Tuesday, December 31, 2019
Written and Directed by Rian Johnson
***1/2 (three and a half stars)
RATED PG 13
This is one of those movies that is going to be very difficult to write about but will definitely be one that I am more than certain that you will thoroughly enjoy.
First of all, in our current age of sequels, prequels, reboots, remakes, re-imaginings and all things franchised, I am still just unable to express to you enough what it means to me to be able to see something fresh and original again. While 2019 has possessed its small share of those sorts of films, they are in increasingly short supply, meaning that the arrival of something heretofore previously unknown is all the more welcome.
And so, Writer/Director Rian Johnson, fresh from his controversial, polarizing and for me, completely triumphant "Star Wars: Episode VIII-The Last Jedi" (2017), has now returned to Earth to inject new cinematic life into the classic all-star murder mystery genre with "Knives Out," a genre that admittedly never held much interest for me. Well, leave it to Johnson to craft an enormously vibrant experience that not only possesses an instantly engaging mystery but an intense yet playful agility with toying with the genre in which the central mystery houses additional mysteries and everything is held superbly aloft by a top to bottom terrific cast of characters and Johnson's inventive storytelling.
Just in the event that there are still some of you who have not yet seen this film, I will keep the plot description to a minimum. Wealthy and famous mystery novelist Harlan Thrombey (Christopher Plummer) is celebrating his 85th birthday and has invited his family to his mansion for the festivities. By the morning after his birthday, Harlan will be found dead in his study, apparently by suicide.
Assigned to the investigation of Harlan's death is Detective Lt. Eliot (Lakeith Stanfield) and his partner (and Harlan Thrombey fan) Trooper Wagner (Noah Segan) plus a surprise visitor, the anonymously hired Private Investigator Benoit Blanc (Daniel Craig).
After a series of interviews with Harlan's family members, Blanc concludes that Harlan Thrombey death was not a suicide but a murder, which of course, leaves quite a number of suspects who include: Harlan's daughter and real estate mogul Linda Drysdale (Jamie Lee Curtis) plus her husband Richard (Don Johnson) and their spoiled, spiteful "black sheep" son Ransom (Chris Evans); Harlan's youngest son and CEO of Harlan's publishing company, Walter (Michael Shannon), Harlan's daughter-in-law and lifestyle "influencer" Joni (Toni Collette) and then, we also have the Thrombey house staff, most notably, young Marta Cabrera (Ana de Armas), Harlan's night nurse, trusted confidant and friend.
Rian Johnson's Knives Out" may on the surface seem to be another version of a dusty Agatha Christie mystery but trust me, Johnson has fully invigorated the material while clearly honoring the tone, style and tenor of what Christie's body of work has achieved. Meticulously written and directed by Johnson, beautifully photographed by Cinematographer Steve Yedlin, augmented by a stunning set design and again, filled end to end with first rate performances from the entire cast, "Knives Out" is a classic murder mystery that is also as up to the minute as the daily news as the film also serves as a morality play that could easily make this film a great part of a double bill with Bong Joon-ho's superlative "Parasite."
And really, if I say any more than that, I will certainly spoil the fun and you know I would never wish to do that for you!!!
Just please allow me once again, especially as this review is going to be the last one in 2019, to extol my extreme pleasure with being witness to a film that is untethered to any previously created material, making for one of the more unique movie experiences I have had in this cinematic year. Rian Johnson's joyously fresh approach within a most familiar genre makes the entire proceedings feel completey anew. In doing so, we are now as excited about the material and story as he and his cast obviously are and I would be hard pressed to find any viewer who feels that this cast is not having a whale of a time.
As Benoit Blanc, Daniel Craig is obviously having a blast, clearly more fun than he has had in years, especially after having to descend into intense gloom as James Bond over and again. To that end, it was just wonderful to seeing the likes of the equally intense Michael Shannon and Toni Collette have the opportunity to loosen up while also fully serve their characters as fully as we know they are able. And oh the pleasure it is to witnessing a discovery! Ana de Armas is an actress I am not familiar with whatsoever and she held the screen with her wonderfully multi-layered performance with compelling ease and charm like a longtime screen veteran!!
