorious Adolf Eichmann. Eichmann was one of the main architects of the Holocaust and the murderer of millions. He testifies in a glass booth. Eichmann denies everything and paints himself as a gentle bureaucrat.

But Arendt’s description of Eichmann’s behaviour as the Banality of Evil — that of an ordinary-looking man who killed so many – meets with widespread shock and criticism, even among her friends and colleagues. Her writings on totalitarianism, guilt and responsibility reverberate around the world.

Hannah Arendt is a beautiful and magisterial depiction of a major intellectual figure as iconoclast, a hero fighting the tides. It’s also a biopic, given to long pauses of contemplation. And one that somehow seems kinder to Heidegger than to Arendt’s critics in academia.

Rosa Luxemburg (1986)

It’s 1900, the start of a century of change. Revolution is brewing in Russia and Germany is close behind. Rosa Luxemburg (Sukowa) is an educated, Polish-Jewish woman who walks with a limp. She is also a social democratic revolutionary, a firebrand who writes articles and gives passionate speeches. Now she lives in Berlin after being jailed and nearly executed in Warsaw.

She’s in a tempestuous relationshio with her sometime lover and fellow revolutionary Leo Jogisches (Daniel Olbrychski). But when she discovers he is having an affair, she begins a relationship with a friend’s adult son. And, with Karl Liebknecht, she founds the Red Flag newspaper and the Spartacus party, a Marxist (but not Leninist) Socialist party.

She calls for a massive strike to resist the war but nationalism is on the rise. Bloody Rosa is arrested and jailed during WWI as a political prisoner. Will her political dreams ever be realized, or will nationalism prevail?

Rosa Luxemburg is a fascinating historical biopic, told in a melodramatic style. There are as many scenes of her shouting to cheering crowds as there are of her gardening in prison or writing letters. A costume drama, this captures nineteenth-century romanticism in its music, poetry and idealism.

Marianne & Juliane (1981) Die bleierne Zeit

It’s the 1970s. Juliane (Jutta Lampe) is a journalist who writes for a feminist magazine. She grew up in a large family with a bible-thumping father, a conservative minister. Her sister Marianne (Sukowa) looked up to her as a teenager. Julianne was the rebel. She smoked, talked back to her teacher, wore pants – not a skirt! – and caused a furor when she danced alone to a Vienna waltz ata high school dance. The two are shattered by the documentaries they see in school on Nazi mass murder, and vow they will never let it happen again. But the two have taken different paths and their roles have changed.

Marianne is now a brash, self-centred woman who rejects concepts like marriage, family and money. She doesn’t ask for things; she demands them. She’s a member of the dreaded Red Army Faction — a terrorist group that sets off bombs and hijacks planes — and is on the run from police. She also has a young son, Jan, but can’t take care of him. When she is caught by the police, it’s up to Juliane to visit her in prison to keep her sane and alive. She smuggles in notes hidden in tissues, and passes on her messages. Can Juliane’s marriage and job — and Marrianne’s son — survive the prison sentence and the widespread public hatred of the crimes she committed?

Although this is a fictional drama, it’s based on RAF member Gudrun Ensslin and her journalist sister. This powerful drama is not a historical biopic; it was made just a few years after the events it portrays.

All three films encorporate historical black-and-white film footage and prison scenes, about heroes (and villains like Eichman)  encaged and restrained. Together, these three films provide a century-long view of modern Germany through the eyes of three women.

Marianne and Juliane, Hannah Arendt, and Rosa Luxemburg are all playing next week on the big screen at the TIFF Bell Lightbox in Toronto — $10 per ticket — with Barbara Sukowa introducing Marianne and Juliane. Go to Goethe Toronto for details.

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

Secrets. Films reviewed: Two Men in Manhattan, Army of Shadows, Rumble: Indians Rock the World

Posted in 1940s, 1950s, African-Americans, documentary, Drama, France, Indigenous, Manhattan, Music, WWII by CulturalMining.com on July 28, 2017

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

Is there anything you wouldn’t tell your partner, best friend or parents? This week I’m looking at movies about secrets: two classic French thrillers by Jean-Pierre Melville, and a new Canadian documentary. There’s French resistance fighters with secret identities, a journalist in Manhattan chasing a secret story, and the secret, indigenous roots of rock and roll.

Two Men in Manhattan (1959)

Wri/Dir: Jean-Pierre Melville

It’s the late 1950s. Moreau (Jean Pierre Melville) is a reporter for AFP (Agence France-Presse), based in Manhattan, who receives a strange assignment. A top diplomat at the United Nations didn’t show up at the General Assembly… he has completely disappeared. The missing man is a French diplomat, and a war hero with a sterling reputation. Moreau has to track him down and find out what’s going on.

So Moreau turns to a freelance photographer Delmas (Pierre Grasset) for help. Delmas is a notorious alcoholic and a womanizer, but one who knows what’s going on behind the scenes in downtown manhattan. Moreau has to drag him out of bed with his latest pickup to get him to come along.

