STARVING THE BEAST (2016, doc)

September 29, 2016

starving-the-beast Greetings again from the darkness. Our founding forefathers have been the focal point of many conversations during this political campaign season, and now Thomas Jefferson and John Adams (along with Abraham Lincoln) are keys to one side of the debate explored by director Steve Mims’ latest documentary. The movie kicks off with James Carville’s commencement speech at LSU as he reminds the graduating students of the vision each of the three iconic Presidents had for public higher education … visions that are now under attack.

The debate in question boils down to a contrast of philosophies: should public higher education continue to be treated as a societal investment in its citizens, or should students be considered consumers of a commodity (education) with public universities being self-sustained profit centers? It’s the ultimate clash between politicians struggling with state budget shortages and those in the world of academia, which has remained mostly unchanged for almost 150 years.

Five highly-respected state research universities form the basis of this research: University of Texas at Austin, University of Wisconsin – Madison, University of North Carolina- Chapel Hill, University of Virginia (founded by Thomas Jefferson), and Louisiana State University (LSU). We learn about the Morrill Act of 1862, a 500% tuition increase in the thirty years 1980-2010, and Wisconsin Governor Scott Walker’s attack on a fundamental core of the education system … tenure for professors. Other topics include CATO Institute, Texas Public Policy Foundation, and “the disruptor” Jeff Sandefer (founder of Acton School of Business) and his “Seven Breakthrough Solutions”.

This is a documentary designed to prompt awareness and discussion. Both sides of the debate receive a fair shake, though the filmmaker’s stance is pretty obvious. An example of “disruptive innovation” is shown with US Steel and its refusal to adapt to market demands for cheaper, lower quality steel. The point being … market change occurred, but the change made things worse, not better. Pan Am airlines is also a case study in how a company can refuse to adapt to market changes … they held tight to “old ways” until Pan Am no longer existed. Such examples are why there is no easy solution to the question being posed. Arguments can certainly be made that our education system has fallen behind that of other countries, but do we really want a populace where the humanities become a relic of the past since they don’t readily fit into the equation for a valuable and productive profession?

Disruption for the sake of reformation can be a good thing if the exchange of ideas and beliefs is done in a logical and precise manner. Of course, in our world, logic is often overridden by emotion … money and profit vs. a societal investment in each generation. Is it “immoral” to rob the next generation of this opportunity, and is that even what’s happening? Numerous interviews (with some smart folks) and clips are offered to drive home just how complex the topic can be … and the strong mindset for each side.

Producer Bill Banowsky was on hand for a post screening Q&A. He was the founder of Magnolia Pictures, and his father was a University President – so the topic is important and personal to him. Well made social issue documentaries such as this are crucial sources to those of us attempting to cut through the tabloid-style journalism that has overtaken mass media. Conflicting ideologies can make for some terrific discussions, and in this case, it’s a subject vital to our societal approach to future generations.

watch the trailer:

 

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Posted by David Ferguson

SILICON COWBOYS (2016, doc)

September 20, 2016

silicon-cowboys Greetings again from the darkness. After countless projects spotlighting Steve Jobs and Apple, it’s about time the tech-nerdy Texas entrepreneurs behind Compaq get their moment on the silver screen. Filmmaker Jason Cohen turns his camera on Rod Canion, Bill Murto, and Jim Harris … none who have the persona or magnetism of Mr. Jobs … and tells the story of how they took on Goliath IBM at a time when most wouldn’t dare.

Taking us back to 1981, the 3 friends (and Texas Instruments co-workers) quit their jobs to start a new company – only they have no real plan on what that company should be or even what industry it should be in. There is a re-enactment of a conceptual drawing of a mobile computer on a diner’s paper placemat … a drawing that helped them secure a big investment from Ben Rosen at a time when Venture Capitalism was non-existent for technology companies (yep, 35 years ago).

