THE PROM (2020)

December 3, 2020

 Greetings again from the darkness. The success of his TV series “Glee” and “American Horror Story” has delivered Ryan Murphy the creative freedom to explore other projects. This time out he directs the cinema version of a Tony-nominated musical, and blends star power with newcomers in an extravaganza meant to fill the gap left by the darkened stages of Broadway during the pandemic. Created by Jack Viertel, with a book and screenplay from Bob Martin and Chad Beguelin, it’s a story of homophobia and narcissism, and the battle to defeat both.

Meryl Streep stars as Dee Dee Allen, and along with James Corden as Barry Glickman, their opening night exuberance for “Eleanor! The Eleanor Roosevelt Musical” fades quickly when the reviews hit. Licking their wounds at Sardi’s, the two are told by the producer that nobody likes narcissists. Joined by chorus girl Angie Dickinson (played by Nicole Kidman) and Julliard-educated actor/bartender Trent Oliver (Andrew Rannells), they decide what’s needed to revamp their careers is a ‘cause celebre’. Thanks to Twitter trends, they locate the plight of Emma Nolan (newcomer Jo Ellen Pellman), whose Indiana High School PTA has just voted to cancel prom rather than allow Emma to bring another girl as a date.

As you would imagine, becoming an activist for the wrong reasons (publicity) can make things messy. These flamboyant city slickers aren’t exactly welcomed with open arms by Midwestern folks. Plenty of touching moments occur between Barry and Emma, Barry and Dee Dee, Angie and Emma, Dee Dee and school Principal Mr. Hawkins (Keegan-Michael Key), and mostly, Emma and her closeted girlfriend Alyssa (Ariana DeBose, who will also star in Steven Spielberg’s upcoming remake of WEST SIDE STORY). PTA leader and leading homophobe Mrs. Greene (a fiery Kerry Washington) does a nice job as a bigot and caring parent.

So while a story exists and messages are conveyed, this is, more than anything, a glitzy musical covered in primary colors as only Ryan Murphy can. Each of our main players gets a featured song, with Ms. Streep’s campy “Not About Me” a highlight, along with Ms. Kidman’s Fosse-esque “Zazz”. Mr. Corden probably gets more than his fair share of screen time, while Ms. Pellman and Ms. DeBose shine brightly in their numbers, and both possess lovely voices. Young Ms. Pellman is especially impressive holding her own on screen with Oscar winners Streep and Kidman.

There likely aren’t many gay teen rom-com musicals set in middle-America, especially ones with a Tina Louise reference, but leave it to Ryan Murphy to make it work. There is some quality humor, though it’s likely the song and dance segments are what will draw the audience. Choreographer Casey Nicholaw takes full advantage of the athletic youngsters and fills the screens with backflips and leaps – complimenting the dance moves of the stars. It’s a shame inclusivity must still be addressed, but at least it can be battled in a fun and colorful way.

Opening in theaters December 4, 2020 and on Netflix December 11, 2020

watch the trailer


DJANGO UNCHAINED (2012)

January 2, 2013

django Greetings again from the darkness. Well, after two viewings and endless analyzing, it’s time to commit thoughts to the page. Over the years, it has become very clear that a Tarantino movie generates a first reaction, and then proceeds to slither through your mind and morph into something else entirely. It would be very easy to accept this latest as an outrageous peek at slavery disguised as a spaghetti western. For most filmmakers, that would be plenty. The “whole” here is exceedingly impressive, but the real joy for cinephiles is in the bits and pieces.

One need not be a Quentin Tarantino expert to enjoy his movies, but there are a couple of things that help. First, he is at heart, a true lover of cinema and quite the film historian, showing sincere respect to the pioneers of this art form. Second, he loves to bring visibility to issues (large and small) by poking a bit of fun at the evil doers who wield unnecessary influence and control over weaker parties. Morality, vengeance, revenge and come-uppance invariably play a role in django4his story-telling … a bonus this time is the inclusion of the Brunhilde/Siegfried legend from Norse mythology and the Wagner operas.

In his two most recent films, QT has been on a kick for creative revisionist history. Inglourious Basterds made a strong statement against the Nazi’s, while this latest goes hard after slave owners. As you might expect, historical accuracy is less important to him than are the characters involved and the tales they weave. And to that point, it seems quite obvious that where in the past, Tarantino would center his attention on crackling dialogue and searing one-liners, he now offers up much more complete characterizations … these are people we understand, even if we don’t much like them.

