Book Review: READY FOR MY CLOSE-UP – THE MAKING OF SUNSET BOULEVARD AND THE DARK SIDE OF THE HOLLYWOOD DREAM (2025)

August 11, 2025

“READY FOR MY CLOSE-UP”, author David M Lubin

The Shark Movie. The Wicked Witch Movie. The Prison Escape Movie. The Jury Room Movie. The Holocaust Movie. The Angel Gets His Wings Movie. Most every movie lover can name these from the rudimentary description, and for his latest book, author David M Lubin selected yet another instantly recognizable film … The Swimming Pool Movie, officially known as SUNSET BOULEVARD (1950). That opening scene with the body floating face down in the swimming pool of a gothic mansion is instantly seared into the mind of all who watch.

When setting out to write a book about a 75-year-old classic movie, the writer must know that their own passion for the project will be matched (and possibly eclipsed) by those in the limited prospective audience – those obsessed with the movie and with Hollywood lore. As one who falls into that category, it is with immense pleasure that I report author Lubin delivers the goods to satisfy any and every cinephile. All fans of SUNSET BOULEVARD will most assuredly be fascinated by, and appreciative of, the exhaustive research required to pull this off.

Lubin chooses an unusual structure for the book. It’s not told in storybook form, but rather in chapters – sometimes seemingly unrelated – that blend to take us behind the scenes, as well as profiling those involved with the production. This serves as a history lesson plus a character study, and also as a glimpse of the movie-making process. As a result, we better understand what went in to producing this stellar feature, while also self-reflecting on what we as viewers have taken from the film. What did it mean to us? How do we interpret the characters’ actions and motivations? There is a distinct possibility that your views might shift a bit after taking in all the book offers.

A significant chunk is dedicated to the film’s co-writers, six-time Oscar winner Billy Wilder (who also directed) and three-time Oscar winner Charles Brackett (who also produced) and D.M. Marshmann Jr. The three men shared the Best Writing Oscar for the film, while Wilder and Brackett were frequent collaborators on other classic films like NINOTCHKA (1939) and THE LOST WEEKEND (1945). Lubin excels in diving into this complicated professional relationship between two men who couldn’t have been more different from one another, yet who also brought out each other’s best work.  They even argued about that now iconic opening swimming pool sequence.

Of course, many movie lovers care most about what goes on in front of the camera, so Lubin provides, in absorbing detail, much about William Holden, Erich von Stroheim, and the amazing Gloria Swanson. When this film is discussed, many enjoy noting the similarities between Ms. Swanson’s actual career and that of her Norma Desmond. Viewers often describe Norma as a relic of the past. It should be noted that Ms. Swanson was fifty years old during production, and as contemporary comparisons, Sandra Bullock is now 61, Nicole Kidman is 58, Julianne Moore is 64, while Naomi Watts and Julia Robers are both 57. Turning 50 in 2025: Charlize Theron, Kate Winslet, and Angelina Jolie. Perhaps Ms. Swanson deserves even more accolades for her performance. Yes, Hollywood and societal judgments have shifted when it comes to middle-aged women, and we are much the better for it. Author Lubin does not make these contemporary comparisons, but his writing motivated me to do so.

Also deserving of the expansive write-up in the book is Erich von Stroheim. Few have combined success behind and in front of the camera like von Stroheim. He even directed Gloria Swanson in his 1929 silent film QUEEN KELLY … this more than thirty years prior to portraying her dedicated and enabling valet, Max Von Mayerling. Erich von Stroheim’s background and career could carry its own book, and Lubin does a terrific job painting a portrait of this proud man. William Holden gets the expected coverage, but as with his struggling screenwriter (and narrator) Joe Gillis, he’s overshadowed by the more colorful and intriguing characters. Even renowned filmmaker Cecil B DeMille (Oscar winner for THE GREATEST SHOW ON EARTH, 1952) is given his due for portraying a gentile version of himself. Others receiving brief coverage include Nancy Olson (now 97 years old), Fred Clark, Jack Webb, (famed Hollywood columnist) Hedda Hopper, and one of the all-time greats, Buster Keaton.

Lubin details the difficult search for the perfect mansion, and even once they found it, a swimming pool had to be constructed. The challenges in creating the script make for fascinating reading, and for anyone who believes filmmaking is a precise science, this book cracks the façade known as the magic of Hollywood. Movies are made by humans and humans are flawed … perhaps Hollywood humans more so than average. Lubin goes head-on with the theory that this classic film bashes the Hollywood system for what it does to those whose lives are intertwined with it. Through his meticulous research and many pointed observations, Lubin challenges us to re-think our interpretation of the film. What more could one ask from a book on ‘The Swimming Pool’ movie?

The book releases on August 12, 2025

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Posted by David Ferguson

PETER PAN (2024, stage musical)

December 27, 2024

(BROADWAY DALLAS 2024-25)

It’s a tale as old as time. OK, not that tale. And not all of time, although the story of Peter Pan dates back to JM Barrie’s 1904 play (“Peter Pan, or The Boy Who Wouldn’t Grow Up”) and 1911 novel (“Peter and Wendy”). Most of us, across multiple generations, were first exposed to the story of the boy who never grows up while we were kids – through television, books, movies, and/or stage plays. Two of the more popular films include the 1953 animated Disney movie and the 1991 Spielberg movie HOOK starring Robin Williams. However, it’s live theatre where the story has had its greatest impact. There was the1954 Broadway production that featured Mary Martin (Larry Hagman’s mother) in a Tony Award winning performance as Peter Pan, and then in 1979, Sandy Duncan took on the role for a new Broadway production. The 1990’s had Olympic gymnast Cathy Rigby as Peter Pan, with her most recent run occurring in 1998.

