The Glorias

Posted on September 29, 2020 at 3:13 pm

B +
Lowest Recommended Age: Middle School
MPAA Rating: Rated R for R brief lewd Images and some language
Profanity: Some strong language
Alcohol/ Drugs: Social drinking
Violence/ Scariness: Mental illness, family issues, sad death,
Diversity Issues: A theme of the movie
Date Released to Theaters: September 30, 2020

Copyright 2020 The Glorias
Director Julie Taymor has created a welcome remix of the standard movie biopic with “The GLorias.” It is spacious at nearly 2 1/2 hours and with four different actresses playing feminist icon Gloria Steinem (with the real Gloria herself appearing briefly at the end). At times Gloria is literally in conversation with herself, a lyrical depiction of the way we reflect on our past and our future.

Like the opening scene, these conversations occur on a bus, a literal and metaphoric representation of the experience of a woman who titled her memoir A Life on the Road. At one point in the film she admits she has spent no more than eight days at a time in her New York apartment, which she hesitates to refer to as her home. Her friends joke about staging an intervention just to get her to furnish it. This goes back to the beginning. There’s a reason she entitled her memoir, the inspiration for this film, My Life on the Road. She says in the book and slightly adapted for the movie, “When people ask me why I still have hope and energy after all these years, I always say: Because I travel. Taking to the road—by which I mean letting the road take you—changed who I thought I was. The road is messy in the way that real life is messy. It leads us out of denial and into reality, out of theory and into practice, out of caution and into action, out of statistics and into stories—in short, out of our heads and into our hearts.”

Taymor brings her remarkable visual style to the film. The scenes on the bus are gray-scale, with flickers of color outside the windows. In a breathtaking moment near the end, the interior of the bus is flooded with color, illuminating the immensely moving commitment to equality and opportunity that continues today. The four actresses portraying Steinem all have a quiet power rooted in empathy and integrity. Alicia Vikander plays her as a young women, told in her first interview for a job in journalism that only men write for the publication; women do research. She gets the editor to let her write, but when she asks to write a profile of the mayor of NY, he suggests she write about his wife. She goes undercover as a Playboy bunny waitress in the Playboy Club, but her expose (which did lead to the end of the practice of requiring the women to have gynecological exams in order to work there) made her colleagues think of her as a bunny, not an investigative journalist.

Her two great loves, writing and dancing, were both forms of communication without having to speak, a therapist tells her. But if the media would not allow her to write about the women’s movement (“What movement?” her editor asks), she would have to become its voice. Julianne Moore takes over as the older Steinem, and the film gracefully exemplifies one of the movement’s most-repeated slogans, “The personal is political,” as it weaves together key moments and characters on and off stage. Bette Midler and Lorraine Toussaint have just the right snap as Bella Abzug and Flo Kennedy. And Vikander and Moore bring great warmth to the role of a woman whose strengths were quieter.

The film achieves what is most likely Steinem’s greatest hope; it is both inspirational and reassuring in illuminating a path forward to a more just and inclusive world, and a powerful reminder that the most important ingredient for achieving it is to listen.

Parents should know that this film includes a brief crude caricature, brief graphic images and some strong language. There is a sad death and a character struggles with mental illness.

Family discussion: Why did someone call Gloria Steinem a “celestial bartender?” How was she influenced by her parents? Why did she decide to leave journalism? What has been her most significant influence?

If you like this, try: The documentaries Dolores, Gloria: In Her Own Words, “RBG,” “Sisters of ’77,” about the National Women’s Conference, and “Mrs. America,” about the backlash to the women’s movement. And read the biographies of Wilma Mankiller, Bella Abzug, and some of the other characters in the film

THE GLORIAS is available for purchase on Digital and Streaming exclusively on Prime Video starting September 30th.