The obvious love he has for Sergio Corbucci and Sergio Leone, the driving forces behind spaghetti westerns, is plastered on the screen. We even get the beautiful camera work through the snow as a tribute to Corbucci’s The Great Silence (1968). While this is not a remake or sequel or prequel, Franco Nero’s “I know” response to “The D is silent” generates a laugh and memories django2of a 25 year old Nero in the titular role of Django (1966). The Blaxploitation genre plays a significant role here as well since Jamie Foxx plays Django, a freed slave who buddies up with a German dentist-turned-bounty hunter, so that Django can get revenge on those responsible for the torture and mistreatment of his wife.

The details of the stories will not be exposed here, however, I would encourage you to pay close attention to the moments of film brilliance. There is a running gag with townspeople and slaves alike struggling to accept the sight of Django on a horse. You’ll laugh again when Django is offered the opportunity to pick out his own clothes and we next see Foxx in a velvet Little Lord Fauntleroy outfit straight out of The Blue Boy painting from Gainsborough. There is hilarious banter django5between Big Daddy (Don Johnson) and Betina as he tries to give guidance on how to give Django a tour of the plantation.  The phrenology sequence is not just unusual, but an incredibly tense scene and fun to watch.  Watching the final shootout reminds me of Peckinpah’s The Wild Bunch … only ten times as violent!

Some of the best moments occur when we recognize the actors in the vital foundation scenes. Don’t miss: bad guy Bruce Dern, Don Stroud (the drummer in The Buddy Holly Story) as the ill fated sheriff, Tom Wopat as a patient Marshal (“Dukes of Hazzard”), father and daughter Russ and Amber Tamblyn, Jonah Hill who struggles with the eye holes in his “bag”, the eyes of Zoe Bell, Ted Neeley (Jesus Christ Superstar), “Dexter” dad James Remar in two roles, Walton Goggins as a gunslinger, Michael Parks (multiple roles in Kill Bill and Grindhouse), and of course, Mr Tarantino himself (as an explosive cowpoke from down under).

django3 While each of these provide wonderful moments, the real bingo occurs courtesy of the main performances of Jamie Foxx (Django), Christoph Waltz (Dr King Schultz, bounty hunter), Leonardo DiCaprio (Calvin Candie, plantation owner), and Samuel L Jackson (Stephen, Candyland house slave). Any combination of these characters in any scene could be considered a highlight. It’s especially enjoyable to see DiCaprio cut loose after so many uptight characters recently. Samuel L Jackson has long been a Tarantino favorite, and his delivery as the diabolical Uncle Tom house slave who has some secrets of his own, will bring the house down when he first sees Django and, in a much darker way, when his suspicions are confirmed. Power is a big player in the story, and even as a slave, Stephen knows what to do with power when he has it. Mr. Waltz won an Oscar for his Inglourious Basterds performance, and his dialogue here is every bit as rich. It’s obvious how much Tarantino enjoys hearing his words spoken by Waltz. Foxx’ performance could be easily overlooked, but it’s actually the guts of the film. He is quiet when necessary and bold when required.

django - dj We must also discuss the soundtrack. Franco Migiacci‘s original “Django” theme is featured, as are classics and a new song from the great Ennio Morricone. If you doubt the originality of the soundtrack, try naming another western that utilizes a mash-up of James Brown and Tupac Shakur. How about a spot-on use of Jim Croce’s “I’ve Got a Name”? The film is beautifully shot by Robert Richardson, and Fred Riskin takes over for Tarantino’s long-time editor Sally Menke, who sadly passed away in 2010.

It should also be noted that the script puts hip-hop to shame by using the “N-word” more than 100 times. It is a bit disconcerting, and you can google Spike Lee’s comments if you care to read more on the topic. Otherwise, dig in to the latest gem from Tarantino and appreciate his approach and genius … either that, or stay away!

**NOTE: I have purposefully avoided the scandal associated with the film.  If you are interested in reactions from the African-American community, there is no shortage of published reports on those who support the film and those who are outraged.

watch the trailer:

http://www.youtube.com/watch?v=rC8VJ9aeB_g