THE FABELMANS (2022)

December 4, 2022

Greetings again from the darkness. For most of us movie lovers, Steven Spielberg has been at the forefront of our cinema experiences since the mid-1970s. He has won 3 Oscars (along with 20 nominations) while delivering such classics and memorable films as: JAWS (1975), CLOSE ENCOUNTERS OF THE THIRD KIND (1977), the “Indiana Jones” franchise (1981, 1984, 1989, 2008), E.T. THE EXTRA-TERRESTRIAL (1982), THE COLOR PURPLE (1985), JURRASIC PARK (1993), SCHINDLER’S LIST (1993), SAVING PRIVATE RYAN (1998), MINORITY REPORT (2002), CATCH ME IF YOU CAN (2002), LINCOLN (2012), and WEST SIDE STORY (2021). Remarkably, that’s a partial list of his films and doesn’t take into account others that he’s directed or produced, or his commitment to preserving film history. Despite (or perhaps because of) his diverse catalog of films, Spielberg always manages to find the human element while entertaining us. In fact, some have criticized him for putting too much emphasis on entertainment, as if that is somehow a problem.

As you likely know, this latest (co-written with his frequent collaborator Tony Kushner), is Spielberg’s look back at his own childhood, his family, and his early obsession with making movies. It’s a semi-autobiographical case study of the early development of one of our most influential and prolific and popular filmmakers … with some dramatic license taken for entertainment purposes, of course. Michelle Williams and Paul Dano star as Mitzi and Burt Fabelman, parents to four children, including Sam Fabelman (the stand-in for Steven). Mitzi is a former concert pianist who gave up her career to be a mom and wife, while Burt is a brilliant engineer working on the cusp of the computer age – this story begins just after WWII.

Most of us remember our first movie in a theater. This film opens with parents Mitzi and Burt taking young Sam to his first: Cecil B DeMille’s THE GREATEST SHOW ON EARTH (1952). This opening scene perfectly sets the stage. Engineer Dad details to his anxious son that movies are nothing more than lighting and still images being shown at 24 images per second, while artist mom assures him that movies are “dreams” (or as we interpret, “the stuff that dreams are made of”). It’s this contrast between mom and dad that has such an impact on Sam and the family, and we see this as they follow Burt’s career progression from New Jersey to Arizona to California. Mom encourages and supports Sam’s interest in filmmaking, while dad continually belittles it as nothing more than a hobby.

Gabriel LaBelle plays Sam as a teenager, and not only does he deliver a terrific performance, he also bears a striking resemblance to young Spielberg (the similarity startled me at first). Seth Rogen has a role as Bennie, a friend to the family – especially to Mitzi We see Sam’s struggles as a high schooler facing bullies and antisemitism for being a nerdy, non-athletic Jew, as well as the challenges he faces with his own family, and in a touching sequence, with first love. Two scenes involving non-immediate family members really stand out. Uncle Boris (an energetic Judd Hirsch) comes to visit and explains how his lion-taming is an art form that he felt compelled to pursue, and that he sees that same artistic streak in Sam … while perfectly explaining how art and family ties can tug against each other, yet the artistic pursuit must never be forsaken. Another excellent scene occurs when Sam has a short meeting with a legendary director (a memorable cameo from director David Lynch) who offers a filmmaking tip that provides the film’s final shot gag.

As strong as LaBelle is as Sam, it’s Michelle Williams who truly shines in a complex role that is easily one of the best of the year. She’s an artist who knows she’s trapped and struggles to make the best of thing. – right up until she can no longer do so. Brigning a pet monkey home is usually a good indicator that someone has reached their limit. Her depression and internal chaos lead to a break in the family, but in a way, serves to drive Sam forward in his pursuit of filmmaking. The great John Williams provides the score (of course), while cinematographer Janusz Kaminski delivers masterful images. It’s rare for an (wildly successful) artist to open up about his family, his past, and his influences. Even though each scene and line of dialogue here has Spielberg’s stamp of approval, there remains a vulnerability in pulling back the curtain for others. We do see how so much of life goes into the work of an artist, and how the pursuit of a passion may or may not lead to happiness. Spielberg proves yet again when it comes to history and legend, print the legend.

***Note: the film leads us to believe that Spielberg stayed away from working in television, but in reality, he directed quite a few TV episodes, and his first movie was a made-for-TV movie entitled, DUEL … one I highly recommend.

WATCH THE TRAILER

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Posted by David Ferguson

WEST SIDE STORY (2021)

December 6, 2021

Greetings again from the darkness. My ‘old school’ nature causes me to cringe at the thought of classic films being remade. Why mess with something that’s already beloved? However, since we know this happens (and will continue to happen), let’s at least breathe a sigh of relief that a true lover of cinema and one of our legendary filmmakers, Steven Spielberg, is responsible for this one. Teaming once again with screenwriter Tony Kushner (MUNICH, LINCOLN), the love and admiration of the 1957 stage production, its music, and the 1961 film (by Robert Wise) shine through in this beautiful presentation. It’s Spielberg’s 35th movie, yet it’s his first musical. You will note a few changes from the stage production and 60 year old movie, but the timing of a couple of songs, more realistic brawling, and additional on-location scenes all blend seamlessly into this lovely version.

