1776: A Broadway Musical About the Signing of the Declaration of Independence
Posted on July 2, 2019 at 9:33 pm
Celebrate the 4th of July by watching the entertaining and inspiring “1776,” based on the Broadway musical about the signing of the Declaration of Independence. The movie does not shy away from the terrible compromise on slavery that the founding fathers agreed to in order to make this country one nation, with a fault line that would shatter our deepest convictions enumerated in the very document our country was established on. The characters are really brought to life with all of their courage and hope as well as their faults and fears.
EHere’s a glimpse from a recent Broadway staged version, with Santino Fontana of “Crazy Ex-Girlfriend.”
And from the movie, with William Daniel as the “obnoxious and disliked” John Adams.
Rated R for language throughout, some drug use and sexual content
Very strong language
Extended substance abuse including drugs and alcohol
Suicide attempt, family issues
A theme of the movie
Date Released to Theaters:
May 31, 2019
Date Released to DVD:
August 26, 2019
Elton John strides purposively down a corridor dressed in what looks like devil costume for Liberace’s Halloween party. But he is not moving toward a stage or recording studio. He is not going to sing or compose. He is going to tell his story to a different kind of audience, a support group in a drug rehab facility. And to us.
“Rocketman,” produced by Sir Elton himself, is a sometimes-impressionistic retelling of the classic VH1 “Behind the Music” story of sex, drugs, and rock and roll. Instead of “and then I wrote” with a chronological rehash of hits, celebrity encounters, romantic ups and downs, and AA-style amends, it is a dramatic version of a jukebox musical, with full-on dance numbers and songs that match the mood of the moment. Director Dexter Fletcher, who also finished up “Bohemian Rhapsody” after the original director was fired, wisely uses the more flamboyant elements of the story as a backdrop and keeps the camera focus on Taron Egerton (the “Kingsman” movies and “Eddie the Eagle,” also directed by Fletcher). He makes us see the energy and magnetism of Sir Elton as a performer, but it is in the most intimate close-ups that we see Sir Elton the person, vulnerable, scared, and longing to be truly accepted.
As Sir Elton tells his story to the support group, he removes the costume, a piece at a time (the horns come off first), and he reveals his own layers as well, starting with the child then known as Reg Dwight (an impressive Matthew Illesley), who lives with his distant father (when Reg asks for a hug, his father says, “Don’t be soft.”) and his self-involved mother (Bryce Dallas Howard), and his kind-hearted grandmother (Gemma Jones). Reg’s musical gifts are evident immediately; he can play anything he hears. He gets a scholarship to the Royal Academy of Music (his grandmother takes him there when his mother can’t be bothered).
And then he hears Elvis, and it’s all about rock and roll. His band plays back-up for touring American acts, and he changes his name (“Elton” was nicked from a bandmate; in the movie John comes from John Lennon but in real life it was from his mentor, “Long John” Baldry). And then he answers an ad for singers and songwriters and, when he says he composes and does not write lyrics, an unopened envelope is handed to him and it turns out to be from Bernie Taupin (Jamie Bell of Billy Elliot and Film Stars Don’t Die In Liverpool). They form a close working and personal relationship.
And then there is the breakthrough performance at LA’s legendary Troubadour club. The future Sir Elton at first refuses to leave the bathroom when he hears that musical legends are in the audience: some of the Beach Boys, Leon Russell, Neil Young. But then he comes on stage and it is magical. We see him, and then the audience literally float up into the air, an exquisitely lovely moment that perfectly translates the euphoria of the performance.
Then there is a troubled romantic and professional relationship with a new manager (smoldering Richard Madden as John Reid) and unimaginable excess as he still struggles for acceptance from his parents. In a particularly wrenching scene Sir Elton sees his father, who will not see him perform, warmly affectionate with the children of his second wife. As we return to the scene at rehab, we see him finally able to accept the love he so desperately wants.
Egerton showed us in the “Kingsman” movies that he has what it takes for the performative side of this story, but this is the first time we have had a chance to see just how sensitive and subtle an actor he is. There are moments when we can see three or four different emotions on his face at once, as in his phone call to his mother to tell her he is gay or when he is mesmerized, terrified, and flickering back and forth between being open and hiding his feelings with Reid. In one split second he goes from drugged-out, depressed, and anxious back stage to full-on rock star as he walks out toward the audience. It is hard to imagine there will be a better performance on screen this year.
Sir Elton wanted the focus of this story to be on his personal life and his feelings, interpreted by the music, rather than his story as a composer and performing artist. For that, of course, we have Sir Elton himself, his music videos and recordings of his live performances, and the songs which over decades have said so much.
Parents should know that this movie includes extensive substance abuse, a suicide attempt, family dysfunction, addiction issues, sexual references and situation, and very strong language.