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Misbehaviour

Posted on September 24, 2020 at 5:52 pm

B +
Lowest Recommended Age: Middle School
MPAA Rating: Not Rated
Profanity: Some mild language
Alcohol/ Drugs: None
Violence/ Scariness: Scuffles
Diversity Issues: A theme of the movie
Date Released to Theaters: September 25, 2020

Copyright Pathe 2020
Let’s start with a little context. In 1970, when “Misbehaviour” takes place, my high school hosted two events, a father-son dinner with a presentation by our Congressman, later Secretary of Defense Donald Rumsfeld, and a mother-daughter dinner with a presentation by a representative from a cosmetic company with an update on the latest looks and products for sale. No one raised any objections. This was at the very beginning of what was being called the women’s liberation movement. Two years before, protesters staged an event near the Miss America pageant (the urban legend is that they burned bras, but in reality they threw bras, girdles, false eyelashes, and other symbols into a garbage can). “Misbehaviour” (note British spelling) is the story of a 1970 protest, endearingly mild by today’s standards, at the London-based Miss World competition.

Miss World is the oldest televised international beauty pageant, founded by TV host Eric Morley (Rhys Ifans) and first broadcast in 1959. So it began just as the tumult of the 1960’s was about to happen, and an all-white beauty pageant with a master of ceremonies making jokes like “I care about women’s feelings; I like feeling women” was very shortly going to be something of a target for protests from the increasingly vocal protesters about racial and gender equality. That collision is already the subject of a documentary, “Miss World 1970: Beauty Queens and Bedlam,” and it is now a feature film, with Keira Knightley as a single mother working on a history degree, Jessie Buckley as an activist, and Gugu Mbatha-Raw as a contestant. Also: Greg Kinnear as Bob Hope, the man who made the joke about feeling women.

Production designer Cristina Casali evocatively creates the earth-toned era of the early 1970’s and writers Rebecca Frayn and Gaby Chiappe bring a nuanced and empathetic approach to the story and the real-life characters, heartwarmingly glimpsed with updates over the final credits. Knightley plays Sally Alexander, who explains to a clearly disapproving admissions committee in the film’s opening scenes that she is divorced and has a child but promises that if she is admitted she will be able to keep up with her classes. She believes in women’s rights but her view is to achieve equality by getting “a seat at the table.” Jo Robinson (Buckley) is a radical who spray-paints protest slogans and lives in a commune. She wants more than a seat at the table; she wants to knock it over and stomp it to smithereens.

Change is already underway at the pageant. The threat of protests over yet another white contestant from South Africa, still operating under apartheid, leads Morley to insist on two candidates. So Miss South Africa is the white contestant, and there is a black contestant with the title Miss Africa South. There is another Black contestant as well, Miss Ghana (Mbatha-Raw).

And there is Bob Hope, who accepts the emcee job as he flirts with his new teen-aged secretary, breaking a promise to his wife, Dolores (another exquisitely delicate performance by Lesley Manville). He does more than joke about feeling women, and the last time he hosted the show, he brought the winner back to LA with him.

Sally becomes less moderate as her advisor tells her that her proposal to study women is too “niche” and she sees her young daughter prance around in imitation of the beauty queens. And so she and Jo come up with a plan to disrupt the pageant.

Director Philippa Lowthorpe skillfully balances all of the different stories and themes. In one (apparently fictional) meeting between Sally and the winner of the competition, we see that the images that bothered Sally when her daughter was imitating them could be seen by some young girls in marginalized communities as opening up opportunities for them to think of themselves as beautiful and powerful. On the other hand, this was a competition where the measurements of each contestant were announced as she walked across the stage and they were all lined up in bathing suits and turned around so the audience at home and in the theater could closely examine their rear views. And their rears.

Americans are likely to wonder what might happen in the US if protesters used water pistols. But in England, where even police don’t carry guns, the response is as low-key as the protest. That leaves breathing space for us to consider all of the experiences that went into the protest and what it represented to the women involved, including, in a lovely moment, Dolores Hope.

Oh, and, ten years later, Miss World rebranded itself as “Beauty with a Purpose.”

Parents should know that the subjects of this movie include racism and sexism. There is some mild language and sexist humor, and there are some scuffles during the protest.

Family discussion: Do you watch beauty pageants? How have they changed over the years?