The latest stage revival comes courtesy of a 2024 national stage production tour by director Lonny Price (a two-time Emmy winner) and based on an additional book by Larissa Fasthorse. Lorin Latarro and Paul Rubin handle the choreography and flying sequences. With a run at Broadway Dallas in the historic Music Hall at Fair Park, this latest production dazzles all ages – from 5 to 90+ (not counting the newborn someone dared carry in). The opening finds us in the bedroom of the Darling children, exposing us to the sufficiently irritating family. Dad is feeling the pressure of the impending work event, mom is worried about the babysitter, oldest daughter Wendy is rushing to grow up, while the two youngest, John and Michael, are immersed in childhood. After a tease from Tinker Bell, we don’t have to wait long for Peter Pan to make his spectacular entrance, soaring through the window while sprinkling fairy dust.

The production features three main sets: the Darling bedroom, the Neverland jungle, and Captain Hook’s ship, the Jolly Roger. All three are fully formed, with Neverland being especially adaptable. Complementing the sets are some terrific visual video effects on the backdrop. These are exceptionally effective during the initial flight from bedroom window to the shores of Neverland to meet The Lost Boys, as well as smile-inducing during the “shadow” moments.

With so many young characters, casting this show can be quite challenging, so it’s a pleasant surprise to note that there are no weak links here. High school senior Nolan Almeida plays Peter Pan. He is involved in most of the first half of the show, singing in six of the eight songs. Almeida brings a bustling energy to the role in comparison to the graceful and elegant style of some previous Pans. It’s different, yet it works … although I wondered why he only wore his hat during the initial scene. Cody Garcia plays dual roles as both Mr. Darling and Captain Hook, the latter being quite a crowd favorite. Making her professional stage debut is Hawa Kamara as Wendy Darling. It’s a key role, though she has only one solo singing moment. Bailey Frankenberg truly shines as Tiger Lily, both in her physicality and singing prowess. Comedy relief comes courtesy of Kurt Perry as Smee, Hook’s right-hand (no pun intended) pirate, and the two young Darling brothers, John and Mike, are played by Levi Chrisopulos and Camden Kwok, respectively (both making their national tour debuts).  Hook’s ‘other’ nemesis, the ticking crocodile, hilariously belly-crawls across the stage, generating laughter and applause from the audience.

The flying segments are a crucial element to the production, and each hoisted actor performs admirably, with Almeida’s Peter being noticeably acrobatic in his sequences. Audience reaction to each flying character was filled with joy, perhaps most apparent in Peter’s first and final flights. Another big audience moment stems from Peter Pan encouraging noisy participation to revive Tinker Bell’s spirit after her self-sacrifice. And speaking of Tink, I never figured out what sorcery (it’s a joke) was used to depict her darting light. Whatever it was, it worked beautifully. It’s a two-hour and forty-minute production, including the intermission, and perhaps the best compliment for those involved is that time flies (another unintended pun) by. The Music Hall sound system was strong and clear for the songs, the dialogue, and the sharp orchestra. The loss of one’s childhood may or may not be a time of melancholy, but the Peter Pan story never fails to land emotionally. The only downside I can find is now that this Disney property is open-source, there is an upcoming 2025 film entitled PETER PAN’S NEVERLAND NIGHTMARE. It’s sure to be Rated-R, and hopefully no young kids get anywhere near it, else their childhood be lost.

“Peter Pan” runs through January 5, 2025 at Broadway Dallas at Music Hall at Fair Park

https://broadwaydallas.org/

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Posted by David Ferguson

Texas Rangers WORLD SERIES 2023

November 2, 2023

***NOTE: a rare diversion from movies

“Finally.” That word is being used in most every report on the 2023 World Series championship of the Texas Rangers. Oxford offers a definition of the word as ‘after a long time, typically involving difficulty’. My question is, what constitutes a long time and who found this difficult? Jose LeClerc is the only player who has been on the team for the past 7 years. Most on the roster have only worn “Rangers” on their jersey for one of two years, so that doesn’t seem to qualify as a long time. Of course, the real answers to my questions are … since 1972 and the fans.

As sports fans we understand that the score of a game or a trophy held high matters little when compared to the suffering of those in Ukraine and other areas where innocent citizens are being mercilessly attacked, injured, and killed. But to argue that sports don’t matter would be an oversimplification and, well, incorrect. Just ask those fans who have loyally followed the Texas Rangers since 1972. There is a bond that forms around a hometown team. It’s a bond of shared emotions, both high and low. Over those 50+ seasons for the Rangers fans, the lows have been plenty, while the highs have been all too brief. Until now. Has it been a long time? Yes. Has it been difficult? Yes.

