Trailer: Ryan Hansen Solves Crimes on Television*, Season 2
Posted on January 15, 2019 at 11:20 am
I signed up for YouTube Red to see the first season of Ryan Hansen Solves Crimes on Television*, and am really looking forward to Season 2, which starts January 30. It is smart, fresh, and very funny, with great guest stars, a lot of sharp, knowing, meta-commentary on pop culture, and a lead performance by Hansen that is so resolutely self-involved lesser-Hollywood bro it is almost impossible to believe it isn’t real.
The Library of Congress has announced that it has digitized hundreds of hours of motion pictures that will be freely available on the newly launched National Screening Room website. Most of the content in the National Screening Room is in the public domain. Movies that the Library believes to be in the public domain are fully downloadable. Permissions were granted for the inclusion of copyrighted motion pictures, which are only available as streaming files.
This digital offering showcases the wealth and diversity of the Library’s vast moving image collections. The Library has the largest and most comprehensive archive of moving images in the world, totaling more than 1.6 million items. The first phase of the project will feature 281 titles and new content will be added to the National Screening Room every month. .
“The goal of this digital project is to present the public with a broad range of historical and cultural audio-visual materials that will enrich education, scholarship and lifelong learning,” said curator Mike Mashon, head of the Library’s Moving Image Section. “The National Screening Room is designed to open up the Library’s collections, making otherwise unavailable movies freely accessible to viewers nationwide and around the world.”
In celebration of the 120th anniversary of George Gershwin’s birth on Sept. 26, the National Screening Room features 17 home movies of George and Ira Gershwin filmed in 1928–1939. These provide rare glimpses of the Gershwin brothers, sometimes working but primarily socializing with family and famous friends.
“The Gershwin home movies, long held in Ira Gershwin’s Beverly Hills archive, contain amazing images of interest to historians and fans alike,” said Michael Owen, consulting archivist of the Ira and Leonore Gershwin Trusts. “I’m overjoyed that the Library of Congress has digitized this collection and is now making it available for viewing via its National Screening Room website.”
One highlight of the Gershwin collection includes five reels of a party for Liza Minnelli on her second or third birthday. Ira Gershwin, Liza’s godfather, hosted the party at his home in Beverly Hills in 1948. Partygoers also included Liza’s mother Judy Garland, Harold Arlen, Sid Luft and Arthur Freed. There is also behind-the-scenes footage of Fred Astaire’s performance in the 1937 “Slap That Bass.”
Other collection highlights include:
33 issues of the “All-American News” (1942-1945), a newsreel made specifically
for African-American audiences during the mid-20th century;
A 1953 training film for midwives;
A corset commercial;
President McKinley taking the oath of office;
103 titles from the Library’s Paper Prints Collection, including several shorts directed by D. W. Griffith for Biograph Company;
Historical and iconic figures such as Theodore Roosevelt, Frank Sinatra, Mary McLeod Bethune, Adam Clayton Powell and Art Carney;
Titles named to the National Film Registry because of their cultural, historical and aesthetic significance;
A selection of films about mental health released in the 1950s.
Mashon is also working with the Library’s team of educators to develop lesson plans for the classroom and other educational initiatives. Some primary source sets will examine the Harlem Renaissance, Industrial Revolution, Dust Bowl, Jim Crow and segregation, scientific data, Spanish-American War, World War I, Mexican-American communities, immigration, women’s history, children’s lives at the turn of the 20th century, symbols of the U.S. and many more.
The Library of Congress is the world’s largest library, offering access to the creative record of the United States – and extensive materials from around the world – both on-site and online. It is the main research arm of the U.S. Congress and the home of the U.S. Copyright Office. Explore collections, reference services and other programs and plan a visit at loc.gov; access the official site for U.S. federal legislative information at congress.gov; and register creative works of authorship at copyright.gov.
Trans kids generally know who they are, even when they are very young. They don’t tell their families they want to be a gender different from their body parts. They say they are that gender, and it is usually their families who have to reframe their understanding of the boy or girl they thought they had. Even the most certain of children and the most understanding and supportive of families face a wrenching challenge as the child approaches adolescence. Do you block puberty with medication to preserve the child’s choices about gender until age 18? Secondary sex characteristics for the wrong gender can be intensely traumatic. But the medication can have side effects.
“They” and “their” are the preferred pronouns for the lead character, known just as J, and played by a trans actor named Rhys Fehrenbacher. J is a young teenager who is having an adverse reaction to the puberty blockers and has to decide what to do. J’s parents are away caring for another family member, their return home delayed, and J’s brisk but not uncaring sister Lauren (Nicole Coffineau) and her Iranian boyfriend, Araz (Koohyar Hosseini) have come to stay with J until their parents return.
Writer/director Anahita Ghazvinizadeh gives the film a lyrical, meditative quality. J’s parents, sister, Araz, and doctor are all understanding and supportive, if distracted. They are all so accepting that no one seems to think J might need to talk about the momentous decisions they are confronting.
We see J reciting Elizabeth Bishop’s poem, The Mountain:
I do not mean to complain.
