THE PIANO LESSON (2024)

November 26, 2024

Greetings again from the darkness. Playwright August Wilson has a nice string of his stage work being adapted for the big screen. First, there was FENCES (2018), then MA RANEY’S BLACK BOTTOM (2022), and now this latest is the first feature film from writer-director Malcolm Washington (son of Denzel), with a screenplay co-written with Virgil Williams (MUDBOUND, 2017). This thoughtful allegory asks the question, when is a piano more than just a piano?

The film opens on Independence Day in 1911, and as fireworks fill the sky, a group of men steal a piano from their slave owner. We quickly jump ahead 25 years to 1936 and find Boy Willie (John David Washington, also son of Denzel) and his friend Lymon (Ray Fisher, “True Detective”) taking a wagon full of watermelons to Boy Willie’s sister house. The plan is to sell the watermelons and his sister’s piano so that Boy Willie can purchase a plot of land where his ancestors worked as slaves. It’s a simple plan that makes sense … except his sister, Berniece (Danielle Deadwyler, so good in TILL, 2022) has no intention of selling the piano, a family heirloom.

Berniece and her daughter Maretha (Skylar Aleece Smith) live in Uncle Doaker’s (a reserved Samuel L Jackson) home and the piano sits, unplayed, in the living room. Ironically, it’s Boy Willie who talks us – and Maretha – through the piano’s history, including how his grandfather had hand-carved family faces into the front. Maretha was previously clueless as her mother Berniece had chosen to carry the weight of history to herself. The more brother and sister argue, the more activity from the spirits occur – known as ‘Ghost of the Yellow Dog.”

Doaker attempts to keep the peace, while wannabe preacher Avery (Corey Hawkins, THE COLOR PURPLE, 2023) relentlessly woos Berniece. Danielle Deadwyler delivers a remarkable performance as she remains steadfast. With a polar opposite personality to brother Boy Willie, she is a picture of pride and strength, and delivers the film’s best line directed to her brother, “All you ever had going for you in life is talk.” For those who don’t appreciate the stage-to-screen adaptations, the recommendation is to focus on the storytelling, rather than the sometimes distracting staginess. It’s a terrific script and, led by Ms. Deadwyler, the acting is mostly top notch.

Available on Netflix

WATCH THE TRAILER

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Posted by David Ferguson

AMSTERDAM (2022)

October 7, 2022

Greetings again from the darkness. Sometimes no matter how hard we try to like a movie, it simply doesn’t work for us. In those instances, I typically attempt to focus on what I did like and offer an explanation of why it fell short of expectations. And it’s that word, “expectations”, that is usually the culprit. High expectations often lead to disappointment, whereas ‘low’ or ‘no’ expectations at least have a shot of ending up a pleasant surprise. So when the writer-director of SILVER LININGS PLAYBOOK (2012) and THE FIGHTER (2010) rolls out his first film in seven years, and his cast is filled with Oscar winners, Oscar nominees, and other talented actors … well, high expectations are in order. Unfortunately, so is the disappointment.

David O Russell is the filmmaker noted above, and despite some disturbing accusations made against him recently, his cinematic track record and ability to attract deep and talented casts and crews make his new project something to check out. This one is inspired by the true story of a1933 political conspiracy, and that’s where the story begins before flashing back to 1918 and ultimately returning to 1933. It’s during the flashback where we see the beginnings of the friendship between Burt Berendsen (Oscar winner Christian Bale) and Harold Woodman (John David Washington). It’s here that we also witness the presence of racism in the military during the Great War. When Burt and Harold are injured, they are cared for by nurse Valerie Voze (Margot Robbie). Harold and Valerie fall in love, and third wheel Burt joins them as a roommate in Amsterdam, where they live a blissful bohemian existence … right up until Burt returns home to his wife and Valerie vanishes.

Returning to 1933, we find Burt is a doctor experimenting with multiple medical options focused on injured war veterans, and Harold is a distinguished lawyer. Burt has a scarred face and glass eye from his war injuries, and Harold has been contacted by the daughter (Taylor Swift) of their former commanding officer (Ed Begley Jr). The daughter suspects foul play in the death of her father, who was scheduled to give a speech at an upcoming military reunion gala. Ms. Swift’s appearance is in fact swift, and leads to the murder and scandalous autopsy findings.