Turns out Grasset was the right one to turn to – he knows how to find the diplomat by who he’s been scene with late at night. But while Moreau is a respected journalist, Grasset will do anything for a buck. Their search takes them to a series of meeting with exotic women: a jazz singer in her recording studio, an actress backstage at intermission, a stripper in her change room and a sex worker in her boudoir. And, unbeknownst to them, they’re being followed by a mysterious woman in a car. Will they find the diplomat, and if they do will the story be suppressed or sold to the highest bidder?

This is neat noirish movie with a moral dilemma on the ethics of journalism. It’s also the only time Melville appears in one of his own movies.

Army of Shadows (1969)

Wri/Dir: Jean-Pierre Melville (Based on the novel by)

It’s 1942 in Vichy France. Most of France is occupied by Germany, but for most people life hasn’t changed. But not for Philippe Gerbier (Lino Ventura) a middle-class engineer. He is arrested by gendarmes, not by Nazis,  and sent to a relocation camp, built by the French to hold prisoners of war from Germany. Now it’s the other way around.

The camp holds a ragtag assortment of Russians, Poles, Jews, Algerians, Communists, as well as random Frenchmen arrested for no known reason. He has plans to escape with a young communist but is suddenly sent to the Gestapo headquarters for interrogation. After a daring escape, he joins a Resistance cell in Marseille consisting of tight knit group of men and one woman:

There’s handsome Jean Francois (Jean Pierre Cassel) who is in awe of his older brother, a philosopher. Mathilde (Simone Signoret) is a tactical genius, inventing fantastical ways to break into enemy headquarters without being noticed (Signoret convincingly switches from French to German). Other members are known only by their code names: La Masque, Le Bison, Felix. Together they smuggle allied forces to safety in England, relay messages sent by radio, and keep one another out of the hands of the enemy. Army of Shadows is a realistic thriller, based on a novel by a member of the French resistance( as was the director himself – in fact Melville was his nom de guerre)

It’s full of dark episodes and plot twists, that doesn’t portray the French, including the Resistance, in the best light. It’s full of secrets and lies, and the cold-blooded executions of their own comrades and closest friends who may have divulged secrets.

The movie bombed when it was first released – perhaps it was still too close to the events it portrayed, or maybe its politics didn’t jibe with Paris in 1969 – but decades later, after it was finally released on North America, it was a critical success. It is now considered a masterpiece.  Ventura, Cassel, and especially Signoret are all fantastic.

A must-see.

Rumble: The Indians who Rocked the World

Dir: Catherine Bainbridge, Alfonso Maiorana

When people talk about rock and roll they’re sure to mention its influences: jazz, blues, folk and country. It uses tunes from Europe, rhythms from West Africa but with words and feelings that are purely American. But what about aboriginal North Americans – First Nations, Metis and Native Americans? This documentary looks at both the musicological influences and the genetics of the musicians themselves – the drummers, guitarists and singers most people took for white, black or hispanic.

Link Wray pioneered the use of guitar feedback (his hit Rumble was a huge influence on bands from Led Zeppelin to the Who). He was Shawnee. Robbie Robertson, founding member of The Band, is Mohawk and learnt his music on the Six Nations reserve. Early blues great Charley Patton was Choctaw, and singer Mildred Bailey was Couer d’Alene.

The film covers territory from centuries past to present-day struggles, like activist and folk singer Buffy Ste Marie who performed at Standing Rock. And many of the black musicians who still perform at the New Orleans Mardi Gras dressed in “tribal” costume are descended from indigenous ancestors.

Music styles covered in the movie range from heavy metal to pop rock, country to folk, and soul to R&B. The musicians point out the singing styles, the drums from their childhoods.

Rumble is a really great music doc.

Rumble opens today in Toronto at the Hot Docs cinema; check your local listings. Two Men in Manhattan and Army of Shadows are part of the Jean Pierre Melville retrospective, Army of Shadows: The Cinema of Jean-Pierre Melville, which continues through August. Go to tiff.net for details.

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

Indoors, Outdoors. Films reviewed: The Black Prince, Dunkirk, A Ghost Story

Posted in 1800s, 1940s, Clash of Cultures, Death, India, Movies, Punjab, Supernatural, War, WWII by CulturalMining.com on July 21, 2017

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

Summer is the perfect time to see movies outdoors. There are open air screenings in city parks, free Canadian films at Yonge Dundas square, and an Open Roof festival, complete with music at 99 Sudbury, that is showing the amazing documentary Brimstone and Glory next Tuesday.

But sometimes it’s nice just to sit inside. This week I’m looking at three movies opening today to watch inside a theatre. There’s a wartime thriller about an army’s retreat, an historical drama about a royal defeat, and an arthouse ghost story… about a white sheet?

The Black Prince

Wri/Dir: Kavi Raz

It’s the Victorian era. Maharaja Duleep Singh (Satinder Sartaaj) is a proper English gentleman. He lives a life of luxury in a country palace furnished with a retinue of servants, fine clothing and sumptuous meals. He spends his free time hunting on his estate. But something is missing. You see, he is the heir to the throne of the Punjab Empire that once stretched across northern India. But palace intrigue and assassinations left the Sikh kingdom in disarray, and the British swooped in and took control. The young prince was shipped off to England where he now lives under under the benevolent but watchful eyes of Queen Victoria (Amanda Root) and the prince’s surrogate father, Dr Login (Jason Flemyng). He’s a Sikh but wears no turban and carries no kirpan.

