Monday, June 29, 2020

Suzi Q Recounts the Rise of Suzi Quatro from Suburban Detroit Kid to Glam-Rock Superstar

SUZI Q 
(Liam Firmager, Australia, 2019, 98 minutes)

There's something fitting about the fact that the definitive portrait of rocker Suzi Quatro hails from an Australian director, Liam Firmager, backed by an Australian film company, Screen Victoria.

It's not that Suzi didn't make a mark in the United States, but as her friend, Cherie Currie (the Runaways), notes, she isn't as well known among today's youth as she should be--and nor did she have as many hits in the US as she did in Europe and Australia. I'm skeptical that one documentary is going to do much to reverse that course, but that should never stop a director from making a film about a deserving artist. Plus, there are plenty of people my age--people old enough to remember Happy Days (1974-1984) as a first-run series--who haven't made her acquaintance yet. And they really should.

Like Iggy Pop, Suzi grew up in suburban Michigan, specifically Grosse Pointe, and she still has the accent to prove it (Detroit-born Alice Cooper appears in the film, but Pop doesn't). She credits her jazz-playing father for her love of music and her devout Catholic mother for her moral values. She saw Elvis on The Ed Sullivan Show when she was five, and that was it: she knew she wanted to be a musician. And it's precisely because she identified with a man, rather than a woman, that she would go on to craft an androgynous, leather-clad, bass-playing persona that hadn't been seen before.

She started by forming an all-girl band, the Pleasure Seekers, with her sister, Patti, and three others when she was 14. Things moved quickly. Because Suzi was tiny, she performed on a riser, so all eyes were on her. The first time she let out a yell, the crowd went wild. There would be more yells to come; it's one of her defining skills. The band got so many bookings that her parents let her drop out of school to perform full time. It didn't hurt that her brother, Michael, was an established promoter, and that the group was able to turn their regional success into a record deal with Mercury.

As good as they were, though, the (overwhelmingly male) sound emerging from Detroit and Ann Arbor by the late-1960s was moving in an increasingly heavy direction, and their success was short-lived, so they reinvented themselves as Cradle and switched out Suzi with Patti, but lightning didn't strike twice until Michael invited producer Mickie Most (the Animals, Donovan), who was working with Jeff Beck at Motown Studios, to see the band play. Suzi knew it was her shot, so she sang one of her songs—and ended up with a solo deal.

Wisely, Firmager lets both Suzi and Patti tell their sides of the story. Cradle kept going for a couple of years, and Patti later joined Fanny, but none of her sisters would become as successful (her niece, Sherilyn Fenn, would come close when she landed a role on Twin Peaks). Though Suzi, alone on her own for the first time, was sad and lonely when she first arrived in London, the resentment lingered. She was on her way, and they weren't.

Once she formed a band and started opening for glam-rock acts like Slade and Sweet, the American got a toehold in a very British scene, even though she didn't share their sartorial flamboyance. If she hadn't have been able to keep up, audiences would've been quick to let her know, but Suzi had the voice, the chops, and the stage presence (those high-flying kicks!). She also had a terrible puffball perm, which goes unmentioned in the film, but she seems to have figured out quickly that she'd be better off without it.

Granted, she didn't have any hits, but that changed when she joined forces with Australian-born Mike Chapman and Nicky Chinn, aka Chinnichap (Chapman, who appears in the film, notes that Chinn was the business guy; he actually did most of the writing). They wrote 1973 single "Can the Can" to emphasize her bass-playing. For her signature look, she decided on a black leather outfit, like '68 Comeback Elvis, and then she was ready for Top of the Pops. The performance was a smash, the song was a hit, and she became a star. Had Suzi stayed in the States, it's hard to say what would have happened. Like Hendrix (in tandem with manager Chas Chandler), London provided the star-making machinery best suited to her gifts.

As adeptly as Firmager supports Suzi's on-camera narration with a well-edited selection of archival materials, I was moved more by the testimonies of the women who took inspiration from her work, particularly Debbie Harry (Blondie), Lita Ford and Joan Jett (the Runaways), Tina Weymouth (Talking Heads), and Kathy Valentine (the Go-Go's). Tina and Kathy say they didn't even recognize their potential as musicians until Suzi came along.

Nonetheless, the UK press turned on her once she got big, their infamous modus operandi. Because she worked with male musicians, songwriters, and producers, she was dismissed as a male creation as if she had no say in the way she dressed or the material she performed. She also disavows the term feminist, which is unfortunate, but she's hardly unique in that regard. Multi-hyphenate Dolly Parton never embraced it either, but that doesn't mean their achievements didn't open doors for other women. They clearly did.



Suzi also failed to make as much of an impact in her home country as she did elsewhere. It wasn't for lack of trying. She went on tour with Alice Cooper and made the requisite round of radio station appearances, but she didn't get airplay and she didn't sell records. All told, she's sold 55 million records, so there's no need to cry for Suzi Quatro, but most of those sales came from outside of the States. It's understandable that a woman who doesn't describe herself as a feminist wouldn't blame sexism, but I believe that's part of it. Debbie Harry and band mate Clem Burke claim that she was ahead of her time, which is more or less the same thing (Suzi's influence would lead Blondie to work with Mike Chapman on 1978's Parallel Lines).

Then, she lost her US deal, but again, it was hardly a tragedy, because she landed a three-year gig on Happy Days as Leather Tuscadero. It may not have been how she planned to conquer America, but it did the trick. She reunited with Chapman, and finally enjoyed some US chart success, though ironically, "Stumblin' In," a duet with Chris Norman, doesn't rock as hard as her previous singles. It's basically a power ballad, and there's no shame in that, but those sorts of things were a dime a dozen in the 1970s, while her signature hits weren't. Less surprisingly, it barely dented the UK charts.

Once again, though, her US success was short-lived. Despite their fractious relationship, Chinn and Chapman formed a label, Dreamland Records, signed Suzi as their first artist, released 1980's Rock Hard, placed the title track on the soundtrack to Allan Moyle's teen-punk fantasia Times Square, and…watched it wither on the American vine, due in part to distribution problems, and the label folded shortly afterward (on the plus side, Kino Lorber will be releasing a restored 4K version of Times Square later this year).

Joan Jett, meanwhile, would pick up where Quatro left off, and started to have the US hits she didn't. Her devotion to a similar leather-clad, bubble gum-punk aesthetic was so complete that she covered a song, the Arrows' immortal "I Love Rock 'n Roll," that had originally been produced by Quatro's mentor Mickie Most. As a fan of both women, I'm not about to take sides; the two freely admit that Suzi paved the way.

Firmager also looks at Suzi's life as a wife and mother, television guest star, musical theater performer, radio show host, poet, and novelist. For a woman who doesn't identify as feminist, it describes most everything she did. As times changed, she changed with them. Len wanted everything to stay the same, and their marriage came to an inevitable end (though Suzi would remarry, her second husband, Rainer, doesn't appear in the film).

If Suzi Q isn't about sisterhood in the colloquial sense, it's a film about sisterhood in the literal sense as she and her sisters continue to enjoy and endure a relationship marked by affection…and the kind of resentment that never really goes away. As she points out: one doesn't preclude the other.

All told, it's a good, solid documentary that lacks any shocking revelations or tear-stained redemption arcs, and that's kind of refreshing, really. Suzi Quatro's stock in trade was that she was an ordinary suburban kid who just wanted to rock, like millions of men before her--and millions of men and women since. If Firmager isn't able to accurately pinpoint the source of her hyper-relentless drive, beyond the fact that she didn't want to end up working in an automobile factory, maybe some things don't need to be explained, because talent, in and of itself, is never enough. Quatro did the right things at the right time with the right people--and lived to tell the tale.