If you like this, try: “Pride,” the true story of gay activists who supported the miner’s strike in Thatcher-era Britain and “Made in Dagenham,” the true story of women striking for equal pay in 1968

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The Broken Hearts Gallery

Posted on September 10, 2020 at 1:00 pm

B +
Lowest Recommended Age: Mature High Schooler
MPAA Rating: Rated PG-13 for sexual content throughout and some crude references, strong language and drug references
Profanity: Some strong and explicit language
Alcohol/ Drugs: Alcohol, drug references
Violence/ Scariness: Emotional confrontations, reference to a sad offscreen death
Diversity Issues: Exceptionally inclusive
Date Released to Theaters: September 11, 2020

Copyright 2020 TriStar Pictures
Maybe it’s my pandemic brain, but I found “The Broken Hearts Gallery” the most delightful romantic comedy in a long time, and I can’t wait to see it again. For all those who have been decrying the end of the romantic comedy because it is just too hard to come up with reasons to keep the lovers apart, let me make this Exhibit A for the defense. It turns out to be very simple. All you need is actors with enormous magnetism and chemistry, some banter that goes snap, crackle, and pop, a couple of misunderstandings and miscommunications, the all-important apology, and of course, spoiler alert, the happy ending. “The Broken Hearts Gallery,” written and directed by “Gossip Girl’s” Natalie Krinsky, is as refreshing and delicious as an ice cream cone on a hot day.

All credit to Krinsky, but the heart of this movie in every way is the adorable Geraldine Viswanathan (“Blockers,” “Bad Education”) as Lucy, who is every bit as endearing as any of the queens of romantic comedies from Doris Day to Meg Ryan and all of the various Jennifers and Jessicas with quippy best friends usually played by Judy Greer. Speaking of the essential role of the quippy best friends, A+ for the two in this film, played by powerhouses-who-deserve-their-own romantic comedies, “Hamilton’s” Phillipa Soo and “Booksmart’s” Molly Gordon as Lucy’s BFFs, support system, and Greek chorus.

Lucy has two passions. The first is art, especially the not-yet-discovered artists with something new to bring to the world. She has a low-level job in a high-level art gallery owned by a “Devil Wears Prada”-style terrifying boss lady, the film’s only under-written character and her name is too-on-the-nose Eva Woolf for goodness sakes. On the considerable other hand, she is played by Broadway legend Bernadette Peters. Lucy’s other passion is holding on to mementos and artifacts of failed relationships, which are more important to her than the relationships themselves. When she loses her current boyfriend, a colleague in the gallery (Utkarsh Ambudkar as Max) and her job in the same #epicfail, she tipsily climbs into a car she mistakes for a Lyft, the handsome guy who owns the car (Dacre Montgomery as Nick) decides to drive her home, and we can check off “meet cute” on our romantic comedy bingo card. Other boxes are checked off nicely, too as the couple bicker, develop grudging respect and then affection as they accomplish something together, get close, get less close, and then, well you know. Plus karaoke, exes, and, of course, wandering through an open market.

Here is what is not on the bingo card but should be from now on: like “The Personal History of David Copperfield,” this movie is casually, un-self-consciously, and joyfully inclusive in a way that feels bountiful, generous, and heart-warming. Krinsky does not waste time worrying about whether related characters look like they share DNA or have names to match their ethnicity, or whether a romantic comedy lead should be blonde and blue-eyed and size 00, and that allows us the luxury of freedom not to worry about it either. Romantic comedies may be aspirational with a dream of perfect understanding and intimacy and witty dialogue, but this one is understatedly aspirational on a whole other level.

Just as revolutionary, this movie gives us a romantic comedy heroine who is not insecure and clutzy. Lucy has issues but she also has confidence and a sense of where she is going. She is coping with loss in some ways that are more constructive than others, like everyone else, but understanding that is what life and movies are all about.

Nick is trying to open a boutique hotel, still under construction and running out of money. He impulsively hangs one of Lucy’s mementos, Max’s tie, on a nail and that inspires her to create the title art installation, which becomes hugely popular, and hugely cathartic for the broken-hearted people who come by to share their stories. The loss of a love is, Lucy says, the loneliest feeling. Sharing the story makes it less lonely. So does a charming romantic comedy that opens up all kinds of new possibilities, including looking for more from its talented writer/director and cast.

