I AM WOMAN (2020)

September 10, 2020

 Greetings again from the darkness. Does penning and recording a feminist anthem warrant a film biopic? Well, when the singer is Helen Reddy and the song is “I Am Woman”, the answer is a resounding yes. This is director Unjoo Moon’s first narrative feature film, and she is working with a script from Emma Jensen (MARY SHELLEY, 2017). As with any biopic, its effectiveness comes down to the lead performance. Here, Tilda Cobham-Hervey is both strong and invincible as Ms. Reddy.

We first see a wide-eyed Helen Reddy walking through New York City clutching the hand of her very young daughter Traci after arriving from Australia in 1966. She’s in pursuit of a recording contract, but instead ends up singing at a mostly empty nightclub and living in a roach-infested rundown hotel. It takes almost no time for her to experience multiple instances of sexism and chauvinism. With no prospects for a better life, Helen meets up with fellow ex-pat Lilian Roxon (Danielle Macdonald, PATTI CAKE$, 2017), a journalist who shows her the town and offers her friendship.

Lilian throws a party for Helen, and after locking eyes across the room, Helen meets Jeff Wald (Evan Peters, “American Horror Story”), an up and coming agent at William Morris. By 1968, Wald has convinced Helen that Los Angeles is the place to kick off her singing career, and along with Traci, they move into a beautiful home and fill it with typical California dreaming. Jeff’s managing career starts to build, and Helen gets frustrated at his lack of attention to her career. There are some funny comparisons of Deep Purple, Tiny Tim, and Helen’s singing styles, but finally Capitol Records gives her a shot at recording a single.

Helen’s career takes off, as does her friend Lilian’s, who becomes the ‘Mother of Rock’ with her Rock ‘n Roll Encyclopedia, and subsequent reviews and articles. In fact, Ms. Roxon deserves a biopic or documentary highlighting her influence on rock journalism. As Helen puts out hit records, her husband Jeff is managing many successful acts. Money is pouring in (and out) and in contrast to Helen’s common sense manner, Jeff partakes of drugs and alcohol to extremes. Of course, the key component of Helen’s career and the movie is in regards to her writing the title song … a song that the skeptical executives of Capitol Records said made her sound “too angry”.

It was Lilian who introduced the women’s movement to Helen, but Helen was inherently ambitious and strong-willed … it ended up being the perfect match. Reddy supported the Equal Rights Amendment (ERA), even as Phyllis Schlafly fought hard against it. Helen’s 1972 song “I Am Woman” became a huge hit, and later the anthem for a movement. But Helen Reddy’s story isn’t all rainbows and unicorns, and despite a dose of clichés, and some overacting on the part of Peters, the movie does an admirable job showing how she reacted to the challenges.

Director Moon’s husband Dion Beebe (Oscar winner for MEMOIRS OF A GEISHA, 2005) is the cinematographer, and he does nice work with the stage performances, as well as the more intimate moments. However, it’s Ms. Cobham-Hervey who stands out. I’ve only previously seen her in HOTEL MUMBAI (2018), and she captures the determination and charisma of Helen Reddy. We see her strength as she instills life lessons in her kids, and goes toe-to-toe with her husband. It’s an impressive performance.

The movie shows us Helen’s 1982 Las Vegas act, and we hear most, if not all, of her hits, “Delta Dawn”, “Leave Me Alone” (actually a pretty annoying song), “You and Me Against the World”, “Angie Baby”, and obviously, “I Am Woman”. Later, in 1989, we see a grown up Traci talk her retired mother into performing her most famous song at the Washington DC rally of the National Organization of Women. It’s quite a moment that encapsulates the empowerment that Helen Reddy devoted her life to. The movie doesn’t go there, but it’s unfortunate that Ms. Reddy has been afflicted with dementia since 2015. Like all great artists, her work will survive her.

In select theaters and VOD on September 11, 2020

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Posted by David Ferguson

GEMINI MAN (2019)

October 10, 2019

 Greetings again from the darkness. Usually after watching a movie, I spend some time thinking about the story, the performances, the visual effects, the music, the sets, the costumes, and any other piece of the puzzle that makes up that particular movie going experience. However, Oscar winning director Ang Lee’s (BROKEBACK MOUNTAIN, LIFE OF PI) new film creates a challenge. In addition to those previously mentioned factors, the ground-breaking new technology must also be addressed – both separately and in conjunction with how it works in the movie.

