UNDER THE GUN (doc, 2016)

May 11, 2016

under the gun Greetings again from the darkness. Filmmaker Stephanie Soechtig and journalist Katie Couric, who brought us the 2014 documentary Fed Up about childhood obesity, re-team to deliver a “20/20” type presentation billed as a “balanced look at the gun debate”.  It’s a polarizing topic and we hear from the families of victims, experts in the field, and gun rights advocates.  Supplemented by some startling statistics, it seems incomprehensible that some common ground has yet to be found.

The opening credits play over a video timeline of gun law highlights and news clips of shooting events such as Martin Luther King, Jr, Bobby Kennedy and Ronald Reagan. It then hits us with the first mind-numbing stat … during the run time of the film, 22 people will be shot in America, and 6 will die. It’s at this point where we realize the “balanced” approach is really not likely since it’s an emotional debate as much as (or more) than an intellectual one. It’s the stricter gun law faction vs. Second amendment purists.

There is simply no comparison to the personal stories of parents who have had a child killed at Sandy Hook School in Newtown, Connecticut or at the movie theater in Aurora, Colorado. Regardless of where you stand on gun rights, these stories are heart-breaking and devastating. There is also a segment with Gabby Giffords, who is still recovering from her 2011 gunshot wounds, and along with her husband astronaut Mark Kelly, has joined the fight for gun control laws. ( sidenote: It did seem odd that Kelly’s rip of the Cub Scouts made the final cut).

Much of the film is spent on the issues of background checks and the infamous Gun Show loophole. It’s here that we begin to understand the strength of the NRA. Founded in 1871, the NRA was originally designed to fine-tune the “aim” of those wishing to shoot firearms. It is now a political powerhouse and one of the most pervasive lobbyists in Washington, DC. The film is quite fair in distinguishing between the NRA senior executives, and the rank-and-file members who are fed a steady dose of propaganda that borders on fear-mongering. Though most NRA members stand in favor of background checks to prevent felons, terrorists, and the underage from obtaining fire arms, the NRA continues to preach that ‘they are going to take away your guns’ and that ‘it takes a good guy with a gun to defeat a bad guy with a gun’.

It doesn’t seem that the filmmakers set out to change anyone’s mind on the topic, but rather to highlight the importance of some type of compromise or common ground in light of the 32,000 people who die in America from gunshots each year. And seriously, does it make sense that there are more gun stores in the U.S. than McDonalds and Starbucks combined? The most honest and direct moment of the film comes when one of the parents of a victim states, “we don’t want your sorry’s or prayers … we want your action.”

watch the trailer:

 

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Posted by David Ferguson

HARRY BENSON: SHOOT FIRST (doc, 2016)

May 8, 2016

USA Film Festival 2016

harry benson Greetings again from the darkness. There are many talented photographers, but not many that are well known. Quite a few photographers have shot famous folks, but few are famous themselves. These days we tend to think of photography as the barrage of celebrity privacy invasion shots courtesy of the paparazzi cameras. Co-writers/co-directors Justin Bare and Matthew Miele remind us … with this sturdy portrait of Harry Benson … that true photography is an admirable and respected art form.

Mr. Benson is now 86 years old and retains his heavy Scottish accent and ambitious work ethic. An illustrious career was kick-started in 1964 when he was assigned to cover The Beatles’ inaugural trip to the United States. His behind-the-scenes work included the infamous shot of the four lads blowing off a bit of stress with a hotel pillow fight in their hotel.

The film acts as a retrospective of Mr. Benson’s work, and it’s wonderful to hear him tell his own stories. Not many can claim to have been right in the middle of five decades of history, entertainment, politics and cultural events. This is a man whose work had him standing next to Bobby Kennedy in 1968 on the night he was assassinated. Elizabeth Taylor so trusted him, that she allowed him to photograph her just after her brain surgery.  World class recluse and chess champion Bobby Fischer posed for Benson, as did Muhammad Ali, Winston Churchill, Martin Luther King, Jr and Michael Jackson … to name just a few. It’s also fascinating to see his spontaneous shots of Greta Garbo swimming, and he literally went 50 plus years between photos of The Queen. His work on the front lines of Somalia is breath-taking … this from a man who has photographed the last eleven U.S. Presidents (every one since Eisenhauer).

