MY NAME IS ALFRED HITCHCOCK (2024, doc)

October 24, 2024

Greetings again from the darkness. It takes a cinephile and documentarian of Mark Cousins ability to pull off such a treat for other cinephiles, especially fans of “The Master of Suspense.” This felt like a two-hour geek-out that I wished would never end. Of course, the early title card that read “Written and Voiced by Alfred Hitchcock” tipped us that this would be no ordinary biopic. It’s been more than 40 years since Hitchcock died (1980 at age 80), and his career spanned 1925 through 1976. His oeuvre firmly established his place among the greatest filmmakers, featuring at least eight all-time classics.

Alistair McGowan provides the voice acting that so closely mimics that instantly recognizable Hitchcock oratory prowess, and Cousins infuses the necessary sly wit that we came to expect during Hitchcock’s TV work (unmentioned here). Perhaps no other filmmaker has had their film work so thoroughly analyzed over the year, and yet Cousins brilliantly adapts a new approach. He structures the analysis via 6 categories, and then proceeds to provide archival footage and film clips as ‘proof’ as ‘Hitch’ guides us through.

These categories include:

  1. Escape – the segment shows various characters in different stages of trying or needing to remove themselves from a particular situation, often danger. This is the longest segment and emphasizes Hitch’s use of ‘opening a door’ to welcome viewers inside the movie.
  2. Desire – pretty much the opposite of ‘escape’, this reinforces the power of lust, desire, and sex to motivate a character’s actions.
  3. Loneliness – this segment is a mashup of loneliness, solitude, and discomfort – kind of a catch-all category of those all alone in a moment.
  4. Time or Timing – the proverbial race against the clock is sometimes quite real for characters in suspense or mystery films. Cutting it a bit too close qualifies as well.
  5. Fulfillment – an unusual segment in that it mentions love and then focuses on the personal life of Alfred and his wife (and collaborator) Alma. Shown are their London townhouse, their country estate outside of London, and their U.S. home in Santa Cruz, California.
  6. Height – back to film analysis, we see the frequent use of going high with the camera and shooting down at the scene. It’s a useful lesson in how the camera is a tool for the director.

I have purposefully not included the film titles with clips utilized for each category so as not to spoil the surprises and dull the impact. You should know that the clips fit perfectly, making this a nice film technique education, as well as a different approach to viewing Hitchcock movies. I believe the only two other directors mentioned here are Bergman and Murnau, both of whom influenced Hitchcock – just as Hitchcock has influenced so many filmmakers since. Cousins does forego any mention of the questionable persona and actions that have been associated with Hitchcock over the years, and that’s likely because this documentary wants us zeroed in on techniques that make up Hitchcock films. It’s difficult to imagine any Hitchcock fan not finding this to be a hypnotic experience of learning and appreciation.

In select theaters in NYC and Los Angeles on October 25, 2024

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Posted by David Ferguson

ROAD DIARY: BRUCE SPRINGSTEEN AND THE E STREET BAND (2024, doc)

October 24, 2024

Greetings again from the darkness (on the edge of town). What keeps a band together for decades? It could be the shared love of music … although many bands have split up with members continuing on in solo careers. It could be a love of performing … but again, a band isn’t needed for that. It could be friendship or family … lifelong friends Paul and John couldn’t save The Beatles, and a brotherly feud broke up Creedence Clearwater Revival. Certainly “luck” plays a role … too many deaths to count have caused the demise of bands through the years. Although no clear answer exists, it’s likely a blend of all the above combined with a certain spiritual bonding. Nowhere is that more evident than with the E Street Band. Of course, the band has a dynamic leader in (the once shy) Bruce Springsteen, but it’s obvious these musicians like and respect each other, and very much value what they have built together.

Having been a Springsteen fan since the early 1970’s, I can’t possibly be overly objective towards Thom Zimny’s documentary, so you’ve been warned. Zimny released THE BEACH BOYS documentary earlies this year, and he has a long-standing affiliation with Springsteen on music videos and other documentaries, including LETTER TO YOU (2020) and WESTERN STARS (2019). This latest is centered on the band’s 2023 tour, their first in six years and first since the pandemic. However, rather than a traditional concert flick, Zimny takes us behind the scenes for the band’s reunion, early rehearsals, and process while on the road. Most insightful are the musings from the individual band members, while Bruce’s narration provides some structure to the film.