Suzi Q premieres on VOD, DVD, and Blu-ray on July 3. On July 1, Cherie Currie and Kathy Valentine will interview Suzi Quatro for a Q&A after the virtual preview screening. A portion of the proceeds will support the Recording Academy's MusiCares in their efforts to provide COVID relief funds for musicians in need. Click here for more information and tickets.

Wednesday, June 3, 2020

As Two Women Battle It Out in Shirley, Josephine Decker Proves She Isn't Afraid of Virginia Woolf--or Shirley Jackson

Elisabeth Moss as Shirley Jackson / Neon
SHIRLEY
(Josephine Decker, US, 2020, 106 minutes) 






"That story was the most remarkable story I'd ever read. I knew I was going to marry the woman who wrote it."
--Stanley Hyman, Shirley's husband, on "The Lottery"

***** ***** ***** ***** ***** ***** ***** ***** ***** *****

As Elisabeth Moss plays her, Shirley Jackson was kind of an awful person.

Josephine Decker's quasi-fictional portrait of the writer begins as a young couple in the bloom of love prepares to meet Shirley (Moss made to look older, much like Elizabeth Taylor in Who’s Afraid of Virginia Woolf?) and her husband, professor and literary critic Stanley Hyman (Michael Stuhlbarg).

Decker's sun-blasted opening recalls the first sentence of Jackson's 1948 New Yorker story, "The Lottery," which ends as vividly as it begins: "The morning of June 27th was clear and sunny, with the fresh warmth of a full-summer day; the flowers were blossoming profusely and the grass was richly green." From that bright beginning, Jackson plunges into darker territory, inspiring nightmarish entertainments about seemingly pleasant communities from Robin Hardy's The Wicker Man to Ari Aster's Midsommar.

The Nemsers (Logan Lerman and Odessa Young) / Neon
On the trip to North Bennington, Rose Nemser (Odessa Young, terrific) reads the story, and longs for Shirley to like her. At their first meeting, she shares her enthusiasm with the author, but Shirley couldn't be bothered. These fawning young women, her words and attitude suggest, are all the same.

Fred (Logan Lerman, whose casting seems particularly apt in light of his naïve college student in Philip Roth adaptation Indignation) has traveled to Vermont to teach, while Rose plans to audit classes, a sign that she wants to broaden her mind, but not to become something more than a helpmate.

If his wife is initially dismissive of the pretty young woman, Stanley takes a shine to her, and asks if she'd like to help out around the house in exchange for room and board as Shirley is subject to "moods." As it turns out, Shirley hasn't left the house in two months. Instead of expressing gratitude for Rose's assistance, Shirley needles her at every turn. It doesn't help that she can tell Rose is pregnant, even though she hasn't begun to show.

Shirley is hardly idle. She's just begun work on a novel inspired by the case of a missing young woman (presumably 1951's Hangsaman, though Sarah Gubbins' script doesn't say). Stanley doubts she has the stamina to finish anything longer than a short story, but she won't be deterred.

"Can I trust you?," asks Shirley / Neon
With the men teaching at Bennington College (Fred serves as Stanley's assistant), the women circle each other warily. Despite Shirley's hostility, Rose doesn't crumple. If anything, she starts to see Shirley as more of a challenge than an obstacle. Soon she isn't just taking care of her, but running errands and doing research.

In the course of her combing through archival records, Rose finds out that the missing woman was pregnant. As in Decker's enigmatic 2013 feature debut, Butter on the Latch, she blurs the line between fantasy and reality, and it isn't always clear what Shirley is actually experiencing, what's she's imagining, and what her novel's protagonist might have experienced.

It's tempting to assume that she's suffering from depression or that she might have lost a child--or both--hence the preoccupation with pregnancy and the resentment of the young, healthy, and outwardly happy Rose, except by the end, it's clear that Decker had different intentions in mind (though not mentioned in the film, Shirley and Stanley had four kids).

If Decker's first two features, including 2014's Thou Wast Mild and Lovely, ended in murder, Shirley ends with a departure that could be seen as a murder of a kind. Once Rose crosses over from housekeeper to collaborator, her pristine façade becomes disheveled. Her hair becomes looser, her face shinier, her outfits less put-together--her perfectly-applied lipstick disappears. She also develops an odd relationship with food, just as the real-life Shirley struggled with her weight, including an addiction to diet pills.

Stanley, whose attentions to Rose have an uncomfortably sexual cast, becomes jealous that she knows more about Shirley's project than he does. The relationship recalls 2018's Madeline’s Madeline in which a charismatic director (Molly Parker) gets to know an actor (Helene Howard) in a way her mother (Miranda July) doesn't. In Decker’s third and finest film, July gives a heartbreaking performance as a woman who feels like a third wheel as an outsider swoops in and steals her identity, leaving her unmoored. And that’s Rose to Stanley: the person who has taken his place as his wife's companion and confidant, except July's Regina was sympathetic in ways that the controlling, womanizing Stanley isn't.

As Rose becomes more like Shirley, Fred becomes more like Stanley. Neither of these things is necessarily a positive, because Stanley is a lousy husband and Shirley is a nasty piece of work. Decker finds a way to tie all these threads together that stands in opposition to her first two features, because it isn't a tragedy. Nor is it as celebratory as Madeline's Madeline, which ends in a burst of cathartic, Beau Travail-like exuberance. In this case, things are simply put right. If it all makes sense once you realize her endgame, I still felt unsatisfied, because it's a sleight-of-hand story. What you think you're seeing, what you think is happening is more internal than external.

The real Shirley  / Erich Hartmann / Magnum Photos
Furthermore, Moss gives it her all, as she always does, but she can't quite get to the heart of her character. We're told what makes her tick, but I never really felt it. There's something both admirable and frustrating in the way Decker's women are never especially heroic or even all that nice. That doesn't mean they're bad, and there's no reason they should be likable, but she's worked too hard to turn us against Shirley. If Gubbins' writing had the wit and snap of Edward Albee or Harold Pinter, she and Stanley might make for perversely enjoyable company, but they're more of a drag than intended, despite a few good lines, like Stanley's take on Fred, "Terrifically competent? There's no excuse for that!" To his mind, it's better to be an utter failure.

It's to the credit of Odessa Young (Assassination Nation) that she provides a consistently compelling focal point, because Rose changes with every scene to the extent that she's a completely different person by the conclusion.

As for Shirley Jackson, she was only 48 when she died in 1965 after years of declining health (she published her final novel, We Have Always Lived in the Castle, in 1962). If Josephine Decker had stuck to the facts of her life rather than adapting a work of fiction, Susan Scarf Merrell's 2014 Shirley: A Novel, her fourth feature might have been a far bleaker affair. As it stands, Shirley fails to fully capture Jackson's brilliance--or even Moss's--even as it attempts to emulate the style of one of her famously spooky stories, but if it inspires greater interest in the writer and the filmmaker, I'd call that a win.

 

Support two great local film organizations and stream Shirley by way of Northwest Film Forum at this link or SIFF at this one for only $5.99. 

Sunday, May 10, 2020

Beanie Feldstein Learns How to Build a Girl in This "True-ish" Tale from the Music-Rag Trade

John (Alfie Allen) and Johanna (Beanie Feldstein) / IFC
HOW TO BUILD A GIRL 
(Coky Giedroyć, UK, 2019, 104 minutes)

"A 10-year-old could be a rock critic."
--Johanna Morrigan (Beanie Feldstein)

Johanna Morrigan, the 14-year-old at the center of Caitlin Moran's semi-autobiographical 2014 novel How to Build a Girl is bookish, desperate to lose her virginity, and in her own words, "fat." I appreciate the fact that, despite a large vocabulary, she never uses synonyms for fat, like heavy or big-boned. No, she describes herself as fat, but refreshingly, she doesn't hate herself or her body. Nor does she express any desire to be thin.