But back in Lahore the crowds are clamouring for his return. And when he is reunited with his mother (Shabana Azmi) he realizes he’s more than just Victoria’s “Black Prince” — he’s a Maharaja! He returns to his faith and starts a lifetime of plots and alliances to restore his kingdom with armed insurrections. But can a single man – and his followers – defeat the British Raj?

The Black Prince is a film filled with beautiful scenery and costumes, and a potentially interesting story. Unfortunatly, it moves at a glacial pace. The exciting parts of the movie — the battles and assassinations — are relegated to quick flashbacks, leaving us with endless scenes of talk, talk, talk. While Shabana Azmi adds fun to the scenes she appears in, the star, singer Satinder Sartaaj, is like a Punjabi Keanu Reeves – wooden and emotionless.

Dunkirk

Wri/Dir: Christopher Nolan

It’s 1944 on the northern tip of France near Belgium. The German Army has taken much of Europe, save for this one beach, called Dunkirk. Hundreds of thousands of British troops, along with French and Belgian allies, are completely surrounded. German bombers fill the skies and U-Boat submarines patrol underwater, shooting torpedoes and dropping bombs on the British ships. It’s time for a massive retreat back to England – but how? The film follows three stories.

Tommy (Fionn Whitehead) is a young soldier on the run, after his unit is wiped out. Together with a mute fighter he meets on the beach, they attempt to board departing warships, but with limited success… the boats keep sinking. Meanwhile, back in England, the government has commandeered all private boats, from sailboats to mudskippers, to help rescue the soldiers. Mr Dawson (Mark Rylance) along with two teenaged boys, George and Peter, attempt to cross the channel in a pleasure boat… but meet trouble when they rescue a shell-shocked soldier (Cillian Murphy). And above it all, an RAF pilot (Tom Hardy) flies his Spitfire to keep the skies clear of German bombers while the boats cross.

Dunkirk is an unusual war movie that celebrates not a triumphant battle but a potentially disastrous retreat. The enemy is invisible, faceless and nameless, and we never see a British soldier raise a gun against the Germans. No fighting, just survival. And though there’s lots of people dying, there is little blood or gore in this strangely clean war. Dunkirk is a non-stop action movie that rarely takes a breather. It’s tense, thrilling and kept my eyes riveted to the screen from beginning to end.

A Ghost Story

Wri/Dir: David Lowery

A nameless married couple (Casey Affleck, Rooney Mara) live with their dog and a standup piano in an ordinary bungalow in the American Southwest. She wants to move to a better place but he feels strangely attached to the house. Perhaps it’s the creaks and bumps they hear late at night. Is it haunted? Then disaster strikes. He is killed in a car crash, and she has to identify his body in the hospital morgue. And after she leaves, the sheet covered corpse gets up and walks slowly back to the house. Is he a zombie? No, he’s just a ghost moving back into his home where no one can see him.

When I first heard about this movie – Casey Affleck playing ghost with a sheet over his head – I thought gimme a break. It sounds like a self-conscious bad joke. So I was completely surprised at how emotionally wrenching, how shocking, how wonderful this movie actually is. The silent ghost just stands in the background as time passes, observing all as his sheet tumbles majestically around his feet. It shows the passage of time, in a series of linked tableaux, fading one to the next – his wife’s mourning, new residents, a tear-it-down party. It’s like a dream.

Do you remember the Tree of Life, that extremely long movie about creation and the meaning of life? A Ghost Story does that, more simply, and in just 90 minutes. It’s a beautiful and haunting look at love, death, memory and the passage of time.

I like this one a lot.

The Black Prince, Dunkirk and A Ghost Story 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

 

 

 

Fighting Monsters. Films Reviewed: Tickling Giants, The Void, The Zookeeper’s Wife

Posted in 1940s, Animals, Arab Spring, Cultural Mining, Horror, Human Rights, Journalism, Poland, Psychological Thriller, WWII by CulturalMining.com on March 31, 2017

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

If relationship, family, work or school problems are too hard to handle, a movie is a good place to escape it. Especially if the people on the screen are fighting real monsters. This week I’m looking at movies bout people facing monsters. There’s a Polish zookeeper facing the Nazis, a political comic facing a military government, and a smalltown sheriff facing something scary… he’s just not sure what.

Tickling Giants

Dir: Sara Taksler

Bassem Youssef is a heart surgeon in Cairo. In the heady days of the Arab Spring, he heads to Tahrir Square to help support protesters as best he can. Many of them are beaten and need medical attention. But what he really wants to be is a comedian – specifically a political comic like Jon Stewart of the Daily Show. Under Mubarek, outright criticism of the government was not permitted. But with the newfound freedom that came with the popular uprising, he is able to launch a TV show, known simply as the show. With a team of writers and producers it brings political satire to the masses. The show is wildly popular, but the newly elected president Morsi, from the Muslim Brotherhood doesn’t like him one bit. So he takes him to court and loses! Baassem Youssef is a free man. Until… Morsi is overthrown in a military coup, putting General Sisi in charge of Egypt. Sisi is popular and dictators don’t like criticism. SomeoPro-Sisi protesters declare Youssef a traitor for criticizing the army, while others fear he will disrupt the relative calm the military coup brought. Is Bassem Youssef just what Egyptians need? Or is he too much, too soon?