Bruce kicks us off by recalling that as a kid, he dreamed of playing music in front of screaming fans. It’s hard to imagine his dreams were ever as big as the reality he’s living. What inspired this documentary was his promise that when the pandemic ended, he’d throw “a big party”. That’s what led to the E Street Band’s reunion for their first tour in six years. We learn bits and pieces of history as it pertains to how the band came together, and though the rehearsal time is short, Bruce explains his goals are to “shake the dust off the band” and establish the playlist for the tour. While it’s only hinted at a few times, it seems clear that his run on Broadway influenced the vision he had for this tour.

Opening night in Tampa is as exciting for the band as it is for the fans. A recurring theme for this film is the crowd shots – often close-ups of fans and their emotional reaction (tears flow freely). We can’t help but view this as spiritual for so many – the Church of E Street, if you will. Bruce is crystal clear in his desire to tell a story with the show; a story long-time manager Jon Landau describes as ‘living life now’. The show pays tribute to bandmembers lost – Clarence Clemons and Danny Federici, and Bruce’s wife and bandmate Patty Scialfa briefly discusses the health scare that has her cautiously participating in shows whenever possible.

One of the highlights is the anticipation of the tour arriving in Barcelona. Whatever you’ve heard about the crowds in Europe, what we witness goes even beyond. These fans remind me so much of those early days as they express their pure appreciation and raw emotion driven by the music. Another aspect that becomes obvious as the tour progresses is that, despite being a huge band on stage, the E Street Band is remarkably talented and incredibly tight musically. This entertainment spectacle is first and foremost a musical gem, and Steve Van Zandt (as Musical Director) probably doesn’t receive the recognition he deserves from the fans for his attention to musical details.

The segment on the cover of “Nightshift” is particularly telling on how things come together for both the music and the stage presentation. It’s noted that the song has turned into a ‘showstopper’ on tour and the film makes it obvious why. Insights from band members throughout the film infer a blended magic with influences of Jazz, R & B, Soul, and Jazz, and the music provides the proof. Piano work from Professor Roy Bittan and sax work from Clarence’s nephew Jake cover multiple styles, and when the band cuts loose, rock music has rarely been better. The film leaves us with a bit of uncertainty. Alone on stage with his acoustic guitar, Bruce (now 75 years old) sings “Last Man Standing” (noting the recent passing of George Theiss leaves Bruce as the only survivor of his original band, The Castiles). As narrator he refers to “yesterdays and goodbyes”, and then proclaims he’ll continue “until the wheels come off.” If it’s his goodbye, the legacy spans over 50 years. If the wheels stay on, we’ll chomp at the bit to see what the Boss brings us next.

Premieres on Hulu and Disney+ on October 25, 2024

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Posted by David Ferguson

THE REMARKABLE LIFE OF IBELIN (2024, doc)

October 24, 2024

Greetings again from the darkness. As parents we fool ourselves into believing we know our children and what they are up to. After all, they live in the same house and eat the same meals. Norwegian documentarian Benjamin Ree shows us quite a contrast to this theory. What happens when a loving family discovers their son’s secret life much too late?

Trude and her husband Robert were thrilled when their son Mats was born in 1989. Shock and disappointment hit hard when Mats was diagnosed with Duchenne Muscular Dystrophy, a rare degenerative muscle disease for which there is no cure. Trude describes the pain of watching her son grow weaker. He had little appetite, became wheelchair bound, and made no real friends. As he got older, the parents refused to limit his computer time, as it was the only thing Mats seemed to want to do.

At age 18, Mats started a blog. By age 25 he was dead. His final blog entry was “Musings of Life”. Since the parents had Mats’ password, Robert posted “The Journey has Come to an End.” The family, including Mats’ sister Mia, assumed that was the end of it. What followed was a true blessing (and shock) for the family. Tributes and remembrances of Mats streamed in from the online community. It turns out, Mats was a vital and active member of the Starlight group within the World of Warcraft gaming field. Mats had created a new persona known as Ibelin, and he lived an online life that was impossible for him in the real world.