Kushner’s adaption of Arthur Laurents’ original work contributes to the contemporary, yet nostalgic feeling. It maintains the “Romeo and Juliet” story of star-crossed lovers at the core of a turf battle between the Sharks (Puerto Ricans) and Jets (white immigrants), which is driven by a prejudice stirring the hatred that leads to conflict. Sound familiar? It could be taken from the local news headlines just about any day over the past few years. What also hasn’t changed is that the Sharks and Jets are so blinded by hate and pride that they can’t see how much they have in common, with the same loss looming. In fact, the point is driven home in the film’s opening. Cinematographer and two-time Oscar winner Janusz Kaminski (SCHINDLER’S LIST, SAVING PRIVATE RYAN) has his camera soaring and swooping to show us the neighborhood and ongoing demolition before zeroing in on a sign “Property Purchased by New York City for Slum Clearance”. It comes in like a wrecking ball (literally). The two factions are fighting over turf that will soon be transitioned to Lincoln Center and high dollar real estate.

Ansel Elgort stars as Tony, the former leader of the Jets attempting to find a new path for his life after spending a year in prison for nearly killing an Egyptian immigrant in a rumble. Rachel Zegler, in a remarkable silver screen debut, stars as Maria, a bright-eyed Puerto Rican who sees the upside to limitless opportunity. Early on, we get our first conflict between the rival gangs, which introduces us to Riff (a terrific Mike Faist) as the quick-tempered Jets leader so desperate to protect the neighborhood, and Bernardo (a dynamic David Alvarez), Maria’s older brother and proud leader of the Sharks – whose goal is to carve out a place in the new land as equal citizens. That first brawl gives Spielberg a chance to show off the choreography, as well as the new approach to fight scenes, which are less balletic and more bone-crunching. It’s also the first run-in with local cops, Officer Krupke (Brian d’arcy James) and Lt. Schrank (Corey Stoll), neither of whom have much empathy or respect for the two gangs.

Tony (Ansel Elgort has a physical resemblance to Richard Beymer from the original film) and Maria get their ‘eyes lock across the gymnasium during the dance’ moment that really lights the candle for the big rumble. Of course, this is one of the most famous musicals of all-time, and the songs have become iconic. Elgort is handsome and has a smooth singing voice, but it’s Ms. Zegler whose voice transcends and sounds heaven sent. If there is a negative, it’s that no one will be able to sing along with her, as she hits notes most can only dream of. Listening to her sing is reward enough. Beyond the singing, it’s the dance choreography that most recall, and although eclipsing what we saw in the original movie is beyond reach, the work of this cast will not likely disappoint anyone. The dance numbers are exhilarating and colorful. It’s energized entertainment with a message.

Ariana DeBose is outstanding as Anita, and takes the lead on “America”, one of the most inspiring and fun musical numbers ever on screen. In addition to her singing and dancing, Ms. DeBose delivers a superb performance in the role that won an historic Oscar for Rita Moreno in the 1961 film. Sixty years later, the now 89 year old Ms. Moreno appears as Valentina, the widow of Doc. She now runs Doc’s Drug Store and is acting as surrogate mother to Tony. It’s certainly no cameo, and though Ms. Moreno doesn’t have a dance number, she does get to sing “Somewhere”, and this time is on the heroic end of the rape scene. She is the connective fiber to the original film and delivers a heart-warming performance, and is a strong presence where needed.

Other key supporting roles are Chino, Maria’s would-be suitor, played by Josh Andres Rivera, and ‘Anybodys’, played by Iris Menas in a non-binary rather than tomboyish portrayal of the one skulking in the shadows. It’s no surprise that Riff and Bernardo and Anita are the heftiest roles, and all three actors nail their parts. The big (and pleasant) surprises are newcomer and future star Rachel Zegler and the return of Ms. Moreno. Zegler sings “I Feel Pretty” while working the cleaning crew at Gimbel’s, and her divine sweetness gets blown away in the finale, exhibiting an acting range that complements that voice.

The always stunning score from composer Leonard Bernstein sounds amazing as performed by the New York Philharmonic, and much of original choreographer Jerome Robbins’ work is reproduced here. It’s unfortunate that renowned lyricist Stephen Sondheim passed away mere days before the premiere, but his work lives on through new voices. “Tonight” and “Cool” both receive fresh treatments and are standouts in this version. The 1961 film won 10 Oscars, including Best Picture, and there is little doubt this remake will receive consideration in numerous categories, including Production Design and Costume Design. Spielberg opted to go with a more ethnically appropriate cast (no Natalie Wood-type in heavy make-up), and there is some Spanish dialogue without subtitles (the acting and situation keep us clear). It’s a nostalgic, yet contemporary version that may not have you singing, “Krup You!”, but will have you in awe with the story, dancing, music, acting, and story.