Tickling Giants is a funny and informative documentary about how US style political humour fares in Egypt’s. Illustrated with political cartoons by a young man Andeel, it offers behind the scene look at TV production and how it influences and is affected by politicians. One criticism: it could have been a bit shorter; it doesn’t take almost two hours to tell this simple story.

The Void

Wri/Dir: Jeremy Gillespie, Steven Kostanski

Daniel (Aaron Poole) is a police sheriff in a small town – a place with very little crime. So he’s startled to see a bloodied young man, under the influence, come stumbling out of the woods. But when he takes him to the nearby hospital where his wife Alison (Kathleen Munroe) is a doctor in the ER, things get strange. Patients behave erratically, and two heavily armed men show up at the gate threatening to kill the kid. Stranger still, a group of identically-dressed men appear outside the hospital brandishing large knives. They are wearing white sheets and hoods, sort of like flat-topped Klansmen, but with a mysterious triangle painted on the front their faces.

And otherworldly visions appear in Daniel’s mind, full of dark clouds roiling over a lunar landscape. Has the town been invaded by satanic worshippers, drug fiends or sex-crazed maniacs? Nobody knows for sure. It’s up to the people trapped in the hospital — including a pregnant woman, a kindly doctor (Kenneth Welsh) a young intern, and a state trooper (Art Hindle) – have to settle their differences and fight the mysterious powers before they tear each other apart.

The Zone is a horror and psychological thriller about ordinary people driven to extremes in there resistance to unknown killers. There are some fun scenes and a few shocking parts — and I loved the weird images that appear in Daniel’s head — but on the whole, it’s more unintentionally funny that genuinely scary. Some of they dialogue is atrocious, and much of the movie left me scratching my heads as to what exactly is going on. (For example, when two characters are fighting in an imaginary landscape, you don’t know which of them is hallucinating.) I kept waiting for the robot commentators from Mystery Science Theatre 3000 to appear on the screen to explain it all to me.

The Zookeeper’s Wife

Dir: Niki Caro

It’s 1939 in Warsaw. Husband and wife Antonina and Jan Zabinsky (Jessica Chastain and Johan Heldenbergh) run the zoo as if the amimals are family members. Especially Antonina. She’s a female Doctor Doolittle, who really does talk to the animals. She goes for daily runs around the park with a dromedary and sleeps with a white lion cub. And at a party, everyone sees her save an elephant calf from choking. Especially impressed is Lutz Heck, a leading German zoologist (Daniel Brühl). But when the Germans invade, their world is turned upside down. The zoo is bombed and wild animals run rampant across the city. Afterwards Lutz offers to help save the zoo animals by sending the best ones – the purest breeds – to Berlin. (Purest breeds? Sounds a bit Nazi…)  Sure enough, the next time she sees him, he’s dressed in full Nazi  regalia. He’s a high-ranked officer. And he has his eye on the beautiful Antonina. But she and Jan have a plan of their own: to help save their Jewish friends and colleagues from certain death in the Warsaw Ghetto, and help move guns to the resistance. The concoct a complex plan to smuggle people out of the ghetto inside a garbage truck holding slop to feed their pigs. (They’ve turned their beloved zoo into a pig farm.) They are hidden in plain sight, inside the Zabinsky villa even while Lutz is operating an army base on the same premises. Will there plan succeed? Or will they and their rescued friends be sent to their deaths?

Based on a true story, the Zookeeper’s Wife is a romantic drama set in war-torn Warsaw, where a zoo serves as a secret sanctuary for Jews escaping the Nazi death machine. It’s also a Holocaust rescue story… with furry animals. As such, it abbreviates familiar images that have been shown in movies so often: broken windows, Nazi banners covering public buildings, ashes falling like snowflakes, children loaded onto cattle cars… At the same time, it avoids most of the blood, death and gore — the camera always turns away. There are some devestatingly sad parts, like a young girl, Urszula (Shira Haas) who is raped by two German soldiers before she is rescued.  Still the movie didn’t show me much I haven’t already seen, aside from the zoo  — which had new, haunting images.

Good as a tearjerker.

The Zookeeper’s Wife and The Void both open today in Toronto; check your local listings. Tickling Giants is playing at the Human Rights Watch Film Festival this weekend. Go to tiff.net/human-rights-watch/.