Some of these Starlight folks held a memorial for Mats, which meant so much to the family. We hear directly from some of the folks Mats had helped along the way. He was described as intuitive at helping other lost souls. His dad calculated that Mats had spent approximately 20,000 hours online over the last ten years of his life, and the family was elated that Mats had not led the life of isolation they assumed, and instead thrived behind the Ibelin avatar. This revelation was a true blessing, and it’s told beautifully in this documentary.

On Netflix beginning October 25, 2024

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Posted by David Ferguson

STOLEN TIME (2024, doc)

October 17, 2024

Greetings again from the darkness. There are very few topics more frustrating than when the drive for profits exceeds the importance of care and treatment. Documentarian Helene Kladawsky details how this has occurred in Canada by focusing on the efforts of dedicated attorney Melissa Miller. Of course, we all know this issue is not isolated to Canada, but in fact, is an ongoing problem in the United States, as well as other countries. However, the decision to narrow the coverage allows for a clearer understanding of the challenges.

The first thing to know is that director Kladawsky does not take cheap shots or turn this into a stream of anger-inducing hidden videos of disgusting behavior towards those in need of care. On the contrary, she includes the frontline caregivers among the victims of corporate greed and malfeasance. The star of the show is Melissa Miller. She’s an attorney, activist, and crusader, and she’s very impressive as she juggles mounds of individual cases, as well as mass tort (or what we would call class-action in the U.S.).

Ms. Miller has to maneuver the applicable laws, as well as the high-priced and powerful attorneys representing the corporate entities that utilize nursing homes and long-term care facilities to generate massive profits. She explains how the mistreatment of the sick and the elderly has never generated much in awarded damages as these folks were not deemed to have much worth (likely to die soon anyway). We learn how staffing levels can be misleading. The facilities staff according to requirements, yet the daily ‘no-shows’ are so rampant that those on duty carry an impossible patient load, thereby making proper care impossible.

Consistent complaints received on these homes pushed Ms. Miller to focus on this area of the law beginning in 2018. Her personal experience with senior citizens motivated her to stay committed. We also learn about “chemical straitjackets”, a form of drug abuse used on patients to minimize the attention required … while also reducing any reasonable form of energy or enjoyment of life. Ms. Miller meets with Pat Armstrong, a writer-researcher on the global industry, as well as Katha Fortier, who is focused on the rights of health care workers – those easiest to blame, despite being underpaid and overworked. Ms. Miller also works with a Private Investigator who provides details needed for the lawsuits, as most family members are too emotional to comprehend the legal aspects.

One of the more interesting points made is how these high-profit facilities are used to fund pension plans, thereby making the access of data even more challenging to come by for Ms. Miller and her clients. She does note how the COVID pandemic brought the number of deaths to the headlines, meaning settlements and damages went up. She focuses her attention on three main companies, increasing the odds that progressive changes may someday be more cost-effective than court cases for those so attuned to profits. Having to spend so much time in the corner of patients and families emphasizes the cruelty of a system that values profit over human physical and mental care.

Opening in theaters on October 18, 2024

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Posted by David Ferguson

THE LAST OF THE SEA WOMEN (2024, doc)

October 9, 2024

Greetings again from the darkness. They consider themselves “the guardians of the sea”. My guess is that most of us have never heard of the haenyeos, the women divers on Jeju Island in South Korea. Director Sue Kim introduces us to these remarkable women who are carrying on a tradition that dates back to the 14th century.

We learn the haenyeo practice sustainable seafood harvesting. They dive “with their own air”, which means no air tanks – just their lungs. Their equipment is limited to a wetsuit, a hook, and a net basket. The underwater photography is spectacular and has us diving alongside these women who admit to disliking sea urchins, which require intensive labor to get to the good part. Director Kim dedicates separate segments to a few of the women, and what we immediately realize is that every haenyeo is a tough woman living a tough life.