Opening in theaters on December 10, 2021

WATCH THE TRAILER

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Posted by David Ferguson

LINCOLN (2012)

November 19, 2012

 Greetings again from the darkness. The movie lover in me has been anxiously awaiting this one for months. On the other hand, as a citizen, the recent Presidential campaign antics put me in quite the political funk. Tired of the rhetoric and disenchanted with the current leadership, I was concerned my thoughts might poison the outlook on director Steven Spielberg‘s latest. Fortunately, both Lincoln and Lincoln allowed me to forget those in charge today, and instead witness the look and feel of true leadership and greatness.

Despite the title, this is not simply a biographical sketch of our 16th President. Rather, it’s an essay on back room politics … the key to Washington and democracy. Deal-cutting, horse-trading, arm-twisting are just some of the strategies involved in reaching compromise. When the stakes are history … abolishing slavery … the passion of those unseen actions is intensified. We see a man at the height of his power willing to do what is necessary to reach a goal in which he fervently believes – even though his views are not shared by a great many others.  Ratifying the 13th Amendment could have been quite dry in lesser hands, but Spielberg and Daniel Day-Lewis are experts at what they do.

Some of the most fun in the film occurs during the House floor debates between Republicans and Democrats. These scenes serve as a reminder that the two parties are often at philosophical odds and, just as designed, debate and discussion lead to compromise and advancement. At least that’s the general idea and purpose. Next to Daniel Day-Lewis’ performance, err, embodiment of Lincoln, the script is what really jumped out at me. Loosely based on “Team of Rivals: The Political Genius of Abraham Lincoln” by Doris Kearns Goodwin, Tony Kushner’s screenplay serves up dialogue that is sharp, crisp, entertaining, thought-provoking and filled with message. This is a very talky film, not a Civil War film. We only get a couple of brief battlefield scenes, but the conversations never allow us to forget that the brutal war is always on the mind of the politicians and citizens. Some of the theatricality teeters closely to the look and feel of a play, though it is quite effective for the ongoing politicking. I hope Kushner’s work is remembered come Oscar time … especially for the way he worked in the full text for both the Gettysburg Address and the 13th Amendment.

I’ve always held a certain fascination with Abraham Lincoln. Familiarity with with the legends, the icon, the monuments, the statues, even the automatronics at Disney World so many years ago.  It is with true awe that I recognize what Daniel Day-Lewis delivers. His presence is so powerful that I found it all but impossible to look at anything else when he was on screen. That will certainly mandate a second viewing, but I have no hesitancy in recommending a film that brings to life what a great man can be … what true leadership can be. This is a man who carries his burdens in his soul. He may have been self-educated, but in addition to Shakespeare and Euclid, Mr. Lincoln understood people. That knowledge allowed him to maintain his high principles through patience and reasoning and even (sometimes) humorous story-telling.

 We are never allowed to forget that this is a Spielberg movie. The scenes with Lincoln and Mary Todd (Sally Field) are somewhat distracting to the greater stories, but perhaps that’s the point. These discussions were distractions to him as well. In fact, Spielberg is quite kind to Mary Todd Lincoln. Other tales have not been. Either way, Ms. Field is effective, though I wish for the sake of the film, she had less screen time.

The supporting cast is a who’s who of character actors. Most won’t be named here but Tommy Lee Jones is a key player as Rep. Thaddeus Stevens, a radical abolitionist; David Strathairn as Sec of State William Steward has Lincoln’s trust; Joseph Gordon-Levitt plays Lincoln’s son; and Jackie Earle Haley plays the Confederate VP Alexander Stevens. There is also a tribunal of political lobbyists or fixers that add quite the element of dirty-politics: James Spader, John Hawkes and Tim Blake Nelson.  Appomattox is handled with class – a quick scene showing a prideful General Robert E Lee departing, and we get a couple of scenes with General Ulysses S Grant (Jared Harris).

 Lastly, the score from the great John Williams excels and compliments the mood and pace of the story … he is careful to never overwhelm. Williams is probably in line for his 48th Oscar nomination (second only to Walt Disney). Though I wish it had ended with the scene depicted at left, this is a film about political process and the people who made that process work – even at a time when everyone thought the choice had to be made between ending the war and abolishing slavery. Choose one, you can’t have both. Abraham Lincoln proved that sometimes the right man is in the right place at the right time. Unfortunately, those times come around very rarely.

SEE THIS MOVIE IF: you too want to be mesmerized by Daniel Day-Lewis as Lincoln OR you like your history lessons to be entertaining and easy on the eyes

SKIP THIS MOVIE IF: you prefer your history to come straight from the textbooks with little more than a few photographs for prosperity OR you don’t like Sally Field.  You really don’t like her.

watch the trailer:

http://www.youtube.com/watch?v=KJVuqYkI2jQ

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Posted by David Ferguson