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

Youth. Films reviewed: Land of Mine, The Young Offenders, Before the Streets

Posted in Canada, Coming of Age, Denmark, Depression, Drama, drugs, First Nations, Germany, Indigenous, Ireland, Movies, WWII by CulturalMining.com on February 17, 2017

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

Twelve to twenty-four-year-olds make up the biggest chunk of frequent moviegoers in North America, but what are they given to watch? Superheroes, spaceships, slashers and rom-coms. Rare is the serious movie about people their age, people they can identify with. So this week, I’m looking at movies about youth. There are two guys in Ireland searching for cocaine, Germans in Denmark digging up landmines, and an aboriginal man in Quebec facing up to his past.

bd52baf8-2b00-4bee-a2ae-a68f84b1982a

Land of Mine (Academy Award nominee: Best Foreign Language Picture)

Wri/Dir: Martin Zandvliet

It’s Denmark, May, 1945, Victory in Europe and the hated German soldiers are force- marched back across the border. But they left a gift: thousands of landmines planted across pristine Denmark’s beaches. (They thought the allies would invade there, not in Normandy) Hard-ass Sgt Rasmussen (Roland Møller) is called in to supervise a cleanup of the beaches using German POWs. They put them there — they should be the ones to get rid of 8e2649d8-61de-447e-894b-6dbd2abd2cd4them. It’s a simple process: sweep off the sand, unscrew a bolt, defuse the mine, then move on to the next one. Do it wrong you get blown up. Do it right you get sent back home… once the entire beach is clear. And that’s when you’ll get to eat again – no point wasting food on Nazi POWs.

97abadb7-b7bc-47f5-839f-d1216540b6d0What Rasmussen doesn’t expect is that these so-called soldiers are just boys, pulled off farms and remote villages at the end of the war. Kids like innocent identical twins Ernst and Werner (Emil and Oscar Belton) who still hold hands to feel safe; the earnest Sebastien who always wears a paisley scarf (Louis Hofmann); and even the bitter Helmut (Joel Basman) who considers himself in charge of this ragtag unit. Can these teenagers keep up their morale even as they see 25579aa2-36b8-4321-9219-c9e677cfa6bctheir friends exploding all around them? And can hard-hearted Sgt Rasmussen ever feel for these boys that are his prisoners?

Land of Mine is a touching, high-tension war drama based on true events. And you can’t help but feel for these poor kids forced into a horrible situation. I cried. It’s a real tear-jerker, and it addresses long-hidden war guilt on the part of the allies — stories that must be told. But it’s also very manipulative, painting Germans as the innocent victims and Danes as their cruel oppressors… just days after the end of WWII!

youngoffenders_06The Young Offenders

Wri/Dir: Peter Foott

It’s 2007 in Cork, Ireland. Two 15 year olds, Conor and Jock (Alex Murphy, Chris Walley) are schoolmates. They’re inseparable, with the same tracksuits, the same haircuts, the same zits. They even share the same underwear.

The shorter one, Conor, works in a fish shop with his single mum. Jock’s lives with his dad an abusive drunk. The taller Jock earns money as a bike thief known as Fake Billy: he commits his crimes wearing a realistic rubber mask that looks just like the real Billy, a dangerous local hood. Jock and Conor aren’t particular smart or youngoffenders_02good looking or rich, but at least they have each other. Then fortune smiles on them – they hear about a shipwreck of 61 bales of contraband cocaine, worth 7 million Euros each, off the coast of Ireland. This is their chance. Even if they get caught, as 15-year-olds they’d avoid doing hard time.

So they set off across the country on two stolen bikes to find their one bale of coke. But they don’t realize they’re being chased by a vengeful cop, a deranged drug dealer, and a vicious hood. Will their friendship – and their lives – survive this great road trip?

This is a fun, laddish road movie about life as working-class teens in Ireland. Cute.

beforethestreets_03Before the Streets

Wri/Dir: Chloé Leriche

Shawnouk (Rykko Bellemare) lives a nice life in his Atikamekw community, with his little sister and her baby, their mom and stepdad. He hangs with his best friend, and his on-again, off-again girlfriend. He playing a drums, singing,, smokes grass and exploring the land. But things started to go bad when his stepdad, a cop on the reserve, takes away his bingo winnings. Now he’s broke so he agrees to act as a guide for Thomas (Martin Dubreuil), a Québécois he meets at the liquor dealer’s house. Thomas says he’ll just take the stuff rich city folk leave behind in their summer cottages. But the very first burglary ends in disaster, and Shawnouk flees into the woods in horror. He is beforethestreets_04taken in by strangers, an elder and her granddaughter who nurse him back to health. Reading his face she tells him he must talk with someone about what happened. She wraps tobacco in a piece of red cloth and tells him to go to a sweatlodge on a nearby island.

He takes her offering but stows it always and returns home as if nothing happened. But his cop stepdad is investigating Shawnouk’s crime and is covering it up.

beforethestreets_02But far from relieved he is wracked with guilt and self loathing for what he did, and his bad feelings spread to the rest of his family. His stepdad takes it out on him, forcing him into a horrible job killing stray dogs. He can’t take it anymore. He heads off to his last hope, the sweatlodge, though he knows it won’t help.

Before the Streets is a first film, different from anything I’ve seen. The roles are played by non-actors from the director’s community and all dialogue is in their own language. It’s shot entirely from an aboriginal point of view, incorporating the director’s culture, language, customs and music. It covers sweat lodges, smudging, gift giving and healing, as well as negative issues like suicide, depression, and domestic violence. A touching and informative first feature.

