Day: April 22, 2013

From Peru to Polynesia, the Hard Way: LFM Reviews Kon-Tiki

By Joe Bendel. In 1947 memories of WWII were still fresh, especially in once occupied Norway. However, the reckless courage of a Norwegian explorer would inspire not just his homeland, but generations of adventurers around the world (reportedly including American test pilots and astronauts). Thor Heyerdahl and his crew set sail from Peru to Polynesia without any modern technology in Joachim Roenning & Espen Sandberg’s Kon-Tiki, which opens this Friday in New York.

Although naturally restless, the time Thor Heyerdahl and his first wife Liv spend living among the Marquesas is quite happy. During this period, Heyerdahl becomes convinced the South Pacific islander’s original ancestors ventured east from Latin America rather than west from Asia. Yet, the academic establishment dismisses his theory (sadly, not excluding the fuddy-duddies at the Brooklyn Museum). Having absolute conviction in his research, Heyerdahl sets out to prove it – by sailing over 4,000 nautical miles from Peru on a balsawood raft, using no modern instruments except a radio to inform the media of their progress.

Somehow Heyerdahl recruits a crew of his countrymen for his dubious mission, including a dying-on-the-inside expat engineer and a conscience-plagued veteran of the resistance. They also have a parrot. The plan is pretty simple: launch the Kon-Tiki into the Pacific and hope the currents carry it to Polynesia. Of course, those waters are far from empty. Heyerdahl’s crew will contend with sharks, whales, and the greater dangers of stormy weather and dwindling supplies.

Filmed in both English and Norwegian versions, Kon-Tiki is old fashioned in a good way. It celebrates rather than apologizes for the daring-do of Heyerdahl and his mates. These are not average men, but they are unquestionably mortals. Watching Roenning & Sandberg (best known for the stirring war drama Max Manus) present their courage and camaraderie without hipster irony is quite refreshing.

Kon-Tiki also looks great, particularly the shark and whale sequences. The clarity of the underwater cinematography is quite striking, as is the sense of scale. Frankly, this is the perfect film for viewers intrigued by Life of Pi’s premise but put-off by its New Agey-ness.

It is well worth noting Kon-Tiki was produced by Jeremy Thomas, whose name in the credits means something to discerning viewers, having shepherded ambitious films like The Last Emperor, Merry Christmas Mr. Lawrence, and 13 Assassins through development to art house screens. Similarly, Kon-Tiki is an international production that is large in scope.

Nonetheless, it is easily accessible, not merely because of the English dialogue (which the Norwegian actors handle relatively well). This is a classic sea-faring adventure, vividly rendered by a talented cast and crew. Recommended for general audiences, particularly those who fondly remember Heyerdahl’s bestselling book and 1951 Academy Award winning documentary, Kon-Tiki opens this Friday (4/26) in New York at the Paris Theatre uptown and the Landmark Sunshine downtown.

LFM GRADE: B+

Posted on April 22nd, 2013 at 12:50pm.

LFM Reviews Teenage @ The 2013 Tribeca Film Festival

By Joe Bendel. While the styles may vary, teenagers always like their music loud. However, kids between thirteen and eighteen were not always teenagers, at least not as they are culturally and demographically defined today. Based on co-screenwriter Jon Savage’s book, Matt Wolf traces the development of the distinct intermediate age group in the docu-essay Teenage, which screens as part of the World Documentary Competition at the 2013 Tribeca Film Festival.

Before the Progressive Era, there were children and adults. As soon as the former were big enough to work, they became the latter. Eventually, the unsightly spectacle of young children toiling in factories led to sweeping reforms. Perhaps the biggest takeaway from Teenage is the direct cause and effect relationship between the abolition of child labor and the rise of juvenile delinquency. Maybe we owe those robber barons an apology.

Savage’s sweeping history implies early Twentieth Century teens were rather deterministic creatures who flocked out of hooliganism into the nascent scouting movement, priming themselves for service in WWI. Of course, things started to change with flappers and the Lost Generation, but maybe not so much in Germany. There, the back-to-nature youth groups could be seen as benign forerunners of the Hitler Youth organization. Still, there were dissenters in Germany, such as the Swing Kids who embraced jazz as the soundtrack of rebellion and social protest, much like American jitter-buggers.

Refreshingly, Teenage almost entirely ignores the overhyped post-war teenagers, including the Beatniks, hippies, and leather jacketed James Dean pretenders. Primarily consisting of strategically excerpted movie clips and news reels, Teenage is more about evolving images than facts and data. Periodically we hear from the diaries of four POV teens (two boys, two girls; two Brits, two Americans; one African American), but their words hold few revelations. Frankly, Teenage’s more intriguing moments are the little offhand details, such as the frolicking student film proudly bearing the name of a young Oswald Mosley.

