The Founder

The Founder

Posted on January 19, 2017 at 5:40 pm

Copyright 2016 TWC

McDonald’s began as a hamburger stand in San Bernardino, California, the idea of two brothers, Dick and Mac McDonald, who brought to food what Henry Ford brought to cars: ultra-efficient assembly-line production: consistent, reliable, and scalable. But McDonald’s, the worldwide “billions and billions served” fast food franchise phenomenon with the iconic golden arches was the creation of the man who put “founder” on his business cards, Ray Kroc.

Balzac famously said that behind every great fortune there is a crime, and this story of one of the great disruptive forces in 20th century business shows us the vision, the passion, the triumph and the heartbreak behind it. Michael Keaton is well cast as Kroc, a struggling salesman who listens to motivational tapes about the importance of persistence — a more significant factor, according to the lectures, than ability or resources.

Kroc is on the road trying to sell milkshake machines to restaurants. He calls his secretary for messages. A prospect says no. A bill collector wants to be paid. And some hamburger stand in California wants to buy six. Kroc is sure that is a mistake. No one has ever wanted more than one. He calls and speaks to one of the McDonald brothers. He can hear the activity in the background. And the order gets upped to eight. Kroc has to go see it for himself.

The McDonald brothers (John Carroll Lynch and Nick Offerman) welcome Kroc warmly, proud to tell their story and show off their innovations. In one of the movie’s highlights, they explain the trial and error and meticulous planning that led to their operational and conceptual innovation. They had three brilliant insights. First, they got rid of the inessentials: no wait staff, no plates to wash or break, and they limited the menu offerings to the items that were most often ordered. You want chicken — go somewhere else. They got rid of the cigarette machine and jukebox and thus got rid of the undesirable customers, teenagers and others who come to hang around instead of those who eat and leave. That left busy families, who appreciated the wholesome atmosphere and utter consistency and reliability. Second, they streamlined production, again reinforcing consistency and reliability and attracting families. One more difference to appeal to families: no waiting. Food was delivered almost instantly. Indeed, when on his first visit Kroc received his food neatly packed in a bag seconds after placing the order, he looked at it confused and asked, “What’s that?” The McDonald brothers realized they were not just providing customers with food; they were providing them with something even more precious: time.

The third brilliant insight created some conflict with their new partner after Kroc persuaded them to put him in charge of franchising. For the McDonald’s, money was not the top priority. They valued, well, values.

It is instructive that there are several points throughout the film where someone explains that McDonald’s is not about hamburgers. All of the other answers are right in their own way, along with many others. This is a rare film that looks at what it takes to create a globally dominant business, and what it costs as well.

Parents should know that this film includes one f-word, some predatory business behavior, illness, and marital strain and divorces.

Family discussion: How many things other than hamburgers did people say the business of McDonald’s really was? Why did Kroc call himself “founder?” Who was right, the brothers or Kroc, and why?

If you like this, try: “Tucker: The Man and his Dream” and “Joy”

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Based on a true story Biography Drama
Floyd Norman: An Animated Life

Floyd Norman: An Animated Life

Posted on August 25, 2016 at 12:37 pm

B+
Lowest Recommended Age: 4th - 6th Grades
MPAA Rating: Not rated
Profanity: A bleeped word
Alcohol/ Drugs: Reference to alcohol
Violence/ Scariness: Reference to divorce
Diversity Issues: A theme of the movie
Date Released to Theaters: August 26, 2016
Copyright Michael Fiore Films 2016
Copyright Michael Fiore Films 2016

Disney foolishly forced legendary animator Floyd Norman to retire at age 65, but he was not foolish enough to stop coming to work. Every day, he brings his wife Adrienne to her job at Disney, and then he spends the day wandering around, asking questions, talking to people, and generally, to use the portmanteau word Adrienne came up with, “floitering.” “The whole Disney campus is Floyd’s office,” says one colleague. Eventually, Disney realized they could not do without him and they gave up and just hired him again.

This delightful documentary about the very “animated life” of Floyd Norman is a must-see for fans of animation, movie history, and stories of lives filled with creativity, courage, and a sense of adventure. His career extends from the classic “nine old men” era at Disney, where he worked for Walt Disney himself animating the prince, the horse, and the three fairy godmothers in “Cinderella” and Kaa the snake in “The Jungle Book” and the “Jolly Holiday” musical number in “Mary Poppins” to animating, writing, and directing for Hanna-Barbera, Pixar, and for his own company. He used Roy Disney’s camera to go into Watts and shoot footage of the riots that was broadcast on the NBC news, and he worked on iconic Saturday morning cartoon shows like “Fat Albert and the Cosby Kids,” “Johnny Quest,” and “Scooby-Doo.” (The only negative comment the sunny-tempered Norman makes in the whole documentary is a good-natured aside on Scooby — “I hate that dog!”) He even animated the opening logo for “Soul Train.”

