Ebertfest, Part 2

Posted on April 28, 2009 at 3:58 pm

It took me nearly 48 hours to get home due to weather and other delays, but I am back with some more from the Ebert festival.

I was on a panel called “Film Criticism and the Web,” with 10 critics including Richard Roeper, the Chicago Tribune’s Michael Phillips, radio and television stations WGN’s Dean Richards, Time Out Chicago’s Hank Sartin, Ain’t-It-Cool’s Steve Prokopy (aka Capone), Kim Voynar of Film Essent and Movie City News, Lisa Rosman of US Weekly and Flavorpill, and eFilmCritic’s Eric Childress and Peter Sobczynski. We spoke about our concerns that print film criticism was shrinking, but the very make-up of the panel demonstrated the reach and variety of voices available through other media.

Following his treatment for cancer, Ebert cannot speak. But he is marvelously expressive, his enthusiasm for these marvelous movies communicated with his every gesture. He has a laptop that synthesizes text into speech and he thought as long as he could not speak with his own voice, why not have a very classy British accent? You can hear him introduce the young Romanian star of “The Fall,” Catinca Untaru, standing with her mother and step-father, in this clip. Prokopy and I interviewed her before the audience following the screening. She appeared in the film almost half her life ago — she is now 12 — and it was a lot of fun to see that while she is very grown up, she is still as unaffectedly charming as she was in the film. I thought it was very funny that she said she wanted to see the Swedish vampire film on the schedule, “Let the Right One In,” because in Romania they know a lot about vampires!

Standing next to him is Chaz Ebert, Roger’s wife, who served as the very gracious mistress of ceremonies throughout the festival. I was very touched by all she and Roger did to make me feel especially welcome.

The theme of the festival is a quote from Roger: As film exhibition in North America crowds itself ever more narrowly into predictable commercial fodder for an undemanding audience, we applaud those brave, free spirits who still hold faith with the unlimited potential of the cinema. There was no more touching moment in the festival than in the discussion following the stunning documentary about the damage caused by Katrina and by the failure of government and humanity that followed. The young woman whose own footage was in every sense the heart of the film, Kimberly Rivers Roberts, spoke about how the movie helped her to pursue her dream of being a recording artist. “I didn’t know what I could do until I saw myself on screen,” she said. At their best, movies reflect back to us a self we hardly dreamed we were capable of becoming. The 14 films at this festival left the audience filled with new ideas of what we can be.

The first person who sends me an email at moviemom@moviemom.com with Ebert in the subject line will get a baseball hat and t-shirt from the festival.

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Ebertfest, Part 1

Posted on April 25, 2009 at 7:42 am

I won’t be able to post pictures until I get home, but here is a quick update on Roger Ebert’s festival at the University of Illinois. Unlike many festivals, which have a dozen or more choices of events every minute of the day, this one has just one panel or film at a time, which creates a marvelous shared experience and sense of community. The screenings take place in the magnificent Virginia Theatre, an historic space that has served as a vaudeville house and as an enormous cathedral of film. Thursday night, we saw “Trouble the Water,” a stunning, infuriating, heart-breaking, and uplifting documentary about Hurricane Katrina and New Orleans. The film-makers were there to talk about it afterward, including the young couple whose home movies and journey are at the heart of the story.
Yesterday, I attended a panel discussion that included writer-director Ramin Bahrani of “Chop Shop” and the upcoming “Goodbye Solo,” Misty Upham of “Frozen River,” Carl Molider, producer of “Let the Right One In,” and Andy Ihnatko of the marvelous blog Celestial Waste of Bandwidth. Upham, a Native American, spoke of being told in auditions to come back when they do a western. “I can play a regular person! I can play a taxi driver. I will do anything that does not involve a teepee or buckskin!” The debate on whether we should “let” people see pure popcorn films like “Wolverine” was very spirited and I especially enjoyed a teacher from Downer’s Grove in the audience who said that she loved it when the kids in her film class tell her she has spoiled movie-going for them because they can’t “just watch” anymore.
Then I was on a panel of critics — 10 critics, 90 minutes, you can do the math. But at least from where I was sitting at the end of the long, long table, it was surprisingly substantial and a lot of fun. We represented print, radio, television, and the internet. Many of us have done them all. We have appeared in every possible form of media except perhaps cuneiform tablets and notes in bottles. We had the obligatory mourner’s wait over the state of newspapers and how hard it is to make money as a movie critic. But I really enjoyed the variety of voices and the unquenchable passion for movies and for thinking about them, writing about them, and especially helping the good ones find their audience. I especially liked the comments from Time Out Chicago’s Hank Sartin and it was a great pleasure to meet for the first time my email friend Eric Childress, of the withering CriticWatch, which takes on the “critics” who will call anything “the feel-good film of the year” to get their names in the ads.
After a couple of hours at the University’s Center for Professional Responsibility in Business and Society, where I serve as an adviser, I returned to the Virginia Theatre to see “The Last Command,” a 1928 silent film directed by Josef von Sternberg. Emil Jannings plays a Russian general, a cousin to the czar, now reduced to trying to find work as a Hollywood extra for a few dollars a day. A very young William Powell plays the director who hires him to play…a Russian general. It was a thrill to watch it on the big screen, with the live accompaniment from the Alloy Orchestra, which specializes in music for silent films. The film is an artifact in its tone and context — it was re-enacting events of the Russian revolution only a decade later — but it is utterly immediate in its themes and Powell, especially, gives a performance of timeless grace and humanity.
I also had the quintessential festival experience of sharing an elevator ride with one of my filmmaker heroes, Guy Maddin. Bliss.