Family discussion: What person did he want to be? Which is your favorite Elton John song? How do you like this more subjective form of storytelling?
If you like this, try: the music of Elton John and other real-life stories of musicians including “Bohemian Rhapsody,” “Coal Miner’s Daughter,” and “Walk the Line”
Scenes of WWI battles with disturbing images, characters injured and killed, sad death of a parent
Date Released to Theaters:
May 10, 2019
If I had a time machine and an invisibility cloak, I would love to listen in on the conversations between two members of Oxford’s Inklings literary society, J.R.R. Tolkien and C.S. Lewis, as they discussed the importance of myth and fantasy and shared the beginnings of their great tales of adventure, darling, and the fight against evil, set in enchanted worlds: the Lord of the Rings and the Narnia stories. These stories, which prompted a revival of fantasy in literature and other media, are so timeless it seems as if we have always known them. And yet, they are very much 20th century books, written by authors whose own lives are fascinating stories as well. We have already had two very good feature films about Lewis and his wife, Joy Gresham, both called “Shadowlands.” And now we have “Tolkien,” the story of the early life of the man who would create not just the characters and settings of Middle Earth but also the languages and even the poetry of the world of hobbits, elves, dwarves, and dragons.
The film mostly evades the usual “how I wrote” biopic boobytraps. We only briefly see the author in the midst of creation, his pen just starting the first line on a blank page. And it does not try to excite the devoted fans by throwing in a lot of clues to various details in the books. The focus of this story is on Tolkien’s life, which is a worthy story itself, especially in the way it explores how even the greatest losses are made sense of through love, through friendship, through service, and through stories that provide context and meaning.
The film moves back and forth in time between Tolkien’s youth, adolescence, college years, and wartime, with one brief “many years later” section of him married and a father, as a member of the faculty at Oxford.
John Ronald Reuel Tolkien (called Ronald by those close to him) is played sensitively as a teenager and adult by Nicholas Hoult. Orphaned very young, Tolkien and his brother are sent to live in a boarding house by their guardian, a priest (Colm Meany). The cold, institutional setting of their British private school is very far from the lessons they had with their devoted, imaginative mother (Laura Donnelly). But Tolkien is a gifted student and a natural at studies and rugby, and he is soon befriended by three boys who form a club with him, devoted to having tea, to, yes, fellowship, and to dreams of changing the world through art, in spite of parental efforts toward more conventional careers. One loves poetry, one loves painting, one loves music. And Tolkien loved languages. He began creating whole languages, complete with verb forms and adjectives, when he was still a child.
The other orphan at the boarding house is Edith Bratt (Lily Collins), a gifted pianist who works as a companion to the lady who runs the boarding house to earn her keep. She and Tolkien are friends, then confidantes, and then, as they are becoming romantically involved, the priest tells Tolkien he must stop seeing her and go to Oxford. He agrees.
Hoult and Collins made the Ronald/Edith relationship vital and romantic, as they spar over the sound and meaning of words or come up with a makeshift way to enjoy a performance of Wagner. They bring life to what might otherwise might be a stodgy costume drama and to the idea of stories as a source of healing, meaning, and connection.
Parents should know that this film includes WWI battle scenes with disturbing images, including piles of bodies, sad deaths of a parent and friends, drinking and drunkenness.
Family discussion: If your friend formed a club, what would you call it? How can art change the world? Why was it so important to Tolkien to publish his friend’s poems? How did Tolkien’s experiences inspire his books?
If you like this, try: the “Lord of the Rings” and “Hobbit” films and books
Peril, serious accident, critical medical condition
Theme of trans-racial adoption
Date Released to Theaters:
April 17, 2019
Date Released to DVD:
July 15, 2019
“Breakthrough,” a Christian faith-based story based on a teenager’s remarkable recovery after falling through the ice into a frozen river. It asks but does not pretend to try to answer the big question: If we believe that divine intervention saved this boy, then where is the divine intervention for so many tragedies? Why him? Why not little children and beloved family members? He was not especially good or devout. What does it mean?
The movie also makes it clear that a very large community contributed to the boy’s recovery. Whether they were divinely inspired or not, they played an essential role. Nevertheless, this movie, the last to be issued from the now-Disney-owned Fox division producing Christian faith-based films, is preaching to the choir. It is likely to deliver what they are looking for, but it is unlikely to reach a broader audience as entertainment or as testimony. Even with a strong cast and a dramatic rescue, this movie is not created for or intended for those who are not already on board with the idea of a very devout family experiencing a miracle. Those who are will find this a touching, inspiring story well told and well performed.