Honestly, dear readers, there really is not much more than I can say other than the following: It is imperative for all of us who love the movies to keep lining up to support films that do not have any pre-conceived notions and perceptions. It is a dangerous time for the movies right now as the franchises are increasingly being made and as a result are filling our theaters at the expense of every other movie that we could see also. For me, one of the greatest joys in going to the movies is when I am not really sure of what to expect at all. When the anticipation mounts and the unadulterated elation that occurs when I am just so happily surprised when a cinematic story is so superbly well told.
Rian Johnson's "Knives Out" is indeed the type of film that exists when a filmmaker of Johnson's skill is allowed to create and play and invite us into his cinematic party, making for an experience that we never may have seen coming but are just thrilled we were here to receive it.
Monday, December 30, 2019
Dear readers, I wish for you to take a little peek behind the curtain for just a moment so that you are more able to gather a sense of who I am and therefore, the reason for the significance of this posting. I am not, and have never been, a person who really exuded a large amount of confidence. I am cautious to a fault. I have always struggled with issues of self-esteem. I am tentative in my approach. I am one who is able to rationalize myself out of anything at all.
Certainly, I have made it through my life this far, to the age of nearly 51, with some level of engagement and how could I not? I don't live in fear but I am not one who could ever consider himself to being seen as "fearless." Where others would immediately take that dive off into the deep end, I am the one who would beg off, preferring to remain safely upon dry land. In many ways, I am just fine with that. But other times, I do kick myself internally, frustrated that I will always hold myself back when I could just take that risk and leap outwards.
I bring this to your attention at this time because I am thinking to those crucial moments on the early morning of December 30, 2009, as I sat in my parents' basement during a holiday visit. I was 40 years old and I had an idea of possibly, maybe beginning a blogsite where I could write film reviews. I knew what it would be called and I knew in my heart of hearts that I could do it. I knew that I possessed some aptitude with writing and having an outlet to write about the movies I saw and the films that I loved felt like the full manifestation of what I had essentially been doing inside of my head ever since I was a child.
I knew that the world had no use for even one more person writing about the movies. I knew that I would not garner worldwide attention. I knew that in the grandest scheme of things, no one would ever really care. But, I knew I wanted to do it anyway and in that purity...why not?
And yet, there was this lack of courage to deal with...and deal with...and deal with. This creature that lives inside of my brain who is always there to tell me that what I am thinking of is not worth the trouble, that it is not worthy of attention or even acknowledgement so just give up.
But then, somehow, someway, I would receive encouragement. First, from my childhood friend and classmate Margaret Pattison, who thought enough of the little reviews I had posted upon Facebook as being worthy of attention. Secondly, from childhood friend and classmate Stephanie Werhane, who told me exactly how to make the blogsite space in the first place. And so, just that level of initial encouragement pushed me to create the site, name it "Savage Cinema" and write the initial post...
...and then, it almost never happened.
I wish I could fully express to you how difficult it was for me to hit the "Publish" button on that very first posting, the one that would make Savage Cinema a real thing, a real project that existed in the world. I was terrified. What if people just hated it? The internet has long proven itself to being a viciously cruel place of senseless vitriol and regardless of how much I desired for Savage Cinema to exist as a safe, respectful corner of the internet, I had no control over what people may think or choose to say to me if they wished. And the thought of being virtually decimated was more than enough for me to forget the entire project.
I sat at the computer and stared at the "Publish" button for what felt like eons even though it was most likely only for a few minutes. And still so, so scared at potential failure, I pressed the button and Savage Cinema was officially born...and here I am, looking back at those moments, now a full 10 years later. 10. YEARS. LATER.