Those early days of a slow developing Silicon Valley featured more hobbyists and non-commercial efforts than anything going on these days. Mobile computing was not really even a product category when Compaq stuck a handle on their case … the visuals of businessmen toting them through airports is comical. This was truly the beginnings of the home computer era, and even the tech start-up. The film serves as a historical perspective of the times, while also documenting how Compaq fits into the evolution of the personal computer.

It’s pretty easy to draw comparisons to the great and powerful IBM ignoring the “little guys” to the 1970’s when GM and Ford overlooked Honda and Toyota. It’s always easy to chuckle at the arrogance of big corporations, and when Compaq computers were more compatible with IBM software than IBM computers were, it’s a real head-scratcher. The dawn of “clones” were more than a thorn in the side of Big Blue (IBM), and eventually it got worse for them. Head-to-head advertising campaigns of IBM’s Charlie Chaplin vs. Compaq’s John Cleese further emphasized the contrast between those out of touch with those who clearly understood the market.

Normally a movie that spends much of its time interviewing such down to earth guys as Canion, Murto and Harris, would feel like it’s dragging, but the historical significance is such that contemporary comparisons to Dell, Google, Apple and Facebook keep it briskly on track. Though the electronic background music seems out of place, many viewers will enjoy watching a true story where the nerds win!

 

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Posted by David Ferguson

THE FIRST FILM (2016, doc)

September 19, 2016

first-film Greetings again from the darkness. How do we handle challenges to historical achievements that have been accepted as facts for more than a millennium? Film classes have long taught that Thomas Edison and the Lumiere brothers were the pioneers of moving pictures. Director David Nicholas Wilkinson has worked for 33 years to prove that Louis LePrince actually beat them to the punch with his own camera and “movies” produced in 1888 Leeds. When LePrince mysteriously disappeared in 1890 he became the industry’s first tragedy/mystery, leaving him with no place in history … something Wilkinson is trying to correct.

You may have heard other arguments for Eadweard Muybridge, William Friese-Greene and Wordsworth Donisthorpe, but it comes down to limiting the definition to a single lens camera capturing live action on film for playback. Director Wilkinson includes the 3 surviving snippets of scenes recorded by LePrince: a small gathering of friends/family walking around, LePrince’s son Adolphe playing an instrument, and a Leeds street shot of moving carriages.

To prove his theory and secure LePrince’s place in history, Mr. Wilkinson meets with film historians, researchers, academic experts, museum curators, and even a patent lawyer. The patents are key because LePrince had secured his U.S. and England patents, but the laws worked against him and his supporters once he disappeared. Details are presented in all aspects … some concrete, scientific and impressive; others more speculative and circumstantial (as you would expect 125 years later). Wilkinson is willing to do what’s necessary to make a clear point as evidenced by his searching a graveyard for a specific headstone (to establish a timeline of the “walking” footage).

Two of the more interesting sequences occur when Wilkinson visits the actual room in the oldest house in Manhattan where LePrince’s moving picture was to be shown; and his trip to Memphis, Tennessee to meet with LePrince’s great great granddaughter to share evidence, artifacts and stories. The three main theories surrounding LePrince’s disappearance are profiled. Was he murdered (possibly a hit by Edison)? Did he commit suicide? Was it all a plot to steal his patents? With no body, no witnesses and no evidence of a crime, the LePrince disappearance is the first unsolved mystery of the movie business.

It seems Wilkinson presents enough hard evidence to justify adding LePrince into the discussions around the birth of movie making. The unsolved mystery adds an element of intrigue, and makes for a more interesting movie. Mostly Wilkinson is to be admired for his 33 year obsession, for finishing his project, and for bringing attention to one of history’s forgotten players. Beyond that, the tongue-in-cheek manner in which he chooses to end his film allows us to appreciate his efforts and keep it in perspective.

