Must Read After My Death

Posted on February 19, 2009 at 6:00 pm

A-

Lowest Recommended Age:	Adult
MPAA Rating:	Not Rated
Profanity:	Some strong language
Alcohol/ Drugs:	References to drinking and drugs
Violence/ Scariness:	References to emotional abuse, sad death
Diversity Issues:	A theme of the movie
Date Released to Theaters:	February 20, 2009

A generation ago the technology first became widely available to allow families to document their lives with home movies and audio recordings. The use of these artifacts has transcended the “can you believe I used to look like that” and “remember that trip” family viewings and provided the materials for extraordinary films like Capturing the Friedmans, Tarnation, exploring the chasm between the sunny footage of birthdays and beach visits and the longing, failure, betrayal, and loss that was going on inside.

Film-maker Morgan Dews is the grand-son of a woman named Allis, who left behind a suitcase of home movies, ten hours of dictaphone letters sent to her husband on his annual four-month business trips to Australia, and tapes recorded for herself or for therapists consulted by the family. And there was a file of tape transcripts and notes labeled Must Read After My Death.

That became the title of a film assembled from these recordings, opening today in New York and Los Angeles and available everywhere via Gigantic Digital. The haunting images of Allis, her husband Charley, and their children, Chuck, Doug, Bruce, and Anne flicker on screen as we hear the recordings. The juxtaposition is artfully done and utterly heart-rending, the cheery footage of children playing as we hear the family fall apart.

At first, the words fit the “Leave it to Beaver” images of life in the tony Connecticut suburbs of the 1950’s and 60’s as Allis and the children make records tell Charley how much they miss him and he responds by telling them he loves them. But then, so matter-of-factly we wonder if we hear it correctly, Charley tells Allis about his involvement with other women and even asks for her help. And by the time the recording device has switched to reel-to-reel magnetic tape, the kids are beginning to reflect the anguish at home. Halfway between a time capsule and a Cheever story, we see the particularly of this family’s dysfunction and disintegration but it is the elements of its era make it so powerful. The suffocating restrictions on Allis as she tries to find a way to hold onto a sense of herself at a time when therapists were handing out tranquilizers and telling her to let her husband be the boss. In one tape we hear her decide that while she would like to work it would be better for her son for her to stay home — for another ten years.

Movies like “Revolutionary Road” and “American Beauty” cannot come close to the art and authenticity of this one in portraying the tragedy behind the manicured lawns and shiny appliances of the suburbs. The urgency of Allis’ message to us — not “please” but “must read” — is most honorably discharged by her grandson and the story she left behind lets us hear the voice that was almost silenced.

If you like this, try: Capturing the Friedmans, Tarnation, Five Wives, Three Secretaries and Me, Tell Them Who You Are, and This American Life’s superb episode of found audio, including tapes found in a thrift store that were recorded by parents to send to their son in medical school. And this interview with Morgan Daws has more information about the film and the family and how they feel about using Allis’ recordings.

High School Musical 3: Senior Year

Posted on February 16, 2009 at 6:00 am

B+

Lowest Recommended Age:	All Ages
MPAA Rating:	G
Profanity:	None
Alcohol/ Drugs:	None
Violence/ Scariness:	None
Diversity Issues:	Diverse characters
Date Released to Theaters:	October 24, 2008
Date Released to DVD:	February 17, 2009
Amazon.com ASIN:	B001NE80P4

Sometimes “nice” can be very high praise, and that is the way I mean it when I say that the utterly snark-free “High School Musical 3: Senior Year” is as nice as it gets. With a gossamer-weight plot line that makes Archie Comics look like Dostoyevksy but all the heart, spirit, and sweetness and fun its fans are hoping for, this is a resoundingly satisfying conclusion to the record-breaking trilogy. I admit it — I smiled, I tapped my feet, and I even wiped away a tear.

One thing I especially loved about the movie is the way it avoided the usual misunderstandings and hurt feelings. Troy (Zac Efron) and Gabriella (Vanessa Hudgens), who met singing a karaoke duet in the original HSM are thoughtful, kind, and committed throughout this film. The overall tone of the movie is sugary, but they are much more authentic than most movie couples in the way they trust and support one another. It is such a relief to see them so solidly together as they try to address their problems. There is no silliness about their relationship, which is supported by everyone around them. That means that when they are not singing or worrying there is not much for them to do but smile their dazzling smiles at each other, but the singing and dancing is great, the smiles are indeed dazzling, and they do have one breathtakingly romantic moment that is surprisingly touching because it is utterly pure and simple and lovely.