In addition to Benson’s own recollections, the filmmakers also include observations and insight from such a diverse group as Dan Rather, Ralph Lauren, Bryant Gumbel, James L Brooks, Sharon Stone, Betty Buckley and Winston Churchill’s granddaughter. We get the impression that Mr. Benson fully comprehends his impact, but it’s his commitment to the job … to the shot … that has earned him the trust and reputation for integrity. Not everyone gets this shot …

harry benson2

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Posted by David Ferguson

THE LIBERATORS (doc, 2016)

May 8, 2016

Dallas International Film Festival 2016

liberators Greetings again from the darkness. The story of how art was treated during WWII is fascinating: Himmler devised the plan to hide/store the valuable art in a cave to protect it from the bombings (they weren’t as worried about citizens); much of it was stolen by soldiers from both sides; and the decades of effort to recover and return the displaced works. Those recovery efforts have been chronicled on screen in The Monuments Men (2014) and the far superior documentary The Rape of Europa (2008).

First time director, and Denison Texas native, Cassie Bryant narrows her focus to one specific case … the Quedinburg Treasures – a collection of medieval artifacts with tremendous religious and historical value. Her interest stems from the connection to the small town of Whitewright, Texas just outside of her hometown. In what could be described as a mixture of research, mystery and crime, Ms. Bryant follows the work of Will Korte. He has spent a career tracking down missing/stolen WWII art, and considers the Quedinburg Treasures the most important case of his career.

The film avoids the use of a narrator, and instead utilizes first person interviews and news clips. Much of this occurs in regards to the research … both Mr. Korte and those local to Whitewright, including the Meador family, friends and neighbors. The trail leads to Joe Tom Meador, and ultimately to the recovery of a substantial portion of the treasure.

When the focus shifts to the trial, the film loses a little steam, as by this time, much of the mystery has been solved. The interviews with super attorney Dick DeGuerin have some interest due to his philosophy about good people doing bad things, as well as his humorous perspective on how the case never should have gone to trial.

There is little argument in the adage that artistic relics provide much of the cultural heritage for any society or era, and this story carries an odd twist in that the motivation may never be determined so that we might classify as either the spoils of war or outright theft. It’s also dumbfounding to think that a Goodwill Store might have played a key role in the missing pieces (if one is to believe the family).

watch the trailer:

https://vimeo.com/156908676

 

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Posted by David Ferguson

PELE: BIRTH OF A LEGEND (2016)

May 7, 2016

pele Greetings again from the darkness. From rags to riches … a common expression that often leads to a paint-by-numbers movie. Co-directors Jeff Zimbalist and Michael Zimbalist are fortunate in that their “coming of age” subject is the globally famous Pele’ – often considered the greatest soccer/futbol player of all-time.

Rather than revisit the career of the transcendent player who later dedicated his life to humanitarian causes, the film kicks off with a 17 year old Pele trotting out onto the pitch at the 1958 World Cup. It then flashes back 8 years to when 9 year old “Dico” was growing up in the slums of Sao Paulo. We get to see his relationship with his family … his dad taught him to play, and his friends were loyal to him and encouraged him to pursue his dream.

There are some similarities to The Sandlot as we watch the joy these boys have in playing the sport whenever and wherever they can … plus the origin of the somewhat derogatory and now immortal nickname. It seemed that Pele’ was able to carry this love of the game throughout his career. We see boys huddled around a radio listening to the 1950 World Cup as Brazil’s team was humiliated … an event that played a role in Pele’ returning pride to a bruised country.

Kevin de Paula plays Pele’ as he works his way up through the age groups and national teams. Often the youngest and shortest player, the film depicts him as a shy kid often out of his element … the polar opposite to the beaming superstar we so often saw later in his career. There is an explanation of the roots of the “Ginga” style and its ties to the Brazilian culture and martial arts.

For some reason, Vincent D’Onofrio is cast as Brazil’s Coach Feola and we are forced to endure a tortuous accent that is basically inexcusable these days. There are also some exaggerations in the crowd scenes and shots of the press, though young de Paula underplays the lead. Colm Meaney plays George Raynor, the coach of Sweden in that infamous 1958 World Cup, and we do get a cute little cameo from Pele’ himself.