In Moran's book and Coky Giedroyć's film, both of which take place in 1990, she wants boys to like her, to have a purpose in life, and to help provide for her council-estate family (Giedroyć, sister of The Great British Baking Show's Mel Giedroyć, is best known for her work on BBC America's The Hour). Considering that Moran's fictionalization of her adventures in the music-rag trade is a thoroughly British affair, the casting of American actress Beanie Feldstein as Johanna is an odd choice, not least because the rest of the cast is British, but after her winning turns as the best friends in Greta Gerwig's Lady Bird and Olivia Wilde's Booksmart, her casting makes sense--even if she's 10 years older than the 16-year-old she plays. And if her accent isn't perfect, it's good enough, which means she's well on her way to joining the Gwyneth Paltrow-Renée Zellweger Club that spawned Shakespeare in Love, Sliding Doors, and several Bridget Jones films.

John isn't sure what to make of the teenage journalist / IFC
Johanna lives with her parents, four brothers, and a border collie--her best friend--in Wolverhampton in the Midlands (the same region where Shane Meadows sets all of his films).

Her mullet'd father, Pat (Paddy Considine, who knows a thing or two about the Midlands), and older brother, Krissy (Laurie Kynaston), are well versed in pop music, whereas she knows very little. Her heroes include authors, artists, actresses, philosophers, and psychoanalysts. Not a pop star among them. In the film, she imagines that their portraits, played by everyone from Michael Sheen (Freud) to Elizabeth Taylor (Lily Allen), can speak to her.

When Johanna wins a poetry contest, she gets to appear on a local chat show (Chris O'Dowd plays the host), where her stage fright leads to an ill-advised Scooby-Doo impression. The next day, kids make fun of her--even more than usual--and authorities put the kibosh on Pat's unlicensed border collie-breeding business. What's a girl to do, except to reinvent herself? She gets her chance when she enters a music writer contest, but even the all-male staffers at London's D&ME, a Melody Maker-like music weekly, make fun of her. They found her review, of the Annie soundtrack, well written, but so uncool they thought she was doing a bit, but she was just being herself.


Lily Allen (Elizabeth Taylor) once wrote a song about her brother Alfie

So, she decides to revamp her image. Considering that she knows as much about fashion as she does pop music, she ends up looking like a refugee from The Rocky Horror Picture Show with her flame-red hair, fishnet tights, and waiter's jacket. In the book, Johanna dyes her hair black, but she does note a fondness for redheads, like Little Orphan Annie. To go along with the new look, she adopts the pen name Dolly Wilde (Moran's script fails to explain that Dolly was Oscar Wilde's rebellious niece, though the inclusion of Bikini Kill's "Rebel Girl" on the soundtrack surreptitiously nods to that fact).

Then, Johanna launches her career with a review of a Manic Street Preachers gig. There are more reviews to come as she finds herself living a life much like Cameron Crowe's alter ego in Almost Famous…except she's a girl, she still lives at home, and she writes for a regional publication. Just as William's mother supported his music-journalist dreams in Almost Famous, albeit with Britpop standing in for classic rock, Johanna's parents do the same, which also brings Stephen Merchant's Fighting With My Family to mind, since he captured a similarly non-judgmental, working-class milieu.

Nowadays, a music writer probably couldn't do much to pull their family out of debt, but Johanna helps hers to get back on their feet, since Angie (Sarah Solemani) is stuck at home with twins--the results of an unplanned pregnancy--and Pat, who once dreamed of pop stardom, is on disability.

Johanna and her all-male, music weekly colleagues / IFC
For her first feature, Johanna travels to Dublin to interview a balladeer, John Kite (Alfie Allen, Lily Allen's brother and an Emmy nominee for Game of Thrones), who finds her utterly charming. To her credit, she doesn't smoke or drink. To his credit, he doesn't insist, and though she invites him up to her hotel room, they don't sleep together. She falls in love with him, which seems like a terrible idea, but an understandable one, considering that most men have ignored her up until now. Unfortunately, her editor hates the story, which reads like a mash note, and her career appears to be over as soon as it began, so she reinvents herself yet again, this time as a mean girl. To wit, "It's a truth, universally acknowledged, that Paul Simon looks like a toe someone drew a face on."

Once she segues to the Dark Side, she drinks, smokes, and sleeps around, but that's par for the rock and roll course. More critically, she insults her family and betrays a subject's confidence. If her rise was compelling, her fall feels overly-familiar, though Johanna never goes as far as Elisabeth Moss's rock star character in Alex Ross Perry's Her Smell. Still, she crashes hard, and she has to struggle mightily to free herself from the wreckage--in a way that recalls Alcoholics Anonymous's Steps 9 and 10: "Made a list of all persons we had harmed, and became willing to make amends to them all" and "Made direct amends to such people wherever possible, except when to do so would injure them or others." By the end, she's still 16, fat, and single, but she's found her purpose in life. And it isn't writing snarky reviews for a music weekly, a lesson that takes decades for some people to learn. If I found the ending a little too good to be true, I can't say I wasn't moved.



How to Build a Girl is available from cable and digital platforms, including iTunes, Amazon, GooglePlay, YouTube, Comcast, and DirecTV.

Thursday, April 23, 2020

"Every Man Should Be an Author of His Own History" vs. True History of the Kelly Gang

Ma (Essie Davis) and son (Orlando Schwerdt) Kelly
TRUE HISTORY OF THE KELLY GANG
(Justin Kurzel, Australia, 2020, 124 mins)


Justin Kurzel's grimy, punk-rock take on the life of Australian outlaw Edward "Ned" Kelly, which follows previous versions starring Mick Jagger and Heath Ledger, picks up where Jennifer Kent's The Nightingale left off. While Kent set her brutal, bruising revenge tale in 1820s Australia, Kurzel (Snowtown, Macbeth, Assassin's Creed) shifts 40 years ahead, but the Irish characters still have the chips stacked up against them and the British have all the power.

Kurzel begins his loose adaptation of Peter Carey's Booker Prize-winning novel with Ned as a 12-year-old. It's 1867, and our feisty anti-hero (played by the very good Orlando Schwerdt), grandson of Irish immigrants brought to Australia by force, lives in the middle of nowhere--the Colony of Victoria--with scrappy siblings, a tough mama, and a pop who likes to wear frocks. Kurzel has as much sympathy for John "Red" Kelly as his wife, Ellen (Essie Davis, star of Kent's The Babadook), which is to say: none at all, but it sets up the idea that Ned is--or will be--the "true" man of the family.

When a wealthy neighbor takes a shine to the kid and offers to pay for him to attend boarding school, Ellen puts her foot down, telling her, "You're trying to bleed our culture out like you did the black fella before us." She adds, "Only the Lord should take my children from me--not no Englishman." Clearly, she views boarding schools the same way Native Americans did in the States in the 19th and 20th centuries. And with good reason.

"Every man should be an author of his own history." / IFC
After Ned's father takes a powder, various men come to call, including the oily Sgt. O'Neill (Charlie Hunnam) and bushranger Harry Power (a scruffy Russell Crowe relishing a juicy role). When Ned asks Harry why he's writing his memoirs, he explains that his story is the one thing even the most impoverished man can call his own. "Don't leave it for the English to tell it. They'll only fuck it up and steal the proceeds." (Ain't that the truth.) Harry introduces Ned to a life of violence with a side of alcohol and profanity. At first, he comes across as a big, burly teddy bear of a man, especially when he teaches Ned's family a jolly anti-police song about "cunts" and "cunt-stables," but he's a vile creature who procures goods through cold-blooded murder. It's the first sign that this won't be a story about good vs. evil, but about evil vs. more evil.

Just as O’Neill once imprisoned his father--for a crime Ned committed--he locks away the son, too. By the time he gets out, Ned (now played by George MacKay) is no longer a boy. He's a bare-knuckle boxing, mullet-headed adult who returns to find that his mother has taken up with a younger man (New Zealand folk singer Marlon Williams). Cue up the Freudian frustration, which subsides when Constable Alexander Fitzpatrick (Nicholas Hoult, returning to Australia after his memorably unhinged turn in Fury Road) introduces him to hooker with a heart of gold Mary (Jojo Rabbit's Thomasin McKenzie). Like Ellen and Harry, Ned distrusts the British, and fully expects Fitzpatrick to betray him--and that's exactly what happens.