Since 1972, I have attended many games, crossing the three Arlington ballparks (assuming that first one actually qualifies as a ballpark) the Rangers have called home. I’ve seen Ted Williams and Billy Martin manage the team. I’ve seen Nolan Ryan throw a no-hitter and Juan Gonzalez hit three dingers in a game. I’ve seen Buddy Bell make gold glove plays at the hot corner and Charlie Hough light a cigarette in the dugout. I’ve watched Benji Gil airborne yet another throw into the stands, and Pudge Rodriguez shoot down many would-be base stealers. I’ve watched as Will Clark delivered a stream of warning track fly balls, and Adrian Beltre barehanded another dribbler from third base. I’ve also seen Michael Young rip countless line drives in the gap, Rusty Greer hustling to turn a single into a double, and Josh Hamilton destroy so many baseballs (and his career). I’ve watched Neftali Feliz buckle A-Rod’s knees with a curve and cringed as Nelson Cruz leapt to no avail at a David Freese fly ball in the World Series. And while all of those games and moments are important, what really matters to me is that bond with other fans.

I’ve shared the stands – some good seats, some not so great – with so many over the years. My uncle took me to the David Clyde game and made sure I had many other game tickets through the years (he was a big fan of Buddy Bell and Toby Harrah and Charlie Hough, and because of that, so was I). I’ve sat in the left field bleachers with parents and players from the youth baseball team I coached as the blazing Texas summer sun beat down and sapped the grown-ups of energy (our players didn’t seem to mind). I’ve dragged my beloved wife to a few games, and she never once complained. I have a good friend who was gracious enough to front me tickets during times when money was a bit tight. We even managed to attend multiple playoff games over the years – one being very special, as that’s where I first met my future daughter-in-law, one of those surprises only a son can deliver. Other games have allowed time with friends (even a future boycotter), family, co-workers, and business associates. It’s the shared experiences that matter most.

As I reflected on the World Series victory and the many years of Rangers baseball, a sense of melancholy hit. My brother-in-law passed away earlier this year. He was a huge Rangers fan. Our relationship wouldn’t be considered close, but the two best conversations we ever had were about Rangers baseball. He loved the game and he loved the team. It was a love he had previously shared with his father and many others since. Although he didn’t live long enough to ‘finally’ enjoy the championship, he certainly followed the team for a long time and experienced the difficulty. A passion for the Rangers and for baseball was also shared with many others who have since moved away. Friends and fellow Rangers fans now populate other places like California, Florida, Virginia, Wisconsin, and then there is my own son, who now lives in The Netherlands with his family – including that same daughter-in-law I met at a playoff game.

As for “finally”, these are just a fraction of the folks who have experienced both a long time and difficulty. Yet there is nothing final about this, as the banner will fly indefinitely at the latest ballpark (one with a roof and air conditioning), and the Texas Rangers fans will begin the next long and difficult journey when Spring Training rolls around in 2024.

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Posted by David Ferguson

Book Review- OPPOSABLE THUMBS: HOW SISKEL & EBERT CHANGED MOVIES FOREVER (2023)

October 23, 2023

By Matt Singer

Published by Penguin Random House, 2023

Ah yes, the memories of spending so much time glued to that portable 13 inch black and white TV perched on a folding chair in my dorm room watching and listening intently as film critics Gene Siskel and Roger Ebert discussed, debated, and dissected the latest movie releases. Of course, by then I had watched hundreds of movies and fully subscribed to the magic of cinema. However, we all knew there was something different with this weekly PBS show featuring these two men who were so opinionated, yet so knowledgeable about film. As a bonus, we were never sure if they were friends or not… this despite their weekly lessons on how we should discuss movies with our own friends.  

This background and the following years until Gene Siskel’s death in 1999 are the reason Matt Singer’s new book was a must read for me. Nostalgia can be a comforting thing, and Singer’s work perfectly captures the history and memories of what made the show so special. Singer is a passionate film critic, and that passion shines through in his admiration and respect for the two men who inspired folks like him (and me) to better understand the art form and ultimately write about our own feelings and observations driven by the movies we watch.

Structurally, the book outlines the chronological order of the Siskel and Ebert partnership, while specific examples, quotes, or other input is frequently used to reinforce the progression. The awkward beginnings that led to the 1975 pilot are detailed, as are behind-the-scenes challenges such as contract disputes, rehearsals, lunch menus, seating positions, number of words spoken, seats on talk shows, and the order of the names. Yes, these two men who argued about movies also argued about most everything associated with the show. Singer makes the point that the two men were direct competitors in the Chicago newspaper world and were constantly looking for ways to ‘win’ or one up the other.  What also becomes crystal clear as we read the book is that both men cared very much for the show and the integrity of their work.

Pitting rivals against each other in such a debate format was a new thing at the time, although as author Singer points out, it has become quite common in TV news, sports, politics, and entertainment … most of these owing a debt to Siskel and Ebert. Singer walks us through the evolution of the show and its many producers, titles, and distributors. From “Sneak Previews” to “At the Movies” to “Siskel & Ebert” (amongst others), and from PBS to the Disney Corporation, the show itself remained true to the two stars, regardless of what was happening off screen. Gene and Roger never wavered from their commitment to honesty with the viewers.

Their show ran in one form or another, and on one channel or hundreds, from 1975 to 1999. The book details how their chemistry changed (and how it didn’t) over the many years. While the memories come racing back through some of the stories, the real gems here are the behind-the-scenes tales of how these two men perfected the presentation, while earning the respect of the rival/partner seated across the aisle.