Wolf brought a shrewd eye to bear when assembling Teenage. Unfortunately, his ear was off. Given that the film spans the mid 1900’s to 1945 (more or less), the music of choice for each era’s teens would have been jazz, but most of the film’s soundtrack has a rather generic ambient flavor. It is like Wolf did not trust the tastes of his subjects. Occasionally, we hear some archival Benny Goodman, but why “Sing Sing Sing” yet again, when “Flying Home” would be more appropriate? After all, Lionel Hampton’s pioneering stint with the nation’s most popular white swing band represents the early cultural fruits of racial integration.

Even if it is dull listening, Teenage offers some telling visuals. While Savage’s broad strokes analysis obviously glosses over entire years and substantial pop culture developments, his overall framework is quite compelling. Recommended for audiences with a taste for cerebral documentaries (and a tin ear for music), Teenage screens again tonight (4/22), Wednesday (4/24), and Saturday (4/27) during this year’s Tribeca Film Festival.

LFM GRADE: B-

Posted on April 22nd, 2013 at 12:49pm.

LFM Reviews Honeymoon Suite @ The 2013 Tribeca Film Festival

By Joe Bendel. The Opposite House probably did not pay a promotional allowance, but it will get a heck of a plug at this year’s Tribeca Film Festival. That is because one of the short films commissioned by the chic Beijing boutique hotel was selected for the festival. It is not hard to see why. Zao Wang’s Honeymoon Suite is a small delight screening as part of the Deadbolt program at this year’s Tribeca.

This will be the first time Ally, the Opposite’s new guest services manager, will be on-duty while the mysterious Mr. Hirschfield stays in his regular titular room. He visits like clockwork once a month, for one night only. Even though his secret is revealed early in the film, it should not be spoiled ahead of time for those who do not guess. It is safe to say he is kind of a handful, in a genre sort of way.

The director certainly does his job, making the Opposite look like quite the hip, elegant space. He also cast a first-rate ensemble. As Ally, Zou Han-hong comes across like a smart professional, but she also has some rather touching moments down the stretch. She certainly makes you want to check into the Opposite.

Poor Cary Woodworth is largely buried under surprisingly impressive make-up effects, so give him credit for being a good sport. Nadia Hatta and Xi-tian also make an endearing mother-daughter tandem in the room beneath Hirschfield’s, with the latter providing some very cute reaction shots.

Man, if only all commercials were this fun, then we would be getting somewhere. Regardless of its origins, genre fans will be charmed by Honeymoon Suite. Recommended for general audiences, it screens as part of the 2013 Tribeca Film Festival’s Deadbolt shorts block tonight (4/22), Saturday (4/27), and Sunday (4/28).

LFM GRADE: A

Posted on April 22nd, 2013 at 12:48pm.

LFM Reviews Michael H, Profession: Director @ The 2013 Tribeca Film Festival

By Joe Bendel. Austrian art-house titan Michael Haneke won just about every award there was to be had for his latest film, Amour, including the Oscar and the Palme d’Or. Yet Haneke’s vision is so uncompromising that his work is often more appreciated in retrospect than enjoyed in the moment. This makes Haneke a logical candidate for documentary survey treatment, despite the auteur’s reluctance to answer questions that might establish definitive interpretations of his films. Yves Montmayeur rises to the challenge with Michael H, Profession: Director, which screens as part of the World Documentary Competition at this year’s Tribeca Film Festival.

Fittingly, Montmayeur begins with Haneke’s “greatest hit,” observing the director at work on Amour. However, he demonstrates a bit of visual flair, showing Haneke blocking out Jean-Lois Trintignant’s nightmare sequence as if it were really him in the scene. Trintignant and his Academy Award nominated co-star Emmanuelle Riva both praise the specificity and clarity of Haneke’s direction, but suggest he is quite the demanding helmer.

Essentially working in reverse chronological order, Montmayeur then takes stock of White Ribbon, strongly emphasizing Haneke’s return to his German mother tongue. It seems an important point, particularly in light of the film’s themes. It also makes one think of Haneke in literary terms, following in the tradition of non-native language writers like Conrad and Nabokov. Indeed, Haneke might be the right filmmaker to finally crack the Conradian adaptation nut.

Some of the interviews and the generous sampling of film clips will motivate viewers to catch up with Haneke’s past work. On the other hand, Montmayeur basically gives away the ending of Funny Games – but if you are going to spoil a Haneke film that is probably the one to do it for. In addition to Amour’s co-leads, Haneke regulars Juliette Binoche and Isabelle Huppert add insights into working with the distinguished director. He certainly attracts some of the best in the business, not that Haneke likes to think of filmmaking in such commercial terms.

Haneke can be very eloquent when discussing his work. His remarks at last year’s NYFF press conference were uncharacteristically helpful for those us looking to get a handle on Amour. Even though Haneke will brusquely dismiss questions he does not wish to answer, Montmayeur gets him talking on general subjects in ways that illuminate his entire oeuvre. That is really quite the trick.