If you’ve seen the trailer, or even the poster, you know that there is an “old” Will Smith and a “young” Will Smith. The basic story is that Henry Brogan (old Will Smith) is a retiring DIA (Defense Intelligence Agency) assassin who is being hunted by his own government. The one doing the hunting is Junior, a “young” clone of Henry Brogan. What you may not know is that this is not accomplished through the typical de-aging process that has become so popular in Hollywood. Nope, this Junior is actually digital animation from Weta Digital in New Zealand. It’s not even really Will Smith – it’s a digital creation that looks almost identical to the Will Smith from “The Fresh Prince of Bel-Air” (1990-96), minus the wide grin and funky clothes. It’s very impressive technology, but not yet to the point where it can replace living, breathing, emoting actors. However, it’s pretty obvious that day is coming.

What’s also obvious is that this script is a mess, and despite the new generation of technology, this film seems dated … well at least the story seems that way. Darren Lemke (SHAZAM!) first published the screenplay in the mid-1990’s and it has “almost” made it to production on a few occasions. Writers David Benioff (THE KITE RUNNER) and Billy Ray (CAPTAIN PHILLIPS) are credited on this final, mostly disappointing version. The dialogue is lame and character development is non-existent. We are never provided a reason to give a hoot about old Henry. Junior is never more than a video game creation. And DIA Agent Danny Zakarweski (Mary Elizabeth Winstead) seems to be an afterthought when someone realized the film needed a female presence. Clive Owen plays Clay Verris, the mastermind/mad scientist with little more than a scowl, though Benedict Wong brings a jolt of life to his Baron role as a pilot friend of Henry.

We do get to see some of the world. The initial sequence takes us on Henry’s final mission. It’s his 72nd kill, and it occurs from a grassy knoll in Belgium through a window on a bullet train going 228 mph. Henry heads back to his isolated lake cabin in Buttermilk Sound, Georgia where his peaceful retirement lasts about 3 scenes. Soon, we are headed to Columbia for a crazy motorcycle chase, and then on to the catacombs in Budapest – an idea that provides a welcome dose of inspiration.

High-speed parkour, blurry close-up fight scenes, rooftop shootouts, and a hyper motorcycle chase through town all have an air of familiarity, which is something this type of film should strive to avoid. Rian Johnson’s LOOPER toyed with us using a young and old version of the same character, and though that was time travel and not cloning, the ideas are too similar for this one to come across as unique. Oscar winning cinematographer Dion Beebe (MEMORIES OF A GEISHA) delivers the shots – down to the crystal clear logos on beer and soda – but we never really experience the thrill that new technology should deliver. It should also be noted that no theatre in America is equipped to show this in the way Ang Lee filmed it: 4K 3D 120fps HFR format … leaving us wondering, what’s the point?

watch the trailer:

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Posted by David Ferguson

MARY POPPINS RETURNS (2018)

December 17, 2018

 Greetings again from the darkness. The 1964 classic Disney film MARY POPPINS is much beloved and has been shared across generations for more than 50 years. It won 5 Oscars on 13 nominations, and shifted Julie Andrews from a Broadway star to an international movie star, as she won the Oscar for Best Actress while becoming the ideal nanny for most every boy and girl. Rarely do reboots, remakes, or sequels to the classics make much of a dent with the movie-going public, but it’s likely director Rob Marshall’s (CHICAGO, INTO THE WOODS) film will be an exception. Marshall balances nostalgia with contemporary, and benefits from a marvelous successor to the Mary Poppins role … Emily Blunt.