They say it is my fault.
Nobody tells me anything.
Tell me how old I am.
The deepest demarcations
can slowly spread and fade
like any blue tattoo.
I do not know my age.
We see many moments in nature, as though to locate J’s transitions within the context of the natural world. Lauren and Araz are both preoccupied with their own personal and professional liminal challenges as well. There is also a long, seemingly improvised section that takes place in the home of one of Araz’s relatives, with Lauren and J at a large family party. Throughout, it almost seems as though we are eavesdropping on bits and pieces of the J’s world.
That is not always successful, and some of the choices are heavy-handed. But thankfully, it is not didactic or preachy. J may not know what they want, but Ghazvinizadeh has confidence that they will make the right choice, and trusts us to root for them.
Parents should know that this movie deals obliquely but frankly with issues of non-binary gender.
Family discussion: How do the boys with the bicycle feel about J? What should J do?
If you like this, try: the “I am Jazz” series on television
The Looming Tower Explores the FBI and CIA Before 9/11
Posted on March 8, 2018 at 10:32 pm
Hulu’s new series, “The Looming Tower,” is based on Lawrence Wright’s Pulitzer Prize winning non-fiction book about the US intelligence agencies in the years before 9/11. His focus is on the rivalry between the heads of the FBI and CIA operations investigating Osama Bin Laden and the rise of Al-Qaeda and how their unwillingness to share information made it impossible to prevent the attack. In the series, adapted by “Capote” screenwriter Dan Futterman, Peter Sarsgaard plays CIA Analyst Martin Schmidt, a fictionalized character, and Jeff Daniels plays John O’Neill, Special Agent in Charge of the FBI’s counterterrorism operation, who was killed on 9/11 in the World Trade Center.
I interviewed Wright and the actors. On Rogerebert.com, my interview with Jeff Daniels, Peter Sarsgaard, and Wright talked about the personal and professional animosity that kept the investigators from cooperating and why now could be the time for a deeper look at what happened.
It’s the climax of the film. The hero and heroine finally kiss. The power of the moment comes from the emotion built up by the story, by the acting talent and screen charisma of the performers, by the heart-tugging swell of the music — and by the sound of the kiss itself, probably so subtle you don’t notice it, but if it wasn’t there, you would notice its absence. That sound was not made by the tender touch of two beautiful movie stars’ lips. It was made by a Foley artist, the “actor of sound,” whose profession is the subject of this documentary.
Skip this next part and go to the next paragraph if you want to preserve the illusion: the slight smacky sound you hear is probably some burly guy kissing the back of his hand. And when a beautiful actress walks down a hall or street in high heels, that same burly guy is probably wearing a t-shirt, shorts, and high heels, stepping on one of the dozen or so different surfaces in the studio to match the shot. The sound of the trudging footsteps of the enormous football player in “The Blind Side” was created by a woman, who explains, “I had to become a 300 pound man who was feeling alone and like no one cared about him…I gave myself a sense of heaviness.” Another woman “was” Mr. T in “The A-Team,” at least the sounds of his feet.
The Foley artist is the person who provides everything from hoofbeats on dirt to the clacks of high heels on a wood floor, from the sound E.T. makes when he walks to the sound of Walter White taking off the mask he uses for cooking meth to the sound Robert de Niro makes when he slams a baseball bat into a guy’s head in “The Untouchables.” That last one, we learn in this fascinating and engaging documentary, was made with a combination of a raw turkey (gizzards still inside) and a coconut. We learn about sounds like the snap of Batman’s cape, the flutter of paper floating through the air, and the “hyper-real” coin toss in “No Country for Old Men.”
Foley was a real person, a pioneer in the field. While the technology for recording and editing the sounds has advanced along with most other aspects of filmmaking, the technology for creating the sounds has not. They are still using the same kinds of props — and sometimes even the exact same props — that go back to the heyday of radio. If it’s a period film and someone needs to dial a phone, you’re going to need a dial phone to create that sound. And nothing beats corn starch for the sound of walking on snow.
The documentary includes archival footage showing how sounds were created for some of the most iconic moments in film history. ET’s walk? Let’s just say that when the Foley artists were served Jello at lunch, it gave them a good idea. It also includes Foley artists from around the world and some discussion of how changes in the industry and technology may affect the future of the profession.
All of the participants are wonderfully imaginative and dedicated, and their stories and perspective make this essential viewing for anyone who is interested in film. “The sound has to pan, too,” to help create the illusion of movement. And they will do anything to get the sound just right — even a condom over the microphone.
As one of them says, a Foley artist has to be “an athlete, a musician, and an actor all in one,” and as another says, they are “painting a picture with sound.” So far, no one has been able to produce sounds digitally or via a sound library that feel real, not robotic. Being a Foley artist requires “imagination, tempo, coordination, and love,” and this film is filled with all of that as well, a welcome appreciation for an essential and often overlooked profession.
Parents should know that this film includes brief violent footage from films being discussed.
Family discussion: What movie sounds do you remember? How will this movie make you listen more closely?