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Disney’s First African-American Princess

Posted on April 21, 2009 at 10:00 am

The Disney Princesses, each the star of her own movie, are now a team and something of a marketing juggernaut. They have transcended their individual stories and now appear together in a wide range of merchandise. And now Snow White (born a princess and married to a prince), Cinderella (married a prince), Little Mermaid Ariel (born a princess and married a prince), Belle (married a prince), and Sleeping Beauty (born a princess and married to a prince) will be joined by the first African-American princess, Tiana.

Disney has had non-white female lead characters before — Mulan (not a princess or married to a prince), Jasmine (born a princess), and Pocahontas (a Native American equivalent to a princess). But Tiana is the first African-American to star in her own fairy tale movie, based on a combination of a traditional story, a recent novel, and Disney’s own magical transformation. According to The Washington Post’s Neely Tucker,

It draws inspiration from an 18th-century fairy tale from the British Isles, and “The Frog Princess,” a 2002 teen novel from Maryland writer E.D. Baker. Disney transferred the story to 1920s New Orleans and changed her name, race and almost everything else.

In the Disney version, Tiana is a young waitress and talented chef who dreams, like her father, of owning her own restaurant. She eventually kisses a frog and is transformed into one. She must journey into the dark bayou to get a magical cure from a good voodoo queen. She is aided by a goofy firefly and a trumpet-playing alligator. The frog turns out to be handsome Prince Naveen, from the far-off and fictional land of Maldonia.

The stills released by the studio show Tiana in full princess regalia: a powder-blue gown, tiara and hair in an elegant upsweep.

Tony Award winner Anika Noni Rose voices Tiana. Other parts are played by Oprah Winfrey, John Goodman, Terrence Howard and Keith David. The music is by Oscar winner (and New Orleans veteran) Randy Newman. It is directed by Ron Clements and John Musker, the same team behind “Aladdin” and “The Little Mermaid.”

Tucker writes about the sensitivity involved in this image, as have all of the Disney heroines, which have been criticized for ethnic and gender concerns. At one time, he writes, the character was called Maddy, short for Madeline, but it sounded too much like “a slave name.” The love interest is of indeterminate race.

Prince Naveen, for the record, is neither white nor black, but portrayed with olive skin, dark hair and, need we state the obvious, a strong chin. The actor who plays him, Bruno Campos, hails from Brazil.

Tiana is a fantasy figure and so it is not surprising that she fits an idealized and doll-friendly image. But we have come a long way from the racially insensitive images in past films like “Dumbo,” “Peter Pan,” and “Song of the South.” I appreciate the care and yes, love, that have gone into creating this character and I am really pleased to have what appears to be a very strong and beautiful role model added to the princess line-up.

Frost/Nixon

Posted on April 21, 2009 at 8:00 am

A-

Lowest Recommended Age:	High School
MPAA Rating:	Rated R for some language
Profanity:	Some very strong language
Alcohol/ Drugs:	Drinking, smoking
Violence/ Scariness:	References to wartime violence
Diversity Issues:	None
Date Released to Theaters:	December 5, 2008

More than 30 years after he resigned from office, Richard M. Nixon has transcended politics and history and become epic. He has been portrayed on film by Anthony Hopkins, the man who won an Oscar playing Hannibal the Cannibal. And his trip to China has been the subject of an opera, the art form most suited for larger-than-life stories of melodrama and scope. Nixon is like a Shakespearean character, the ability and ambition and the tragic flaws of Richard III, Lear, or Othello.

No one work of art or history will ever contain this man of extraordinary contradictions, but in one of this year’s best films, based on the Tony award-winning play, writer Peter Morgan, director Ron Howard, and actors Frank Langella and Michael Sheen take a pivotal moment in Nixon’s life and make it into a gripping story of the craving of two very different men for power and acceptance and how it plays into a contest of wit and will that becomes a larger story of accountability and meaning.

Richard Nixon was all but exiled to his house on the ocean in San Clemente following his resignation from the Presidency in 1974, relegated to working on his memoirs and finding excuses not to play golf. British broadcaster David Frost was also in a kind of an exile following cancellation of his New York-based talk show, relegated to lightweight celebrity interviews and presiding over televised stunts. Both were desperate for a way to get back into a position of influence. Frost proposed a series of interviews, even though he had no background as a journalist or historian. And Nixon accepted, in part because Frost had not background as a journalist or historian and in part because he would get paid $600,000 and a percentage of the profits. Negotiated by uber-agent Swifty Lazar (a shrewd Toby Jones) and widely criticized as “checkbook journalism,” the payment may have been unorthodox but it was most likely one of the most important factors in eliciting the unprecedented level of candor from the former President, not because of the incentives but because it shifted the balance of power from the subject to the interviewer.