Parents should know that this film has some strong language and explicit sexual references that might earn an R if it were not a comedy. Characters drink and get tipsy and there is a drug reference.

Family discussion: What mementos are meaningful to you and why? What art installation can you create?

If you like this, try: “The Personal History of David Copperfield”

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Motherless Brooklyn

Posted on October 31, 2019 at 5:37 pm

B +
Lowest Recommended Age: Mature High Schooler
MPAA Rating: Rated R for language throughout including some sexual references, brief drug use, and violence
Profanity: Very strong language
Alcohol/ Drugs: Drinking, smoking, drug use
Violence/ Scariness: Peril and violence including guns, characters injured and killed
Diversity Issues: A theme of the movie
Date Released to Theaters: November 1, 2019
Date Released to DVD: January 27, 2020
Copyright 2019 Warner Brothers

Motherless Brooklyn” is the affectionate (really) nickname given to Lionel Essrog (Edward Norton) by the only person to treat him kindly, Frank Minna (Bruce Willis). Lionel grew up in an orphanage where his odd tics and compulsions made him the target of bullies who called him a freak. Minna, a private detective, saw something in Lionel, saw that the same compulsions that others found jarring would make him valuable as a close observer who would not be able to rest until he solved the mystery. “A piece of my head broke off and keeps joyriding me for kicks,” he says. But”if there’s one thing my pain in the ass brain knows how to do it is how to listen and remember things.”

Writer/director/star Edward Norton adapted Jonathan Lethem’s prize-winning book, shifting its setting from the 1990’s to the 1950’s, with an intricate “Chinatown”-like storyline of betrayal, corruption, and money. Alec Baldwin plays Moses Randolph, a character clearly inspired by “master builder” Robert Moses, who remade the face, footprint, and culture of New York City. He was never elected to office but held as many as twelve titles in city government, overseeing the construction of highways, parks, and bridges. We first see Baldwin as Randolph striding into a meeting and contemptuously ordering the mayor to give him authority over pretty much everything. How this will all tie into the murder of Frank Minna is what Lionel will have to find out. And there’s a beautiful woman with a secret, as there always is in a noir story. Here is is Rose (Gugu Mbatha-Raw), working to protect the people who are being displaced, with an unexpected additional connection to the story.

Norton’s narration and twitchy performance immerse us in what he sees and what he is looking for and the outstanding production design by Beth Mickle and superbly moody core by Daniel Pemberton immerse us in post WWII New York. We can almost smell the luxurious leather on the books and chairs in an office with a fabulous view of the city to the old Penn Station to a smoky jazz joint in a black neighborhood. And the murkiness of the settings and the sinuous, boundary-crossing music emphasize the ambiguities faced by the characters.

Unlike most stories distorted by power and corruption, Randolph is not lining his own pockets. He argues that he is doing what’s best for the city — building bridges that make it possible for employers to have access to people who live outside of Manhattan, parks and beaches to give residents something more than jobs to attract them. So, if he has to cut some corners, displace poor people, and bury some secrets and maybe a couple of bodies, isn’t that just what it takes to get things done? “As long as you’re the guy who built the parks, you’re with the angels.” At least to some people. Norton, whose grandfather was a developer with an excellent reputation for integrity and public spiritedness, is very aware of the conflicts involved in “gentrification” and choosing between protection and honoring the old and improving with the new, between an orderly process that gives everyone a chance to participate and a bureaucratic tangle that prevents any progress.

This has been a labor of love for Norton, who has worked on and off for 20 years to bring Lethem’s characters to the screen. In only his second film (after “Keeping the Faith”) as a director, he brings an assured understanding of structure and tone. In one especially compelling scene, Lionel finds that a jazz performance connects with the rhythms of his brain and we see what it is like for him to experience a sense of home. The story itself is like a jazz performance, improvisation based in deep understanding and skill.

Parents should know that this is a noir-esque murder mystery with extended peril and characters who are injured and killed, some graphic and disturbing images, bullying, strong language, drinking, smoking, drugs, and sexual references and a a non-explicit sexual situation.