What we also recognize is the passion, commitment, and camaraderie. Not only are they talented divers and fisherwomen, they have a community of respect and friendship. However, the picture is not all rosy. Their tradition is being threatened on many fronts. The divers have been pushed out to deeper water due to trash in the water. They have also noted a distinct shortage of sea life from their younger days, and attribute this to the warmer water from climate change. Beyond these threats, the women are facing generational differences. Most divers are in their 60’s and 70’s, and very few younger women care to carry on this tradition. The haenyeo numbers peaked in the 1960’s with 30,000 divers, whereas now the count is fewer than 4000.

The most recent threat to the sea and the haenyeo comes from Japan and the proposal to dump nuclear wastewater from Fukushima into the sea to minimize radioactivity. The fear is the danger to all sea life for the foreseeable future. This threat inspired one of the elder divers, Soon Deok, to travel to Switzerland and deliver a personal statement to the Human Rights Council, followed by official protests.

In addition to the group of elderly divers, director Kim introduces a couple of thirty-somethings who have joined the haenyeos, and have utilized YouTube and TikTok to document the sea changes and generate some attention for the profession. Haenyeos have been recognized by UNESCO, and their work is as fascinating as the personalities of the women. However, the long list of threats cannot be overlooked, and perhaps the notoriety this film will bring can make a difference. One of the producers is renowned activist Malala Yousafzai and it’s distributed by A24.

Releasing on Apple TV+ on October 11, 2024

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Posted by David Ferguson

DAYTIME REVOLUTION (2024, doc)

October 9, 2024

Greetings again from the darkness. Is it nostalgia? Is it history? Is it activism? Is it entertainment? This documentary from Erik Nelson is all of the above and more. It’s an incredible treat for viewers as well as providing a snapshot in time of a week that influenced changes in daytime television talk shows. In 1972, the host of the most popular daytime TV show invited John Lennon and Yoko Ono to co-host “The Michael Douglas Show”. Was it a clash of cultures? Yes it was. Was it TV magic? Absolutely.

Let’s be real … this was quite a risk for the time. Mike Douglas was a popular host because his daytime show was relatively benign and moderately entertaining for those watching television during the day. To invite John and Yoko, the ‘radicals’ accused not only of breaking up The Beatles, but also for being quite extreme in their counterculture thoughts and actions, was a courageous act and one that risked turning off a substantial portion of the audience. And this wasn’t just one show on one day. Douglas went all in – John and Yoko were to co-host a full week … five shows where they selected the guests.

Director Nelson wisely divided the documentary into segments of the five shows in order so that we can follow along. Show number one aired February 14, 1972 – a fitting date since John and Yoko stated they were looking to spread love and peace with their message. The first show featured some honest admissions from Lennon, as well as an in-depth interview with Ralph Nader. Just 38 at the time, the uber-intelligent Nader was viewed as an alarmist and extremist, though much of what he preached has since come true. Ninety-year-old Nader appears in the documentary recollecting his appearance and proving that he remains engaged and sharp even today.

The second show included folk singer Nobuko Miyomoto and activist and anti-war demonstrator Jerry Rubin. It’s fascinating to see Mike Douglas have a discussion with Rubin, and obviously Lennon and Yoko shared many of the same beliefs as Rubin, who comes across as a passionate, level-headed spokesperson. The third show is a musical highlight as John Lennon meets (for the first time) one of the rock pioneers he idolized, Chuck Berry. The two legends shared the stage to perform “Memphis, Tennessee”. We hear them harmonize, watch Chuck Berry do his duck walk, and are subjected to Yoko screeching into the microphone. Two other guests on the show were Macrobiotic diet chef Hilary Nedleaf and David Rosenbloom, the latter whom demonstrated his biofeedback music utilizing brainwaves. Both are also interviewed today about their appearance on the show. Singer and Broadway performer Vivian Reed performs on the fourth show while modern day Vivian Reed giddily watches the clip of herself. Black Panthers leader Bobby Seale discusses the charity programs he’s involved with and still manages to get his beliefs on the record. It’s on this show where John Lennon performs his classic, “Imagine”.