Going through all that happens next would be as convoluted on paper as it was on screen. There are so many characters and so many story lines and so many familiar faces that the film couldn’t possibly be expected to flow smoothly. And it doesn’t. A mention of some of the supporting cast includes standout Anya Taylor-Joy as the wife of filthy rich Tom Voze played by (Oscar winner) Rami Malek. When the murder occurs, Burt and Harold are the prime suspects of the detectives played by Matthias Schoenaerts and Alessandro Nivola. Andrea Riseborough plays Burt’s estranged and ultra-snobby wife Beatrice, while Chris Rock is another old war buddy of our wrongfully accused murder suspects. Robert DeNiro (another Oscar winner) plays General Gil Dillenbeck (who we learn is based on real life Major General Smedley Butler). Others making an appearance include: Michael Shannon and Mike Myers as American and British spies, Timothy Olyphant as an undefined henchman, Zoe Saldana as the autopsy nurse, and the always dependable Colleen Camp and Beth Grant. Now you understand what I mean by so many characters and familiar faces.

All of the actors are as strong as you would expect. Mr. Bale and Ms. Robbie go “big”, while Mr. Washington stays in a low-key mode for balance. The film has an unusual look through the camera of 3-time Oscar winning cinematographer Emmanuel Lubezki, and seems to be filled with an endless stream of close-ups shot upward at the subject’s face. It’s not a whodunnit since we see the crime happen, and instead is more of a “we must solve the case to avoid prison” – kind of a quasi-comedy caper film, only they aren’t trying to get away with anything. It’s also not quite a farce, and is a madcap with a shortage of “mad”. We see the power play between various factions that catches the unsuspecting types in the crosshairs, while raising points of fascism, antisemitism, and racism. The film meanders when it’s not downright choppy, and it often plays like a scripted series trying too hard to appear improvisational. I believe the message is the power of friendship and love wins over the lust for power, however it’s hard to know for sure. Drake as an Executive Producer adds an element of interest, but as a movie, this one mostly falls flat despite the efforts of a sterling cast.

Opens in theaters on October 7, 2022

WATCH THE TRAILER

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Posted by David Ferguson

THE OLD MAN AND THE GUN (2018)

October 4, 2018

 Greetings again from the darkness. Jim Morrison’s lyrics, “This is the end. Beautiful friend. This is the end” have been interpreted to have many meanings over the years, and they also seem just right for what is likely the final on screen performance from one of the few remaining iconic movie stars. Robert Redford claims this is probably the end of his nearly 60 year acting career. If that’s true, he couldn’t have selected a better project for his victory lap. The film itself is a nice mixture of mass appeal and the independent projects that Mr. Redford has long supported. As for the character he plays, it too fits him like a glove.

Filmmaker David Lowery (fresh off last year’s indie favorite A GHOST STORY) has adapted the story from a 2003 “New Yorker” article by David Grann, and it’s based on a true story – one that’s a bit difficult to believe … well, at least until Mr. Redford brings Forrest Tucker to life. Mr. Tucker escaped from San Quentin at age 70, and it was just one of his 16 prison escapes during a lifetime of robbing banks and getting caught. The story is that Tucker simply enjoyed the work, and went about it in the most gentlemanly possible way – often described by bank employees as polite and nice. It’s the perfect character for Redford’s trademark twinkle and grin acting style.

Most of this portion of the story takes place in 1981, and the film captures not just the era, but also the essence – something much deeper than clothes and cars. Starring alongside Mr. Redford is Sissy Spacek as Jewel, and their chemistry allows the quiet moments between their characters to work as effectively as their (sometimes) playful verbal exchanges. Tucker’s “crew” is manned by Danny Glover as Teddy, and the great Tom Waits as Walter. Waits is always fascinating to see on screen, and here he gets one especially good scene to shine. They are referred to as “The Over the Hill Gang” (in contrast to “The Hole in the Wall Gang” from Redford’s classic BUTCH CASSIDY AND THE SUNDANCE KID.

Casey Affleck (reunited with director Lowery for the third time) plays Austin Texas detective John Hunt, who spent a great deal of time chasing Tucker, and actually put the puzzle pieces together. Tika Sumpter appears as Hunt’s wife, Gene Jones is memorable as a Bank Officer, and for you Austin music lovers, Lefty Frizzell’s granddaughter makes a brief appearances. Other far too brief appearances include Isiah Whitlock, Jr, Keith Carradine (weirdly brief), Robert Longstreet, John David Washington, and Elisabeth Moss. The parade of familiar faces can be a bit distracting, but it’s understandable why so many wanted to work with Lowery and Redford.

