Metropolis with Alloy Orchestra at the Oriental: FILM (EVENT) REVIEW

What do you get when you combine the top silent movie accompaniment, Alloy Orchestra, with a top-ten historic theater, The Landmark Oriental, and the newly restored Fritz Lang masterpiece, Metropolis?

Tears, euphoria, and two standing ovations.

Roger Ebert describes Alloy Orchestra as, "The best in the world at accompanying silent films." After hearing them perform their ear-shattering, soul-shaking, heart-wrenching (okay, okay, enough already) score live I think Ebert was being diplomatic. They're even better than that.

I listened to the raving fanaticism in the lobby afterward on Tuesday when I saw it, and again last night when I came out of a different film. They were talking about it as if they'd gleaned an indelible memory. Some were speechless, milling about like drugged penguins on an ice floe. They had so much to say to each other but lacked the words to communicate it properly.

That this was an event was clear to me before it happened. I was ready to fly to Berlin this year when the festival over there debuted the movie with the footage which was found in Argentina. I knew that was something significant, and the story was intriguing. That which was thought to have been lost forever had been found. Now we could see the film in the completeness which the director had fought for.

Honestly, I would have to see it again to appreciate what was added. I like that they filled in the unrecoverable frames with text describing the circumstances which we'd have seen on film. I also like that they didn't worry about changing the aspect ratio for the added footage. They simply left the black space when it didn't quite fill the frame. That was barely noticeable.

I can say that I didn't feel like I was watching a film for 2.5 hours when it was over. Although we surely could have used a break during those two intermissions within the film, the film's continuity kept us enthralled until the end.

I was so glad to see the film again on a big screen, and to see the incredible cinematography and vision of Lang again. So many films were derivative of this one. The cityscape was copied by movies like Blade Runner and The Fifth Element for sure.

But the message of the film is as resonant today as it was then, with the circumstances of our economy having separated the rich and poor by a divide which rivals that which existed during the time when this film was created. We all ought to learn from that which this film is trying to say.

Alloy really was incredible to witness do their thing. They certainly resembled their name with their score for this film. They used more industrial, metal sounding effects and more powerfully evocative music than the original score provided. There's no comparison, even though I liked the original score.

I will never forget the experience. It will be something that I can tell people I was part of for the rest of my life.

http://www.alloyorchestra.com/

Perrier's Bounty: FILM REVIEW

What is it about the Irish dark comedy that I love so much? That's hard to contain succinctly.


Maybe it's as simple as the earthy Irish accent which can make expletive-laced tirades sound absolutely prosaic. I find myself getting in trouble with my wife after seeing a film like this one, which seems to me to call for a rating of "fecking brilliant."


It's certainly more than that. It helps to know the source of the darkness to understand the depth of the comedy in a film like Perrier's Bounty. Anyone who has a basic knowledge of the history of Ireland and Northern Ireland could begin to grasp that sharp-edged humor is a legacy which was borne of real suffering and conflict.


This was the second time I saw this film. I loved it when we screened it for the festival, and I have been talking about it since I saw it in the program. 


For the sake of full-disclosure, let me say that I am biased toward Dublin as if it were my younger brother. I love it dearly. So the fact that the film is set there, and in the Wicklow Mountains to the north, bade well for it before I saw it at all. 


The acting was superb. The sensitive mobster, the dying father, the dog-handlers, the manic neighbor girl, and the hit-men whose love could not be named are my faves... but that's almost all of them, isn't it? Cillian Murphy did well to erase the high creep-factor which I associate with him since his roles in Batman Begins and Red Eye.  But Broadbent and Gleeson steal the show in this one for me. Let me suggest that it's very likely that you'll laugh the next time you see Nescafe.


There's a lot going on in this movie filled with characters. Gabriel Byrne voices the narrator who one finds to be the grim reaper at the close of the film. I missed that the first time, and so did a couple of others who saw the film with me. Regardless, his narration was perfect for the film, and I love the idea that this is a story told by the grim reaper, set in Dublin, about gangsters and witless accomplices.

It's violent, gritty, laced with profanity, and addresses a range of subjects which would make many uncomfortable. There's plenty for one to choose to be offended or affected by in this film, but it's wrapped up in that easy-to-swallow Irish package which is what takes this from Reservoir Dogs toward Hot Fuzz. It falls somewhere in between those two for me.


It was worth getting punched in the arm by the wife after this one ended when I described it with the rating which I thought was appropriate...


http://www.imdb.com/title/tt1003034/

Da Bears Still...

I realized early on in that lopsided penalty-fest called a game last night that it would not be the Packers night. I should not have skipped festival films for the NFL. Never again.


Anyway, the NFL isn't something I trust in anymore. So I wasn't really angry last night after the loss. It's to be expected that any team which has more penalties than points will not win.


Now, several of the penalties were more than questionable and several for the winning team weren't called. In both cases, they were during the most crucial points of the game. The Bears have two wins on their record which were gifts from the zebras, and that does lead coworkers to sing that refrain which Packer fans like to trot out each year.


