AMERICAN TRIAL: THE ERIC GARNER STORY (2020)

May 18, 2020

 Greetings again from the darkness. We open on a blank screen, but immediately recognize the audio. “I did nothing.” Producer-Director Roee Messinger slowly brings up the all-too-familiar video of Eric Garner being wrestled to the ground by multiple police officers. Mr. Garner is heard to say “I can’t breathe” eleven times during the cell phone video. Those were to be his last words.

His death was ruled a homicide, but a Grand Jury refused to indict NYPD Officer Daniel Pantaleo. Filmmaker Messinger presents a “What if?” there had been a trial. This is Messinger’s first feature film, and it’s non-scripted … a mock trial featuring former NY state prosecutors, practicing attorneys, actual witnesses, field experts, Garner’s wife, and actor Anthony Altieri playing the role of Officer Pantaleo. We see Mr. Pantaleo in consult with his attorneys, but the vast majority of the film is spent in the courtroom as we watch the proceedings, and hear testimony.

For those of us whose time in a courtroom is limited to mandatory appearances for jury duty, it’s very interesting to see how a trial is conducted; though we should keep in mind that the pace is a bit faster in an edited movie version than what would occur in real life. Still, listening to the experts – a Medical Examiner and Pathologist offering conflicting opinions on the evidence drives home the point of what a challenging job jurors would have had with the case. And then there is Mr. Garner’s friend who testifies that he witnessed the whole thing while standing just a few feet away. His reason for not getting involved was fear of being arrested himself. Of course, the most emotional testimony comes from Esaw Snipes Garner, Eric’s wife of 26 years. She’s defensive and impassioned while on the stand, and her frustration and distrust of the system is palpable.

In the film, Officer Pantaleo is charged with Manslaughter and Strangulation. When he takes the stand, we learn some of his background and police training. We hear the definition of a chokehold versus “necessary” force in bringing a suspect under control. Mr. Garner was a large man – approximately 395 pounds. He made it very clear to the officers on the scene that he was not going to cooperate with being arrested. Was it a chokehold? Was it necessary force? Was Garner really unable to breathe? All of these questions are addressed, as was the reason police approached him in the first place – suspicion of illegally selling cigarettes (“loosies”) on the streets of Staten Island.

Just like cameras and recording devices, we aren’t allowed to witness the jury deliberations. In fact, the purpose is to have viewers act as jurors in the case – listen to the evidence and testimony and arguments, and then make your own decision. Famed Harvard Law Professor Alan Dershowitz serves up his thoughts, and we learn of Mr. Garner’s many underlying health issues (asthma, high blood pressure, sleep apnea) while making up our own mind on what happened that day, and what Garner’s death should have led to.

Opens in Virtual Cinemas May 18, 2020

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Posted by David Ferguson

SEBERG (2020)

May 15, 2020

 Greetings again from the darkness. “Who is Jean Seberg?” A reporter asks the question to her, just before the movie star’s agent escorts him away as she prepares for publicity shots on PAINT YOUR WAGON, the outlandish 1969 musical-comedy in which she co-starred with Clint Eastwood and Lee Marvin. It’s also a question we expect a film entitled SEBERG to answer, though it never really does. Oh sure, we get the basics: small town girl (Marshalltown, Iowa), Hollywood starlet, activist, target of FBI, and tragic ending. Unwisely, the film tries to cram in too many other pieces of a puzzle – a puzzle plenty interesting on its own.

Kristen Stewart stars as Jean Seberg, the breakout star of the French New Wave Cinema in Jean-Luc Godard’s BREATHLESS (1960). Ms. Stewart brings much more than a short haircut to the role. It’s not a stretch to imagine Ms. Stewart has experienced some of the downside to fame that Ms. Seberg experienced during her career, so it’s no surprise that the moments of torment and frustration and anxiety are the film’s best. Even as a teenager in Iowa, Ms. Seberg showed signs of an activist-in-development. She ran off to Hollywood and was discovered by director Otto Preminger and cast in the lead role for his SAINT JOAN (1957). Seberg actually suffered severe burns during the filming of a key scene – one which is reenacted by Stewart for this film.