The fifth and final show has George Carlin as a guest, as well as a doctor lamenting the importance of reducing one’s blood pressure. It’s probably the most disappointing segment since we get very little of young Carlin and his quick wit. TV Producer E.V. Di Massi provides periodic commentary, and Yoko instills a bit of her performance art in the use of a broken cup that slowly gets reassembled as the week progresses. It’s a bit surprising to learn that Roger Ailes, who later became CEO of Fox News had been a producer on “The Mike Douglas Show”, but mostly we are amazed that given the times (Nixon, etc) that a popular network show allowed Lennon (only age 31 at the time) so much freedom to spread the message of the ‘movement’. And if you are wondering, the week provided terrific ratings. For those paying attention, the similarities between then and now are quite clear.

Opening in theaters on October 9 (John Lennon’s birthday)

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Posted by David Ferguson

WHEN HOUSTON HAD THE BLUES (2024, doc)

September 25, 2024

Greetings again from the darkness. When the history of music in the United States is discussed, it seems most of the gushing is reserved for Memphis, Chicago, and New Orleans. Documentarian Alan Swyer puts forth a legitimate case for Houston (and its corresponding night clubs) to at least be a part of the conversation. For those who shy away from documentaries due to the stream of talking heads, you’ll likely cringe at the lineup here; however, the difference is that some of the interviews go back a few years and are those who were there … the musicians who drove the Houston influence.

Swyer breaks the film into segments so that he can organize the interviews and help us understand how the early Houston music scene was a unique blend of Blues, R&B, Country, and Zydeco. He includes an early ‘roll call’ of those we are going to learn about through photos and live performance clips. In fact, this leaves us eager for more of these rare visuals. Where else can you hear Billy Gibbons (ZZ Topp) discuss the influence of Lightnin’ Hopkins? Or historian Billy Vera offering his insight?

It’s interesting to learn about the “Texas Tenors” – the saxophone players like Arnett Cobb and Grady Gaines who had an impact. Texas music legends Augie Meyers and Marcia Ball offer commentary on some of these folks, as well as the Duke – Peacock record label. Bobby Blue Bland gets his kudos as a favorite singer, especially on his classic album, “Two Steps from the Blues”. Perhaps the most entertaining segment is “The Ladies of Houston Blues” featuring Big Mama Thornton, Jewel Brown, Trudy Lynn, and Katie Webster. Thornton is especially noted for her impact as it pertains to her recording of “Hound Dog” in comparison to Elvis’ version. Of course, this wouldn’t be complete without a segment for “Texas Guitar Kings”. Freddie King, Albert King, Albert Collins, Gatemouth Brown and Guitar Shorty are all noted, as is their influence on Stevie Ray Vaughan.

Swyer wraps things up by discussing a cultural change in “When Houston Lost the Blues”. Integration led musicians to leave town for national tours, private gigs, and shows at ‘white clubs’ where they had previously been unwelcomed. For those who enjoy a journey through musical history or for Texans hoping for a bit more respect, the film does a nice job of acknowledging those who had an impact – including those who haven’t received due credit.

Available on major streaming VOD platforms – including iTunes, Apple TV, and Tubi beginning September 24, 2024

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Posted by David Ferguson

IT CAME FROM TEXAS Film Festival (2024, 2nd annual)

September 15, 2024

Greetings again from the darkness. The second annual IT CAME FROM TEXAS FILM FESTIVAL was held September 13-15 at the Plaza Theatre in Garland, Texas. The festival salutes films made in Texas illustrating the Independent Texas spirit. This year’s showcase included three Oscar-winning films: TENDER MERCIES (1983), THE LAST PICTURE SHOW (1971), and GIANT (1956). Although I was out of town and unable to attend, the festival’s director, Kelly Kitchens, was kind enough to provide screeners for three documentaries scheduled for the festival. Al three speak to the pride of Texas.