Congrats to the Bears fans I know. You've got three wins, now you need to become the team that deserves them.


http://images.cheezburger.com/completestore/2010/9/28/f659c241-4449-42d6-b801-a0f4bbb402d4.jpg

A Tale Of Two Quarterbacks

Just an NFL factoid for today. After yesterday's game versus Detroit:


Brett Favre: 499 TDs 


Brent Farse: 509 INTs


Both are tops all time by a large margin. I'd bet even the sad-eyed and disinterested qb would like to flip that script by the end of this season. If not, he's currently on pace for 518 and 535 respectively.

It's Kind Of A Funny Story: FILM REVIEW

I loved this film. I loved the characters and Zack Galifianakis in particular in this film about teen identity and mental illness.


It made me think of a more mature remake of a Michael Cera film. It was certainly less silly and reliant on the lead to be quirky and self-depreciating than those films are, but it still had some of the same elements, done with a bit of a lighter touch.


I appreciated the use of animation within the film, and the scene where Keir Gilchrist sang in front of the residents in a hilarious fantasy sequence.


There were surely characters in the film which were stereotypical and somewhat strained at times, but less so than other teen angst films--which I categorize this as.


What makes me laugh now is that Jim Gaffigan actually was the "straight man" in this film, as unfunny as there could be. That's a bit odd, considering his transcendant humor based upon absurdity and self-depreciation. But, it was a tangible measure of the restraint this film displayed in some ways. Still, I think it was an odd choice, since I kept hoping he'd sing "Hot Pockets!"


Galifianakis and Gilchrist's relationship in the film is worth seeing it for. It's far more significan than the teen love relationship story which develops as a side story in the film. That was carefully drawn as well, and I was thankful that it wasn't the central point of the film. Teen love shouldn't be the balm for teen depression.


The therapist character was believable until she fumbled the Reinhold Niebuhr quote during therapy. First, Neibuhr is a faith figure, and having worked in juvenile residential treatment for several years, I can say that even the serenity prayer is left to religious institutions and groups like AA and N.A. which leave room for a higher power. Anyway, I may be the only one who thought that bit undermined her character.


Regardless, the film was one I would recommend. It's heart-warming and wrenching in subtle ways, and there are laughs to be found throughout. I felt so pleased when it was over that I decided that I needn't see another film that night. I went home early, pleased with life.


http://www.imdb.com/title/tt0804497/

Ajami: FILM REVIEW

This film was one I had high hopes for. The billing as the film which won best picture in Israel was touted as a complex look at the interconnected conflicts between Muslims, Jews, and Christians in Israel and the occupied territories.


It was, but it was also rather confusing for me as a westerner. I had trouble distinguishing who was supposed to be representing what group, and the film started with a linear storyline but quickly split into many parallel stories which eventually intersected in ways I am still not clear about.


I would have to see this again, and take notes as to the relationships and identities of each character. What got in the way for me also was the way the film was perpetually backtracking like a less clever version of Memento. When it did backtrack the film didn't follow through so that one knew for sure it had. I mean the flashbacks never returned to an established point in the present.


At the end it seemed to bring all of the relationships and situations together. I couldn't help thinking of the joke, "they all look the same" which was said about white folk in the film OSS 117 last night. I felt like the characters in this film looked so much alike and had so much in common in culture and habit that the only way I could tell who was what was by the parenthetical notations on occasional subtitles. (Arabic) or (Hebrew) for example.


The acting appeared superb, but since I was reading subtitles and struggling to keep my head above water with following the multiple plot lines, I hardly had time to notice. I was a bit exhausted when the credits rolled.


But maybe that's the point at the heart of the film. The differences between these cultures were so insignificant that one cannot tell them apart without a cheat sheet or family tree. Considering that all trace their lineage back to Abraham, one might argue that they are part of the same divided family. That was fully in my mind as I watched the film, and could have got in the way of the message of the film. 


What that message was is unclear to me. I do sense a great sense of mournful sadness about the conflicts between these cultures, the violence, and the hopelessness of relations which we hear about so often. It's timely that our country is currently making another push toward a cease fire between Israel and Palestine, and that the concept of a free Palestinian state is being suggested.


I mean, that's what Israel fought for themselves. Shouldn't they understand this? Christians are adopted into the faith tradition of Abraham, and should be more aware of the historical nature of the conflict and instead of focusing on proselytizing, they might work toward mediation and objectivity. I'd think that they could find some common interests to pursue for the sake of peace.


Regardless, this film didn't work for me after one viewing. I struggled to watch this film. But it would be worth a second careful screening. I'd love to hear the thoughts of the director about the motivation and the use of a regressively additive storyline.


The film puts forth a rather grim story which can loosely be seen as a prophetic warning about the violent end which all these cultures will meet if a peaceful solution to normalize relations doesn't become the top priority. It's not simple, and the film does not suggest solutions.