Like all high school seniors, Gabriella and Troy feel that everything is moving too fast. They are excited about college but wish they could hold on to everything they have loved at East High. They are trying to figure out how to understand what is right for them, which may not be what their parents want. And they have counted the miles between the schools they are planning to attend and are not looking forward to being so far away from each other. Everyone is just too busy and distracted to be in another musical show this year but somehow Gabriella once again brings them all together for what they know will be their last chance.

But Mean Girl Sharpay (Ashley Tisdale vamping like a cross between Paris Hilton, Christina Aguilera, and Cruella deVil) wants to be the star of the show. With her twin brother Ryan (Lucas Grabeel), the show choreographer, she dreams of having it all in a sensational dance number in the school cafeteria that is a throwback to the all-out show-stoppers of the classic MGM musicals. Sharpay has a car with a “Fabulous” license plate, a personal assistant with a British accent, some truly impressive hair, a double locker with a padded interior and a make-up mirror, and an endless series of tiny miniskirts. Her entrance is sensational — as all of the kids are in bright red in tribute to the championship basketball team, she comes in the door in flaming hot pink.

The musical numbers are sheer delight, especially Efron’s athletic romp in a junkyard with pal Chad (Corbin Bleu) and his Fred Astaire-inspired, literally off-the-wall solo in the school late at night. Troy and Gabriella just might bring back the waltz with their lovely pas de deux in the school’s rooftop garden. They might bring back the idea of sweet, tender romance where one special kiss means everything, too.

Interview: Rob Margolies of ‘Lifelines’

Posted on February 15, 2009 at 8:00 am

“Lifelines,” which I wrote about as one of the overlooked gems of 2008, opens April 3 in New York. It is about a deeply wounded family’s visit to a therapist and the revelations and connections and consequences that result.

I interviewed the writer/director/producer, Rob Margolies.

What made you want to be a filmmaker?

One of my earliest memories is the day I first discovered Jim Henson’s “Labyrinth” on VHS. I was no more than 5 or 6. It was the first film I fell in love with. I must’ve watched it nearly every day after school for months.

Not long after, I was introduced to films like: “Willy Wonka & the Chocolate Factory,” “The Never Ending Story,” “The Goonies,” “Pee Wee’s Big Adventure,” etc. Within the following 5 or 6 years, my love for movies grew stronger and matured with such defining films as: “The Shawshank Redemption,” “Pulp Fiction” (which I’m proud to admit I snuck into when I was 11), “Schindler’s List,” and “Forrest Gump.”

Storytelling, creative writing, and concocting elaborate skits using friends as actors were vital hobbies of mine long before I hit puberty. I knew I wanted to be a filmmaker before I was 12 (the age I began writing screenplays).

To answer the question, I am a filmmaker to inspire and entertain others.

Were there particular films or directors or screenwriters who influenced you?

In addition to the films above, as far as filmmakers go: Kubrick, Paul Thomas Anderson, Spielberg, Truffaut, and Alexander Payne…

How did the idea for this story begin?

NOTE: I can’t fully answer this question without giving away spoilers.

However, I will admit that I was diagnosed with ADD at a young age, and in order to be properly treated for such a condition I had to visit handfuls of diverse psychiatrists and psychologists for a large part of my life. The concept of a family journeying to see a shrink on a Saturday to mend their own issues has always been a topic I wanted to explore cinematically. I believe every human being can relate on some level.

You gave some very challenging roles to young actors — how did you work with them so that they did not indicate or give away too much too soon?

My New York-based casting director, Judy Henderson, has had a lot of luck casting children in the past. I sought her out based on her past work on such indie films as “L.I.E.” and “Twelve and Holding.” Judy came through again, finding incredible newcomers for “Lifelines.”

Each actor, Robbie Sublett (Michael Bernstein), Dreama Walker (Meghan Bernstein), and Jacob Kogan (Spencer Bernstein), understood the dynamics of their character from their first audition. I truly lucked out. We really didn’t even rehearse that much! When they had questions, we discussed the answers. When they weren’t in character or did something that needed improved (which was infrequent), I let them know and the problem was solved almost instantly. All three of them are already extremely successful, and deservingly so. Again, I truly lucked out.

Jane Adams is one of my favorite actresses. How did you come to work with her and what was it about this role that attracted her?

Jane was my first choice for Nancy Bernstein – I’ve always been a fan of hers as well. My Los Angeles-based casting director, Lindsay Chag, agreed that Jane was perfect for the role. Intuitively, I knew she would connect with the character. And she did. You would have to ask her what attracted her to the role for an authentic answer…

What do you most want people to take from this movie?