Getting the band, er gang, (back) together. / IFC
The betrayal spurs Ned to form a gang and hit the road. Along the way, he asks his brother, Dan (Nick Cave's son, Earl), why he likes to fight in frocks, much like their late father. "Men are most afraid of what they don't understand," Dan explains, adding, "Nothing scares a man like crazy." I'm sure it was unintentional on Kurzel's part, but it's worth noting that Earl's mother, Susie Cave, is a dress designer. Less intentional, however, is the fact that Nick and his father, Colin Cave, have been famously obsessed with--and creatively inspired by--Ned Kelly and his exploits. Just see John Hillcoat's Nick Cave-scripted western The Proposition for proof (seriously, do see it, it's a magnificent piece of work).

If the subjugation of the Irish by the British is one theme of Kurzel's film, the other is this: What makes a man? Ned is physically tough, but he's sexually inexperienced, possibly bisexual, and loath to take another man's life. In 2020, this wouldn't disqualify him from manhood, but in 1880, Shaun Grant's script argues, he doesn't quite measure up. That changes once he gets a taste for killing. Now he's an outlaw, and it will only be a matter of time before the cops catch up to him. This isn't a spoiler. Not just because it happened in real life, but because it's as inevitable as the death spirals depicted in Arthur Penn's Bonnie and Clyde and Andrew Dominik's The Assassination of Jesse James by the Coward Robert Ford, two possible influences (Nick Cave makes a welcome cameo appearance in the latter).

The film's final act revolves around Ned and his gang of frock-sporting, cop-hating, shamrock-worshipping "Sons of Sieve." For protection, they wear scrap-metal armor like rinky-dink Lost in Space robots. And this is the point at which the film goes off the rails, possibly because Kurzel takes so long to get to it that it feels anticlimactic no matter how many strobe light and other effects he throws at the screen. The time we spend getting to know the relatively innocent, pre-outlaw Ned proves more compelling in comparison.

Ned's pal and possibly lover (Sean Keenan) at center. / IFC
By the end, Ned has earned his mother's respect. He's a man. And all he has to show for it is a death sentence. The tragedy isn't just that it's a Pyrrhic victory, but that it fails to stir the soul the way Kurzel and Grant surely intended. I don't believe it's McKay's fault as much as their rather single-minded, charmless conception of the character. MacKay, who proved a more engaging lead in Mathew Warchus's Pride and Sam Mendes' 1917, gives it his all, but once Ned turns to savagery, he comes across as more petulant brat than righteous antihero, even if he never had a chance and even if he had brutal men like O’Neill and Power as mentors.

For what it's worth, MacKay is better in every way than the inexplicably-cast Mick Jagger in Tony Richardson's misbegotten 1970 biopic, which jettisons Ned's childhood in favor of a rustic Paint Your Wagon-style musical (even Jagger's singing doesn't measure up; folk isn't exactly his forte). I haven't seen the 2003 Gregor Jordan film with Ledger, which also drew from a work of fiction, but it didn't meet with an especially enthusiastic response. Further, not one of these gents looks anything like the real Ned Kelly.

Since Kurzel's film has been making the rounds, critics have complained that it's a distorted version of actual events, but the joke is on anyone who would take the title literally. First, the film is adapted from a novel rather than a work of non-fiction. Second, it opens with a title card proclaiming "Nothing you're about to see is true." Third, the disclaimer after the end credits clearly states, "True History of the Kelly Gang is a work of fiction." It only makes sense to judge it on those terms. As such, it doesn't quite work, but that doesn't mean it wasn't worth making or that it isn't worth seeing.

For all its faults, it's no small feat that the film looks good (it was shot by In Fabric's inventive Ari Wegner), it sounds good (Kurzel's brother, Jed, provided the spare, moody score), and Essie Davis offers her usual excellent value, though her performance as Ellen Kelly won't make anyone forget the fabulous Miss Fisher or the prodigiously stressed mother she played in The Babadook. But it does mean you're better off reading Peter Carey's novel, a rip-roaring work of historical fiction that truly does its namesake proud.



Rent True History of the Kelly Gang from Amazon Prime or Apple TV.

Tuesday, April 21, 2020

Home Is Where the Horror is in La Casa Lobo

THE WOLF HOUSE / La Casa Lobo 
(Cristóbal León and Joaquïn Cociña, Chile, 2018, 73 minutes)

La Casa Lobo, aka The Wolf House, is one trippy film. Though classified as horror, it isn't scary in the conventional sense. Instead, it's more like the fairy tale surrealism of Jan Svankmajer or the Quay Brothers, though Cristóbal León and Joaquïn Cociña took inspiration from real events. Their feature film debut is weird and creepy, to be sure, but it's more like a subversive political allegory in the form of a twisted domestic drama. In other words, horror, because what's scarier than families and politics?

It begins with a film within a film about the Colony, aka Colonia Dignidad, a Pinochet-era German commune in Chile. The Spanish-speaking narrator (voiced by Rainer Krause), a wolf, explains that they made the film to prove to the outside world that there's nothing dangerous about the Colony. After all, it revolves around the production of honey. The inhabitants are just simple farm people, and there's nothing sinister going on here. No sir, nope. (In actuality, Colony members tortured and killed political dissidents.)

León and Cociña, who shot the film in a variety of art gallery and museum spaces--Santiago, Hamburg, Mexico City, and Buenos Aires--then shift from the documentary-style prologue to an animated sequence featuring a Little Red Riding Hood-like Maria (voiced by Amalia Cassai) who escapes from the Colony to avoid punishment for lettings three pigs go free, but she's just jumping from the frying pan into the fire, because the single-sequence-shot film she enters is as much a propaganda piece as the prologue.

While fleeing through the woods, she comes across an abandoned house in a clearing. Because we see things through her eyes, we don't see her at first. Then, the animated painting she inhabits segues from black and white to color and from two dimensions to the three dimensions of stop-motion papier-maché puppetry. Every transformation is accompanied by the sounds of rustling paper, stretched fabric, and a tinkly, music box-like score.

In the house, Maria finds two pigs. She promises to keep them safe from the wolf outside the door. The house and its inhabitants are constantly changing. Maria melts into a chair and re-materializes as a movable mural. The pigs alternate between papier-maché creatures and murals. León and Cociña add real furnishings to these dioramas, blurring the lines between animation and live action. To pass the time, Maria plays games and sews clothes. She encourages the pigs to become humanoid, and so they do. She names them Pedro and Ana. When she reads Pedro a story about a dog and a house, which parallels her own escape from the Colony, the story comes to life.

But then, something happens and the children are injured. She feeds Pedro honey to restore him to health. Though he improves, he doesn't revert to his brunet form, but rather a blond version more closely resembling his Germanic "mother." She also transforms Ana into something more Germanic. The formerly silent children (both voiced by Cassai) also begin to talk, but they just parrot things Maria wants them to say, though they speak in Spanish, while she continues to speak in German.

Just as Maria recreated a version of the Colony in the house, the children end up turning the tables and making her their captive. She left the Colony precisely to escape the fate in which she has found herself. Out of desperation, she calls out to the wolf to save her. The ending, which returns us to the film within a film, is meant to be happy, because we're told that it is, but the narrator was never reliable. If it sounds like I've given too much away, I haven't. La Casa Lobo is the kind of film that needs to be experienced, because it's unlikely you've ever seen anything like it before.



La Casa Lobo was set to open at Northwest Film Forum March 27, but was postponed due to the quarantine. It will now screen virtually May 15-29. Link to come! I also hope to discuss it at this year's Crypticon, which takes place Sept 18-20, as part of a panel on Spanish-language horror.

Wednesday, April 1, 2020

Kansas City, Here I Come: A Reconsideration of Robert Altman's Most Personal Project

Jazzy new art for the Blu-ray cover
KANSAS CITY 
(Robert Altman, 1996, USA, 116 minutes)

"It's a jazz memory."
--Robert Altman on his 30th feature film

The term personal project suggests autobiography to some degree or another, but that isn't exactly what's going on in Robert Altman's jazz-saturated period piece, Kansas City. Ever the literalist, I was confused by the description at first, but all artists have their own unique ways of integrating their history into their work, and the late filmmaker (1925-2006) found a rather elliptical way to do that with his.

First of all, he and co-writer Frank Barhydt (Tanner '88), who have shared roots in Kansas City, built the story around a woman, Blondie (Jennifer Jason Leigh, who worked with Altman in Short Cuts), and not a man. Women loom large in Altman's filmography, but not often as leads, and Blondie is older by a decade or two than Altman would've been in 1934. And he didn't just grow up there, he launched his career as a director of industrial films in Missouri before moving to Southern California to work in television and then, later, the movies (he and Barhydt, whose father ran the production company where Altman got his start, reconnected after they moved to Hollywood).

Carolyn "Red" Stilton and Blondie O'Hara
So, there's no obvious Altman analogue in this large-canvas tale, and yet the autobiographical elements are baked into the recipe, informing who he was and who he would become. The wealthy husband (Altman regular Michael Murphy) of the laudanum-addicted wife (an excellent Miranda Richardson) Blondie kidnaps, for instance, isn't just any man, but one inspired by his father. In the film, Henry serves as an FDR adviser, and he's out of town when Blondie bluffs her way into the Stilton household in an attempt to force him to use his political connections to release her husband (Dermot Mulroney) from the clutches of Seldom Seen (a commanding, gravel-voiced Harry Belafonte), the owner of the Hey-Hey Club and de facto head of the juke joint district, a bustling hub impervious to Prohibition and Great Depression alike (in his entertainingly rambling audio commentary, Altman describes Seldom as "a real guy around town").

If it all sounds convoluted, it is! Not in the sense that it's hard to follow, but in that the narrative plays more like the plot of a pre-code film than anything drawn from real life. "I'm sure it isn't terribly realistic," Altman admits. Still, he was combining actual incidents--kidnappings were a regular occurrence in the '30s--with stories he heard as a young man, some of which were surely embellished, but he captures the vibe of the place, a time when KC was filled with jazz, political maneuvering, and vices of every kind.

"Harry is my closest friend."--Robert Altman
As the son of a prominent man, Altman was likely shielded from some of KC's harsher realities, and yet he was clearly paying attention, since a bone-deep sympathy for the downtrodden is a distinguishing characteristic of his work. That brings us back to Blondie, who isn't really blonde, but who is definitely downtrodden. She used to bleach her hair, like her idol Jean Harlow (a KC native), but had to stop when it fell out. This is actually a myth about Harlow; no one has reliably proven she lost her hair, but Altman runs with it. The fact that Blondie, who comes across as hapless, takes strength from Harlow's powerful screen presence, though, provides a link with the young Altman, who also started out as a movie-mad dreamer before he found a way to make movies of his own (in the commentary, he credits David Lean's 1945 Brief Encounter for showing him just what a film could do, since he started out skeptical and ended deeply moved). Blondie, on the other hand, just wants her man back. That's her sole ambition.

Like the comic-strip cutie from whom she got her name, she's all broad strokes. The Western Union telegraph operator talks like a moll and walks like a pigeon, head thrust forward Olive Oyl-style (considering that Altman directed a live-action adaptation of E.C. Segar's strip, I'm not sure this is completely coincidental). He's also made her unnecessarily unattractive, which isn't a dig at Jason Leigh, but she has to hiss her lines through dingy dentures, and she's lit in a way that does her no favors. Richardson, by contrast, gets the soft lighting and the flattering angles. Altman may sympathize with the downtrodden, but he definitely doesn't sugarcoat them. As the film hurtles towards its cynical conclusion, it becomes clear that Johnny isn't just a hood, he's a loser. Blondie can't see it, but Carolyn can. The way she looks at Blondie softens as she learns about her mouthy captor's lousy life--even if Blondie has a gun pointed at her the whole time.

A Blondie favorite / By MGM - eBaycard, Public Domain
Before the ladies come to an under-
standing of a kind, one that favors the haves over the have-nots, they tangle with a range of KC figures, includ-
ing mobster Johnny Flynn (Steve Buscemi), Junior Leaguer Nettie Bolt (Jane Adams)--a name Altman swiped from his grandmother--and Charlie Parker's mother, Addie (Jeff Feringa), a Union Station cleaning woman.

Altman depicts Charlie (Albert J. Burnes) as a 15-year-old aspiring musician who would sneak into the Hey-Hey Club, sax in hand, to watch Coleman Hawkins (Craig Handy) and Lester Young (Joshua Redman) and pianists Bill "Count" Basie (Cyrus Chestnut) and Mary Lou Williams (Geri Allen) do their thing (the climactic Hawkins-Young cutting contest, in which the sax players were encouraged to improvise, is a real highlight). Other players include David Murray, Don Byron, Olu Dara, Curtis Fowlkes, and Ron Carter. Whew. Led by music supervisor Hal Willner, this stunning array of players also appear in the concurrently-shot Great Performances documentary Robert Altman’s Jazz ’34. They swing in ways the rest of the film doesn't.

It's not that Kansas City is a failure; it's that it takes too long to work up any sympathy for these characters. Next to Addie, the one with the greatest sympathetic potential is Pearl (Ajia Mignon Johnson), a pregnant 14-year-old who comes to town to have her baby and, then, presumably to give it up for adoption. Other than the friendship she strikes up with Charlie, though, we don't learn anything about her. She and Blondie have a brief, touching exchange about their Joplin, Missouri home town, but that's about it. I don't think it's that Altman didn't care about the black characters in the film, but that he and Barhydt had trouble coming up with more compelling story lines for them. The exception, of course, is Belafonte, who is terrific. He and Altman had been friends for years before the director cast him in a film, and he was delighted with the results, not least because he cast the civil rights icon completely against type. It's possible that Belafonte found it freeing to say things he would never utter in public, like "White people are consumed with greed" (he blames them for the Depression, which seems fair) and the eminently quotable "I ain't scared of death--he's a cold cocksucker."

Altman and the Hey-Hey Club crew
If Altman opens with Blondie, he closes with Seldom Seen, and that feels right, though he considers the fade-out on Belafonte counting his bills as more of "a stopping place" than an ending, because "the only ending I know about is death" (few knew it at the time, but Altman's heart was getting ready to give out on him; his transplant took place shortly afterwards). Kansas City might have been a better movie with more of Belafonte's character and less of Jason Leigh's, but I agree with Altman that "it’s a film you have to see a second time." He adds, "And that was a mistake."

As grating as I found Jason Leigh in my first go-round, and those chompers are really the worst, Blondie's tough-gal act made more sense the second time around as I could see the extent to which she--and not Jason Leigh--wasn't a very good actress. Though Altman doesn't mention it, he had known his star for pretty much her entire life, since he worked with her father, Vic Morrow, on the '60s WWII series Combat! In the commentary, he expresses regret that critics accused her of overacting and rather gallantly takes the blame, since she was only doing what he asked of her.

If the time has come for Kansas City to get a second look from those who dismissed it 24 years ago, I hope they'll be as kind to her as he was.



Kansas City is out now on Blu-ray from Arrow Academy/MVD Entertainment.

Saturday, March 7, 2020

This Is the Day a Trophy Wife's Life Will Surely Change in Carlo Mirabella-Davis's Swallow

SWALLOW 
(Carlo Mirabella-Davis, USA, 2020, 95 minutes)

This is the day, your life will surely change 
This is the day, when things fall into place.
--The The, "This Is the Day"

The evocatively named Hunter (Haley Bennett, who recalls Michelle Williams as interpreted by Jennifer Lawrence) has what appears be an enviable life. She's pretty, she has a handsome husband, and they live in a Tom Ford-like Poughkeepsie ranch house overlooking a Hudson Valley lake. With her blonde bob, full skirts, and sensible heels, she resembles one of Hitchcock's cool blonde heroines, like Tippi Hedren in The Birds or (especially) Marnie. 

Even if I didn't know Swallow was a psychological thriller, I'd still know something was off by the way writer-director Carlo Mirabella-Davis (The Swell Season) opens on three small lambs in a pen clinging to each other as the husband, Richie (Colossal's Austin Stowell), walks towards them. Through the magic of editing, one unfortunate quickly becomes dinner. The symbolism is clear: Hunter is a lamb on her way to the slaughter.

That sequence, which culminates in a "lamb and cabernet" dinner party for Richie's business associates, also reveals that his parents (Lincoln's Elizabeth Marvel and Succession's David Rasche) purchased his home. This is never a good sign, in fiction or in reality, since it means the couple is beholden to them. The house is also isolated. On the one hand, these two lovebirds can take romantic walks in the woods free from intrusions. On the other hand, if something goes wrong, help may not arrive in time.

Bennett, Stowell, Rasche, and Marvel / IFC Films
While the recently-promoted Richie works as managing director of his family's company, Hunter watches TV, plays smart-phone games, and prepares Instagram-friendly meals. It might be a sustainable lifestyle if she had friends, a job, or outside interests, except she doesn't. If Richie had more time for her, that would help, except he doesn't. When she finds out she's pregnant, she should be happy--finally! someone with whom she can spend time--except she isn't. The discovery coincides with her realization that no one in her orbit cares about her thoughts or opinions.

At this point, it's worth noting that she signed up for this, but that doesn't mean we shouldn't sympathize with her. For all we know, her options were limited. Or that's what the former sales associate believes, since she lacks a sense of self. This is where a supportive social circle might come in, but since she doesn't have one, her feelings of helplessness accelerate. The one thing she can control: her body. She can change it by the things she swallows. Though I was expecting the sort of feminist body horror of Julia Ducournau's Raw or Marina de Van's In My Skin, Hunter's eating disorder, pica, isn't really that uncommon. But it isn't exactly well known either. 

The heart is a lonely Hunter / IFC Films
So, she starts by eating ice before graduating to marbles, tacks, and batteries. She ends up expelling the items (not always tidily), washing them, and placing them on the vanity mirror in her bedroom. The feeling of control helps to compensate for the times Richie criticizes her housework or her mother-in-law suggests she had less-than-pure reasons for marrying him. Of course, she isn't just running the risk of harming her baby, but herself, which will only make it harder for her to take charge of her life. She doesn't seem to see another way out. Nor does she even acknowledge that that's what she wants.

The situation shifts when medical attention becomes necessary after an item gets stuck. Her secret is no longer a secret, and Richie isn't sympathetic. The in-laws swoop in with a plan involving a nutrient-rich diet, psychiatric care, and a 24-hour minder, Syrian refugee Loay (Laith Nakli). It's all designed to keep her healthy, but now she's more powerless than ever. "I'm not a baby," she complains, but the infantilization continues.

Gradually, Hunter fills the therapist in on her family background. It helps to explain her behavior, but the disclosure causes new complications. Although there's no devil worship involved, the film enters Rosemary’s Baby territory once she decides that everybody--her husband, her in-laws, and even the therapist--are out to get her. And she isn't completely wrong.

Hunter gialloicizes the baby's nursery / IFC Films
The solution to her conundrum springs from desperation, but it's also perverse in a way that goes beyond horror. Then again, this isn't a horror movie. That's what I expected, based on the setup, but Mirabella-Davis is more interested in the horror we carry inside of us than the kind that can manifest around us. Hunter's biggest obstacle to selfhood is a failure to reckon with her origin story.

If the ending is too neat, it's also emotionally satisfying, because it's more about taking control than getting revenge. Bennett, who served as executive producer, really sells her character's arc from timid homemaker to woman who speaks up for herself (when I reviewed Gregg Araki's Kaboom in 2011, I complained that her "blasé act gets old fast," but she's come a long way since then). An outspoken woman with legitimate concerns may not sound like horror to the average viewer, but to patriarchal control freaks like her husband and his family: it definitely is.



Swallow opens Mar 13 at the Varsity Theatre. You can also rent it on Amazon Prime, Google Play, and Vudu. For insights into the making of the film, I recommend Sara Michelle Fetters' interview with Mirabella-Davis.

Tuesday, February 11, 2020

Russian Wunderkind Kantemir Balagov Reveals the Unwomanly Face of War in Beanpole

Tangled up in green / Kino Lorber
BEANPOLE / Dylda 
(Kantemir Balagov, 2020, Russia, 137 minutes) 

Beanpole, which takes place in Leningrad during the winter of 1945, isn't a war movie; it's more like a home front or post-war movie. As such, 28-year-old filmmaker Kantemir Balagov (Closeness) focuses on women more than men. Like Little Women, which takes place during the Civil War, it's permeated by a scarcity of food and more crucially in this case: sanity.

Iya (Viktoria Miroshnichenko), a nurse, is taller than everyone around her--men included--and supernaturally pale. Even her eyebrows and eyelashes are white-blonde. She looks after men injured in the war, but she has an injury of her own, an epilepsy-like post-concussion syndrome resulting from her job as an anti-aircraft gunner (in the Film Club episode on Beanpole, Russian-born critic Ignatiy Vishnevetsky cites the period term shell shock). Sometimes Iya just...checks out. Her body continues to function, but her mind goes elsewhere, representing a danger to herself and others.

The ward of a tiny boy named Pashka (Timofey Glazkov), Iya lives in a building bustling with hungry people, including an elderly gent eager for companionship (she shrugs him off). Shortly after Balagov has established the contours of her life, Iya's gunner associate, Masha (Vasilisa Perelygina, an inexperienced actor like Miroshnichenko) returns from the front to collect her son. Auburn-haired Masha, compact where Iya is towering, finds that the world she left behind has irrevocably changed. Instead of making a fuss, she appears to roll with it, but she's actually hatching a plan.

Iya in Vermeerian repose / Kino Lorber
Masha has a Mona Lisa smile that makes it hard to tell if she's happy, pretending to be happy, or if she might possibly be a sociopath. After unpacking her things and settling in, she expresses an urge to go dancing. When the women find the dance hall closed, they hook up with two young men instead. Things do not go well.

Though she lacks medical training, Masha gets a job at the hospital as an attendant. She and Iya report to Nikolay (Andrey Bykov, very good), a pragmatic widower who spends a lot of time giving patients, like quadriplegic father Stepan (Konstantin Balakirev), bad news. He gives Masha bad news, too--mostly to confirm what she already knows.

The women's domestic situation is complicated by the reappearance of Sasha (Igor Shirokov), one of the young men from the night on the town. After running into Masha at the hospital while visiting with his philanthropist mother, he shows up at their door. To Iya's irritation, Masha lets him into their lives, possibly because she simply appreciates the fresh produce he's able to provide. Just as pragmatic as the doctor, Masha also sets up an illicit arrangement with Nikolay in order to recreate something she lost.

Though Beanpole is hardly a predictable film, it's a given that certain things won't end well, not least because Iya's discomfort around men suggests that she's either inexperienced, uninterested, or some combination of the two. Balagov, who took inspiration from Nobel Prize-winner Svetlana Alexievich's 1985 book, The Unwomanly Face of War: An Oral History of Women in World War II, doesn't spell it out explicitly, but it becomes increasingly clear that both women suffer from post-traumatic stress disorder. They may have had issues before the war, but now they're threatening to become pathologies, and this isn't a time or a place where therapy is accessible, so they cling to each other in ways that could do more harm than good.

I'm so green / Kino Lorber













Beanpole is strikingly shot and framed by 24-year-old cinematographer Ksenia Sereda who uses color as a narrative device. Though many scenes take place at night or by candlelight, vivid red, green, and ochre add beauty to what is, essentially, a pretty grim story. In his director's statement, Balagov explains, "When I started to study the diaries of people who lived during that time, I learned that despite all the hardships and the devastation, they were surrounded by bright colors every day."

Color grows in importance as Masha paints the apartment green and borrows a green dress to impress a possible benefactor--and Iya wears a green sweater in most every scene. The color represents the potential for renewal in the women's shattered lives, but Balagov, winner of the best director award at Cannes, is enough of a realist to suggest that a storybook happy ending isn't likely for either one. But nor is a Russian-novel tragedy a guarantee. If the look of his film threatens to overwhelm the content, the filmmaker stays on the right side of that equation more often than not.



Beanpole plays SIFF Cinema Uptown Feb 14 - 16. Click here for details. 

Friday, February 7, 2020

Australian Filmmaker Kitty Green Casts a Cool Eye on a Predator's Retinue in The Assistant

Julia Garner as the hyper-efficient Jane / Bleecker Street
THE ASSISTANT 
(Kitty Green, 2020, USA, 87 minutes)

Jane (Julia Garner), who lives in Queens, wakes up so early to get to her job in the City that it's pitch black when she leaves her apartment (the better to appreciate the glittering lights of the Queensboro Bridge). Unlike most office drones, though, she doesn't bike, drive, or take the train. A chauffeured car picks her up. As the first employee in the office each day, Jane turns on the lights, makes the coffee, and gets to work.

Australian filmmaker Kitty Green's narrative feature debut, after the documentaries Ukraine Is Not a BrothelThe Face of Ukraine: Casting Oksana Baiul, and Casting JonBenet, focuses on one day in Jane's life at a Manhattan entertainment company that resembles Miramax in its early days, before it became The Weinstein Company, and before things got ugly. Her coolly observant film journeys into the heart of that ugliness.

Jane is pleasant and professional, and because Emmy winner Julia Garner (Ozark, The Americans, We Are What We Are) plays her with a minimum of fuss, she comes across as a convincing human being, though some of her tasks aren't exactly typical, like when she writes checks for large amounts to unnamed recipients, returns an earring from the floor of her unseen boss's office to the uncomfortable woman who left it behind, or wipes down her boss's couch with rubber gloves and cleaning fluid. Why would she do such a thing? Green knows we know why, and doesn't need to spell it out.

Jane with Sienna (Kristine Froseth) / Bleecker Street
The director often shoots Jane from slightly above, an odd but not especially distracting choice. The point seems to be to show her from the perspective of a person, presumably a man, looming over her desk. The ironic part: the film is from Jane's POV. We see what she sees--except when we're watching her. Even then, though, we aren't privy to anything beyond her line of sight.

This approach stands in opposition to Casting JonBenet, in which actors auditioning for roles in a re-creation of the case of the six-year-old Colorado girl's still-unsolved murder look at the camera and talk about themselves and their characters, including the victim and her parents, Patsy and John Ramsey. The documentary also features a sweeping score, unlike The Assistant, which eschews any noticeable soundtrack--other than the garbled buzz of voices issuing from cell phones and from behind closed doors.

Toward the end of the day, Jane decides to tell HR director Wilcock (Matthew Macfadyen) about the troubling things she's been noticing, because she's been cleaning up after them. Macfadyen plays Wilcock in a lower-key register than his status-obsessed Tom Wambsgans on HBO's Succession. He makes it clear to Jane that she should keep quiet if she wishes to remain employed. He ends by saying something an HR director should never say to an employee who suspects their boss of sexual harassment. It's meant to be reassuring, but only proves he knows exactly how deep the rot goes.

Matthew Macfadyen as Wilcock / Bleecker Street
The other assistants (Jon Orsini and Noah Robbins) with whom Jane shares her office space also provide hints that they know about their boss's extracurricular activities and that it's best to remain as oblivious and subservient as possible. After they've left for the day, and after she's shown an attractive new assistant (Kristine Froseth) the ropes, she's the only one left.

I wasn't sure what to expect from a filmmaker best known for her documentary work, but now that I've seen The Assistant, I find myself noticing more similarities than differences, since Casting JonBenet features sequences in which actors recreate scenes from real peoples' lives, much as in the films of Robert Greene, like Kate Plays Christine and Bisbee 17. In other words, before Green made a narrative feature, she was already heading in that direction. As she puts it in the press notes, The Assistant is "a fiction film that had an intensive documentary-style research process," since Jane is a composite of the many female film workers she interviewed.

There isn't much more to her film than what I've described. Jane starts and ends her day in darkness--literally, not metaphorically. If she didn't know what she was getting into when she took the job, the five weeks she's spent at her boss's beck and call have shown her all she needs to know. During her meeting with Wilcock, she tells him she aspires to be a producer. If she stays, she just might get there; if she leaves, she just might not. She's a recent college graduate, and nothing is written in stone, but she's also contributing to a toxic environment in which women are the primary victims.

Kitty Green doesn't judge her, and Julia Garner is too savvy an actress to beg for the audience's sympathy, but it's hard not to feel conflicted. It took a lot of hard-working women, like Jane, to help Harvey Weinstein reach the pinnacle of his profession. But it also took a lot to bring him to justice.


The Assistant opens at Pacific Place on Feb 14. It is not a good date movie.

Tuesday, January 21, 2020

Watch Nicolas Cage Lose His Shit in Richard Stanley's Lovecraft-Powered Color out of Space

Eat your heart out, Thomas Kinkade / RLJE Films
COLOR OUT OF SPACE 
(Richard Stanley, 
USA, 2019, Not Rated, 110 mins)






"This is what you want… This is what you get."
--Public Image Ltd, "The Order of Death" (1984)

From the people who brought you Ana Lily Amirpour's Iranian vampire noir A Girl Walks Home Alone at Night and Panos Cosmatos's psilocybin-laced revenge thriller Mandy, comes South African filmmaker Richard Stanley's first feature in 27 years, Color out of Space. Not only is Elijah Wood's SpectreVision presenting the film as a special theatrical event before it appears on streaming platforms, but it stars Mandy's Nicolas Cage. And Stanley adapted it from a 1927 short story by H.P. Lovecraft,
so those are the primary selling points. Either you're in or you're out.

Stanley starts by introducing us to the Gardners. After an unsuccessful sojourn in the city, they've moved back to father Nathan's family farm in Arkham, Mass. (Stanley shot the film in Portugal, though you'd never know it). The extended clan includes a dog, alpacas and horses, stoner teen son Benny, Wiccan teen daughter Lavinia, grade-school, Coke-bottle glasses-sporting son Jack, and squatter Ezra (Tommy Chong). According to Lavinia (Madeleine Arthur), Nathan (Cage) did too much acid back in the day and Theresa (Joely Richardson) is recovering from cancer. Lavinia wants her mom to get healthy; then she hopes to get the fuck out this podunk town.

Theresa and Nathan dreaming of Italy / RLJE Films
One night, a weird, glowing magenta object lands in their front yard. Ward (Elliot Knight, Merlin from ABC's Once Upon a Time), a handsome hydrologist in town to test the groundwater, says it looks like a meteorite (Ward also narrates; Lovecraft's story features an unnamed narrator). The Black hydrologist's full name, Ward Phillips, is a bit of a poke in the eye at Howard Phillips Lovecraft, horror/sci-fi master and known white supremacist.

Strange things start to happen. Headlights flash on and off, TVs and computers display Poltergeist-like imagery, freaky insects appear on the scene, Lavinia hears odd voices coming from her cell phone, Jack communicates telepathically with "the man" in the well, Theresa has a bloody freak-out, and otherworldly colors pulsate in the forest. As Iggy Pop's DJ Angry Bob exclaimed in Stanley’s technology-goes-berserk predecessor Hardware (1990), "Nature never knew colors like that!"

So, it's weird, except Nathan acts relatively normally, and anyone watching this movie is going to be anticipating the sort of Bizarre Cage Behavior on display in, say, Bad Lieutenant: Port of Call New Orleans or Vampire's Kiss, the film that convinced Stanley to cast him here (not least because he previously tried to cast Cage in 1992's Dust Devil, but it didn't work out). Aside from a few eccentric line readings, Cage doesn’t lose his shit and embrace BCB until about an hour into this thing--I'll just note that it has to do with alien-infected produce--and then there's no going back. That's the point at which the scenario segues into the disturbing, body horror realm of The Thing, Altered States, and Annihilation.

Jack (Julian Hilliard) loses his shit, too / RLJE Films
In the end, I couldn't say whether Stanley and co-writer Scarlett Amaris were trying to make a statement about the nuclear family or not. The alien influence drives each family member insane in different ways, and they spend more time turning against each other than joining forces to fight the evil. Further, technology can't save them. When this isolated farm family needs them the most, their transportation and communications devices fail.

Although it may disappoint some viewers, the biggest surprise for me is that Cage, the marquee name, isn't really the star of Color out of Space. It's Arthur (ABC's The Family, Netflix's To All the Boys I’ve Loved Before), and she's quite good. Similarly, Dylan McDermott isn't really the star of Hardware; it's Stacey Travis, another plucky woman with long, wavy hair.

Colin Stetson, who scored Hereditary, also brings the menace with his fine score...and Stanley makes the interesting decision to include an aptly-titled track, "Feeble Screams from Forests Unknown," from Norway's Burzum, black metal project of convicted neo-Nazi murderer and arsonist Varg Vikernes. That said, he adds a track from fellow black metallists Mayhem, "Watchers," and that's significant, because Vikernes's victim was their guitarist (Øystein "Euronymous"Aarseth). I'm not sure what to do with this information, but to quote Al Pacino in The Irishman, "It is what it is."   

Despite the surface similarities to Mandy, Stanley's cinematic return doesn't measure up to those lofty standards, but it's worth seeing if any of the factors that went into its making appeal to you. Especially with a well-lubricated audience hyped for the weird, the strange, and the disturbing.

 

Color out of Space plays the Egyptian on Jan 22 and 24-30. Click here for more information. Free Full Tilt ice cream for the first 100 people on Wed.

Monday, January 13, 2020

They Say Betty Davis Was Different, But This Documentary Doesn't Provide Enough Detail

Betty Davis / Baron Wolman / Light in the Attic
BETTY DAVIS: THEY SAY I’M DIFFERENT 
(Phil Cox, USA, 2017, 54 minutes)

The angle British filmmaker Phil Cox takes with his Betty Davis documentary, which arrives on DVD this week, is this: she emerged as a funk force in the 1960s, influenced one of the world's great musicians, and then disappeared.

In scholar, culture writer, and Pop Con veteran Oliver Wang's introductory comments, the words recluse and reclusive get a workout (Cox neglects to mention that Wang wrote the liner notes for three Davis reissues). They aren't inaccurate, but they serve as a warning that his subject, who is still very much alive, feels more like a supporting character in her own story than a lead. Try as he might, it's a gap Cox isn't completely able to fill.

Instead, he relies on commentary from friends and associates, excerpts from interviews, music and performance clips, photos and collages, and lyrics that float across the screen. There's enough material to get a taste of her fiery shows, uninhibited lyricism, and arresting fashion sense--silver-sequin hot pants above all--but not enough to fill out the standard running time, since They Say I'm Different clocks in at just under 54 minutes.

Betty in her element / Baron Wolman / Light in the Attic 
Cox traces Davis's be-
ginnings to North Carolina and Pennsyl-
vania where she developed an interest in songwriting (she was living in Pittsburgh when Cox caught up with her). When she was ready to make music her career, she moved to New York. She enrolled in design school, worked as a model, and wrote songs. Did you know she wrote the Chambers Brothers' urban funk anthem "Uptown"? (She was only 20.) That was around the time she met Jimi Hendrix in the Village. Unfortunately, we learn nothing about their meeting, so I couldn't say what went down, but Betty proceeded to turn Miles Davis on to his music.

She met Miles when she went to see him play at the Village Gate. She told him she dug his shoes, and that was that. They got married in 1968. Out went his Italian-made suits and in came silky shirts, over-sized shades, and the other sartorial signifiers of funk. He also incorporated psychedelic-rock elements into his music, though it's possible he might have done so even without Betty's influence. Rock was an all-pervasive thing in the late-1960s, and Miles wasn't the only jazz musician to segue to fusion, though she certainly inspired his 1968 album Filles de Kilimanjaro, which features her image on the cover and ends with the contemplative "Mademoiselle Mabry" (a reference to her maiden name). They also wrote a song together, the tender ballad "You & I," which appears on her 1975 album, Nasty Gal.

The marriage was a short-lived thing. In the film's voice-over (provided by Kim El), Davis notes that Miles could be violent. Frances Davis, his first wife, makes the same point in Stanley Nelson's documentary, Birth of the Cool, which will be coming to PBS's American Masters in February.

Betty Davis (1973) / Light in the Attic
After their divorce, Betty's recording career began in earnest. Local label Light in the Attic reissued her three albums, Betty Davis (1973), They Say I’m Different (1974), and Nasty Gal in 2007, though no one associated with any of her labels--Island, Columbia, Just Sunshine, etc.--appears in the film. Cox also neglects to mention that Light in the Attic issued her previously unreleased 1976 album, Crashin' from Passion, as Is It Love or Desire? in 2009.

There's also very little information about the recording of these albums. Interviews with more of the participants, like bassist Larry Graham (Sly & the Family Stone) and guitarist Neal Schon (Sylvester, Journey), would have gone a long way, though it's nice to hear from her still-funky backing band, Funk House, and producer, drummer, and fellow Family Stone player Greg Errico--even if we don't learn much about him. Considering that Errico has played with David Bowie (1974's Diamond Dogs tour), Weather Report, Santana, and the Grateful Dead, that seems like a strange oversight.

As for Davis, she's heard, but she isn't really seen. Though she spoke with Cox, who worked on the film for four years, she's always facing away from the camera. He mostly focuses on her hands. It's her choice, but she provides so few details about her years in exile that she ends up feeling like a ghost haunting a film about a past she doesn't especially care to revisit rather than a full-fledged participant in a comprehensive look at her life.

Wearing lingerie as clothes / Light in the Attic
The extra features include a five-minute interview with Davis, in which Cox filmed her from the back ("No one wants to see an old woman," she says) and a 16-minute inter-
view with the filmmaker. From these features, I learned that it took Cox a long time to gain Davis's trust, and I appre-
ciate his diligence, but I'm not sure he was the best person to tell her story.

When he realized she wouldn't be forthcoming in interviews, for instance, he could have lined up speakers to explain what she's been doing for the past 42 years. It's possible to do this in a respectful, non-salacious way, but he took the path of least resistance, and the film pretty much ends in 1975.

Somehow or another, Betty Davis has managed to keep herself alive since then. That is no small feat, and I'd love to know how she succeeded when so many of her hard-rocking peers, like Janis Joplin, weren't able to pull it off. Did she work a succession of odd jobs, learn a new trade, remarry...? There's a story there, and it's worth telling. Maybe someday somebody will.


MVD releases Betty Davis: They Say I'm Different on DVD Jan 17, 2020.