 

 

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Posted by David Ferguson

KAMAPI! FOR THE LOVE OF SAKE (2016, doc)

August 21, 2016

kampai Greetings again from the darkness. No matter your country of origin, drinking in a social setting inspires a unifying call for the group. We Americans proudly bellow “Cheers”. In Spanish, it’s “Salud”, while the Germans say “Prost” and the French “Santé”. You might have guessed from the title of this documentary … the Japanese say “Kampai!” as they toast their cohorts and raise a glass of Sake, also known as Japanese rice wine.

Filmmaker Mirai Konishi promises a look at the fascinating and somewhat mysterious world of brewing sake. His approach is to gain insight from three different individuals who hail from quite disparate backgrounds and are now fully immersed in all things Sake. John Gauntner is a U.S. born writer/educator/researcher whose publications are world renowned as the best available on the subject. Philip Harper is a British gent who is Oxford educated and the first non-Japanese master Sake brewer (Toji). He spends roughly 60% of a year in a dark, dank environment perfecting his own label of the drink. Kosuke Kuji runs an inherited century old Japanese Sake brewery that has been in his family for multiple generations.

We are informed that Sake is the national beverage of Japan and has been around for many centuries, creating historical and cultural significance. Unfortunately, the film offers little historical perspective, so we don’t learn how and why Sake became so ingrained in the fabric of Japan. Instead we focus mostly on the three fellows noted above and how their passions and commitment to Sake helped drive not just their own interests, but that of the industry. One other segment offers a glimpse inside the North Carolina based brewery looking to capitalize on the growing Sake trend. Unfortunately, per numerous reports, Blue Kudza went out of business shortly after this segment was filmed.

A cursory description of the process – gathering ingredients, preparation, fermenting, tasting, etc is interesting enough, and the personal stories add enough heft that we don’t realize the missing historical perspective until the movie ends. We are left anticipating a Sake tasting party, yet no more educated on the true significance of the chilled, warmed or room temperature beverage (it can be served all three ways) being hoisted as the patrons exclaim “Kampai!” and the screen fades to black.

 

 

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Posted by David Ferguson

THE LOST ARCADE (2016, doc)

August 13, 2016

lost arcade Greetings again from the darkness. Webster’s definition of “arcade” is how director Kurt Vincent chooses to start his documentary. While video arcade is the most widely used version, it was the alternative description of the word “passageway” that caught my eye.

In the 1970’s and 1980’s, video arcades were seemingly everywhere … peaking in 1981 with 24,000 locations throughout the United States, with the largest venues being in Times Square. Rather than take on the collapse/transformation of an industry, Mr. Vincent instead focuses on one particular NYC arcade – Chinatown Fair. The video footage shot inside the arcade prior to its closure offers up an intimate look at the atmosphere; a racially diverse group of youngsters bonding and socializing within an ecosystem that the outside world didn’t understand (or care much about).

Placing your “next” quarter in line on the cabinet may have guaranteed you an upcoming time at the controls, but this can be viewed as the Land of Misfits with the gamers flocking to groups of their kind. These were the folks who didn’t fit in with the more physically active groups at rec centers and on playgrounds, but instead thrived on the late night gatherings amidst the electronics beeps and flashing lights.

We meet Sam Palmer, the immigrant from Pakistan, who owned Chinatown Fair for decades. This father figure often hired his most loyal players to help run the place, and we hear the personal stories from a couple of these – one (Akuma Hokura) who was rescued from a life on the streets, and another (Henry Cen) who later opened his own competitive arcade in Brooklyn. It’s perfectly accurate to describe this as a social community, and maybe not a stretch to call it a society unto itself.

Space Invaders, Pac-Man, Frogger and Street Fighter are just some of the most popular arcade games that finally gave way to home gaming – beginning with the 1986 introduction of Nintendo home systems. This development made gaming much more convenient for the masses, but also destroyed the social community of the local arcades.