A FAIR TO REMEMBER (2008)

Co-directors: Allen Mondell, Cynthia Salzman Mondell, and Phil Allen

For so many kids who grew up in Texas, and certainly for those in the Dallas-Ft Worth area, a trip to the Great State Fair of Texas was an annual event, and remains so today. This hour-long documentary serves up details on the rich history of the largest State Fair in the U.S., including the rough beginnings dating to 1886. Author Nancy Wiley, historian Steven Butler, and actress and local celebrity Rose-Mary Rumbley recount personal stories and historical facts related to the Fair.

Narrated by beloved character actor (and Texan) Barry Corbin, segments cover early horse racing that transitioned to auto racing that later morphed into the popular Auto Show. Also receiving time are the Livestock auction, and the games and rides of the infamous Midway (including ‘guess your weight’). The old Wild West Show featuring Native Americans is discussed, as is the 1936 Centennial Fair, and the use of the fairgrounds during WWI and WWII. A brief history of the architectural changes is provided.

I was aware that Elvis played the Cotton Bowl in 1956, yet as many times as I’ve attended, I never knew the first electrical lights in Dallas, as well as the first local airplane flight can be traced to the Fair … or that there was once a Klan Day (exactly what you think) or a Negro Achievement Day. And yes, details are provided for butter sculpture, Fletcher’s Corny Dogs and Big Tex, the world’s tallest cowboy – all popular Fair traditions. The clips and photos provide the visual history and nostalgia that makes this a must-see for Texans.

HORTON FOOTE: THE ROAD TO HOME (2020)

Director: Anne Rapp

Playwright and Screenwriter Horton Foote was born in Wharton, Texas in 1916. You likely don’t know where Wharton is, but the distinguished Mr. Foote won a Pulitzer Prize, two Oscars, an Emmy, was nominated for a Tony, and was awarded the National Medal of Arts by President Bill Clinton.

We hear from those who worked with him, those who acted for him, and those who directed and respected his work … and even his daughter (an actor). Yet what sets this one apart is that we hear directly from 90-year-old Horton prior to his passing in 2009. His reflections on his process and his career are fascinating, even though he’s about the most humble man you’ll ever see interviewed.

His Oscars were won for his screenwriting on TO KILL A MOCKINGBIRD (1962) and TENDER MERCIES (1983), and he may be best known for his original script, THE TRIP TO BOUNTIFUL (1985). Some writers are renowned for their creativity, and Horton certainly possessed that trait, but apparently his greatest gift was that of absorbing and observing those he spent time around. His work is known for being grounded by real characters. He wrote the truth about people and became known as “America’s Chekhov”.

CHILDREN OF GIANT (2015)

Director: Hector Galan

Director George Stevens’ 1956 feature film GIANT received ten Oscar nominations and was based on the novel by Pulitzer Prize winning novelist and playwright, Edna Ferber. Yet, after all these years, it’s still best known as James Dean’s final film (he received a posthumous Oscar nomination). The film also starred Rock Hudson, Elizabeth Taylor, Dennis Hopper, Mercedes McCambridge, Carroll Baker, Sal Mineo, Earl Holliman, Chill Wills, Paul Fix, and Elsa Cardenas. The focus of this documentary, however, is not on the all-star cast, but rather on the tiny west Texas town of Marfa, where the exterior shots of Reata were shot.

Living up to the film’s title, we hear from many of the locals who were mere tykes when the movie stars and film crew hit town sixty years prior. This allows us to better understand that Stevens was intent on exposing more than ego and greed from Texas ranchers of the day. Racism was still rampant at the time, and though there are many obvious moments in the film where this plays a role, the viewpoint here digs even deeper.

Narrated by former San Antonio mayor Henry Cisneros, we hear from Earl Holliman, Stevens’ son, the film’s dialect coach, and the fascinating German on-set caterer, who offers up her own backstory that includes Dachau. We also learn how author Ferber was influenced by meeting the Kleberg’s of King Ranch, and there is speculation that oil tycoon Glenn McCarthy inspired Dean’s Jett Rink character. There is a terrific sequence where actor Elsa Cardenas returns to Marfa, and is saddened that only a few two-by-fours remain from the frame of the mansion’s set. A documentary that captures this much emotion while also enlightening us to a filmmaker’s out-of-the-box commitment is truly something special.