Joyce and Brian Smith (“This is Us” star Chrissy Metz and Josh Lucas) live in a comfortable suburban home with their teenage son John (Marcel Ruiz), a student at the local Christian private school and star of the school’s basketball team. He is starting to have some teenage broodiness, beginning to deal with being adopted. He loves his parents but feels the loss of the people he never knew who gave him up. When his teacher assigns an oral report on family history, he does not even try.
And then one day he and two of his friends decide to play tag on a frozen river. The ice cracks, and they fall through. Agonizing minutes tick by as rescue workers try to grab John, who has sunk unto the water. Tommy Shine (Mike Colter of “Girls Trip” and “Luke Cage”) hears someone say, “Go back.” Later, no one who was present will say that he said or even heard those words.
John is trapped for 15 minutes and, once he is at the hospital, has no pulse for nearly half an hour. All the medical indicators are that he is past hope. But his mother insists he will come back, and she prays “boldly” — something she had just recently said she was not sure she understood in a Bible study group.
Joyce has some lessons to learn. She has been prideful and judgmental. She has not been careful about her own health and that makes it harder for her to help her family. But Jason (Topher Grace), the new preacher she dismissed as too secular (he brings in a Christian rock band and wears jeans on the pulpit when he uses “The Bachelor” as a kind of parable) turns out to be a true minister. He tells her he cannot change the outcome, but he can walk there with her.
We may not agree on why John recovers. This cast makes us glad and relieved that he does, even if the story veers into smugness that undermines its message.
Parents should know that the story concerns a very serious accident involving teenagers and critical medical conditions.
Family discussion: Why didn’t John want to do the report about his family? Why was it hard for Joyce to trust Jason, and how did that change?
Rated PG-13 for thematic material, racial epithets, some violence and a suggestive reference
Strong language including racist epithets
Peril and violence including racist attacks
A theme of the movie, including racial and disability issues
Date Released to Theaters:
April 5, 2019
Date Released to DVD:
July 1, 2019
The biggest divide in this big, divided world is not between people of different races or religions or political beliefs; it is between people who have different ideas of who is “us” and who is “them.” “The Best of Enemies” is based on the true story of C.P. Ellis (Sam Rockwell), a white supremacist and the Grand Exalted Cyclops (president) of the local chapter of the Klu Klux Klan, and Ann Atwater (Taraji P. Henson), a black woman who was a community activist working for civil rights and economic justice.
In 1971, Ellis and Atwater were appointed co-chairs of a charette, a dispute resolution mechanism used to resolve complicated community disagreements. Originally developed for land use debates among parties with multiple and varied interests, it was adapted for other kinds of issues by Bill Riddick, played in this film by Babou Ceesay.
Ellis and Atwater lived in Durham, North Carolina. Seventeen years after the Brown v. Board of Education decision by the Supreme Court that segregated schools were unconstitutional, the Durham schools were still divided. When the school attended by the black children burned down, the city had to decide whether to let them attend the school the white children were attending. The court did not want to deal with it, so they asked Bill Riddick to see if he could get the community to come to some agreement.
Ann Atwater worked for Operation Breakthrough but it was more than a profession; it was her calling. We first see her arguing on behalf of a young woman whose apartment is uninhabitable. And throughout the film we see that her entire life is one of advocacy and generosity. Everyone she meets is either someone to be protected or someone to help her protect others. Her sense of “us” encompassed the world.
C.P. Ellis ran a gas station. He loved his family, including a disabled son who lived in a residential facility. The Klan made him feel respected and important. He created an outreach program to bring teenagers into the Klan. And he organized outings like the time they shot up the home of a young white woman coming home from a date with a black man.
He agrees to co-chair the charette because he believes that anyone else who got the position would cave. And there are those in the town who would never associate with the Klan but who are glad to support them in private.
Rockwell and Henson make Ellis and Atwater into fully-developed, complex characters. There’s a world of history in the way Henson walks as Atwater, shoulders hunched, hitching her hips along. In one scene where she reprimands young black boys for tearing down a KKK hood on display, and then straightens it herself after shooing them away, the expression in her eyes speaks volumes about what she has seen. And when we see the patience and tenderness Ellis has for his disabled son, we get a sense of all he thinks has been taken from him and how much it matters to him to hold on to something that makes him feel powerful.
This is a thoughtful, sincere drama, beautifully performed with a touching conclusion, first of the story itself, and the small acts of kindness that make “thems” into “us-es,” and then with the footage of the real-life Atwater and Ellis. When she takes his arm to help him walk out of the room, our own us-es get a little larger, too.
Parents should know that this movie deals frankly with issues of bigotry and racism including attacks by the Klu Klux Klan. It includes some strong language with racist epithets and a sexual reference. Characters drink and smoke and there are violent, racially-motivated attacks.
Family discussion: What did Atwater and Ellis have in common? Why did she help his son? Why did she tell the boys not to take down the KKK hood? Who is the Ann Atwater in your community and what are the issues?