We meet the guy who tried to re-open Chinatown Fair as a knock-off of Dave & Busters with an emphasis on family entertainment. However, as someone in the film states, “nostalgia is not really all that profitable”. Mr. Vincent’s film is a time capsule look at what made arcades work, and it’s very interesting to learn that Chinatown Fair played a role in a DeNiro/Streep film, an Old Dirty Bastard music video, and even an episode of David Letterman’s show. Going back to the opening definition, it’s easy to see how a generation used the local arcade as a passageway to finding a social life and interacting with others … something that had previously been more challenging for them.

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Posted by David Ferguson

MISS SHARON JONES!

August 10, 2016

Dallas International Film Festival 2016

miss sharon jones Greetings again from the darkness. Being described as “the female James Brown” is a double-edged sword. On one side, the talent and stage presence must be obvious. On the other side, the burden of expectations that can never be eclipsed is always present. Soul/Funk/R&B singer Sharon Jones doesn’t much care about any of that … and in this documentary we witness both her strength in life and her powerhouse performances on stage.

Filmmaker Barbara Kopple is a two time Oscar winner (Harlan County USA, 1976 and American Dream, 1990) and here she presents not so much a music or concert documentary, as an intimate look at how a person can be inspired and driven by music to fight through life’s challenges – and even cancer. In 2013, Miss Jones was diagnosed and much of the film follows her through head-shaving, chemotherapy and the battle to regain her voice and strength.

Born in North Augusta, South Carolina, Sharon was raised in Brooklyn. Her background was anything but privileged, and as an adult she spent years working as a Corrections Officer at Rikers Island, while continuing to sing in her spare time. A record producer once told her she was ‘too black, too fat, too short’ to make it, but she just kept singing … releasing her first album at age 40.

Sharon’s spirit and energy are the core of the story here as even after her cancer diagnosis, she carried the pressure of needing to get back to singing and performing so that her band members in The Dap-Kings could earn a living and feed their families.

Her NYC comeback is impressive and life-affirming, but the highlights are clips of her earlier stage performances … and the most incredible in-church performance you are likely to ever witness. In 2014, she won her first Grammy for “Give the People What They Want”, and Ms. Kopple’s film shines a spotlight on an incredible talent and spirited lady who deserves much more than to have a cult following and be “underappreciated”. Perhaps the film will open some eyes, ears and hearts.

watch the trailer:

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Posted by David Ferguson

GLEASON (doc, 2016)

August 4, 2016

Gleason Greetings again from the darkness. Heroes come in many shapes and forms. Steve Gleason became a cult hero when he blocked a punt for his New Orleans Saints team in their first home game after Hurricane Katrina. For this, the team erected a life-sized statue outside the Superdome. In his time since that game, he has suffered more than any person should, and he has provided hope and assistance to more unfortunate folks than just about anyone. By now, just about everyone would consider him a hero.

Director Clay Tweel takes a very direct approach to telling Steve’s story. He guides us through the life of the undersized Washington State linebacker who, against all odds, carved out a 9 year career in the NFL; married a remarkable woman who was his equal as a free-spirit; was diagnosed with Amyotrophic Lateral Sclerosis (Lou Gehrig’s disease); learned to live with the debilitating disease; established a foundation to provide assistance to others with ALS.

Tweel pulls no punches in showing the progression of the devastating disease, and equally as importantly, in the toll such a disease takes on the loving caregiver after so many years. Gleason retired in 2008, and was diagnosed in 2011. Six weeks later, he and his wife Michel found out she was pregnant with their first child. Staring down the disease and the impending birth of their child, the couple took a 2 month expedition to the Alaska wilderness. This could be interpreted as their way of leaving their “old life” behind, but this couple is so full of life and spirit, that it was in fact, merely a next step.

The diagnosis and the baby announcement motivated Gleason to begin filming video blogs/journals for his unborn child. His stated goal was to “share with you who I am”, since the odds weren’t good that father and son would ever be able to hold a conversation or play catch. Clips of these video entries are shown throughout and capture Gleason’s charm, humor, sincerity and sprit of life.