The film opens in low-key fashion as we follow Jack (Lin-Manuel Miranda) through town as he performs his lamplighting duties singing the melancholic “Underneath the Lovely London Sky”. It’s actually a bit of a dry opening that may have some impatient kids wondering why their parents dragged them to see this. Soon after, we are at the familiar 17 Cherry Tree Lane – the Banks’ home – easily recognizable from the original film. We meet grown up siblings Michael (Ben Whishaw) and Jane (Emily Mortimer). Jane is a labor organizer following in her mom’s footsteps, and Michael is a struggling artist and widower raising 3 kids. He has taken a teller job at the Fidelity Fiduciary Bank where his dad (now deceased) worked, but mostly he’s an emotional wreck. In fact, the only way to save the family home from foreclosure is with proof of his father’s bank shares … something the evil new Bank President, William Weatherall Wilkins (Colin Firth), conspires to prevent.

It’s at this point that the kids’ popcorn should just about be gone, so it’s fortunate that our beloved nanny makes her timely appearance … literally floating (with practically perfect posture) into the park where Georgie (an adorable Joel Dawson) and lamplighter Jack are flying a very recognizable kite. Jack, having been an apprentice under Bert the Chimney Sweep, is quite familiar with the significance of Mary Poppins’ arrival. Back on Cherry Tree Lane, Michael and Jane are shocked to see their childhood nanny back in the house, and Michael’s two spunky twins Anabel (Pixie Davies) and John (Nathanael Saleh) aren’t sure what to make of this mysterious visitor.

Director Marshall wisely utilizes the template from the original film, so many of the subsequent sequences have a familiar and cozy feel to them. Mary Poppins’ “Off we go” kicks off a fantastical bathtub adventure and leads to the first of many smile-inducing, visually spectacular moments. A broken porcelain bowl guides us to a beautiful hand-drawn animation (from Walt Disney Studios) sequence with horse-drawn carriage, penguins, and more. Meryl Streep performs “Turning Turtle” in her topsy-turvy studio, and there is an extended (perhaps a bit too long) dance sequence featuring Jack and the other lamplighters singing “Trip a Little Light Fantastic”.

Julie Walters appears as the Banks’ housekeeper and David Warner is Admiral Boom, the Banks’ canon-firing neighbor; however it’s two cameos that will really hit home with the older viewers: Angela Landsbury (not in the original) is the balloon lady singing “Nowhere to Go but Up”, and the remarkable Dick Van Dyke (a huge part of the original) plays an elderly Mr. Dawes Jr from the bank – and even performs a dance routine atop a desk. All of the actors perform admirably, yet this is clearly Emily Blunt’s movie. She shines as the practically perfect nanny, whether debating with her umbrella, digging in her mystical baggage, filling heads with ‘stuff and nonsense’, teaching life lessons to those in need, or singing solo and with others. It’s a wonderful performance and she becomes Mary Poppins for a new generation.

Director Marshall co-wrote the story and screenplay with David Magee and John DeLuca, and they have created a worthy sequel (a quite high standard) from P.L. Travers’ original books that is delightful and a joy to watch. The group of original songs by Marc Shaiman and Scott Wittman serve the story fine, but the one downside to the film is that none of the new songs are as catchy or memorable as those of the Sherman Brothers (Richard and Robert) from 54 years ago. They won Oscars for Best Score and Song (“Chim Chim Che-ree”), and left us singing others such as “Spoon Full of Sugar”, “Let’s Go Fly a Kite” and of course, “Supercalifragilistic”. These new songs including “Can You Imagine That”, “The Place Where Lost Things Go”, “A Cover is not the Book”, “Nowhere to Go but Up” all contribute to the story and to the viewer’s enjoyment, but none leave us singing or humming as we depart the theatre.

This is film where those behind-the-scenes are crucial to its success. Oscar winning cinematographer Dion Beebe (MEMOIRS OF A GEISHA) and Editor Wyatt Smith both are at the top of their game, and Costume Designer Sandy Powell delivers stunners, not just for the singing nanny, but for all characters. The core of the story remains rediscovering the magic in life, and finding joy in each other – and this sequel also provides the adventures to match the original. It’s simultaneously familiar and fresh, which is key to a successful follow up to a beloved classic. Director Marshall has signed on to Disney’s live action THE LITTLE MERMAID, but it’s with MARY POPPINS RETURNS where he has delivered a film that is practically perfect in every way.

watch the trailer:

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Posted by David Ferguson