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WISE GUY: DAVID CHASE AND THE SOPRANOS (2024, doc)

September 6, 2024

Greetings again from the darkness. Being the creative force behind what many consider to be the best TV show of all time – one that changed the face of television – is both a blessing and a burden. David Chase is that man, and his often dour disposition hides the creative genius behind “The Sopranos” (1999-2007). Oscar winning documentarian Alex Gibney (TAXI TO THE DARK SIDE, 2007; ENRON: THE SMARTEST GUYS IN THE ROOM, 2005) re-creates Dr. Melphi’s office for his sit down with Chase, and it’s a smooth move to encourage Chase to open up in the same setting where his creation, Tony Soprano, often let his guard down. This is not really meant as an introduction to garner new fans for reruns, but rather as a tribute to David Chase and a peek behind the curtain for hardcore fans.

Don’t worry … it’s not three hours of two guys talking. Gibney complements Chase’s insight with a treasure trove of clips and interviews and background details, really serving up a deep dive for those who considered this show to be must-see TV. Chase actually quotes one of the best lines from the series when he says, “’Remember when’ is the lowest form of conversation”. By the end of the first (of two) part, many will be amazed at just how much of the show was inspired by David Chase’s actual life and large Italian family. You might also be amazed at how fragile the environment can be for even the most successful of TV shows.

Chase lets us in on some personal details, and nothing is more personal than his proclamation, “My mother was nuts.” Fans will eat up the segment on Nancy Marchand, the veteran actor who played Livia, Tony’s mother. Chase said Ms. Marchand just “had it” (what he wanted for the character based on his own mother). It’s also interesting to learn that Chase’s early career aspirations were for movies, not television. In fact, he envisioned this as a movie starring Robert DeNiro and Anne Bancroft.  Of course, no one would back him, and when he converted it to a series, none of the networks had an interest either. It took upstart HBO, who at the time was only beginning the transition from Movies and Sports to series. The reception of “Oz” (1997) and “Sex and the City” (1998) set the table for HBO to give the green light to the risky venture that itself eventually set the table for shows such as “Breaking Bad”.

The conversation between Gibney and Chase is interspliced with clips from the show, as well as family video and pictures. Chase walks us through how the main characters were cast, and it’s fascinating to watch the rough cuts of auditions – some who made it, and some who didn’t (including former Cornell star RB and “Hill Street Blues” actor Ed Marinaro). This gives us a true behind-the-scenes glimpse at how things came together. We also hear from some of the show’s writers who explain just how stressful things could get in the writers’ room, even though HBO gave them significant creative control.

There are segments featuring Michael Imperioli, Steve VanZandt, Lorraine Bracco, Tony Sirico, and Drea de Matteo. Perhaps the most enjoyable is watching Edie Falco (who was the last one cast in the principal cast) as she explains there were no “trigger warnings” for the show. She states it was just like real life, complete with racism, sexism, misogyny, and violence. It’s hilarious hearing how sensitive Sirico was about his hair, and Drea walks us through her character’s ending – just after Lorraine Bracco explains what happens when David Chase invites you to dinner.

There are clips of the infamous “ducks” from the pilot, and Chase comments on the critical raves that immediately rolled in – plus the pressures of additional seasons. Writer-Producer Terrence Winter joined the show in the second season, and he’s interviewed here. Winter has since gone on to write and/or produce projects such as “Boardwalk Empire” and THE WOLF OF WALL STREET (2013), the latter of which got him an Oscar nomination.