Son Rivers arrives in October 2011 just as the disease is creating severe challenges for Steve’s physical and verbal capacities. We watch as Michel transitions from free-spirited newlywed to full-time care-giver and first time mother. Her coping methods are on display, as are the effects on her energy and outlook over the next few years.

With the help of friends and family, Team Gleason is created as a foundation to provide assistance to ALS sufferers. The foundation finds its newest mission when Medicare announces that vocal/speech technology will no longer be covered for ALS. “No White Flags” becomes the calling card for the foundation, and these activities are blended with Gleason’s medical and family hurdles … including his religious father who drags him to a ‘faith healer’.

Moments with Eddie Vedder and Drew Brees, among others, lead us to the global phenomenon known as “the ice bucket challenge” for ALS and finally the Microsoft Super Bowl commercial featuring Gleason and new speech technology. The film and story are simultaneously gut-wrenching and inspirational, and provide a rare behind-the-scenes look at the emotional and physical impact of disease on both patient and caregiver.

watch the trailer:

 

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Posted by David Ferguson

RICHARD LINKLATER: DREAM IS DESTINY (doc, 2016)

August 4, 2016

linklater Greetings again from the darkness. He had the childhood dream of becoming a major league baseball player derailed due to a health issue. His dream of becoming a novelist fizzled because he preferred collaboration to solitude. So his dreams led to his destiny … that of being a ground-breaking filmmaker who “changed the landscape of independent filmmaking”. Director Richard Linklater is profiled by co-directors Louis Black (co-founder Austin Chronicle and SXSW) and Karen Bernstein (Emmy and Grammy award winner), two passionate and knowledgeable folks who are understandably fans of Linklater and the Austin film landscape.

The film kicks off with a scene from Slacker (1991) in which Linklater himself appeared as a taxi passenger rambling philosophically about the bus station. It then time warps to the red carpet event for the premiere of Linklater’s Boyhood (2014), setting the stage for filling the gap of more than two decades.

It might be best to think of this as a tribute to Linklater the filmmaker rather than an in-depth analysis of how he creates his art … though we do get to see him on set. Some of the time is spent watching Linklater and Black peruse old journals and early screenplays as the young director was honing his thoughts and talent. This type of nostalgia could be overdone, but instead it allows us to better understand the journey that has produced some outstanding work (along with a few forgettable projects).

Over the years, so much attention has been paid to the NYC vs LA preferences within the film industry; it’s a pleasure to acknowledge the “outsider world” of Austin, Texas … a film scene nurtured by Linklater and his cronies. There are plenty of family photos and home videos, along with the celebrity input of Jonathan Demme, John Pierson, Kevin Smith, Matthew McConaughey, Jack Black, Ethan Hawke, Patricia Arquette, and Ellar Coltrane (the kid from Boyhood). Each speaks admiringly in regards to Linklater’s spirit and passion for the work. It’s especially interesting to hear of his budget/fundraising struggles on Boyhood – an understandable challenge since the project took 12 years, and required he return for funding each and every year!

Richard Linklater is auteur defined. He is his work, and his work is him. He’s been at the forefront of the indie wave with Slacker (1991), followed by the cult favorite Dazed and Confused (1993), the “Before” trilogy (Sunrise – 1995, Sunset – 2004, Midnight – 2013), box office hit School of Rock (2003), the oddball Bernie (2011), groundbreaking Boyhood (2014), and his most recent Everybody Wants Some! (2016). Linklater is proof that creative filmmaking can thrive in a place like Austin, Texas … even if he might still like to be a baseball player.

 

 

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THE MAN WHO SAVED BEN-HUR (2016, doc)

July 28, 2016

man who saved ben hur Greetings again from the darkness. The title may limit interest in this documentary as it might be mistaken for an “on the set, behind the scenes” tell-all appealing only to the most ardent film history buffs. However, this plays best as a tender tale of an elderly man who lived an exciting life, but finds things pretty empty as he nears the end.