Copyright Disney 1968
Copyright Disney 1968

More characteristic is his description of his childhood in Santa Barbara as “incredibly pleasant.” It was there he saw his first Disney animated film — “Dumbo” and knew that making cartoons would be his life’s work. It didn’t matter that Disney had no black animators. He was “just another kid who wanted to work for Disney,” and when they saw what he could do, they hired him as an “assistant in-betweener” on “Sleeping Beauty,” where he was expected to turn out eight “dead-on precise” completed drawings a day.

One of the highlights of the film is seeing Floyd Norman at San Diego Comic-Con’s Quick Draw, with MAD Magazine artist Sergio Aragonés. But every moment is pure pleasure, as we see the man who is still “in touch with his inner 20-year-old” demonstrate the skill, imagination, and dedication that has been central to much of the most creative entertainment of the past 60 years.

Parents should know that this movie has a bleeped bad word, a sexual reference, and references to drinking and divorce.

Family discussion: Which is your favorite Floyd Norman animation and why? How did he show flexibility and “shape-shifting?”

If you like this, try: “Waking Sleeping Beauty,” “Walt and El Groupo,” and, of course, “The Jungle Book,” and Norman’s other animated classics

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Biography Documentary Film History Movie History Movies -- format Race and Diversity
Florence Foster Jenkins

Florence Foster Jenkins

Posted on August 11, 2016 at 5:29 pm

Copyright 2016 BBC Films
Copyright 2016 BBC Films

The charm of the popular “Lip Synch Battle” series is the way that the contestants, all very talented and successful performers, transcend the limits of race and gender — and other limits, too, like vocal range. In her way, real-life heiress Florence Foster Jenkins was doing the same thing a century ago. Her dedication to music was monumental. So was her lack of talent. But she lived a blissful life with a devoted husband, staging elaborate tableaux and concerts. Like the emperor with the non-existent and therefore invisible new clothes, she was surrounded by people who never told her that her singing was a disaster in every category, from hitting the right note to staying in any single key from measure to measure.

In the second film of 2016 based on the life of Ms. Jenkins, Meryl Streep gives (of course) a performance of exquisite humanity and precision. (Earlier this year, the French film, “Marguerite,” was also inspired by Jenkins.) You have to know how to sing well (see “Mamma Mia,” “Postcards from the Edge,” and “Ricki and the Flash”) to sing this badly and you have to be an actor of sublime perfection to make terrible singing funny and brave and poignant. Hugh Grant is also superb as the magnificently named St. Clair Bayfield, Jenkins’ consort, a failed Shakespearean actor who shares Jenkins’ passion for performance and almost envies her complete freedom from self-awareness.

There are lovely performances from Nina Arianda as a brassy showgirl who married a wealthy man, Rebecca Ferguson (“Mission Impossible: Rogue Nation”) as Bayfield’s girlfriend, and “Big Bang Theory’s” Simon Helberg as Jenkins’ long-suffering accompanist, the equally magnificently named Cosmé McMoon. Jenkins is the ultimate exemplar of the Dunning-Kruger syndrome: those who are least able are also worst at assessing their own ability. The fun of this film, far more than laughing smugly at Jenkins’ cluelessness, is the fantasy of having endless resources to create our own fantasies of stardom.

Parents should know that this film includes drinking, smoking, sexual references and non-explicit situation, and a sad death.

Family discussion: Was St. Clair right to hide the truth from Florence? What do we learn from her visit to Cosme?

If you like this, try: The documentary “Florence Foster Jenkins: A World Of Her Own”

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Based on a true story Biography Comedy Drama Musical

Love Under New Management: The Miki Howard Story Starring Teyonah Parris — on TV One

Posted on June 11, 2016 at 12:29 pm

My favorite performance of 2015 was Teyonah Parris in “Chi-Raq” and so I am very excited to see her latest starring role in “Love Under New Management: The Miki Howard Story,” premiering June 12, 2016 on TV One.

This is the first film adaptation of TV One’s “Unsung” series about the lives of performers. R&B singer Miki Howard’s life has had struggle and heartbreak but also resilience and triumph. The cast includes Gary Jourdan as Augie Johnson, Daruis McCrary as Gerald Levert, Lisa Raye as Sylvia Rhone and Indira Khan as her mother Chaka Khan.

Here’s the real Miki singing the title song:

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