Joe Anderson’s cinematography is terrific, and the film is oddly devoid of violence. If not mistaken, I believe we only see Tucker’s gun once … and that’s in a glove compartment. There is a certain easiness and warm fuzzy to the film, somewhat conflicting with what we would expect following an armed bank robber!

Of course, the reason we buy into the gentlemanly outlaw is the performance of Robert Redford. Charming and easy-going comes pretty easily to a man that is charming and easy-going. Director Lowery even treats us to a quick clip from young Redford’s film THE CHASE, and does so within a delightful montage of Tucker’s prison escapes. Few actors get such a perfect farewell tribute, and though it’s not quite Ted Williams hitting a home run in his final at-bat, at least Redford gets to tip his cap to the fans. Since he’s moving his career off screen, let’s bid a fond and appreciative farewell to the man that once proclaimed, “I’m better when I move”.

watch  the trailer:

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Posted by David Ferguson

BLACKKKLANSMAN (2018)

August 9, 2018

 Greetings again from the darkness. Adam Driver impersonating John David Washington or vice versa … either way is comical, except that it’s also based on a true story where their characters existed and this chain of events actually occurred. The source material is the memoir by Ron Stallworth and it’s possible, given today’s social climate, that only director Spike Lee could pull off a film that so blatantly uses racism for comedic effect, yet also reminds us of its inherent danger.

Mr. Washington (Denzel’s son) plays Ron Stallworth, Colorado Springs’ first black rookie police officer. His job interview is quite awkward and, of course, features a reference to Jackie Robinson. Quickly growing tired of his records room duty, Stallworth’s first field assignment is to infiltrate a local black activist group and report back on a Stokely Carmichael/Kwame Ture (Corey Hawkins) event. This leads to a much bigger and riskier plan of going after the KKK. Yes that’s right, no need to re-read the part about him being the first black police officer. This is the incredible story of how an African-American (with the help of his white partner) worked his way into the KKK, even speaking with David Duke on a few occasions, and ultimately prevented an attack on local black activists.

The adapted screenplay was a collaborative effort from Charlie Wachtel, David Rabinowitz, Kevin Willmott, and director Spike Lee. The film is simultaneously laugh outloud funny and provocative. The outlandish plan involves Ron Stallworth (and his white voice) being the telephone connection, and partner (and non-practicing Jew) Flip Zimmerman (Adam Driver) being the “white face” of Ron Stallworth at KKK meetings. There is extreme tension during Zimmerman’s undercover scenes, and much of the humor occurs during Stallworth’s phone conversations. Topher Grace is extremely effective as David Duke, a thankless role to say the least.

Superb support work is widespread in this film that runs 2 hour and 15 minutes. Robert John Burke plays a no-nonsense Chief Bridges; Frederick Weller is racist jackass patrolman Andy Landers; Laura Harrier is Patrice, the Angela Davis lookalike activist and love interest; Jasper Paakkonen plays skeptical and high-strung Klansman Felix; Paul Walter Hauser (I, TONYA) is the comical and unnerving Ivanhoe; and even Harry Belafonte makes a surprise big screen appearance. Other notables include Alec Baldwin (in an opening that sets the stage), Nicholas Turturro, Damaris Lewis, Ryan Eggold, Isiah Whitlock Jr, and Arthur J Nascarella. It’s a terrific and deep cast and they walk the fine line between entertainment and enlightenment. There is no shortage of Hollywood family genes and blending thanks to: Washington, Baldwin, Turturro, Buscemi, and Weller (it plays like 2 degrees of separation).

A low-budget look to the film gives it an authenticity and 1970’s vibe, and cinematographer Chayse Irvin works wonders with the camera in a multitude of situations where our attention should be on the dialogue of the characters rather than the colorfulness of set pieces. Black Ron running the show from a telephone (and a white voice) and White Ron face-first in the muck both have their burdens to bear, and much of the time, Zimmerman’s is the more interesting of the two – although as a whole, it’s an astonishing story.

Perhaps Spike Lee set out to make the polar opposite of D.W. Griffith’s 1915 most controversial film THE BIRTH OF A NATION, and he has certainly crafted one of the most effective films of his oeuvre. He also nails a few jabs at Trump and the current political climate, while the music from Terrence Blanchard perfectly complements the tone. Mr. Lee interjects some historic moments as well as some fictional ones – none more powerful than the back and forth chants of “White Power” “Black Power”. At the conclusion, Lee serves up footage of Charlottesville, reminding us that the racism that caused us chuckles over the past couple of hours, remains prevalent today … only that’s not the least bit funny.

watch the trailer:

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Posted by David Ferguson