Land of Mine opens today in Toronto; check your local listings. Young Offenders and Before the Streets are both playing at the Next Wave Film Festival right now showing movies and events for free if you’re 25 or younger. Go to tiff.net for details.

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 Avi Nesher about Past Life at #TIFF16

Posted in 1970s, Berlin, Biopic, Drama, Feminism, Israel, Music, Mystery, Women, WWII by CulturalMining.com on January 6, 2017

avi-nesher-tiff16-past-life-1-jeff-harrisHi, this is Daniel Garber at the movies for culturalmining.com and CIUT 89.5 FM.

Sephi and Nana Milch are Israeli sisters in the late 1970s. Sephi is the beautiful one – she’s a student of music and wants to become a composer. Nana is the smart one, an intellectual who writes for a pastlife_06radical leftist newspaper. They were both raised by strict parents who survived the Holocaust by hiding in a Polish farmer’s house. But on a musical visit to Berlin, Sephi has a strange encounter: a woman shouting that her father is a murderer. A murderer? Her own father? This sends both sisters on a search across two continents to find out what really happened and to confront their avi-nesher-tiff16-past-life-2-jeff-harrisown hidden past. But can they handle the truth of their parents’ past life?

Past Life is the name of a new movie, based on a bestselling memoir. It was written and directed by Israeli filmmaker Avi Nesher. Nesher is a longtime favourite at TIFF, bringing us heady romances like The pastlife_04Secrets and brilliant period dramas like The Matchmaker (a personal favourite). Nesher is a consumate storyteller. His absorbing films combine intellectual rigour with vivid characters, all placed within stories reminiscent of classic Hollywood movies. This film premiered at the Toronto international film festival. I spoke with Avi Nesher on location at the TIFF Bell Lightbox during TIFF16.

Past Life screens in Toronto at 1:00pm and 4:00pm on Sunday, January 15, 2017. Go to TJFF for details.

Photos of Avi Nesher by Jeff Harris.

 

Daniel Garber talks with director Tiffany Hsiung about The Apology

Posted in Canada, China, documentary, Korea, Philippines, Slavery, Women, WWII by CulturalMining.com on December 3, 2016

img_1617Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

Japan joined the European race for colonies late in the game. But they took to it with a vengeance, expanding ever southward. First Taiwan, Korea, and Manchuria, and by the the-apology1930s they began to seize territory in Eastern China, Southeast Asia and Islands of the Pacific and South China seas. And at the vanguard of all this was the Japanese Imperial Army. To keep the soldiers free from disease they initiated a program of Comfort Women (従軍慰安婦). Over img_1619200,000 girls and young women from Japanese colonies across Asia were forced into sexual slavery to serve the troops. Because of the shame involved, the survivors remained silent for fifty years. What happened to them, what are their stories, and what apologies do they seek?img_1621

The Apology is a new NFB feature documentary that follows three elderly Comfort Women – from Korea, China and the Philippines — who survived that horrible ordeal. It is a highly personal film, seen through Hsiung’s eyes as she documents the three Grandmothers’ lives while they still have a chance to tell their stories.

The Apology opens in Toronto today. I spoke with Tiffany Hsiung in studio at CIUT.

Love lost. Films reviewed: Nocturnal Animals, Manchester by the Sea, Allied

Posted in 1940s, Art, Cultural Mining, Family, Meta, Sex, violence, WWII by CulturalMining.com on November 23, 2016

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

With U.S. Thanksgiving this weekend and Christmas just a month away, this is when Hollywood pulls out the big guns – Oscar-bait films, serious topics and big-name actors. This week I’m looking at three of these grown-up dramas. There’s love and lies in London, lost love in LA, and family ties in New England.

NOCTURNAL ANIMALSNocturnal Animals

Dir: Tom Ford

Susan (Amy Adams) is a rich, LA art dealer who leads a rarefied but hollow life. She receives a package in the mail from Tony, a writer (Jake Gyllenhaal). They were a passionate couple in their twenties but she dumped him when his career stalled in favour of the unfaithful Stepford husband she’s currently married to. But she’s intrigued by what he sent her: a novel called Nocturnal Animals in manuscript form. The story comes to life on the screen as she reads it.

It’s about a middle class family brutally carjacked on a desert highway by redneck killers. The husband survives the attack and vows revenge. He enlists a local sheriff NOCTURNAL ANIMALS(Michael Shannon) to help.

As Susan reads the book, she examines her current, pointless life, and remembers earlier days with her ex, Tony. The movie alternately follows all three strands — the novel, her flashbacks and the present day — as filtered through Susan’s mind.

Nocturnal Animals is a fascinating but flawed movie. It moves you emotionally, but NOCTURNAL ANIMALSwithout tears or love. The emotions it stirs are fear, revulsion and uncomfortableness. Director Tom Ford made the unusual leap from high fashion to Hollywood, so Nocturnal Animals is visually powerful. But it’s too “meta”. We see Tony’s book through the reader (Susan)’s eyes as envisioned by Tom Ford – three steps away from the plot. Which leads to weird images, like performance art we see in Susan’s gallery appearing again, but in distorted form, in Tony’s story. Get it?

