TV – LFM: Libertas Film Magazine

Victorian London by Night: LFM Reviews Penny Dreadful on Showtime

By Joe Bendel. George Sanders played Dorian Gray for MGM, so he never could have guest-starred in one of Universal’s multi-monster meet-ups. Showtime’s newest series hints at what strange cinema that might have been. It also makes you wonder how anyone survived Victorian London, with its vampires, re-animated corpses, and generally unsanitary living conditions. The former will be the most pressing issue in the first two episodes of writer-creator John Logan’s Penny Dreadful, which premieres this Sunday.

When a mysterious woman offers American Wild West performer Ethan Chandler some “night work,” he agrees, because she is played by Eva Green. Unfortunately, it turns out turns out she really needs his sharpshooter skills. Vanessa Ives and Sir Malcolm Murray require some back-up when they venture into a vampire’s lair, in search of his long missing daughter. Frustratingly for them, the search will continue, but at least Murray recruits an intense young anatomist to perform all his vampire autopsy needs: Victor Frankenstein.

Needless to say, what Chandler witnesses is a bit unsettling. It is the sort of thing that requires a lot of binge drinking to process in episode two. Proceeding accordingly, Chandler makes the acquaintance of Brona Croft, an Irish working girl, who will soon count Dorian Gray as a client. Since this is premium cable, Gray and his appetites will clearly be supplying most of the sex and nudity quota each week.

Representing a quarter of Dreadful’s initial eight episode run, “Night Work” (currently available online) and “Séance” are definitely hooky-grabby and absolutely loaded with macabre atmosphere. Helmed with style by J.A. Bayona (director of The Orphanage), they get a lot of mileage from their classic horror tropes. In a few cases, you basically know what is coming, but jump anyway. However, the second episode is further distinguished by the titular séance, which gives Green an opportunity for a massive William Shatner level freak-out. It is not quite at the level of Isabelle Adjani’s supernatural paroxysms in Possession, but that will probably be never be equaled by anybody.

For the most part, Green does her slinky, smarter-than-thou thing and it works like a charm. Timothy Dalton, the criminally underappreciated Bond (after all, Pierce Brosnan succeeded him and we know how that worked out), is appropriately steely as Murray, with a spot of mature dash. While not exactly a naturally strong screen presence, Henry Treadaway’s Frankenstein compensates with plenty of twitchy scenery chewing. Frankly, Josh Harnett broods rather effectively as Chandler, but the jury is still out regarding just what Reeve Carney’s Gray brings to the party. Conversely, even though we hardly meet him in the first two installments, Danny Sapani is clearly poised to become a potential fan favorite as Murray’s imposing majordomo.

It feels like Dreadful will soon be a binge-watching favorite, making good on the unfulfilled promise of the Van Helsing film. With Skyfall’s Sam Mendes on board as executive producer, it has the quality period trappings of BBC historicals, but its heart is closer to late period Hammer films. So far, so good, Penny Dreadful is definitely recommended for vintage horror fans, when it premieres tomorrow (5/11) on Showtime.

LFM GRADE: B+

Posted on May 10th, 2014 at 11:09am.

LFM Reviews Jake Shimabukuro: From Hawaii to Sendai on Four Strings; Premieres on PBS Friday, 5/10

By Joe Bendel. Although the ukulele is descended from Portuguese instruments, Japan has long been the instrument’s second home outside Hawaii. Likewise, Japan had always been an important market for the fifth generation Japanese Hawaiian virtuoso Jake Shimabukuro. Filmmaker Tadashi Nakamura documents Shimabukuro’s post-2011 Japanese tour and other career highlights in his profile Jake Shimabukuro: Life on Four Strings, which airs on PBS this Friday.

Shimabukuro was a shy kid who was understandably troubled by his parents’ divorce. He did not have a privileged upbringing, so it is hard to begrudge the good fortune he experienced early in his career. As a mere teen, Shimabukuro established a following, fronting a Hawaiian fusion band. He struggled a bit at the start of his solo act, but a video of Shimabukuro performing George Harrison’s “While My Guitar Gently Weeps” (posted without the musician’s knowledge) became one of YouTube’s first viral sensations.

From that point on, Shimabukuro became the reigning king of ukulele crossover-breakouts. While not jazz per se, he incorporates extensive jazz and rock influences. It would be interesting to hear him play a session with Lyle Ritz, the original jazz ukulele player, especially considering Shimabukuro’s knowledge and respect for his instrument’s history. In fact, Strings often shows Shimabukuro acting as an educational ambassador—like a Wynton Marsalis of the ukulele.