It was also a stunning example of the precise conflict at the heart of so many of Nixon’s failures — his desperate need for approval. He accepted the interview as a way to try to regain his reputation as an elder statesman and remind America of his accomplishments and value. But once again, as it did in 1960 in the first televised Presidential debate, he was defeated by television, but what a character refers to as the power of the close-up. In yet another of this film’s infinite regression of paradoxes, the close-up that most exposes Nixon comes closest to creating sympathy for him. It is one thing to read about the evasions and cover-ups and corruption. It is another to see his face, the desperation, the soul-destroying awareness of how far he was from what he wanted to be.

Staged like a boxing match between the aging champ and the upstart, Howard and Morgan show us the combatants in training, sparring, retreating to their corners for some splashes of water, and then back into it, each going for the knock-out punch. They manage to create sympathy for both men without any shyness about their flaws. Both have some monstrous qualities but neither is a monster.

Sheen and Langella, after months performing together on stage, fully inhabit the roles and are exquisitely attuned to each other. Langella has the more showy character, but Sheen is every bit as precise. Watch the way he orders his lunch. In a millisecond he conveys all of his skills and all of his vulnerabilities. Even in the middle of an important conversation with his producer he stops and gives his full attention to the person behind the counter at the cafeteria and he orders in a way that perfectly demonstrates his charm, his showy self-deprecation, and his need to be noticed and approved of by every person on the planet.

And then there is Nixon, that infinitely interesting jumble of contradictions. Langella shows us his glimmers of self-awareness that cannot add up to meaningful insight. Morgan has taken the privilege of a writer to make it truthful without being accurate in every detail. For one thing, it has better dialogue. Morgan’s “The Queen” was another story of politics, celebrity, history, and conflict between two strong public characters (the younger one played by Michael Sheen) . As he did there, his selection of the elements of the story he wants to highlight and explore allows him to make this men not just historical figures but symbols of duality and contradiction and ultimately to deliver some over-arching messages about what it means to be human.

Interview: Bill Haney of ‘American Violet’

Posted on April 19, 2009 at 9:22 am

“American Violet,” the fine new film about the real-life woman who took on corrupt and racist law enforcement officials in 2000, was written by Bill Haney. It was a very great pleasure to get to talk to him about the film.

Tell me a little about your background and about what made you want to write this story.

I grew up in a Benedictine monastery in Rhode Island. My dad was a teacher there and I went to school there and left to go to college. It was there I got the general idea that the goal of life isn’t to get something from the world but to give something to the world. The purpose of storytelling is to illuminate and express something useful about the human condition, sometimes joyful, sometimes distracting, but in an ideal world, constructive. I like stories about an ordinary person called upon to do something extraordinary. I heard Wade Goodman on NPR talking about this case in Texas. His storytelling was classic NPR expositional context so that I felt compelled and moved, and that was what launched the journey to find the people and write the story.

It seems to me to be a essentially American story — an underdog seeking justice.

It is a systemically frustrating view of American justice, and the way they fought to get justice. We’ve been doing these word-of-mouth screenings with really interesting discussions. One woman said she was really pleased to see the message that we can get change through the system, that if we are educated and stand up it can work.

I am often of critical of films that set the lighting for the white characters and do not to justice to black skin tones but this film lights the black characters beautifully.

That was important to us, too. It is challenging to make sure the visual beauty is equally spread.

What has happened to the real-life woman who is called Dee in the movie?

In a lot of ways she is doing great. At one level this has been a marathon experience for her. She stayed in the community until four weeks ago. She’s gone through a lot of struggles including some serious health problems. She’s still there and he’s still there so it hasn’t ended, but it has been cathartic for her to get this experience out there. She’s a bright, charismatic woman. But her community is blighted. In the local high school, 169 entered as freshmen, but only three graduated and none went to college. There are these inherent limitations and she pierced right through that. She’s out giving talks, finding a voice and a place in society. Her children have found this process hugely validating and inspiring. Telling her story this way helped them respect and admire her. She is articulate and persuasive. It has left some marks on her but she is stronger and a person with a bigger voice in her world as a result.

What are some of the movies you saw when you were young that inspired you to want to make films?

At the all boys school we had no television but we had these screenings on Saturday nights. I saw “Guns of Navarone” and was completely smitten. I love Peter Weir movies, especially “The Year of Living Dangerously” — a magical story for me.

What are you working on next?

I’ve outlined three movies and a documentary about endangered species. Half my work is connected to something around the environment and food will be at the core of the next movie. Food is a great subject because it is about love, health, appreciation, beauty, soulfulness, and humor.

What makes you laugh?

PG Wodehouse. My wife has me on a Wodehouse allocation. She will only let me read for like 15 minutes at a time. I love dry humor, fish out of water stories. My own three kids make me laugh — kids know how to surf your waves. If you’re not laughing at them you’re laughing with them. I love Abbott and Costello and Charlie Chaplin’s “The Great Dictator” and Jim Jarmusch’s “Night on Earth.”

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