The Glasnost Soundtrack: LFM Reviews Scorpions: Forever and a Day

By Joe BendelFrankly, the Scorpions were almost as skeptical as everyone else when they announced their “farewell” tour. Of course, with each extension, the question looked increasingly moot. Nevertheless, the tour finally ended, but Katja von Garnier was there to document their relentless string of stadium concerts in Scorpions: Forever and a Day, which is now available on DVD from MVD.

The Scorpions were the original road warriors, so all the current members are unsure how they will keep themselves once they retire from active touring. Right from the start, they granted themselves a loophole for special one-off gigs. They just wanted to avoid looking ridiculous by staying too long at the Headbangers’ Ball. After all, the band has recently joined the Rolling Stones in the exclusive ranks of rock band still active after their fiftieth anniversary.

Von Garnier also chronicles the creation story, growing pains, and international success of the band. Founding guitarist Rudolf Schenker has been the only constant since they formed in 1965, but for many fans, the Scorpions’ history really starts four years later when lead vocalist Klaus Meine joined. Even if you are not a metalhead, the two veteran band-members are surprisingly interesting and engaging to meet on screen. For instance, despite the decades of touring (and everything that implies) Meine remains happily married to his longtime wife (although the doc rather implies there is more to the story than they care to share).

In contrast, Schenker is sort of the bad genius guru of the band. He had the vision to drag the Scorpions to Russia in 1988 when the Communist government was still giving rock music the bureaucratic stink eye. They lost money on that initial show, but when they came back one year later, they found the seeds they had sown had sprouted a large popular following during the Glasnost thaw. Their Russian experiences inspired “Winds of Change,” which became the power ballad anthem of Glasnost and the Fall of the Berlin Wall (recorded by a German band, singing English lyrics, the band duly notes). Mikhail Gorbachev does not appear in many rock docs, but he turns up here (and he’s still a fan).

From "Scorpions: Forever and a Day."
From “Scorpions: Forever and a Day.”

You have to give any band credit when they hit the fifty year mark, no matter how many personnel changes they have had. Although following the tour is repetitive by its nature, von Garnier does her best to exploit drama when it arises. Will Meine get voice back in time for the concert at Paris’s Bercy Arena? No spoilers here.

In any event, Forever is a solidly entertaining, highly accessible rock documentary. For perspective, it is on par with The Other One: the Long Strange Trip of Bob Weir and considerably superior to Janis: Little Girl Blue. Highly recommended for Scorpions fans and worth checking if you are somewhat intrigued or baffled by the band’s longevity, Scorpions: Forever and a Day is now available on DVD and Blu-ray from MVD.

LFM GRADE: B

Posted on December 18th, 2015 at 1:48pm.

LFM Reviews The Lady in the Car with Glasses and a Gun

Lady Car Glasses GunBy Joe BendelDany Dorémus could be a serious femme fatale, but she lacks the confidence. Perhaps it is because of her glasses. Her parents probably did not help, either. Apparently, in French author Sébastien Japrisot’s source novel, they were rather notorious during the German occupation, but that subtext is completely buried in Joann Sfar’s The Lady in the Car with Glasses and a Gun, which opens today in select theaters.

Dorémus is bizarrely mousy given her movie star looks, but the audience is immediately given reason to believe she is not quite right in the head. Regardless, she will gamely agree to do a favor for Michel Caravaille, the boss she has long carried a torch for, despite his marriage to her former business school classmate, Anita. While they attend a party, Dorémus types up his urgent report and will then drive them to the airport next morning for their weekend of business and pleasure.

She was supposed to take Caravaille’s Ford Thunderbird straight home, but instead the devil on her should tempts her into taking a joyride down south to see the sea. However, Dorémus is baffled when everyone along her impulsive route insists they saw her drive through that way the day before. A black-clad Giallo man even seems to assault her in a service station restroom in order to give her a wrist injury to match her doppelganger. At least that is how it appears from Dorémus’s POV, but her grasp on reality could be somewhat problematic.

Sfar, the graphic novelist and director of the animated Rabbi’s Cat embraces the foreboding visual élan of the Giallo genre and the groovy 1970s period trappings. It is always great fun to watch, even when the film appears to be barreling off the rails. At times, it feels like a marginally more grounded Mortem or a dramatically more grounded Lost Highway, but Sfar brings it all together down the stretch. Along the way, he does his best to dazzle with split screens, flashbacks, and noir mood lighting.