The film does a nice job with the young man’s childhood and progression towards superstar (the IOC named him the athlete of the century). He is presented as close to his family, and inherently quiet and calm. The match clips of Pele’ that play over the closing credits are proof that a movie just can’t capture the transcendence of his talent.  Pele’ is truly the reason it’s “the beautiful game”.

watch the trailer:

 

 

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Posted by David Ferguson

MA MA (Spain, 2016)

May 7, 2016

Dallas International Film Festival 2016

ma ma Greetings again from the darkness. It’s usually easy to bash the movies that go heavy on sentimentality. It’s possible that even Steve Goodman would agree that this latest from writer/director Julio Medem (Sex and Lucia, 2000) could be the outline for a perfect country song: Mama’s husband leaves her for a younger woman/student; Mama loses her teaching job; Mama gets breast cancer; Mama’s new friend experiences a life tragedy; Mama and her new friend fall in love; Mama gets more bad news; Mama gets some good and unexpected news; things don’t end well for Mama. Mix in a train, a truck and prison, and there would be no argument.

Penelope Cruz produces and stars as Magda, the titular Ma Ma whose singing gynecologist breaks the news that her breast cancer will require chemotherapy followed by a mastectomy. What follows could be called a whirlwind of tragedies involving Magda, her son Dani (Teo Plannel) and the soccer scout Arturo (Luis Tosar) and the aforementioned doctor (Asier Etxeandia).

The fine performance of Penelope Cruz keeps the film moving through the first two acts, and she is just so darn likable that we find ourselves really pulling for her. The strength and spirit of this woman has a positive influence on all who come in contact with her. She has an odd impact on the doctor who is clearly attracted to her, and they share a most awkward and unnecessary running dialogue about a young Siberian girl that he and his wife are considering adopting.

The third act quite simply pushes the film over-the-top, as it goes beyond sentimentality and into pure Lifetime channel mush. The film is probably a bit too slick and stylized, given the real struggles of battling cancer; however, the point of female strength is not lost … though the “save the nipple” and “the soul doesn’t die” discussions deliver a few eye rolls.

watch the trailer:

 

 

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Posted by David Ferguson

ORION (2016)

May 7, 2016

Dallas International Film Festival

orion2 Greetings again from the darkness. One of the things that watching so many movies has taught me is to respect the filmmaker’s vision. Because of this philosophy, I can usually find some connection … the story, a character, the setting, or the camera work. It’s rare when no part of a movie works for me, and it’s even rarer to stumble on a real clunker at the Dallas International Film Festival. Writer/director Asiel Norton’s latest drove more than a few festival goers to head for the exits within a short period of run time.

Post-apocalyptic films by nature are bleak affairs, as they attempt to show us what will happen if we human beings continue on our current path. This one takes place about 100 years after humanity is mostly wiped out. We follow The Hunter (David Arquette) as he scavenges for food in a world known as The Rust. He also deals with voices telling him that he is the chosen one … the savior of humanity … Orion.

As with so many saviors, The Hunter gets distracted from his destiny. His challenge is to rescue The Virgin (Lily Cole) from being held prisoner by Magos (Goran Kostic), a magician/mystic/shape-shifter who follows the rituals laid out in detail within an elaborately published document to which he subscribes. The only other real characters are The Fool (Maren Lord) and a newborn infant baby who is the victim of one of Magos’ cruelest acts.

All of these elements could be the foundation for an interesting project, but some serious script work was necessary before this one went to production. It seems Mr. Norton was mostly concerned with pounding viewers with his style rather than providing any real story or character development. The shaky-cam is so excessive and filled with close-up that some will undoubtedly approach nausea. The narration and religious overtones are borderline irritating, but at least there is some humor in the use of Tarot cards as chapter headers (as if there were a story) … and of course filming in Detroit and calling it The Rust.

Maybe this is what films will look like after the end of civilization. I should have waited until then to watch this one.

(I didn’t bother searching for the trailer.)

 

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Posted by David Ferguson

TOWER (doc, 2016)

May 6, 2016

Dallas International Film Festival

UT Tower3 Greetings again from the darkness. As a UT alumnus, the numbers are etched in memory. August 1, 1966. The 27th floor. 16 dead. 32 wounded. 8 months pregnant. 96 minutes. But thanks to director Keith Maitland, the story he tells is what lies behind those numbers … the innocent people involved that tragic day almost 50 years ago on the campus of the University of Texas at Austin.