Family discussion: How does Lionel turn his challenges into a strength? What matters most to Moses Randolph? Who is referred to with the quote from Shakespeare about using a giant’s strength like a tyrant?”

If you like this, try: “Chinatown” and classic noir films like “The Woman in the Window” and “Touch of Evil”

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Blinded by the Light

Posted on August 15, 2019 at 5:35 pm

A-
Lowest Recommended Age: Middle School
MPAA Rating: Rated PG-13 for thematic material and language including some ethnic slurs
Profanity: Some strong language including racist terms
Alcohol/ Drugs: None
Violence/ Scariness: Some peril, racist attacks
Diversity Issues: A theme of the movie
Date Released to Theaters: August 16, 2019
Date Released to DVD: November 18, 2019

Copyright 2019 Warner Brothers
If we’re lucky, some time in August, as the big blockbusters of July taper off, we get a heartwarming little indie film to brighten the end of the summer. This year we are very lucky. The film is “Blinded by the Light,” set in Thatcher-era England, where the teenage son of Pakistani immigrants heard a song that seemed to explain the world to him. More than that, it explained him to himself. The song was by someone who was not British, Pakistani, or a teenager, but to Sarfraz Manzoor, New Jersey rocker Bruce Springsteen understood him better than anyone he knew.

Around the same time, Gurinder Chadha, the daughter of Indian immigrants in England, was also listening to Springsteen. Manzoor became a journalist whose memoir about his love for Springsteen (Greetings from Bury Park) then inspired Chadha, the director of films like “Bend It Like Beckham,” to make it into a movie.

The character based on Manzoor is Javed (newcomer Viveik Kalra), who dreams of being a writer. He writes poems that he does not share with anyone, even his sympathetic teacher (Hayley Atwell). The world around him seems bleak, unforgiving, and uncaring. An anti-immigration white supremacist group called the National Front is organizing protests and Javed and his family are subjected to harassment and racist graffiti. Javed’s father is strict, holding on to traditions as he is anxious about a lack of control when he is unable to support the family. His son’s sensitivity and inclination to assimilate into English culture makes him even more anxious. Javed’s mother is sympathetic but she has to work around the clock as a seamstress to earn money and does not want to put more pressure on her husband by challenging him. Javed has one friend who shares his love of music, but his freedom and ease only sharpens Javed’s sense of himself as isolated and ineffectual.

At school he meets a Sikh classmate named Roops (Aaron Phagura) who gives him a Springsteen CD. Chadha’s endearingly cinematic depiction of Javed’s reaction to the songs — the words as much as the music — beautifully conveys the jubilant, visceral reaction to truly connecting with another person, whether it is Gene Kelly splashing in puddles to celebrate falling in love or just knowing that somewhere in the world there is someone who has seen into your deepest secret heart and understands and accepts you. For Javed, who cannot fit into his father’s notion of who he should be but is not exactly sure who he will be instead, Bruce shows him the transformational power of putting feelings into words and music. A voice that means the world to him brings him closer to trusting his own voice.

As in “Bend it Like Beckham,” Chadha’s gift for kinetic storytelling reflects the turbulent emotion of the young protagonists. There are so many lovely details and moments — Rob Brydon (of “The Trip” movies) as the Springsteen-loving father of Javed’s friend, Javed’s discovery that his sister has found her own way to be herself, and of course a sweet romance, complete with a musical number that Gene Kelly himself would appreciate. Most important, the movie shows us that the feelings and the issues Bruce was singing about in the 70’s that spoke to Manzoor in the 80’s are still powerfully speaking to us today. Just as Springsteen let Manzoor know that his feelings were real and valid and understood and could be expressed, so Manzoor and Chadha tell us that with this lovely film.

Parents should know that this film includes racist language and attacks, some strong language, family tensions, mild sexual references, and kissing.

Family discussion: What was it about Springsteen’s music that made it so meaningful to Javed? How did listening to the music give him courage? What music is meaningful to you?

If you like this, try: “Bend it like Beckham” from the same director, and the music and autobiography of Bruce Springsteen

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