The first ten chapters make for fascinating and entertaining reading, but just as occurred in real life, the book shifts suddenly. Siskel’s passing meant the show lost its spark. Ebert remained a stellar film critic, of course, but the relentless pursuit of a new partner or format was as painful to read about as it was to experience at the time. By this time, other film critic duos had been given a shot at replicating the success, yet none created the magic of Siskel & Ebert – and that included Ebert and anyone else who joined him in the balcony. Why none of these other attempts clicked is understandable when Singer provides perspective: Siskel & Ebert were a team for as many years as Abbott & Costello. These final two chapters chronicle Ebert’s own health struggles, as well as his excellent memoir and subsequent documentary, both entitled “Life Itself”.

Should anyone doubt the unique accomplishments of the show, consider that the Siskel & Ebert audience was composed of not just cinephiles and movie lovers, but also those who had little interest in movies and tuned in solely for the entertainment value of watching two articulate and knowledgeable experts go at each other verbally. Most were either Team Gene or Team Roger. As for me, I found myself more often in agreement with Siskel on movies, while probably learning more from Ebert. These two men, along with Louis Black (co-founder of both “The Austin Chronicle” and the SXSW festival), taught me how to watch movies, how to think about what is on screen, while inspiring me to put my own observations in writing. Matt Singer’s book will be a cruise through nostalgia for many, yet the structure will make it just as easy for those who are just learning about the origin of those almighty thumbs.

Available October 24, 2023

Review by David Ferguson

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Posted by David Ferguson

INSIDE (2023)

March 16, 2023

Greetings again from the darkness. We’ve seen movies about isolation, and we’ve seen movies with survival stories. However, as best I can remember, this is the first survival story about a guy isolated and trapped in an ultra-luxury Manhattan penthouse apartment. Ben Hopkins wrote the screenplay from an idea of director Vasilis Katsoupis. The best idea was casting the always interesting Willem Dafoe in the lead (and almost the only role), while the worst idea was wedging in a forced statement on the one-percenters.

Mr. Dafoe plays Nemo, an art thief working with a never-seen/only heard walkie-talkie partner. After being air-dropped onto the balcony via helicopter, the first few minutes are a thing of beauty in a criminally precise way. Nemo swiftly navigates his way through the apartment gathering paintings by famed expressionist Egon Schiele, whose self-portrait is to be the gem of the haul. The first problem is that painting is nowhere to be found, and the second, much more serious problem occurs when Nemo is ready to leave and the security system malfunctions. This renders Nemo a prisoner, trapped like a rat.

This is the type of apartment that features a plunge pool in the living room, two massive aquariums, a steel-reinforced door, and an automatic indoor sprinkler system for the plants. Valuable art is professional displayed throughout. What it doesn’t have is an easy escape route. The sleek modernism of luxury slowly transforms into a cold, prison-like fortress. We watch as Nemo’s initial panic is slowly overtaken by a sinking feeling of despair. His partner’s final walkie-talkie words, “You’re on your own”, ring out as Nemo takes stock of his dire straits.

It’s an unusual security lockdown. There is no running water, phone line, or emergency escape, yet the HVAC seems to have a mind of its own by spontaneously shifting from desert-level heat to Arctic winter cold. And for some reason, there seem to be no security cameras inside this high-tech apartment, yet the TV periodically displays closed-circuit video from around the building. Those cameras give Nemo his only link to the outside world, and also help us understand how far he has drifted from reality … especially in regards to Jasmine, a cleaning lady he spots. He scavenges for food and water in some not-so-appealing ways, including some scraps inside a refrigerator that plays “Macarena” on full blast if the door is left open too long. Although we aren’t told exactly how many days this ordeal lasts, we get some idea from a certain pile shown.

Any movie that has us engaged enough for us to ask ourselves, “What would I do in this situation?” has something going for it, but it’s really Dafoe’s performance as a guy losing his grip that keeps us zoned in. Supposedly the owner of this apartment is away in Kazakhstan, and given the weak attempt towards the end to comment on the ultra-rich, we assume this detail is meant to prevent us from having too much sympathy for him. It appears the filmmaker believes we should take a morality lesson from a criminal (one who doesn’t carry a cell phone) who, as the narrator, tells us twice, “Cats die. Music fades. Art is for keeps.”

Opens in theaters on March 17, 2023

WATCH THE TRAILER

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Posted by David Ferguson

OSCARS 2023 recap

March 13, 2023

OSCARS 2023 recap

For movie lovers, the Academy Awards ceremony is usually a fun night designed as a celebration of the art form, with recognition for some of the best work released the previous year. This year’s presentation marked the 95th ceremony, and as always, provided cynics ample opportunity to cast aspersions, while for the rest of us, there were many moments to treasure – some even falling into the category of ‘history-making.’

An opening faux trailer, with a superimposed Jimmy Kimmel sharing the cockpit in a fighter jet with Tom Cruise in TOP GUN: MAVERICK, concluded with the show’s host ‘parachuting’ onto the stage. Kimmel’s opening monologue was entertaining and didn’t shy away from last year’s stunning moment known as “the slap.” Noted in the monologue was a tip of the cap to composer John Williams, who at age 91, received his 53rd Oscar nomination, second all-time to Walt Disney’s 59. It’s also of interest to note that Mr. Williams has scored 25 of director Steven Spielberg’s 27 films.

The only things I’ll mention from the pre-show are that the carpet was “champagne” colored instead of the traditional red, Hugh Grant was an immense jerk during his arrival interview, and the odds-on favorite to have a huge night of awards was EVERYTHING EVERYWHERE ALL AT ONCE (EEAAO), a film with co-directors and featuring many Asian actors in a bizarre story that breaks the mold for traditional Oscar-type films. If you’ve read my “Best of 2022” post, you know that my personal favorite was THE BANSHEES OF INISHERIN, which garnered nine nominations, the same as ALL QUIET ON THE WESTERN FRONT (AQOTWF), with both just behind the eleven nominations of EEAAO. Yes, this year lends itself to abbreviated initials for two long-titled films!

Although I’m not one to buy into the idea of “snubs” since I believe such a label is an insult to others that are honored with a nomination and/or win, it is always fun to see which categories produce surprise winners. Kimmel pointed out that there were 16 first-time nominees and 5 Irish actors nominated – setting up a pretty good punchline. He also noted the absence of James Cameron and Tom Cruise … both A-listers rumored to have had their feathers ruffled due to a lack of nomination for directing (Cameron) and acting (Cruise), although both were producers on films up for Best Picture.

The first award went to the creative genius behind GUILLERMO DEL TORO’S PINOCCHIO (the actual title to differentiate it from other versions). This award was presented by Dwayne “The Rock” Johnson who was sporting a form-fitting pink silk sports coat. Not to be outdressed, Troy Kotsur sported a purple velvet suit as he and joined Ariana DeBose in presenting the awards for Best Supporting Actor and Best Supporting Actress. Both were highlights and an early indication of the success that lay in store for EEAAO. Ke Huy Quan was emotional and inspirational as he reminded us of what the American Dream really means to those who value it, and Jamie Lee Curtis’ win is a testament to perseverance and support, as she thanked her many collaborators over the years, including her famous parents, Tony Curtis and Janet Leigh.

Each of the five nominated songs were performed live throughout the evening. 14-time nominee Diane Warren was first, soon to be followed by David Byrne and Stephanie Hsu (EEAAO). One of the evening’s true highlights was a rousing song and dance performance of the song, “Naatu, Naatu” from India’s RRR, the eventual winner. Also impressive were a no-make-up and torn-jeans performance from Lady Gaga (TOP GUN: MAVERICK), for some reason filmed almost entirely in extreme close-up; and a pregnant Rhianna (fresh off the Super Bowl) singing “Lift Me Up” from BLACK PANTHER: WAKANDA FOREVER.

Best Documentary Feature was awarded to NAVALNY, and Alexei Navalny’s wife sent a message from the stage. This powerful moment was followed by an audience participation version of “Happy Birthday” during the speech for Best Live Action Short film (AN IRISH GOODBYE). Although I found that moment a bit odd, it was the follow-up that hit me as truly bizarre … a no-holds barred, live from the stage promo for Disney’s upcoming live action, THE LITTLE MERMAID, followed by the first full trailer. I don’t recall such unadulterated marketing schemes every being a part of the ceremony in previous year. Later we did receive a tribute to Warner Brothers for their 100th anniversary of motion pictures – much different than a promo for an upcoming film.

James Friend winning for Best Cinematography for AQOTWF became the first of enough wins that some began to question if the film might pull off a Best Picture surprise to end the night. Best Make-up and Hairstyling went to THE WHALE, the first film to use digital prosthetics in order to allow an actors’ true features to flow through. All the donkey lovers were thrilled to see ‘Jenny the donkey’ led on stage by Kimmel. Unfortunately, this became one of the few nods to my favorite film, THE BANSHEES OF INISHERIN. Best Costume went to BLACK PANTHER: WAKANDA FOREVER, and AQOTWF won Best International Feature Film (Germany). Next up were awards for Documentary Short (THE ELEPHANT WHISPERER) and Animated Short (THE BOY, THE MOLE, THE FOX, AND THE HORSE). What was notable was that the first winner was cut off from their acceptance speech, while the second was allowed to babble on.

The award for Production Design became my first “miss” of the night, as AQOTWF took the award over the visually stunning BABYLON. This was quickly followed by another AQOTWF win for Best Score – a straight-to-the-gut musical punch composed by Volker Bertelmann. Best Visual Effects went to AVATAR: THE WAY OF WATER, an award presented by Elizabeth Banks and a ‘fake’ Cocaine Bear (her recent movie) as she explained the importance of visual effects. Another odd moment occurred as amazing actress Florence Pugh purposefully held her slit dress open as she presented awards for Original Screenplay (EEAAO) and Adapted Screenplay (WOMEN TALKING). As strange as the spandex undergarment sighting was, I was so excited for Sarah Polley’s win … hopefully this talented writer and filmmaker will be inspired to share more of her work.

Best Sound went to TOP GUN: MAVERICK, and it was the speech given by the RRR winners for Best Song, MM Keeravani and Chandrabose that stole the moment, as Keeravani sang his speech, adapted to “Top of the World” by The Carpenters, a pop group he says influenced him as he grew up. Lenny Kravitz performed during the “In Memoriam” segment … a segment that the Academy seems to botch with omissions every year (this year being no exception). EEAAO won for Best Editing, though it wasn’t until ‘Daniels’, co-directors Daniel Kwan and Daniel Scheinert, won for Best Director that we sensed EEAAO would hold off AQOTWF for the big prize.

A humble and grateful Brendan Fraser (THE WHALE) was nearly overcome with emotions during his speech for Best Actor, and making history as the first Asian actress to win was Michelle Yeoh for EEAAO, an award presented to her by Halle Barry, the first woman of color to win Best Actress. At this point, we felt pretty certain of the film title Harrison Ford would read for the final award of the evening, and sure enough it became a night of history for EVERYTHING EVERYWHERE ALL AT ONCE as it was named Best Picture. The film totaled 7 wins out of 11 nominations, and only two other films took home more than one award: ALL QUIET ON THE WESTERN FRONT (4) and THE WHALE (2). EEAAO also joined A STREETCAR NAMED DESIRE (1951) and NETWORK (1976) with winners in three of the four acting categories. It was also a record-breaking night for cutting edge studio A24 as it won 6 of the 7 ‘above-the-line’ awards (Picture, Director, Original Screenplay, Actress, Supporting Actor, Supporting Actress).

Leaving empty-handed were ELVIS, THE FABELMANS, and THE BANSHEES OF INISHERIN, each coming in with multiple nominations. And though we got a bit tired of Kimmel’s running jabs at Matt Damon (who wasn’t attending), it was very cool to see him point out the legendary 94 year old James Hong, who has nearly 500 credits on IMDb dating back to the mid-1950’s … his latest, of course, being the night’s big winner, EVERYTHING EVERYWHERE ALL AT ONCE. And I’m certain Mr. Hong was relieved to not be seated behind actress and presenter Danai Gurira, whose unique hairstyle stood up about 2 feet from the top of her head. Imagine being seated behind that for 3.5 hours! TV viewership for the ceremony was up 12% over last year’s program, though we can’t help but wonder if some tuned in to see if the Hollywood tradition included a sequel to “The Slap.”

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Posted by David Ferguson

OSCAR Nominated Shorts – Documentary (2022 releases)

March 3, 2023

Greetings again from the darkness. Every year this is one of my favorite categories. Typically, these filmmakers are committed to a subject and have very little money to work with, making their work easily categorized as passion projects. This year is no exception, and once again we are amazed at the wide range of topics and subjects covered: the transformation of an angry war veteran, true love at an elephant sanctuary in India, a profile of a key player during the Watergate era, the effects of climate change on walruses in the Arctic, and a father-daughter video project covering 16 years. Below is my breakdown of this year’s nominees:

THE ELEPHANT WHISPERERS

Director Kartiki Gonsalves introduces us to Bomman and Bellie, indigenous Kattunauakans working together to care for Raghu, an elephant rescued as an injured orphan in Tamil Nadu, India in 2019. The elephant preserve where they live and work is run by the Forest Department, and Bomman’s hut is right next to the stall where Raghu sleeps.

The love they share for Raghu soon develops into a romance between Bomman and Bellie. They talk to Raghu, train him, feed him, bathe him, play with him, and even tuck him in bed at night. Later when they also become caregivers for 5-month-old Baby Ammu, we can see the similarities to raising human children. Both elephants make it into the wedding day pictures of Bomman and Bellie, but when Raghu is re-assigned to other caregivers, we witness the grieving of the couple, as well as that of Ammu, who has lost a friend and role model. The 41-minute film serves to show how animals and people can live off the same forest and share a love.

HAULOUT (UK, Russia) 25 min

For the first few minutes, we aren’t sure what we are watching. Maxim is huddled in a rustic cabin on the shore of the Russian Arctic. He eats canned good (from the can), boils his water, and recycles his cigarettes. One morning he awakens to the grunting and groaning noises occurring outside. What follows is a stunning and spectacular shot of tens of thousands of walruses huddled on the beach by his hut.

It turns out Maxim is a Marine Biologist, and he spends 43 days observing this annual ritual of walruses as part of a 10 year study. Although the walruses show up every year, the effects of climate change are obvious. There is no longer ice for them to rest on during the trek. This exhausts the creatures, causing the death toll to increase each year. Co-directors (and brother and sister) Maxim Arbugaev and Evgenia Arbugaeva deliver a beautiful (considering the harsh conditions) 25-minute film, and a stark reminder of how animals are being forced to adapt to the changes.

HOW DO YOU MEASURE A YEAR

We must admire Jay Rosenblatt’s foresight as a father. It’s a simple idea, yet brilliant in it’s lasting impact. Beginning on his daughter Ella’s second birthday, Mr. Rosenblatt maintained a tradition of videotaping an “interview” with her each year. This tradition, or ritual, continued through her 18th birthday. The result bounces between predictable, stunning, sad, joyful, and touching … all in a condensed 29-minute run time.

To watch the progression of a precocious two-year old and three-year old toddler obsessing over a lollypop and make-up to a poised eighteen-year old on the brink of independence is fascinating. As a parent, we recognize the many stages … some so cute, others so challenging … each to be treasured.

Dad’s questions include: What do you want to do when you grow up? What are you afraid of? What is power? What are dreams? What is most important to you? You get the idea. He wants to document her progression as a person and as a thinker. In addition to the lollypop and desire to wear make-up, Ella’s singing voice develops beautifully as she grows into a 12-year-old who has learned sign language, and a 13-year-old fresh off her Bat Mitzvah. We see her with braces on her teeth, and as a 14-year-old toting the burden of her age. It’s those last couple of years that really give us hope for Ella’s future, and an insight into what the project has meant.

As a teenager, what would you have told your 25-year-old self?

THE MARTHA MITCHELL EFFECT

Fifty years have passed, yet the Watergate scandal continues to provide us with stories. Co-directors Anne Alvergue and Debra McClutchy turn their attention to one of the fascinating figures of the era in this 40 minute short. Martha Mitchell was the wife of Richard Nixon’s campaign manager and subsequent Attorney General, John Mitchell. Outspoken Martha was a colorful personality and characterized as “a menace” by Nixon himself.

The directors utilize archival footage and news reels to show how Martha became a media darling during one of the most closed-off administrations in recent history. Reporters such as Helen Thomas and Connie Chung bring a media perspective, as do the numerous newscast clips shown. However, things took a pretty dark turn for this charming lady, and her story provides a stark reminder of just how corrupt and extreme the Nixon administration became.

Once news of the Watergate break-in hit the news, Martha seemed to vanish from the public eye. Her story is that she was held captive, basically kidnapped, as the administration advanced a public character assassination on her. When the secret tapes were revealed, and Martha discovered her husband had conspired with Nixon on the break-in, she became a high-profile whistleblower, After Nixon’s resignation, Martha became a celebrity, frequently seen on talk shows. Cast by many as a ‘crazy’ lady, the “Martha Mitchell effect” became the description for those whose ‘delusions’ turned out to be true. The recent TV miniseries “Gaslit” also focused on Martha Mitchell, who died in 1976 from a blood disease.

STRANGER AT THE GATE

Should you ever doubt that kindness and understanding can make a difference, please watch this film from director Joshua Seftel (WAR, INC, 2008). The 29 minute run time may just rejuvenate your faith in human beings to change their attitude and be accepting of those they once distrusted.

As a Marine, Richard “Mac” McKinney was trained to hate and kill Muslims. He was informed that they were terrorists out to destroy his country, and September 11, 2001 was all the proof he needed. A simple question from his young daughter Emily convinced him he needed to act, so he plotted to bomb the Islamic Culture Center of Muncie (Indiana). So this former Marine, a trained killer and hater, headed to the mosque to obtain the “proof” he needed to convince his daughter that his actions were righteous.

A funny thing happened. Mac was treated kindly by the folks there. They asked him questions and guided him to a better understanding. Now this didn’t happen overnight. A shift in beliefs never occurs quickly. However, their treatment of Mac not only (unknowingly) saved their own lives, it saved his as well. He may have been trained to not think of his war targets as human beings, but he found them to show him more humanity than he’d ever known. It’s chilling to see Emily ponder what it would have been like to have a mass murderer as a father, and mostly we are inspired to see good people work so diligently at accepting someone who initially showed them nothing but hatred. Nobel Prize winner Malala Yousafzai is one of the producers of the film.

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Posted by David Ferguson

BOYCOTT (2023, doc)

March 2, 2023

Greetings again from the darkness. It’s pretty obvious these times are quite tumultuous when it comes to political views, as well as social and religious beliefs. Of course, differences of opinions have always existed, however the focus by media attention has created new types of monsters … the vocal types who yell into microphones and cameras about how anyone who disagrees with their extreme view is a danger. Most of us understand that the real danger lurks in the things that get decided ‘quietly’ … legislation that impacts people just trying to live their lives and do their jobs.

Documentarian Julia Bacha presents an extraordinary look at this exact topic … legislation that restricts civil liberties guaranteed by the Constitution. We are informed that 33 states passed some form of legislation outlawing the boycotting of Israel, and punishing individuals and companies that don’t abide. Three specific cases are presented: a newspaper editor in Arkansas, a speech pathologist in Texas, and a lawyer in Arizona. Through this, we learn a great deal about how legislation affects those with viewpoints outside the accepted norm.

Bahia Amawi is a speech pathologist and mother of five in Austin Texas. She is also Palestinian. She refused to sign a document promising to never boycott Israel, and was subsequently fired from her position. Alan Leveritt is the founder and publisher of “Arkansas Times”, a free community paper that survives on advertising revenue. He refused to sign a document promising to never boycott Israel, and his advertising revenue from state colleges and organizations immediately stopped. Mikkel Jordahl was part of a state-sponsored program in Sedona, Arizona offering legal representation for inmates. He refused to sign a document promising to never boycott Israel, and he was fired. Jordahl began offering free counsel while his case made its way through the courts.

Brian Hauss, an ACLU lawyer labels this as a First Amendment issue, and explains that boycotts (whether politically motivated or even something as foolish as a fan boycotting a sport or team) have long been a crucial part of this country’s freedom, and a legal way to debate controversial issues. The 1955 Montgomery bus boycott lasted more than one year, and was a protest against racially segregated seating. This consumer-led boycott resulted in change for fairness and equity.

The difference here is that the legislation is politically driven to support Israel, a United States ally, in its occupation of Palestine. This tangled web brings antisemitism and political favoritism into the same argument. The BDS movement (Boycott, Divestment, and Sanctions) is a Palestinian movement with the intent to pressure Israel regarding its Palestinian occupation. The support of Israel may make sense for the federal government, but for a Palestinian mother living in the U.S. to lose her job because she won’t give up her right to boycott the Israeli presence seems to make little sense.

Ms. Bacha’s documentary is so effective because three smart people are able to clearly vocalize how this legislation requires them to carry an unfair burden. Watching Arkansas state senator Bart Hester explain his stance is painful and ludicrous, and offers little support for our trusting of politicians to understand issues prior to voting. This is certainly not a Republican versus Democrat issue, and it’s a solid reminder of Americans’ right to debate and disagree. Most of us agree that antisemitism is despicable, but freedoms are the fiber of the country. The use of music here is often annoying, but a tremendous amount of information is packed into these 70 minutes. It’s quite an education.

Premiering March 1, 2023 on AppleTV and Prime Video

WATCH THE DIRECTOR DISCUSS THE FILM

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Posted by David Ferguson

THE SEVERING (2022)

February 6, 2022

Slamdance Film Festival 2022

Greetings again from the darkness. Mark Pellington is a renowned music video director, having worked with such acts as Bruce Springsteen, U2, Leonard Cohen, Pearl Jam, INXS, Demi Lovato, and Imagine Dragons. He’s also done TV work, as well as some feature films, including ARLINGTON ROAD (1999), THE MOTHMAN PROPHECIES (2002), HENRY POOLE IS HERE (2008), and THE LAST WORD (2017). Despite a successful and varied career, it’s difficult to imagine he’s ever had a project as bizarre as his latest “experiential” film, which was named the “Spotlight Feature” at this year’s Slamdance Film Festival.

Billed as “Pina” meets “Saw”; however, it’s difficult to believe a Pina Bausch production would offer similar style, and it’s clear that the gore and violence here is imagined and implied rather than sprayed across the screen. However, some empathy must be allowed for whomever was tasked with marketing Mr. Pellington’s film. It’s 70 minutes of interpretative dance. And I do mean interpretative. There is no story playing out, but rather sequences of dancers in what the one-time narrator describes as a fourth dimension.  

These sequences are abstract and oblique. Nothing is obvious. In fact, there is no attempt to draw us in. We are purely observers and interpreters. The title cards/text insertions are purposefully obtuse rather than helpful or inviting. The opening note in the films states that we never open ourselves to others, keeping instead to our protective shell. This sentiment is followed by dancing that represents grief, pain, sex, and other emotions.

The dancers are body-covered in chalky make-up and grease paint, while wearing non-descript skimpy costumes that more resemble tattered rags. Dark and shadowy is the best description for the lighting and you won’t find movie sets more stark than the few used here. Six dancers receive credit, and sequences feature one, two, or four dancers at any given time. These dancers are extraordinary in their athleticism, and ability to contort and twist. The same solo dancer is featured in the opening and closing, and she is especially impressive in her loose-jointed and intense floor writhing, often reaching positions that most of us can’t fathom. Every scene is shot in slow-motion, and all are accompanied by an electronic score that drones on in its sameness. Nina McNeely is the featured choreographer, and the dancing/movement is quite something to behold. We only wish it was a bit more accessible and certainly a bit shorter in run time.

**Slamdance Film Festival embodies its mantra: By Filmmakers, For Filmmakers. Though Slamdance has greatly evolved since the early years, its mission and organization remain the same. Slamdance serves new and emerging artists, filmmakers, and storytellers from around the world. Slamdance programmers gravitate towards films that embody the true spirit of DIY guerilla filmmaking.

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Posted by David Ferguson

ABOUT ENDLESSNESS (2021, Sweden)

April 24, 2021

Greetings again from the darkness. A quarter-century once elapsed between feature films for Swedish filmmaker Roy Andersson. He only directed a handful of short films between “GILLIAP” (1975) and SONGS FROM THE SECOND FLOOR (2000). Mr. Andersson makes Terrence Malick look prolific. He’s certainly not a traditional filmmaker and this latest is not a typical movie. In fact, its highest and best use may be in a graduate Psychology or Philosophy class, so that the mental capacity of students can be stretched and tested to determine whether Andersson is celebrating life or bemoaning our existence.

The narrator begins most segments with something along the lines of: “I saw a man …”, “I saw a woman …”, “I saw parents …”, and “I saw a couple floating …”. These lead us into static one shot vignettes with little or no dialogue. For example, in the first segment, a woman on a park bench concludes with, “It’s September already.” There is a priest who makes a recurring appearance as one who has lost his faith. In another, parents have lost a son. The emphasis is on the artistic impression and one’s own interpretation.

Over the opening, and again later in the film, we see a couple floating over the ruins of Cologne. It’s Andersson’s take on Chagall’s 1918 painting, “Over the Town”. Another segment is a recreation of Hitler’s bunker in Kukryniksy’s 1946 painting, “The End”. These are simple, stark, low-key snapshots in time. The color palette seems to be off-gray, and the sun never shines in this world – there’s no tanned skin in the bunch. Andersson offers just enough moments of hope/happiness to prevent this from being 80 minutes of full-on depression. We always think he’s trying to tell us something, but can’t always decipher what the intended message is. Like the best art, it’s up to your interpretation, and surely dependent on individual perspective.

Release delayed due to COVID-19

WATCH THE TRAILER

Leave a Comment » | Drama, Fantasy, Uncategorized, World Cinema/Foreign | Tagged: | Permalink
Posted by David Ferguson

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