Dear readers, Savage Cinema is 10 years old today and it is a milestone I never in a million years ever thought would exist for me and anything I had ever involved myself with. I am feeling so many emotions as I write to you--pride, amazement, disbelief--but, please know that I am so humbled with this achievement because I owe every bit of it to you, all of you who have ever taken time out of your lives to devote to anything that I have written. With everything in the world competing for your attention, everything that is demanding of your attention, it is not lost upon me that not one of you need to utilize your energy upon me and my pursuits whatsoever.
And yet, you have and for that my gratitude is bottomless.
Because of you, I continue to write.
Because of you, I have built up my courage.
Because of you, I have created a second blogsite devoted to music entitled Synesthesia.
Because of you, I continue to push myself into being a better writer as I wish for you to not only feel the devotion I have for the movies but also for the devotion I have for the process of writing.
Because of you, Savage Cinema will have amassed 772 postings and counting, a number I never once conceived of as I sat there so frightened to even try and press that "Publish" button 10 years ago.
Because of you, I have reached 10 years of Savage Cinema.
As I continue to move forwards, I will keep my initial pledge to you exactly the same as when I began. To try and write as best as I am able. To keep this site a home that is safe and positive and to always know that whenever I have negative criticism to offer, that there is a way to be honest, unmerciful and artful---snark for snarks sake has no place here.
As I have always expressed to you, I am no film critic or historian. I am just a film enthusiast, a person who loves going to the movies and being spellbound by some cinematic story in a darkened roomful of strangers just like you. Savage Cinema is a home for me to share with you and I hope that you reach back and share with me in return. And believe me, I sincerely hope that all of you can feel my thankfulness for your friendship and support.
It is not like me to take note of an accomplishment. Yet, this time, I really needed to because looking back over these last 10 years, I can see concretely see the accomplishment.
Are you ready for the next 10 years? Let's get there together...
Thursday, December 26, 2019
Based upon the Esquire magazine article "Can You Say...Hero?" by Tom Junod
Screenplay Written by Micah Fitzerman-Blue & Noah Harpster
Directed by Marielle Heller
**** (four stars)
I have to say that I was very unsure about the purpose of making this film.
Before any of you dear readers begin to raise any sense of ire, please allow me to explain. You see, with regards to the life, work and teaching of Fred Rogers, I truly felt that as far as having a film was concerned, that feat was already beautifully achieved just one year ago with Director Morgan Neville's remarkable, enlightening and resoundingly emotional documentary "Won't You Be My Neighbor?" (2018), a film I listed near the very top upon my Top Ten Favorite Films of 2018.
When I had first read that a new film, a dramatic narrative feature film starring Tom Hanks as the beloved Mr. Rogers would be made, I was admittedly unsure. For as much as the casting felt to be perfect, I wasn't sure if we necessarily needed this film since the documentary had just arrived and truly seemed to fill that specific space. Would a film about Mr. Rogers starring Tom Hanks be remotely as effective or would it just exist as trite, Oscar bait?
With the arrival of Director Marielle Heller's "A Beautiful Day In The Neighborhood," my questions have been answered and beautifully so. Not only is Heller's film vital and resonant, therefore making its existence necessary, it is a film that works exquisitely in tandem with the documentary while also existing as its own confident cinematic experience. Beyond that, it is a gentle, deeply empathetic and quietly wonderful film that truly feels as if Fred Rogers had written it himself as it, again, feels to be conceived in the fullness of his generous spirit.
Fashioned and structured as if we are watching an episode of "Mr. Rogers' Neighborhood," Marielle Heller's "A Beautiful Day In The Neighborhood" opens just as the television program, with visions of the toy buildings, streets and cars leading into the house where Mr. Rogers (Tom Hanks) arrives and enters, singing his treasured theme song ad changing from his street clothes into more comfortable sweater and sneakers.
From this point, we are son introduced to the character of Lloyd Vogel (Matthew Rhys), an award winning journalist for Esquire magazine, who is currently in the throes of a deep internal crisis. Married to public attorney Andrea Vogel (a warmly rich Susan Kelechi Watson) and an ambivalent new Dad to their son Gavin, Lloyd, despite his good fortune, is miserable, sardonic, has slowly begun to amass a dark reputation as an embittered writer.