Director Benedict Andrews working with a script from Joe Shrapnel (grandson of actress Deborah Kerr) and Anna Waterhouse (they also co-wrote THE AFTERMATH and RACE), focuses mostly on the period of 1968-1971. We see Seberg’s first encounter with Hakim Abdullah Jamal (Anthony Mackie) on a commercial flight, and her follow-up pose with the Black Panthers for a publicity shot on the tarmac. This kicks off an FBI investigation, as well as an affair between Seberg (married to novelist and filmmaker Romain Gary, played by Yvan Attal) and Jamal (married to Dorothy, played by Zazie Beetz). We see how Seberg landed on Hoover’s FBI watch list, and how she was sincerely trying to help what she saw as a worthy cause.

We watch the FBI meticulously build a file on Seberg, albeit illegally under the COINTELPRO (counter-intelligence program) program. Surveillance was used to work towards their goal of running a smear campaign against Seberg due to her support of the Black Panther Party. Jack O’Connell plays FBI Agent Jack Solomon, and Vince Vaughan plays his partner Carl Kowalski. Family dinner time at the Kowalski home is anything but leisurely fun, and it’s an unnecessary scene meant to contrast Kowalski’s character with that of Solomon. It’s here where the film falters. An inordinate amount of time is spent on Agent Solomon and his conscience and his med-student wife Linette (a sinfully underutilized Margaret Qualley).

The film would have been best served by focusing on either Seberg or Solomon. The two stories dilute the effectiveness, and beyond that, the Black Panther story line fades, as does the whole celebrity-as-an-activist subplot. Instead, Seberg’s breakdown and Solomon’s second thoughts share center-stage. The film does succeed in exposing the extremes Hoover’s organization would go to in order to discredit someone whose beliefs might not have meshed with what was deemed proper for the times. What happened to Seberg was a tragedy, and according to Mr. Gary, led to the loss of her career and eventually to her death.

The film bounces from Paris to Los Angeles, and the set decorations and costumes are picture perfect for the era. There are actual Black Panther clips shown, and Ms. Stewart also reenacts a scene from BREATHLESS. Regardless of the script and story issues, Kristen Stewart delivers a terrific performance as Jean Seberg, and keeps our attention the entire time. We like her and feel for her as she slips. The real Ms. Seberg was found dead in a car at age 40, and suicide was suspected, though mystery still surrounds her death to this day. Lastly, just a piece of free advice … if you are looking to do good things in life, having a marital affair is rarely the right first step.

Available on Amazon Prime beginning May 15, 2020

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Posted by David Ferguson

CAPONE (2020)

May 11, 2020

 Greetings again from the darkness. I was really hoping for a Josh Trank resurgence. When his FANTASTIC FOUR became one of the worst reviewed movies of 2015, he lost out on a chance to direct a Star Wars film. Given creative control as writer-director-editor, CAPONE was supposed to be his chance bounce back and re-capture the intrigue and promise of his first film, CHRONICLE (2011). And he even chose the fascinating notorious gangster Al Capone as the subject for his comeback. What could go wrong? Well … most everything.

Tom Hardy usually adds enough interest to make any of his projects entertaining to watch, and sometimes he’s downright brilliant. Going back to BRONSON (2008), and on through TINKER TAILOR SOLDIER SPY (2011), WARRIOR (2011), THE DARK KNIGHT RISES (2012), MAD MAX: FURY ROAD (2015), THE REVENANT (2015), and TV’s “Peaky Blinders”, Mr. Hardy has quite a resume of memorable characters – and the above list barely covers half. This time out he plays Al Capone … “Fonse” … don’t dare call him Al “in this house.” He has recently been released from Alcatraz where he was serving his sentence for tax evasion. Confined to his Florida mansion, Capone is only 47 years old, but looks twenty years older thanks to the effects of neurosyphillis-induced dementia. His mind is never clear and his visions take him back to his violent criminal past, or snapshots of his youth (with an ever-present gold balloon).