A beautifully creative approach blends archival news footage, on-site live radio reports, amateur photography, rotoscopic animation, and the captivating recollections of the survivors in their own words (as read by actors). Given the use of animation, it’s more of a reconstruction than a reenactment, and it’s incredibly intense as we are transported to the day a lone gunman shattered more than the peacefulness of a sunny, hot August day in Austin. It was a day that shook the country, and caused terror, confusion and panic … and also acts of heroism.

By focusing on the victims and those who had no choice but to be involved that day, director Maitland makes little mention of the shooter (a name I won’t publish here). We hear the words of Clare Wilson, the first shooting victim who was 8 months pregnant at the time. We also hear the words of Allen Crum, the University Co-op manager, whose heroic actions helped put an end to the tragic events of the day. Of course, police officers Ray Martinez and Houston McCoy are credited with ascending 27 floors and taking down the bad guy, and it’s mesmerizing to hear their recollections of that day.

It was also fascinating to hear the replays of the on-site reporting from Neal Spelce of KTBC radio as he made his way around campus – reporting live to the nation. We also learned many details about how the police responded, how citizen vigilantes jumped in to help with their deer rifles (it is Texas after all), and how some acted so valiantly in the face of horror, while others understandably went ducking for cover. There is also the extremely moving mass assembly of quiet support as the ordeal finally ended.

Political commentary is minimal and confined to the very end as we are informed that, quite ironically, August 1, 2016 will mark the 50th anniversary of this event … and it’s also the day that the new Texas campus carry law goes into effect. There are also reminders of more recent mass shootings: Columbine, Virginia Tech, Sandy Hook, and the Aurora, Colorado movie theater.

In the post film Q&A, director Maitland addressed, what he called the disruption of public space and how it leads to various responses by ordinary people … some quite heroic and selfless. Much of the film follows the extraordinary Texas Monthly article by Pamela Colloff entitled “96 Minutes”. It’s a must read and the perfect complement to this exceptionally well made and emotional documentary (which will air on PBS later this year).

watch the extended trailer:

https://vimeo.com/88257777

 

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Posted by David Ferguson

NORMAN LEAR: JUST ANOTHER VERSION OF YOU (doc, 2016)

May 4, 2016

Dallas International Film Festival 2016

norman lear Greetings again from the darkness. Very few people have achieved the level of career success of Norman Lear. Very few people have had the impact on culture as Norman Lear. Very few people have led a life as interesting as Norman Lear. And if all of that somehow doesn’t impress you … Norman Lear is 93 years old and still working!  It’s no wonder that co-directors Heidi Ewing and Rachel Grady decided to tell his stories.

This is a man who served in WWII and flew 52 combat missions. He also purchased a copy of the U.S. Constitution so that it could tour the country and citizens could see it up close. He is regarded as the most influential TV producer ever. His roster of hit shows includes: “All in the Family”; “Maude”; “Good Times”; “The Jeffersons”; and “Mary Hartman, Mary Hartman”. These weren’t just popular or funny shows. They were ground-breaking and controversial … they changed TV and they changed society.

At one point, Mr. Lear was producer on 6 of the Top 10 shows on television. His “Good Times” series was the first to put an African-American family front and center. “Maude” was the first TV show to seriously discuss abortion, while “All in the Family” brought Archie Bunker (the great Carroll O’Connor) and the generation gap with changing societal mores right into our living rooms.

The film features a great deal of interview time with Mr. Lear, but also with others who worked with him and/or were influenced by him. The Mel Brooks and Carl Reiner segment is especially poignant, as it’s three comedy trailblazers who made such a difference in how we are entertained. At one point, Lear states “I never lost my childlike view of the world”, and he says that contributed to always having a fresh approach.

Frances Lear, the feminist activist, is the perfect life partner for Norman, and the film captures their magic. They make such an impressive team committed to their causes, yet still maintaining a solid marriage. In fact, a documentary focusing on Frances would also be quite interesting.