Filmmaker Joe Forte was cautioned by his deeply Catholic family to stay away from the movie business, lest he “end up like Cousin Johnny”. Just a few years ago, Joe decided to track down Cousin Johnny, and he discovered they were separated by only a few city blocks. Johnny Alarimo was one of the most successful Assistant Directors from the 1950’s, 60’s and 70’s, and on the day he invited Joe and his camera into his home, the apartment was filled with boxes of memories.

A treasure trove of photographs – many featuring Johnny posing with the Hollywood elite – were organized in files, sleeves and boxes. And the best part was that, despite being in his late 80’s, Johnny could recall the stories corresponding with most every snapshot.

Being a relative, Mr. Forte treads lightly on the topics Johnny wishes to avoid. We learn of his close friend from WWII, Henry “Pet” Petrich. It’s clear the two shared a bond, though Johnny remains pretty tight-lipped on details … just like on his stories regarding time with Rock Hudson and Gore Vidal. The likely secret life would remain secret forever, but we find ourselves liking this charming man more and more as the film continues.

We do get the Ben-Hur story as it’s disclosed that Johnny was director William Wyler’s Assistant Director, and was an integral part of getting the movie made as he acted as on set translator between the English and Italian speaking folks. Wyler’s personal letter to Alarimo is every bit as valued as the autographed portrait sketch of Johnny by “Chuck H” between takes. Though he was the last surviving crew member of Ben-Hur, it’s also a reminder that only department heads received on screen credit until the 1970’s – robbing many contributors of their rightful place in Hollywood lore.

As Joe and Johnny grow closer as friends, we as viewers find ourselves connected to Johnny. We are saddened when he admits that his doctor’s appointments for medical issues are the highlight of his social life these days. Joe provides Johnny with exactly what he wants, needs and deserves … a chance to be the star and tell his stories. More importantly, he prevents an elderly man from living out his final days in loneliness and solitude. No matter how many celebrities one has met, nothing compares to the warmth of a friend.

watch the trailer:

 

 

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Posted by David Ferguson

ANTS ON A SHRIMP (2016, doc)

July 28, 2016

ants on a shrimp Greetings again from the darkness. One need not be a true foodie to be aware of the rise in popularity of the bombastic, egotistical chefs splattered all over TV as they strive for ratings by out-yelling the competition. Less accessible to the general population – due to cost and/or locale – is the highest level of fine dining that is a cult unto itself. One of the most successful elite restaurants is Noma based in Copenhagen, Denmark. It was named “Best in the world” for four out of five years (2010-2014), and yet the owner/chef remains unsatisfied.

Last year, filmmaker Pierre Deschamps provided a profile of Rene Redzepi and his world class restaurant in the film Noma My Perfect Storm. This time, filmmaker Maurice Dekkers takes a different approach. He follows Redzepi and his senior staff as they temporarily relocate Noma to Tokyo in a risky and difficult project.

Much more than a glimpse into a restaurant kitchen, this is an examination of collaborative artistry. Redzepi and his dedicated, enthusiastic team (Lars, Thomas, Rosio, Dan, Kim) strive for perfection in something that can’t be measured. It’s internal pressure and tension within a creative environment … something only the most internally driven can comprehend.

The structure of the film is the countdown to the opening of Tokyo restaurant. All 3000 available reservations for the 6 weeks are sold out, and the waiting list numbers more than 58,000. The team is committed to leaving behind their pure Nordic cuisine and discovering locally sourced new ingredients … a mission that finds them scavenging Nagano Forest and comingling with fish experts at market.

Food is the centerpiece here as the team learns turtle is a local delicacy; they gain respect for Japanese fruit culture that dates back thousands of years; and even tries deep fried fish sperm as a possible offering. But beyond the food, this is about a group stepping outside their comfort zone and trying to find their “voice” – despite a firm belief that nothing is ever quite good enough … a sentiment their customers don’t agree with.

watch the trailer:

 

 

 

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