The deaths of Nancy Marchand and series star James Gandolfini are handled with grace, including a clip of an emotional Chase speaking at Gandolfini’s funeral. We hear about the toll playing Tony took on Gandolfini, and how some of the cast were there for him in times of darkness and need. Gandolfini died in 2013 at age 51 from a heart attack. It’s interesting to learn that Chase only directed two episodes himself – the first and the last. And speaking of the finale, we see clips of Holsten’s and hear “Don’t Stop Believin” while reliving how that finale shocked viewers and generated so much discussion. Chase addresses this by saying, “The truth is …”

Premiering on HBO/Max on September 7, 2024 (Parts 1 and 2)

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Posted by David Ferguson

MERCHANT IVORY (2024, doc)

August 29, 2024

Greetings again from the darkness. “A Merchant Ivory film” became a colloquialism when discussing certain films from the mid-1980’s and continuing for about twenty years. Of course, they weren’t all actual Merchant Ivory films … though many tried to be. Documentarian Stephen Soucy has delivered quite a tribute to the filmmakers and the two men. Although from the beginning, Soucy posits this as a four-headed troupe, not two-headed.

The opening statistics show, between 1961 and 2007, Ismail Merchant produced 42 films, James Ivory directed 30 films, Ruth Prawer Jhabvala wrote 23 films, and composer Richard Robbins scored 21 films. With so many Oscar nominations for his films, it’s interesting to note that producer Merchant never took the gold statue. It should also be noted that Ivory is the only surviving member of the foursome. Merchant died in 2005. Robbins died in 2012. Ruth died in 2013. It’s 96-year-old James Ivory who is still active today, and even sits for an interview for the film.

Soucy divides the film into six chapters, but the film is so well structured, the chapter headings aren’t even needed to help us stay on track. We hear how Merchant and Ivory first met, and early on Soucy includes interviews from actors such as Helena Bonham Carter, Hugh Grant, Emma Thompson, a prickly Vanessa Redgrave, Rupert Graves, Sam Waterston, and Simon Callow to offer insight into the challenging projects. Actors rave about the script while relaying the difficulties in working with such low and tight budgets. Merchant was constantly cutting costs while simultaneously working to raise money during productions.

Much of the insight revolves around the divergent personalities of Merchant and Ivory. Their relationship was volatile both on set and off, professionally and personally. Being “secretly” gay in New York during the 1960’s would be challenging enough, and we then learn that Merchant was a charming rascal (sometimes con man), while Ivory was a meticulous craftsman. If not for Ivory’s professionalism and Merchant’s cooking, the sets may have been even more explosive.

As movie goers, we aren’t privy to that extraneous stuff. Instead, we see the scrumptious sets and stunning costumes complementing rich stories and superb acting. So much of what Soucy presents here is new to us as film lovers. Additionally, it’s wonderful to learn more about Oscar winning writer Ruth Prawer Jhabvala, who excelled at adapting the works of EM Forster for the big screen: A ROOM WITH A VIEW (1985), MAURICE (1987), and HOWARD’s END (1992). And yes, she wrote the screenplay for THE REMAINS OF THE DAY (1993), which won no Oscars going up against the magnificent SCHINDLER’S LIST. Her daughter Ava is a contributor here.

Soucy tells us there were 15 films before A ROOM WITH A VIEW, which changed everything for the filmmakers and partners. It’s truly fascinating to see clips from their early films and hear the stories about how those projects came together. There was, of course, criticism to go with the accolades, as their movies were referred to as the “Laura Ashley” school of filmmaking. And frequent costume designers (and multi-Oscar winners) Jenny Beavan and John Bright add that in addition to the budgetary concerns, the expedited timeframes and staff shortages brought more strain. Personal drama is brought to light, especially as it pertains to composer Richard Robbins, and his relationships with both Merchant and Helena Bonham Carter. The walls of that country estate could surely tell some tales.

After Merchant’s death, it appeared that THE CITY OF YOUR FINAL DESTINATION (2009) would likely be Ivory’s final film project. Instead, he won an Oscar for adapting the screenplay (from Andre Aciman’s novel) for CALL ME BY YOUR NAME (2017), and has continued to write and direct. Ivory’s memoir is quoted here. The chronological look at their films is interesting enough, yet it’s the behind-the-scenes insight and personal details that set this apart from many documentary tributes. Even as it concludes, in our minds we hear the voice of Merchant, “Shoot, Jim! Shoot! Shoot!”

Opens in select theaters August 30, and expanding on September 6, 2024

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Posted by David Ferguson

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