In the world of television programming, there is BN (Before Norman) and AN (After Norman), and the timeline is not only obvious, but also important. Norman says he worked to deliver “serious people comedy … we had something on our mind”. The proof of his influence is that he was able to inspire TV viewers to further discuss and consider the issues he found important.

 

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Posted by David Ferguson

A SONG FOR YOU: THE AUSTIN CITY LIMITS STORY (doc, 2016)

May 1, 2016

Dallas International Film Festival 2016

a song for you Greetings again from the darkness. It’s difficult to believe now, but Austin City Limits was once “the little engine that could” … and now it’s the longest running music program on television. Willie Nelson played the 1974 pilot, and the rest – as they say – is history … and continues to be history in the making.

“This is a show about music.” That simple quote from the film says a great deal. There is no place to hide on the small stage in the small studio with the audience right on top of you. These aren’t music videos, but rather these are the artists performing their songs live in an intimate setting (with the ever-present TV cameras).

Director Keith Maitland, who also presented his powerful documentary Tower at the festival, spends a great deal of time allowing producer Terry Lickona to reminisce and tell stories about how the show has always walked a fine line between success and the threat of cancellation … what’s also known as life in public television.

Much of the structure of the film is around the show’s 40th anniversary and the formulating of the initial class of the ACL Hall of Fame. As interesting as it is to listen to Mr. Lickona and ACL founder Bill Arhos, it’s the music that shines here. There are too many clips to name here, and certainly some of the choices speak to the age of the director, but the highlights include a soulful Townes Van Zandt in 1976, a spirited Lightnin’ Hopkins in 1979, Ray Charles (and a shot of my head in the crowd) in 1980, the infamous Stevie Ray Vaughn show in 1983, and the always smooth and debonair Leonard Cohen from 1989. There are also clips of The Pixies, Radiohead, Dolly Parton, Buddy Guy and, well, just too many to name … yet somehow not enough.

We also see Lyle Lovett’s show which was the final filming in the original Studio 6A, before ACL got a building/studio designed just for them (one a bit more fire code friendly). It’s a wonderful trip down Memory Lane for someone like me who spent many a night in the old studio, and for those of us who have so appreciated the straightforward approach to music that the TV show has maintained through the years.

http://www.asongforyoufilm.com/

a song for you2

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Posted by David Ferguson

FIVE NIGHTS IN MAINE (2016)

May 1, 2016

Dallas International Film Festival 2016

5 nights Greetings again from the darkness. Every young filmmaker should be so fortunate to have Dianne Wiest and David Oyelowo accept roles in their first feature film. With what appears to be little more than an outline for a script, these two top notch actors bring the weight necessary to make us care about their characters … neither being especially likable.

Written and directed by Maris Curran, it’s a story of two people working through their grief and guilt, unable to share the burden due to their inability to get past their own feelings. When a woman dies in a car crash, her husband Sherwin (David Oyelowo) and mother Lucinda (Dianne Wiest) are both devastated. Sherwin tries to drown his depression with non-stop boozing, and ultimately accepts Lucinda’s invitation to visit her in rural Maine (a long way from his home in Atlanta).

The two have never gotten along with each other, and it turns out they each had a strained relationship with the now deceased wife/daughter. What follows are some uncomfortable dinners and conversations punctuated with much awkward silence … or cruelly pointed comments from cancer-stricken Lucinda. An unusually reserved and charming Rosie Perez is at her least obnoxious in the limited role of Lucinda’s nurse (and Sherwin’s confidante).

There are few things that waste more energy than a competition over who deserves to grieve more. In fact, Lucinda has a line where she states that being a parent brings out the worst in people … in this movie, that holds true for grieving as well. These two characters are not their best selves as they struggle to come to grips with the gaping hole that now exists in their lives.

“It should have been me” is not an uncommon thought for those who have experienced the loss of a loved one … especially if they are haunted by the past. The sub-plot of the marital battle over whether to have kids becomes much easier to understand as we get to know Lucinda. As talented as Ms. Wiest and Mr. Oyelowo are, it still would have been nice to have a tighter script, and director Curran could have backed off the relentless hand-held close-ups without sacrificing the solitude and intimacy. Beyond that, she does have some good insight into the process of mourning, and how so many people hold those emotions down deep.

film website:

http://www.fivenightsinmaine.com/

 

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Posted by David Ferguson

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