When dark clouds gather in the third act, Shimabukuro is not directly affected. However, as a native of Sendai, his loyal longtime manager is deeply distressed by damage and tragedy left in the wake of the tsunami and earthquake. Shimabukuro does his part, performing for displaced survivors, while remaining all too conscious that there is only so much his spirit-raising efforts can do.

Indeed, throughout Strings, Shimabukuro never falls into any shallow celebrity traps. If that makes him sound likably boring, at least his music is dynamic and vivid. Nakamura showcases his performances well. Of course, his famous Central Park Beatles rendition is included, but the film’s defacto theme “Blue Roses Falling” is actually a more interesting piece. Frequent festival patrons and Indy Lens viewers might be more familiar with Shimabukuro’s music than they realize. He composed music for Hula Girls (set in the hardscrabble Fukushima prefecture) and some of his tunes were licensed for Debbie Lum’s Seeking Asian Female.

Essentially, Strings paints a portrait of a nice guy, with a nice story, performing some impressive music. However, the third act carries a bit of emotional heft. Recommended for open ears, Jake Shimabukuro: Life on Four Strings has its national broadcast this Friday (5/10) on most PBS outlets (following a special presentation on Hawaii’s PBS station this past March).

LFM GRADE: B

Posted on May 6th, 2013 at 8:57pm.

LFM Reviews The Bletchley Circle; Show Premieres on PBS Sunday, 4/21

By Joe Bendel. Susan Gray and her colleagues were not Rosie the Riveters, but they made enormous contributions to the war effort. They served at Bletchley Park in highly classified capacities, sifting through data and cracking enemy codes. Then the war ended and they returned to the lives they were expected to live. However, as a serial killer’s body count mounts, they start detecting patterns the cops invariably miss in the three-part British series The Bletchley Circle, which premieres on PBS this coming Sunday.

It is Gray, the profoundly bored housewife, who first applies Bletchley methods to a rash of murdered women. She soon recruits her former boss, Jean, now working as a librarian, and their colleagues, Millie a waitress with black market sidelines, and Lucy, a berated young wife with a photographic memory. Since their work at Bletchley was subject to the Official Secrets Act, they are honor bound not to explain to their husbands or the police why they think they have skills to bring to the investigation. As a result, they get a lot of head-patting and condescension as they narrow in on the killer.

Given the themes and post-war time period, Bletchley could be considered the mystery equivalent of Made in Dagenham. Aside from an old spook, none of the men seem to think the four women can walk and chew gum at the same time, which is the show’s real shortcoming. There ought to be at least one male character hip enough to say “the cops are idiots. I bet you and your friends can find something they missed. Just be careful.”

Nevertheless, Bletchley’s criminal elements are smarter than average. Writer Guy Burt smoothly integrates numbers, patterns, and critical thinking into the story, while steadily raising the stakes in each episode. Their nemesis also turns out to be suitably diabolical, nicely played by Steven Robertson (a name so unremarkable it should not be spoilery). Yet, in a bit of a disappointment, it all ends in rather standard fashion.

Anna Maxwell Martin’s Gray is an earnest, down-to-earth protagonist. Yet of the quartet, it is Julie Graham who makes the strongest impression as their senior member, Jean. Rachael Stirling brings a bit of verve as Millie, but her character and backstory are the least developed, whereas the mousy, put-upon Lucy becomes tiresome over time.

Bletchley has a great concept and it nicely conveys the experience of unraveling a puzzle through logical analysis. Like many numbers people, it is a little weak when it comes to interpersonal relations. Still, it is a decent fix for British whodunit fans when it begins this Sunday (4/21), following Mr . Selfridge, on most PBS outlets nationwide.

LFM GRADE: B-

Posted April 18th, 2013 at 11:26am.

LFM’s Jason Apuzzo & Govindini Murty at The Huffington Post: Voices Raised in Resistance: Powerful Defiant Requiem Premieres on PBS Sunday, April 7

[Editor’s Note: the post below appears today on the front page of The Huffington Post.]

By Jason Apuzzo & Govindini Murty. If a hallmark of great art is its ability to transcend the limited circumstances of its creation, then there is no more heartbreaking realization of this than the 1944 performance of Giuseppe Verdi’s Catholic Requiem by Jewish prisoners at the Nazi concentration camp Terezín. The story of Terezín and of the Requiem is told eloquently in director Doug Shultz’s powerful new documentary Defiant Requiem, which premieres this Sunday, April 7, on PBS at 10 p.m. ET/PT (check listings for additional screenings on local PBS stations).