We can’t really tell if filmmaker Trank meant this as a parody or not. Capone is seen as a mumbling near-zombie, almost always wearing a bathrobe. His eyes are bloodshot, and the once menacing gangster is now a paranoid, saggy diaper-wearing shell who noisily chomps on a cigar (or carrot), fires off his gold-plated Tommy Gun, and has constant issues with vomit-bladder-bowels. Typically a parody offers either slapstick or black comedy, but I only recall a single chuckle … one that occurs when Capone pulls out a shotgun while on a fishing boat with his old mob buddy Johnny (Matt Dillon). Other than that, it’s mostly a bleak look at dementia and the lost power of a man who follows his visions into closets and basements, and jumps up during a movie to sing-a-long with the Cowardly Lion’s “If I Were the King of the Forest.”

The supporting players are given little to work with. The great Linda Cardellini plays Mae, Capone’s supportive wife, while Kyle MacLachlan is his crooked doctor, Noel Fisher is Al junior, Al Sapienza is Capone’s brother Ralphie, and Kathrine Narducci is Ralphie’s wife. There is a secondary plot point involving government surveillance as they attempt to discover the whereabouts of the $10 million Capone supposedly stashed years ago. Of course, Capone doesn’t remember, and when and FBI agent (Jack Lowden, with director Trank in a cameo) interrogates him, he’s unsure whether Capone is acting or actually that far gone. There is also a bit about phone calls from “Tony”, possibly a long-lost Capone son borne from an affair.

The film covers Capone’s final year, and mostly it comes across as a sad and depressing view of dementia. The most obvious statement on Capone’s loss of power, comes in the form of a metaphor, as his beloved “Lady Atlas” garden statue is removed to be sold off. There is also a recurring moment where Capone tunes the radio to a broadcast of the Saint Valentines’ Day Massacre, and family time at Thanksgiving is nothing short of painful to watch. Cinematographer Peter Deming (MULHOLLAND DRIVE, 2001) gives us a well shot film, but despite a couple of David Lynch-type moments, the film mostly lacks entertainment value. I can’t figure out who might want to watch this. Trank seemed to go the deeply artistic route on a subject that’s tough to watch. Maybe he’ll get yet another shot.

Available on VOD beginning May 12, 2020

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Posted by David Ferguson

FINDING EDEN (2020)

May 11, 2020

 Greetings again from the darkness. Director Rodney Luis Aquino opens his first feature film on a happy and loving family consisting of father/husband, mother/wife, and son. They are a normal family who eat dinner together while discussing spitballs. The wife questions the husband’s “vacation beard” … a beard that has, by the looks of it, been growing for 3-4 months, leaving us to wonder what kind of benefits his employer offers. Their paradise is rocked one evening when the National Emergency Warning goes off. We learn from the news reports that the Earth has gone off its axis, leading to weather catastrophes around the planet.

We then flash forward as narrator Lisa (the wife) informs us “The Turn” occurred three winters ago, and sometimes she wonders if this is all a dream. It’s not a post-apocalyptic world, but it might as well be. She tells us there are rumors of cannibalism; however, in this family they hunt for food and scrounge for water. Adam takes his bow and three arrows in hopes of nabbing dinner. But Adam (Jason Sutton) is no superhero. He leaves his beloved Lisa (Jennifer Faith Ward) and son Sam (Michael Campion) at the campsite. When he returns empty handed, he discovers his family has been taken. His mission is no longer wild rabbit for dinner, but rather rescuing his loved ones.

On his journey, Adam crosses paths with Fred (Joseph Gatt, whom you’ll recognize from many roles), who tells him about “Eden”, a community of good folks who are forming a new society. It’s here where we learn that the bloody handprint signs Adam has seen along the way belong to Donner, a vicious guy who was kicked out of Eden. Of course, we understand that Adam and Donner are headed for a showdown if the family has any hope of survival. Veteran character actor Tom Proctor plays Donner, and he brings all he can to a role that embodies evil … Donner is a deliciously nasty fellow.

With an ultra-low budget project, some slack must be given for production value. Kraig Swisher takes on the rare combination of screenwriter and cinematographer, and at times the dialogue could have used a jolt, while the visuals never seem to take full advantage of the Florida and Georgia filming locations. The sound mixing is entirely too noticeable at times (those footsteps), and Mr. Sutton doesn’t really have the chops yet for leading man. Mr. Gatt and Mr. Proctor certainly elevate the film during their sequences, and the soundtrack is mostly in sync with what we see on screen. Overall, there are some fine moments, though we would have preferred the scenes of peril and danger to go much deeper, along with some more incisive commentary on the likelihood that most humans would take shortcuts when things go badly (like what is currently happening).

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Posted by David Ferguson

MOSSVILLE: WHEN GREAT TREES FALL (2020, doc)

May 9, 2020

 Greetings again from the darkness. The film draws its title from both the town it studies and a Maya Angelou poem. It opens with a short excerpt from that poem; though not until we have watched documentarian Alexander Glustrom’s film do we fully understand the connection. Mossville is a rural community just outside Lake Charles, Louisiana. It was settled by free slaves in the 1800’s, and this is the story of how that history is literally being bulldozed from existence.

Mr. Glustrom makes the story personal by serving up the stories of Mossville residents Stacey Ryan and Erica Jackson, with Mr. Ryan getting the most attention since he is truly the last holdout. Holdout from what? Well that would be the massive industrial construction project of SASOL (South African Synthetic Oil Limited), which the state leaders excitedly announced would bring a $14 billion investment inside the Louisiana borders. We learn the Mossville population peaked at more than 8000, but after the SASOL land purchase, most of the community no longer exists.

Stacey Ryan is a holdout, and aerial views show the stunning transformation of the land from majestic trees and comfortable homes to acreage stripped of anything living that’s not operating heavy equipment … other than Mr. Ryan. His little plot stands out as an anomaly – a mobile home and battered pickup in the midst of a steady stream of bulldozers and dump trucks. Even after his utilities are cut off, Mr. Ryan remains. He explains that during his school days, he was referred to as “Greasy” because he was constantly working on cars. His mechanical skills allow him to rig up electrical, water, and sewer. He’s a resourceful guy fighting industrial facility encroachment.

“Fenceline community” seems to be an insufficient description of Mossville. An EDC spill … a toxic industrial accident … affected many in the area, and that’s where Erica Jackson comes in. She’s located in the “voluntary buyout” area, and explains how her family has been inordinately impacted by disease since the spill. The widespread health issues of her family and previous neighbors are addressed by an Environmental attorney, but it’s a story we’ve heard many times before. Corporate negligence and systemic racism seem to be ignored when it comes to “progress” and when capital investments are at stake. A reasonable middle ground seems possible, though that’s rarely the case.

Mr. Ryan states, “I elected to stay behind because there is no other place for me.” He has his own personal dreams for raising his son, and no one can spend this time with him and judge him as some radical or rebel … he even introduces us to the Mossville Sabretooth Squirrel! He’s simply trying to stay connected to his family roots, though deep down, he knows the days are numbered. There is no fairy tale ending, as this is the reality of a population that is outgrowing its home planet. Mr. Ryan states, “To them, I don’t exist.” This brings us back to the Maya Angelou poem: “They existed. They existed. We can be. Be and be better. For they existed.”

now streaming in Virtual Cinemas

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Posted by David Ferguson

SPACESHIP EARTH (2020, doc)

May 7, 2020

 Greetings again from the darkness. Most all of us built a terrarium for science class when we were in junior high. Did you ever fantasize about living in it? Well that’s basically what happened in 1991 when 8 scientists were sealed up in Biosphere 2, a giant terrarium built in Oracle, Arizona. Their mission was to live a self-sustained existence for two years, and this was done in the name of scientific research that might one day lead to humans living in space. It was known as Biosphere 2 since they considered Earth to be number one, and filmmaker Matt Wolf kicks off the documentary with actual news clips from that day in 1991 when the door was shut behind the eight biospherians.

After running those initial clips, Mr. Wolf immediately takes us back 25 years prior, and introduces us to The Synergists – a group of resourceful, very smart, free-thinkers who assembled in San Francisco under the charismatic leadership of John Allen. At first, it’s a little confusing why we are watching these old ‘home movies’ from what appears to be a commune, and listening to these people, now 50 years older, talking about the good old days. Of course, the backstory of these folks with nicknames like Johnny Dolphin, Flash, Salty, and Firefly turns out to be the foundation of Biosphere 2 … but not before they form Synergia Ranch in 1969 New Mexico, and then build a ship in Oakland from scrap metal in 1974. Their ship was named Heraclitus, after the Greek philosopher, and their inspiration was derived from writers Buckminster Fuller (“Spaceship Earth”), Rene Damaul (“Mount Analogue”), and William S Burroughs.

It’s understandable if your thoughts drift towards ‘cult’ or ‘commune’, but as one of them states, they were “a corporation, not a commune.” With international interests in a hotel, an art gallery, and a theatrical group, amongst other enterprises, they were able to sustain their creative pursuits … unlike the many hippies of the era numbed by drug use. Inspired by the 1972 movie SILENT RUNNING, Mr. Allen and their in-house architect Phil Hawes began working on the idea of a self-contained space colony. By 1986, design work for Biosphere 2 had begun and Ft Worth oil billionaire Ed Bass was bankrolling the project. It was a massive undertaking both from planning and construction, plus the training and selection of biospherians began in 1990.

Given today’s ‘social distancing’ due to COVID-19, it’s a bit ironic that we are looking back at a 28 year ago small group isolation in a self-contained environment. Filmmaker Wolf doesn’t shy away from the science world skeptics who, with a smidge of jealousy labeled the venture “trendy ecological entertainment.” Whatever you call it, this was an international event and drew interest from all walks of life, right up until 1993 when the biospherians walked out of the dome. In another sign of remarkable symmetry to today’s world, in 1994 Mr. Bass fired most of the original group, and put Steve Bannon (yes THE Steve Bannon) in charge of Biosphere 2. It might not surprise you that most of the scientific data and research soon disappeared.

Wolf takes us 25 years after the mission to catch up with Mr. Allen and other Synergists. The Synergia Ranch still exists and John Allen remains as energetic and idealistic as he was in the 1960’s. Biosphere 2 is now open to the public and being managed by the University of Arizona, and we still aren’t sure whether a pre-fab paradise will work in space. Wolf’s film is filled with interesting tidbits from 3 different eras, and though the early days are quite entertaining, it seems entirely too much time is devoted to the time prior to the Biosphere. And because of that, many of our questions remain unanswered as to whether the two years advanced research, or whether the effort was nothing more than a glorified publicity stunt. Either way, capturing this in documentary form allows the 1991 Biosphere 2 project to be explained to future generations … some we hope will be as innovative, and dream as big as the Synergists.

The documentary will release May 8, 2020 on Hulu, VOD, Virtual Cinemas, and participating Drive-Ins.

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Posted by David Ferguson

HOW TO BUILD A GIRL (2020)

May 7, 2020

 Greetings again from the darkness. British writer Caitlin Moran has adapted her own 2014 semi-autobiographical novel-memoir for the screen, because who better to write about the coming-of-age of a talented outcast than that talented outcast herself? Given the profusion of coming-of-age movies that hit the screen every year, it’s a welcome change when one takes a different approach. And this one does just that.

Beanie Feldstein (BOOKSMART, and Jonah Hill’s sister) stars as Johanna Morrigan, replete with British accent. Johanna is a dreamer, and as she sits in her usual spot at the library, she fantasizes about Mr. Darcy riding in to save her from this mundane life. We quickly learn that Johanna is bright, and treated as quite the misfit at school. Even her English teacher asks her to scale back her writing assignments. See, in addition to being a world class dreamer, Johanna is a very talented writer … and she sees that as her only means to escape Wolverhampton.

At home, Johanna has a “Wall of Gods” featuring photographs of her literary and historical heroes, including: Sylvia Plath (Lucy Punch), Elizabeth Taylor (Lily Allen), Bronte sisters, Sig Freud (Michael Sheen), and Maria von Trapp (Gemma Arterton). Johanna speaks to these photos, and they answer her. Johanna’s family hustles to stay just above poverty. Her dad’s (Paddy Considine) dream of rock stardom has passed, and now he breeds black market Border Collies while remaining optimistic about life. Her mother (Sarah Solemani) suffers from post-partem depression after giving birth to twins (kids number 3 and 4).

Johanna shares a small bedroom space (divided by “the Berlin wall”) with her cool brother Krissi (Laurie Kynaston). We know he’s cool, because he hangs out in the cool room at school – a room to which Johanna has never been invited. After embarrassing herself on a televised poetry reading show (hosted by Chris O’Dowd), Johanna is encouraged by brother Krissi to apply for a music critic job at a local publication. Her heartfelt submission on “Annie” the musical causes guffawing among the ultra-cool writing staff at the magazine; yet her writing skill and persistence land her a shot. It’s at this point that things change for Johanna.

An unusual interview with popular and earnest singer John Kite (Alfie Allen, brother of singer Lily Allen and son of actor Keith Allen) results in a connection and teenage crush, leading to a sappy article rejected by her employer. Given a second chance by the magazine, Johanna’s alter-ego Dolly Wilde does in fact turn wild. Her ‘bad girl’ image and mean spirited critiques of bands gain her a cult following – a type of notoriety. The pen may be mightier than the sword, but when the pen is used as a sword, the damage is severe. What follows, of course, are the inevitable hard (and painful) life lessons.

Director Coky Giedroyc has spent most of her career on TV shows, but she has a feel for this material. However, it’s mostly the no-holds-barred performance of Beanie Feldstein that makes this work – both the comedy and drama. We’ve seen the outsider with talent many times before, and because of that, expectations are a bit low going in. This time, a different twist and passionate filmmakers and actors turn this into quite an entertaining 100 minutes.

IFC Films will release the film on VOD on Friday, May 8, 2020

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Posted by David Ferguson

CLEMENTINE (2020)

May 7, 2020

 Greetings again from the darkness. A lovely opening sequence shows Karen in bed, the morning sun barely able to match the light of love emanating from inside her. We never see Karen’s lover’s face, but we hear D’s voice as the two ladies share the beginning of a day. Our next scene has Karen unable to enter the house the two shared. Ramsey the dog barks at her through the glass pane of the door that Karen’s key no longer opens. Frustrated, she hops back in her car.

We soon learn that Karen’s idea of revenge (or coping) after being dumped is to break into D’s Oregon lake house, take down a painting from over the bed, smoke some pot, drink some wine, and replay D’s voice messages. Her plan doesn’t seem to go much deeper, but it’s not long before she has met Lana, a local girl who claims to be 19 years old – though we all know she’s younger. Lana is a bit odd, though clearly attracted to Karen, herself intrigued by the unusual girl. This strange little cat and mouse game is then crashed by Beau, the handyman for D’s lake house.

The first feature from writer-director Lara Gallagher excels at keeping us off-balance, despite moving at a pace that allows the viewer plenty of time for thought and observation. Complementing the uneasiness is the score from Katy Jarzebowski, with its harsh single piano note, sometimes accompanied by violin … the sound of a horror film, though this is no Hollywood cabin in the woods. Three times we are shown the handgun in the drawer, and though it plays a significant part, it’s not in the way that our movie mind has been trained.

Otmara Marrero plays Karen, and rising star Sydney Sweeney is Lana. The two joust very well, though it’s Lana who fascinates. She’s curious of love and life, while not quite being ready. Lana is a manipulator thanks to an innocence that draws Karen in. Will Brittain (BLOW THE MAN DOWN) plays Beau in a manner of which we are never really certain – friend or foe? Finally, Sonya Walger is D. She doesn’t show up until late in the film, but she is precisely what we have envisioned.

There is an odd cadence to the film, and the performances assist with confounding us. It’s a coming of age story for two females of different ages, and we can’t help but notice that Karen has been involved in two relationships featuring the older woman/younger woman dynamic. Of course, her role reversal in the two relationships is at the core of the film. Indie band Lightning Dust contributes an outstanding song with “Antonia Jane”, and we are left thinking this is a psychological thriller without the thrills. Filmmaker Lara Gallagher has delivered a personal project reminding us that toxic relationships aren’t limited to man-woman.

Opening in Virtual Cinemas everywhere May 8, 2020

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Posted by David Ferguson

NATALIE WOOD: WHAT REMAINS BEHIND (doc, 2020)

May 4, 2020

 Greetings again from the darkness. Natasha Gregson Wagner recalls hearing that the body of her mother, actress Natalie Wood, had been found near Santa Catalina Island. It was November 21, 1981 and Natasha was 11 years old. Now she’s a producer of this documentary, as well as providing her own perspectives, and conducting some of the interviews, in particular the one with her stepfather Robert Wagner. If you are looking for a definitive answer to one of Hollywood’s unsolved mysteries, you won’t find it here (or anywhere). Instead, it’s a dive into the life and career of one of our brightest stars through the words of her friends, family, and co-workers; plus some clips, personal home movies, previously unseen photographs, and Natalie’s own words.

Natalie Woods’ on screen luminescence lasted nearly forty years, which is remarkable considering she died at age 43. It’s noted that generations (plural) watched her grow up. She delivered memorable roles at all stages of her career: as a child actor playing the Santa Claus skeptic in MIRACLE ON 34th STREET (1947); as an angsty teenager opposite James Dean in REBEL WITHOUT A CAUSE (1955), as a blossoming young woman in SPLENDOR IN THE GRASS (1961); as a 1960’s swinger in BOB AND CAROL AND TED AND ALICE (1969); and in her final role (released posthumously) in BRAINSTORM (1983). She was nominated for 3 Oscars by the time she was 25, and is also remembered as Maria in Best Picture winner WEST SIDE STORY (1961), as famed stripper Gypsy Rose Lee in GYPSY (1962), co-starring with Steve McQueen in LOVE WITH THE PROPER STRANGER (1963), co-starring with Robert Redford in THIS PROPERTY IS CONDEMNED (1966), and opposite George Segal in the comedy THE LAST MARRIED COUPLE IN AMERICA (1980).

Clearly, given the films and roles listed above, Natalie Wood was the epitome of a movie star. She was beautiful, talented, and lived a life that kept her in the fan magazines (known today as tabloids). The film is structured in an unusual manner for a biographical documentary. A loose outline would start with the personal life (husbands, kids, love interests), then move into the career, and wrap up with her death, the aftermath of her death, and the impact she had on loved ones. Of course, there are many overlaps, but the key takeaway is that this is a very personal look by those who were connected to Natalie.

Laurent Bouzereau is a documentarian who has specialized in shorts and “making of” (behind-the-scenes) projects for 25 years. He’s also an author, movie buff, and known collector of movie memorabilia. Here he delivers a nice tribute to Natalie Wood, though one gets the feeling that Natasha had much to do with the final presentation. We see her interview Daddy Gregson and Daddy Wagner, the only names she ever remembers having for her biological father, British Producer-Agent Richard Gregson, and her stepfather Robert Wagner. Gregson, afflicted with Parkinson’s disease, died in August 2019, while Wagner is now 90 years old. Both interviews are personal to Natasha, though it’s the Wagner session that packs the most emotional punch.

Even when we hear about Natalie’s film career, it seems most want to talk about how likable and talented she was. This includes interviews with Robert Redford, Richard Benjamin, Mia Farrow, George Hamilton, and Mart Crowley. Mr. Crowley was a screenwriter and close friend who died recently (March 2020), and had met Natalie on the production of SPLENDOR IN THE GRASS. So while Ms. Woods’ career is important, even more time is spent on the personal side. Natasha and her sisters recall time with Willie Mae, their nanny who was like part of the family. We also learn of Natalie and Wagner’s (aka RJ) first date on her 18th birthday, as well as their two marriages to each other – with her marriage to Gregson, and relationship with Warren Beatty nestled between.

One of the more fascinating segments comes from Natasha reading excerpts from an unpublished first-person article Natalie had written for “Ladies Home Journal” in 1966. It reads like a diary and provided Natasha and us with personal insights we couldn’t have known. Natalie’s parents were Ukrainian immigrants, although not much time is devoted to Natalie’s stage mother or the strained relationship the family now has with Natalie’s sister (and actress) Lana Wood. Instead, the focus is mostly upbeat. Plus we all came for the Wagner interview to hear him speak about the night of Natalie’s death. It’s surprisingly emotional.

Natalie’s oft-reported “fear of dark water” is hit head on, and there is even mention of her overdose and mental struggles. But this is mostly a positive recounting of her life, and owes a great deal to Manoah Bowman’s biography “Natalie Wood: Reflections on a Legendary Life.” Bowman is also a producer on the film. Natalie Wood is one whose mysterious and much too early death has overshadowed her work, and as daughter Natasha says, the person she was.

The documentary premieres on HBO Tuesday May 5, 2020

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Posted by David Ferguson

SOUTH MOUNTAIN (2020)

May 4, 2020

 Greetings again from the darkness. The grill is fired up and the beer is cold. Friends and family are gathered in the Catskills. Everything seems pretty normal until writer Edgar (Scott Cohen) sneaks off to take a “work” call in the privacy of a back room. We see the reality of his FaceTime call with his mistress Gemma (Isis Massoud), who is in full baby delivery mode. Edgar talks her through it as the midwife does her thing. The delivery and baby are so realistic that I’m fairly certain writer-director Hilary Brougher has included actual footage.

Talia Balsam stars as Edgar’s wife Lila, an artist and teacher. There is a sadness connected to Lila, and it hovers like a curse. Her initial reaction to being told that Edgar is leaving her for a new life is little more than resignation to her own life where she seems to regularly get the short end. Edgar and Lila have a teenage daughter Dara (Naian Gonzalez Norvind), and daughter Sam (Macaulee Cassady) from Edgar’s first marriage. We learn that Talia has previously endured Edgar’s wanderings, though not always gracefully. She also wonders why people are constantly leaving her – a fact of life as kids grow older.

Filmmaker Brougher counts off the days in the corner of the screen for us, and it’s helpful as time jumps a bit … although most days seem eerily similar even after Edgar leaves (he’s still around a lot). This plays out like a passive-aggressive break-up, save for one unpredictable lash-out from Lila – one that is likely a frequent fantasy of wronged spouses. Lila’s close friend Gigi (Andrus Nichols) has breast cancer and is undergoing chemotherapy, and her son Jake (Guthrie Mass) and daughter Charlotte (Violet Rea) add to the teenage angst we see from Dara and Sam. Sam’s friend Jonah (Michael Oberholtzer) has a key role as well – one that starts with sharing a sauna with Lila, and ends where you would imagine.

There is no shortage of movies or real life stories of middle-aged men starting over and “women of a certain age” are left to figure things out. Ties of a long-term marriage run deep and aren’t easily or cleanly severed; and kids, regardless of age, don’t always understand how to be supportive. Cinematographer Ethan Mass (husband to Ms. Brougher) does a terrific job with the visual landscape, as the claustrophobia of the house gives way to the stunning beauty of nature. The acting is superb throughout, and Ms. Balsam (daughter of Martin Balsam and Joyce Van Patten) excels in a rare leading role. If only the material were a bit more complex, she could be in awards consideration. Unfortunately, the restrained storytelling prevents us from connecting to Lila, despite the best efforts of Ms. Balsam. It’s clear Hilary Brougher is a filmmaker with talent, but the message that life goes on, no matter the inconveniences or heartbreaks, is just a bit too familiar and low key.

available VOD May 5, 2020

watch the trailer:

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Posted by David Ferguson

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