Interestingly, Ford bucks the Hollywood trend of exploiting women’s bodies. The naked women you see here are either grossly obese… or dead. Instead, he undresses his men — Gyllenhall, Karl Glusman, and Aaron Johnson — at every possible opportunity. Lots of surface shocks and surprises in Nocturnal Animals, but nothing deep.

76e05278-81a6-4fc7-97b4-861c73eee46eManchester by the Sea

Dir: Kenneth Lonergan

Lee Chandler (Casey Affleck) is a handyman who lives alone in Quincy, just outside Boston. He’s called back to his hometown, a picturesque, fishing village, when his divorced brother John dies. It’s up to him to tell his nephew Patrick that his dad is dead. Patrick (Lucas Hedges) is 16 years old, on the school hockey team and in a band. Lee was close to him as a child, until something terrible happened, and Lee left town. Now, suddenly and against his wishes, he finds himself Patrick’s de facto dad. It’s written in his brother’s will. He doesn’t know what to do.

He had kids once, and Randi, his ex-alcoholic, ex-wife (Michelle Williams) still lives MBTS_2354.CR2there, but that was long ago.

At first he acts like Chris’s buddy – lets him drink, take girls home, say or do whatever he likes. But gradually reality sets in as Lee realizes he has to do the right thing: either raise him properly or find someone else who can. Trouble is Lee’s reputation in this town is dirt, and no one will hire him. Can he raise his stubborn nephew despite their geographic and emotional divide?

MBTS_3869.CR2Manchester by the Sea sounds like a typical movie, but it’s not.. It’s an emotional powerhouse that will leave you shaken. The movie is edited in a chop-up style, with flashbacks appearing unannounced right after a present-day scene. So you have to pay attention to understand it. It’s a devastating tearjerker, gradually revealed as his flashbacks come to life. The whole film is exquisitely structured, with certain scenes repeated but with new, subtle variations and revelations. And Casey Affleck might be Ben Affleck’s little brother but you can see who has all the talent. Casey is just fantastic in this understated drama.

I recommend this movie.

14708276_1786944501572397_9000336162931941931_nAllied

Dir: Robert Zemeckis

It’s 1942, when Casablanca was a hot spot for foreign spies. Max (Brad Pitt) is a Royal Canadian Air Force pilot who carries out daring flights behind enemy lines. He’s in French Morocco to meet up with Marianne (Marion Cotillard) a legendary spy with the French resistance. In ten days they plan to assassinate a top Nazi at a high-society party. He is pretending to be her husband, 14700787_1785050565095124_6988829959708533249_oa phosphate executive from Paris, madly in love with her. But they are actually meeting for the very first time. They play their parts well, laughing, kissing and staring in each other’s eyes. And, the night before the big day, not knowing if they will survive, they make passionate love in a car surrounded by a sand storm.

Later, Marion joins Max in London. This 14884429_1792693047664209_3520425651819957282_otime they really are in love. They marry, have a child, and settle into a normal life in Hampstead, even as German bombs fall all around them. But then Max receives distressing orders from HQ. He must carry out a blue dye test – planting a false message to see if it‘s picked up by enemy agents. And who is the potential Nazi spy? Marion! If she proves to be a double agent, Max has to kill her in cold blood. Can spies ever know if they’re really in love when they’re so good at telling lies?

I liked but didn’t love Allied. Marion Cotillard is as passionate as Brad Pitt is stiff and wooden. Most of the side characters are instantly forgettable, the plot has holes in it, pod2gand there seems to be cigarette product placement throughout the film. The movie is not slow, but it feels flat until the last quarter, when it finally gets exciting. Allied is an OK historical drama… but it ain’t no Casablanca.

Nocturnal Animals and Allied are now playing today, while Manchester by the Sea opens November 25th in Toronto, check your local listings. And if Hollywood isn’t your thing, an animated reboot of Dr Who: The Powers of the The blood-in-the-snowDaleks, a 70s episode lost for 50 years, is showing next Wednesday; and an all-Canadian horror festival is on this weekend. Go to bloodinthesnow.ca for details.

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

War and remembrance. Films reviewed: Hacksaw Ridge, Birth of a Nation, Seoul Station

Posted in 1800s, 1940s, African-Americans, Japan, Resistance, Sex Trade, Slavery, soldier, violence, WWII, Zombie by CulturalMining.com on November 4, 2016

img_1527Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

November 11th is Remembrance Day, when we remember the death and destruction of war. Even wars fought for good reasons may result in horrible deaths for soldiers and ordinary people. This week I’m looking at movies about war. There are armies of zombies in Seoul who want to eat people, a secret slave army in Virginia that wants to free people, and a man who joins the US army in WWII… but refuses to kill people.

hacksawridge_d14-6618Hacksaw Ridge

Dir: Mel Gibson

It’s the 1930s. Desmond Doss (Andrew Garfield) is a young man who lives in the Blue Ridge Mountains of Virginia with his drunk Dad (Hugo Weaving) and religious Mom (Rachel Griffiths). As a kid he loved climbing cliffs and rassling with his brother Hal. But when he saw how close to death his brother came when he hit him in the head with a brick, he swore never to hurt or kill another person again. As a Seventh Day Adventist he takes the Sixth Commandment — thou shalt not kill – very seriously. Years later,hacksawridge_d4-3041-edit he rescues a man injured in an accident by putting a tourniquet on his leg. He has studied medicine on his own since he can’t go to college. At the hospital he meets the beautiful and smart Dorothy (Teresa Palmer) a nurse. It’s love at first sight.