From "The Lady in the Car with Glasses and a Gun."
From “The Lady in the Car with Glasses and a Gun.”

The Scottish Freya Mavor is terrific as Dorémus, the sexually charged naïf-waif. Similarly, Benjamin Biolay has the appropriate upper-class swagger for Caravaille. Frankly, Mavor and Biolay could easily pass for the daughter and son of Samantha Eggar and Oliver Reed, who first played the roles in Anatole Litvak’s1970 adaptation of Japrisot’s novel. As Anita the entitled trophy wife, Stacy Martin more or less picks up where she left off in Lars von Trier’s Nymphomaniac. Frankly, Sfar’s cast looks almost as good as the beautifully sinister cinematography of Manuel Dacosse (who also lensed Hélène Cattet & Bruno Forzani’s neo-retro Giallos, Amer and The Strange Color of Your Bodies Tears). Costume designer Pascaline Chavanne’s chic threads also directly contribute to the dangerously seductive vibe.

There are definitely shades of Hitchcock in Car, but it is steamier than anything Hitch could ever get away with, except maybe the first act of Psycho. Clearly, Sfar is definitely riffing on the masters, which makes it quite a lot of fun to watch. Highly recommended for fans of psychological thrillers, The Lady in the Car with Glasses and a Gun opens in a handful of theaters today (12/18), including the Gateway Film Center in Toronto, releasing simultaneously on VOD platforms, like iTunes.

LFM GRADE: A-

Posted on December 18th, 2015 at 1:47pm.

LFM Reviews Anguish

AnguishBy Joe BendelTess’s father has been deployed to Middle East. At least he will be safe there from the malevolent power apparently possessing his daughter. Tess’s young mother Jessica will be the unfortunate one stuck dealing with her erratic behavior. Unfortunately, the teen’s long history of emotional problems will delay a more supernatural diagnosis until it is almost too late. There are indeed trying times ahead in screenwriter-director Sonny Mallhi’s Anguish, which opens today in select theaters.

It is easier for Jessica to deal with Tess when her husband is around to teach her how to play guitar and skateboard. The teen is more than a little socially awkward, but it is not her fault. All her life, her brain chemistry has worked against her. She has responded positively to her latest dosage, so her parents hope and pray she has turned a corner. However, things take an ominous turn for the worse when Jessica relocates them to a sleepy burg in Illinois. It seems the spirit of Lucinda, the teenager killed in the film’s prologue, might have some kind of dark hold over her.

For a horror film, Anguish is remarkably grounded and stylistically Spartan. Clearly, Mallhi understands parents and teens are often scarier to each other than anything that goes bump in the night. Of course, Tess’s painful history and awkwardly reserved demeanor make her especially vulnerable to possession. In a way, Anguish is not unlike The Babadook, but the difficult child is older and the beleaguered parent is younger. Yet, instead of kicking around fairy tales tropes, Mallhi taps into the primal fears and puritan anxieties that make classic supernatural horror so unsettling.

From "Anguish."
From “Anguish.”

Being moody and gritty is all very fine as an aesthetic choice, but it does not give the cast the sort of overblown effects and an exploitative excesses they could hide behind. Fortunately, they are all quite down-to-earth and credible as average, overwhelmed people, especially Annika Marks, whose work as Jessica is uncompromisingly honest. Granted, we sometimes want to shake Ryan Simpkins’ Tess by the shoulders, but that is sort of the whole point. Ryan O’Nan’s Father Myers is also refreshingly sympathetic and decent, even though Mallhi ultimately takes the film in a different direction than the classic Blattyesque priest-versus-evil spirit climax.

Anguish is a very good horror film that is on par with the unjustly under-appreciated The Diabolical and superior to the over-hyped Babadook. Despite some vaguely New Age elements, Mallhi has a good sense of what everyday life is like for God-fearing, military-serving working class people. He also delivers some well-timed jolts in the early going and some serious dread during the third act. Highly recommended for horror fans, Anguish opens today (12/18) in Los Angeles, at the Arena Cinema and also launches on VOD platforms.

LFM GRADE: B+

Posted on December 18th, 2015 at 1:47pm.