Nobody is perfect. And if anybody thinks they are, they’re most imperfect. I’d love people to watch this movie and subliminally start accepting their own family members and friends for precisely who they are, putting all inherent shortcomings aside. But ultimately, I made this movie for people to know they aren’t alone in the world. If you have an open mind, somebody will always be there to hear you out in times of need.

What are you doing next?

A feel-great father/son comedy titled: “In the Meantime.” It puts an insightful new spin on the coming age subgenre as well as road trips, and the definition of love & lust… We will be filming sometime this summer. Currently we’re making offers, getting close to attaching a star for the lead role. The rest of the principal cast is pretty much set. A bunch of the actors are already listed on IMDB and the rest will be added within the upcoming months.

Also, please check out my website for more info on “LIFELINES” and all of my upcoming projects.

Related Tags:

Family Issues Independent Interview

City of Ember

Posted on January 20, 2009 at 6:00 pm

Under the earth’s surface for so long they have forgotten how and why they got there and even that there is another place to be, the citizens of the City of Ember have just about lost their sense of hope, of wonder, of imagination, and adventure. On “assignment day” kids pick their careers out of a hat. The idea of special interest, curiosity, or competence never comes up. And neither does the idea of creating or improving anything. All of the jobs that occupy the time of the citizens of Ember are about maintenance. All of the clothes, all of the infrastructure, everything is made from broken pieces of other things. Decay and breakdown pervade everything. Learning, reading, and creating, are ideas that have just about disappeared.

There is a genial but disengaged mayor (Bill Murray). Everyone seems to accept everything the way it is except for two kids, Lena (Saoirse Ronan), who lives with her dotty grandmother and little sister, and Doon (Harry Treadaway). Together, they race to solve the mystery of how their city was created before it becomes uninhabitable.

An almost Junior Great Books version of Brazil, this is a gorgeously imagined and visually sumptuous but still bleak and dystopic vision. In most stories featuring young lead characters, at some point they consult with a wise older person or get help from an adult. But here all of the other characters, the adults and even Lena’s little sister all seem oddly passive and disconnected and the kids are on their own. It does not have the brightness and energy of many films for this age group, and that may take some getting used to for kids used to a lot of flash.

But like a good book, it rewards patience and thoughtful attention. As with Wallâˆ™E, some audience members will complain that this film is a one-sided and thinly-veiled allegory about current controversies or that it promotes rebellion. But that a very superficial mis-reading of the movie’s message, which is about the much more important and much more fundamental importance of independent thinking and not being satisfied with the status quo. In a time where both candidates for President are competing to persuade voters which will be the most effective in bringing change, it is an important reminder that we can all find ways to make things better.

The Best “Christmas Carols” — from “Bah humbug” to “God bless us everyone!”

Posted on December 21, 2008 at 6:00 pm

Charles Dickens’ A Christmas Carol is my favorite Christmas story and I love it in just about any of its movie incarnations. “Bah, humbugs” have been muttered by Scrooges played by top-notch dramatic actors like George C. Scott and Albert Finney, former Miss America Vanessa Williams, former Fonzie Henry Winkler, and former Saturday Night Live star Bill Murray. I love them all. But here are my very favorites, the ones I try to watch every year.
5. Mickey’s Christmas Carol Who better to play Scrooge than his namesake Scrooge McDuck? And who better for the part of the unquenchable Bob Cratchit than Mickey Mouse? This compilation DVD includes other Christmas goodies “The Small One” and “Pluto’s Christmas Tree.”
4. The Muppet Christmas Carol has the distinguished actor Michael Caine as Scrooge and the equally distinguished Kermit the Frog as Bob Cratchit. Special mention of A Sesame Street Christmas Carol as well.
3. Mr. Magoo’s Christmas Carol. The voice talent is outstanding, with Broadway star Jack Cassidy (father of teen idols David and Shaun) as Bob Cratchit and of course Jim Backus as Mr. Magoo, in this version an actor playing the part of Scrooge. The tuneful songs were written by Bob Merrill and Jule Styne, who later went on to write “Funny Girl.” (The legend is that their song “People” was originally written for this movie.)
2. A Christmas Carol This MGM classic features the top stars of the 1930’s. Watch for future “Lassie” star June Lockhart as one of the Cratchit children — her real-life father Gene Lockhart played Bob. (He also appears in another Christmas classic, as the judge in Miracle on 34th Street.)
1. A Christmas Carol This is the all-time best, with the inimitable Alistair Sim as Scrooge. There has never been a more embittered miser or a more jubilent Christmas morning rebirth. When he orders that turkey for the Cratchits and walks into his nephew’s celebration at the end, everything Dickens hoped for from his story is brought to life.