But it’s 1941 and the country is at war. Young men all rush to join the army and Doss is no exception. But he joins as a medic to save lives, not as a fighter to kill people. He and Dorothy plan to get married after boot camp. But then reality hits. You can’t be in the army and refuse to carry a gun. They offer him a Section 8 – a psychiatric discharge. But he refuses to quit. He’s not crazy, he’s not un-American, he’s not unpatriotic. The army disagrees.  Soldiers beat him and bully him, and on hacksawridge_d22-10131_fullframehis wedding day the Army throws him in the brig, leaving Dorothy waiting at the altar. Will he be court-martialed?

Somehow he makes it to Okinawa, in time for a crucial battle. They must climb Hacksaw Ridge, a sheer cliff, to face a never-ending battalion of Japanese soldiers. Can Doss use his medic skills to save his fellow soldiers?

Hacksaw Ridge is a heartfelt war movie about a conscientious objector who goes into battle without a gun. For a movie about a heroic man opposed to killing,  there’s also an ungodly amount of gory carnage shown in minute detail. Not for the squeamish.

Interestingly, the entire cast, except for Andrew Garfield and Vince Vaughan, is Australian. And with all those thin-lipped, lantern-jawed, soldiers, I had a hard time telling them apart. (Didn’t that guy just die in a foxhole? Must have been someone else…). Garfield, though, stands out as the stubborn, jug-eared Doss. If you like heroic war movies, this one pushes all the right buttons.

birthofanation_04Birth of a Nation

Dir: Nate Parker

Nat Turner (Nate Parker) is born to loving parents and grandparents in a wooden house in Virginia in the early 19th century. At an early age mystics declare him a born leader, with special birthmarks on his belly. He grows up a student of the bible, reading to himself at night. And he happily marries a beautiful woman when they fall in love.,But he is also an African American in the south which means… he is also a slave. The slave owner Sam Turner (Armie Hammer) played with him as a child and they share the birthofanation_02same last name. When earnings are down Sam hires him out to other plantations to preach to fellow slaves, to help calm potential unrest. Nat delivers the sermons, while Sam keeps the cash.

It is on these visits that Nat Turner witnesses the truly horrifying nature of slavery. A young girl kept like a dog with collar and leash. Men set upon by vicious dogs. Families broken up and sold like cattle at auctions. Heinous torture – worse than you can imagine – for crimes as simple as looking a white man directly in the eyes. Women are subject to birthofanation_06horrific rape.  Murder and lynching — always white violence against blacks — is not even considered a crime. So Nat Turner decides enough is enough and organizes a small army to fight back. But can a handful of men and woman overturn slavery itself?

Birth of a Nation is a fictionalized retelling of the famous Nat Turner rebellion. The movie birthofanation_01concentrates more on Nat’s life in the years leading up to it than on the battle itself. The film is disturbing, dealing with topics rarely shown in mainstream movies. Even so, it has a mainstream feel to it: flickering candles, gushing music, and Hollywood kisses in profile. The title itself reclaims D.W. Griffith’s wildly popular silent movie from 1915 which glorified the Ku Klux Klan and inspired countless terrorist attacks on black Americans. This is a good film about a neglected part of US history, downplayed or glossed over in most movies.

seoul_station_film_posterSeoul Station

Dir: Sang-ho Yeon

It’s a typical day at the central train station in Seoul, Korea. It’s used by commuters everyday. But it’s also a mecca for the disenfranchised — the poor, the mentally ill and the homeless. Hye-sun is a young runaway,  a former sex worker who lives with her wimpish boyfriend. They are separated by a massive zombie attack — and the virus is spreading. He teams up with her father, while she follows a deranged, homeless man. Hye-sun communicates with her boyfriend whenever they can find a signal on their phones. When she turns to the police for help, they lock her up in a jail cel. Later, a large group of people trapped in an area besieged by zombies appeals to the army. But instead of rescuing them, the soldiers fire water canons and teargas… not at the zombies, but at their fellow citizens. Who will survive the zombie onslaught?

Seoul Station is an animated prequel to the hit horror film Train to Busan. Characters are drawn with clean black outlines against realistic backgrounds. Seoul is portrayed as a desolate place, its dim skies lit only by neon crosses.  This may be a zombie movie but it’s also an unsparing look at the maltreatment of the homeless and disenfranchised in modern Korea.

Birth of a Nation is now playing and Hacksaw Ridge opens today in Toronto; check your local listings. Seoul Station is playing at the upcoming ReelAsian Film Festival. Go to reelasian.com for showtimes. This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com

%d bloggers like this: