Day: September 27, 2011

Libertas @ The 2011 New York Film Festival: Andrew Bird: Fever Year

Musician Andrew Bird.

By Joe Bendel. When a musician breaks out after years of scuffling, they should strike while the iron is hot. Andrew Bird understands this. When his tricky-to-categorize hybrid of string band and jam band alternative music caught on, he spent nearly an entire year on the road headlining concerts at up-scale theaters. It took a toll physically, as viewers witness in Xan Aranda’s behind-the-scenes concert documentary, Andrew Bird: Fever Year, which screens during the 49th New York Film Festival.

Bird is definitely a live act. A musician with a jazz background who spent years gigging as a solo, the multi-string instrumentalist and vocalist incorporates a great deal of improvisation into his shows. His current band was specifically chosen for their ability to react and play-off his in the moment decisions. In fact, bassist and reed player Michael Lewis also has a jazz background, as befitting the son of a jazz musician.

Through much of the tour, Bird suffers from the titular low-grade fever. Yet, this almost seems to be something the musician masochistically needs to struggle against in order to maintain each show’s freshness. Indeed, he explicitly demands their concerts be spontaneous and never feel scripted, well aware that this sometimes involves falling without a net.

Wisely, Bird and Aranda focus almost entirely on the subject of music. We learn next to nothing about his private life and glean no idea about his political views (not that we care, anyway). Frankly, it is refreshing to listen to a musician discuss the performance process with such insight. Hearing Bird breakdown his thought process during one of the live numbers captured in the film should be fascinating for his established fans and create a few new converts, as well. Though equally interesting material, his Zen-like composing methods are so idiosyncratic that they’re unlikely to be applied by other musicians. Mind-bogglingly, he uses no notation, simply molding each song from memory day after day. Still, this method has produced a considerable body of work, so more power to him.

Aranda deserves a great deal of credit for the integrity of her approach, displaying confidence the audience will be interested in Bird’s creative process and the music itself, rather than the usual extraneous rubbish. The resulting Fever definitely proves Bird is a technically accomplished musician, a fleet improviser, and an eloquent interview subject. She also ends the film on the perfect note: Bird’s encore number and only cover we hear from the concert. Recommended for Bird fans and first-time listeners alike, Fever screens this Saturday (10/1) and Sunday (10/2) as part of the 2011 New York Film Festival.

Posted on September 27th, 2011 at 7:09pm.

Libertas @ The 2011 New York Film Festival: Dreileben

By Joe Bendel. There is a fugitive in the woods. He might be an innocent man, or a dangerous psychopath. Determining the truth is a tricky proposition in Dreileben, a trilogy of interlocking films produced for German television in the tradition of Red Riding, which screens in its entirety this coming Saturday as part of the 49th New York Film Festival.

Christian Petzold’s Beats Being Dead begins the cycle, but keeps most of the crime drama off-screen. While visiting his dying mother in the hospital, the convicted murderer Molesch essentially walks away from his police guard. A manhunt ensues. To shield him from inquiries, Dr. Drier gives some time off to Johannes, the nursing intern on duty that fateful night. It allows the pre-med student time to pursue a passionate in-the-moment romance with the tempestuous Ana, a Bosnian refugee working as a maid in the hotel that will eventually factor into the police investigation. He might even forget Sarah Drier, the head doctor’s daughter, who dumped Johannes in no uncertain terms.

Petzold’s Dead and Dominik Graf’s subsequent Don’t Follow Me Around are like some of Claude Chabrol’s craftier late films, presenting the nefarious business obliquely, while ostensibly focusing on the workaday lives of those seemingly on its margins. Yet Petzold creates a palpable undercurrent of menace that carries over for his filmmaker colleagues. He also presents an unusually dark and intense vision of young love (or lust) that sometimes borders on the unsettling.

Luna Mijovic burns up the screen as Ana, viscerally projecting her raw self-destructive impulses and insecurities. Jacob Matschenz is also quite effective keeping the audience off-balance as the everyman Johannes, while Vijessna Ferkic is appropriately hot and shallow as Sarah Drier. Indeed, not only is Dead the strongest film of the trilogy, it also (quite conveniently) stands alone better than its companion films.

Still, for those willing to buy into Dreileben, Graf’s Follow is also quite clever, nicely explaining a few of the confusing moments in Dead. Johanna is a single-mother police psychologist in the tradition of the old Profiler show, sent to help the corrupt and incompetent local constabulary capture Molesch. Yet, she is considerably more interested in revisiting some important episodes from her past with her old friend Vera, with whom she is staying. We also briefly meet Marcus Kreil, the one competent copper who will be featured prominently in the final film. Continue reading Libertas @ The 2011 New York Film Festival: Dreileben