It was at Terezín in 1944 that imprisoned Czech conductor Rafael Schächter led a chorus of his fellow Jewish prisoners — most of them doomed to the gas chambers at Auschwitz — in brazenly performing Verdi’s Requiem before the very Nazis who had condemned them to death. One of the most complex and demanding of chorale works, Verdi’s 1874 Requiem was originally intended as a musical rendition of the Catholic funeral mass. Rafael Schächter took Verdi’s music and transformed it into a universal statement, one proclaiming the prisoners’ unbroken spirit and warning of God’s coming wrath against their Nazi captors.

Defiant Requiem tells two parallel stories: the first takes place during World War II, when Jews throughout Europe were rounded up by the Nazis and sent to Terezín as part of an elaborate deception to convince the world that Germany treated its prisoners humanely. Among those arrested and dragged to Terezín in 1941 was the young Rafael Schächter, a courageous and steadfast Czech opera-choral conductor.

Distinguished American conductor Murry Sidlin, who discovered the history of Schächter and the Terezín performers in the ’90s, and who went on to found and conduct the Defiant Requiem concerts, notes in the film that “Schächter would have emerged as a great conductor” had his life not been cut short by the Nazis.

Within the confines of Terezín, Schächter lifted the spirits of his fellow inmates by creating a musical program for them to perform — a program that inspired an astonishing outburst of cultural activity, which would eventually include almost a thousand different performances of chamber music and operas, oratorios and jazz music, theatrical plays, and some 2,300 different lectures and literary readings. Included in this were 16 performances of Verdi’s emotional and musically challenging Requiem. As Terezín survivor Zdenka Fantlova explains in the film: “Doing a performance was not entertainment. It was a fight for life.” She later adds, “If people are robbed of freedom, they want to be creative.”

This flurry of activity within the walls of the prison camp — achieved under the most trying possible circumstances of starvation, disease, and abject cruelty — would culminate in a performance on June 23, 1944, of the Requiem in front of the camp’s Nazi brass, visiting high-ranking SS officers from Berlin, and gullible Red Cross inspectors brought in to verify that the prisoners were being well treated.

It was at this point that Verdi’s Requiem, with its dark, apocalyptic Dies Irae (“Day of Wrath”) choral passage — evoking the Last Judgement — and equally harrowing Libera me (“Deliver me”) passage took on connotations that Verdi could hardly have imagined. Serving as both a spiritual catharsis for the prisoners, and as a prophecy of the Nazis’ ultimate fate, the Requiem was immediately transformed by Schächter and his fellow prisoners into an anthem of divine supplication and retribution. Indeed, shortly after this final performance, both Schächter and most of his choir would be sent to Auschwitz.

Defiant Requiem‘s second, parallel story takes place in 2006, as Murry Sidlin brings a full orchestra and the Catholic University of America’s chorale ensemble — along with surviving members of Schächter’s chorus — back to Terezin to perform the Requiem once more, this time in tribute. (Sidlin continues to conduct such tribute performances of the Requiem, with concerts scheduled for The Lincoln Center on April 29 and Prague’s St. Vitus Cathedral on June 6.)

The journey to Terezín is clearly a spiritual quest for Sidlin (who has since founded The Defiant Requiem Foundation), who views the modern performance of the Requiem at Terezín as the completion of something begun seventy years before. As Sidlin says at one point in the film: “I brought the Verdi here because I want to assure these people [Schächter and the deceased prisoners] that we’ve heard them.” Sidlin’s staging of the Requiem in the now unassuming confines of Terezín is powerful and gripping — and serves, one senses, as the perfect tribute to Schächter and his fellow performers.

Highlighting the role that individuals can play in keeping important cultural history alive, it was Sidlin’s discovery of the book Music at Terezín in the late ’90s, and his subsequent championing of the concert series, that has brought the otherwise forgotten history of Rafael Schächter and the Terezín Requiem performances back to life. It is a culmination both of Sidlin’s passion for music and of his own personal history; Sidlin’s grandmother and many of her closest relatives were murdered outside Riga, Latvia by Nazi SS assassination squads during World War II.

This June, Sidlin will be awarded the Simon Wiesenthal Center’s Medal of Valor for his efforts to commemorate Rafael Schächter and the Terezín prisoners. Continue reading LFM’s Jason Apuzzo & Govindini Murty at The Huffington Post: Voices Raised in Resistance: Powerful Defiant Requiem Premieres on PBS Sunday, April 7