Throughout Profession one gets a clear sense of Haneke’s pessimistic conception of human nature as well as his artistic integrity. While he is a fascinating filmmaker to spend time with, it is hard to say how rewarding the documentary will be to viewers completely unfamiliar with his work. Respectfully recommended for Haneke’s admirers and critics alike, Michael H, Profession: Director screens again Thursday (4/25), and Saturday (4/27) during the 2013 Tribeca Film Festival.

LFM GRADE: B

Posted on April 22nd, 2013 at 11:37am.

LFM Reviews Elaine Stritch: Shoot Me @ The 2013 Tribeca Film Festival

By Joe Bendel. Elaine Stritch won the Tony and Emmy Awards along with legions of fans for her incomparable Broadway and cabaret work. 30 Rock’s twenty or thirty regular viewers were probably also grateful to her for classing up the joint with her regular guest appearances. Even if more critics than viewers followed the show, at least Chiemi Karasawa could enlist Alec Baldwin as a co-executive producer for her documentary profile, Elaine Stritch: Shoot Me, which screens as a Spotlight selection of the 2013 Tribeca Film Festival.

Elaine Stritch appeared in a Broadway production of Dracula with Bela Lugosi and introduced the world to “The Ladies Who Lunch.” Stritch’s brassy, acerbic performing style has made her the preeminent interpreter of the Sondheim songbook. Without question, they are one of the truly great vocalist-lyricist tandems. Anyone who tackles the “Ladies” stands in her long shadow.(Cassandra Wilson’s rendition was perhaps the shrewdest, cranking the tune down on Don Byron’s Fine Line album.) However, as Stritch begins rehearsals with her supportive music director, Rob Bowman, she starts having trouble.

A documentary like Shoot Me necessarily involves a delicate balance. Fans will want to see the wise-cracking, cosmo-swilling, “Ladies”-belting Stritch they adore from her shows. Yet, cinema patrons have an expectation of on-screen drama and a desire to peak underneath the public persona. Karasawa finds a nice balance, including plenty of Stritch’s zingers, but not ignoring the challenges she faced over the course of a difficult year. As a result, viewers will be awed by Stritch’s sheer grit as she guts out one show after another.

As presented by Karasawa, Stritch might be one of the coolest show business figures ever. There is absolutely no pretense with her. She will tell people exactly what she thinks and make them laugh even when the truth hurts. It also seems like she treats her musicians well, which is always telling.

Karasawa takes a pretty traditional observational-talking head approach, but she gives the audience what it wants, letting Stritch have her full say. Wickedly tart but at times also surprisingly touching, Elaine Stritch: Shoot Me is highly recommended for Stritch, Broadway, and cabaret fans when it screens again today (4/22) and Tuesday (4/23) during this year’s Tribeca Film festival.

LFM GRADE: A-

Posted on April 22nd, 2013 at 11:36am.

LFM Reviews Mr. Jones @ The 2013 Tribeca Film Festival

By Joe Bendel. They might be weird, but they are also rare—hence collector interest in the work of a mysterious recluse. During a short period of production, he sent unsolicited totem sculptures to people apparently selected at random, but nothing has been heard from him in recent years. However, one couple getting away from it all suspects they have stumbled across his cabin (or maybe lair) in Karl Mueller’s Mr. Jones, which screens as a Midnight selection of this year’s Tribeca Film Festival.

Hoping to save their fraying relationship, Scott and Penny quit their rat race gigs and bought the old cabin in the woods. Supposedly, he will make his poorly conceived nature documentary here, but do not hold your breath. As Scott’s behavior becomes increasingly erratic, Penny pursues her photography. Eventually, a mysterious incident leads them to a ramshackle cottage they never noticed before. Against the audience’s better judgment, they skulk into the basement, which is fully stocked with grotesque scarecrows that Penny identifies as the work of Mr. Jones, the legendary outsider artist of all outsider artists.

Realizing they have a scoop on their hands, the couple immediately starts work on a Mr. Jones doc. He briefly returns to New York for a few days, filming expert interviews, thereby establishing Mr. Jones’ backstory. Meanwhile, weird things are afoot at the cabin and Mr. Jones’ role in it all is not exactly clear. Before long, Scott and Penny are up to their necks in malevolent supernatural chaos.

The basic premise of Mr. Jones is intriguing and the gallery world details are quite intelligently written. As Scott and Penny, Jon Foster and Sarah Jones come across like a believable couple and sell the eventual bedlam reasonably well. Yet, perhaps the most important contribution comes from scarecrow artist Pumpkinrot, whose creations totally set the right mood. Unfortunately, the nightmarish third act is too murky and rather repetitive. Still, Mueller helms the subtler, early did-you-just-see-that scenes with a deft hand.

Like most horror movies, Mr. Jones kind of loses it down the stretch, but it boasts an above average set-up and a consistently eerie atmosphere. It should at least be a break-out film for Pumkinrot and also help Mueller atone for co-writing the wildly unpleasant The Divide. Recommended with confidence for genre fans, Mr. Jones screens again this Wednesday (4/24) during the 2013 Tribeca Film Festival.

LFM GRADE: B

Posted on April 22nd, 2013 at 11:34am.