It's a film which should be followed by a talkback session or a table discussion. It's got to be interpreted by a group of individuals, I think. It was too much for me to grasp alone.


http://www.imdb.com/title/tt1077262/

Waiting For Superman: FILM REVIEW

As I stood in line with the throng of folks waiting to see this film the question was asked, "Are you a teacher?"  I am not, and considering that this questioner had cut in front of me in the line of passholders/VIP folks, I wasn't particularly receptive to the question.

She remarked, "We need more of this," pointing toward the sign for the film's title above the heavy wooden doors to the main theater at the Landmark Oriental. She was trying to indicate some level of support for education, or for something this movie is about, but I wasn't sure. I was still thinking about her cutting in line.

I said, "Ma'am, the line begins behind me," and made a crowd-depreciative remark about us passholder types not knowing how to wait in lines. Outside the theater there stood a line of over 300 folks who merely have tickets (and cannot go in early and stand by the entry doors or mingle and get popcorn and sundries in a more stress-free environ. There was a stark difference between the accessibility and the treatment which we were receiving inside this grandiose space.

I had the luxury of being annoyed by the apparent entitlement of someone not used to standing in a line and waiting for things. When I confronted her she excused herself and slid back by the man she was with somewhat orthagonally to me in my periphery. She said, "It's so excellent having passes so that we can come past the crowd directly inside like this isn't it."

"I'll never go back to tickets," I said, "Ever since I got a pass last year I have been ruined for waiting in long lines."

I thought that we'd achieved an equilibrium of understanding about our own line positioning when she greeted someone ahead of me in line and slid back in front of me. Her escort made a half-hearted motion toward her to return to her position in line, but I was not going to be so patient or passive. I whispered to the person ahead of me that I would be heading to the balcony, where I could assure myself that no one would get in front of me.

Even this was a sign of my privelege. The balcony is technically shut down, but since I know VIPs for the festival, I feel like I own the place, and come and go as I please. Last year I chose the balcony as often as I could, and it was my way of enjoying the movie without the annoyances of kicked seats and people talking.

I'm writing this from before the start of the film, in the balcony, where there is now a loud group of folks flowing in around me, now accessing even this that I held dear. But this is a palpable metaphor for the state of education in America. It's not lost on me that there are folks who cannot get access to the same priveleges and opportunities that I have had, either because of arbitrary factors like skin color, ethnicity, or social class. The zipcode which someone lives in determines an awful lot about what choices and opportunities that they will have.

I've lived many places, including now in the inner-city. The difference for me has always been that I am able to come and go as I please. I've always had options. I have the luxury of choosing to live in the 'hood. I wasn't raised here, and don't suffer the long-term effects of classism or the psychosis of poverty. I can still feel entitled, and I am passionate about asserting my rights.

So, now, having seen the film I must say that I realize that it is the apathy and that attitude of entitled luxury which has led to the erosion of our national education system. It's led to the failed Milwaukee Public School system. Because, if folks like me actually cared, and learned to prioritize things by their relative imporatance, this would be solved overnight.

That's at least my view. I know that teacher's unions and government officials would have some say in that. I expect that there would be a fight. Still, if the vast majority of those of us with access to more choices and more influence would speak up and advocate for the strategies which this movie displays as proven methods that work instead of failed policies like "No Child Left Behind", an optimistic/simplistic bipartisan effort of George W Bush and Ted Kennedy.

Milwaukee was featured prominently in the film, as they interviewed former MPS Superintendents and dealt with the issue of choice schools and vouchers, which we've been on the forefront of in many ways.

This film is full of passionate ideas and persistent parents. It's optimistic and realistic simultaneously. You'll be inspired and devastated if you see this film, and you should.

I like how one urban school in particular not only broke the stagnant education gap which has ran like parallel lines for decades, it superceded the best of the suburban elite schools. It is a shining example that testifies that urban kids form challenged backgrounds and minority backgrounds not only can learn, but they can thrive.

I won't say more than that about the film.

I don't have children, despite having a loving 15-year marriage. Part of the reason I find it hard to consider parenting is that there are so many obstacles for children at present, and that there is such a gap between rich and poor. I'm certainly not in either category, but life is a struggle at times, and I have no legacy which I can guarantee for any child I were to parent. That's where I am at this moment, at least, on the cusp of 40.

It is the devastation of a school system like MPS, and the segregation in our city of Milwaukee, with all the problems that this brings to the social I sometimes feel paralyzed by the troubles I see in this segregated city, with a male graduation rate from MPS of under 40%.

Like is touched upon briefly in the film, it has been said that poverty leads to a deteriorated educational system and eventually crime. But the reality is much more the inverse. Our neglected schools have been the problem which lead to these other things. May we all learn to promote education as the cornerstone of our collective goals and aspirations. We succeed or fail together.

http://www.waitingforsuperman.com/