Lloyd reaches his critical point while attending his sister's wedding, when he is surprised by the arrival of his long estranged Father, Jerry (Chris Cooper), whose philandering and alcoholism forever damaged the family. The reunion quickly leads to a fistfight. Further attempts from Jerry to reconcile are met with intense refusal. And rapidly, Lloyd's anger, resentment and inability to forgive begins to overtake his spirit.
By either fate, design (or maybe even some divine intervention, perhaps?), Lloyd is soon instructed by Ellen, his friend and Editor (Christine Lahti) to meet, interview ans write a profile about Fred Rogers for the magazine's special celebration of real life heroes, assignment Lloyd meets with reluctance and skepticism.
And then, Lloyd meets Fred Rogers and their first brief interview tentatively leads to becoming a dialogue which then becomes a new foundation for Lloyd to begin the process of reconciling himself with his past, his present and his Father.
Marielle Heller's "A Beautiful Day In The Neighborhood" is truly a lovely, deceptively "little" film that does indeed carry quite a large reach. It is an aesthetic triumph certainly as the meticulous work from Production Designer Jade Healy, which is lovingly established via all of the miniature sets to the full recreation of the entire "Mr. Rogers' Neighborhood" television experience--from the stage sets, television studio design and of course, all of the elements within the Land Of Make Believe--is instantly recognizable, immersive and unquestionably worthy of any awards season attention.
As previously stated, Heller stages and sequences the film as if it we are watching an extended episode of the television series, from the transitions to even occasional digressions from the film's main plotline, as just like the original series, when Mr. Rogers would presents some filmed sequence of something that is clearly of interest to himself that he wishes to share with all of us. In the case of this film, we are given a sequence with a string quartet on stage, for instance. It is a sequence that does nothing to drive the story but exists as a means of allowing us a time to pause, to intake, to engage and enjoy with the inherent beauty of regarding musicians creating and Mr. Rogers, like ourselves, happily lost in the act of listening.
For all of the acknowledgments "A Beautiful Day In The Neighborhood" has already received from critics and viewers who have remarked that the kindness displayed throughout the film is a perfect antidote to the rampant venom and vitriol that is marking our societal and even spiritual decay in the 21st century, to which I agree, I think the film succeeds in also strongly feel that what Heller has achieved so beautifully is to display how much could be gained if we all honestly took the time to devote ourselves to the act of listening to one another.
Like our central figure of Fred Rogers, Heller's film is a patient, thoughtful, often very quiet film that is in no hurry and is so wisely understated, understanding that all of the drama is inherent and does not need to be pushed. Yet, as a stand-in for the audience, the character of Lloyd is absolutely perfect as a representation of what it feels like to grow and age in an increasingly anxious world while still feeling like who we once were as small children, people still so very much in need of support, guidance, empathy and just having our deepest feelings and fears acknowledged and understood by someone...anyone.
While Tom Hanks is obviously receiving all of the attention for his performance (more on that shortly), I think the star of the film is indeed Matthew Rhys, whose journey from cynic to someone more compassionate, while more than familiar, is one that unfolds in this film with such grace, gentleness and an uncanny touch of soul that speaks directly to the existential crisis that is housed inside all of us.
All of us carry our own share of baggage. All of us, at one point or another, have felt ourselves to being broken. While Heller does utilize some surreal touches to illustrate Lloyd's inner crisis, what I loved was how she, and therefore, Rhys work with quiet and silence, allowing us the time and space to engage with or inner spirit just as the character is performing for himself...and only because Mr. Rogers has taken the time and effort to engage, to listen, to feel, and to provide comfort just by being so present.
Lloyd's pregnant pauses in his conversations with Mr. Rogers are our own pregnant pauses. When Mr. Rogers asks of Lloyd to take one full minute to go into the silence of himself and think about all of the people in his life who have each contributed into making Lloyd the man that he is, Heller and Rhys perform the remarkable feat of having all sound drop away and let the film exist in pure silence and we regard the man internally taking stock of his life in real time...just as we are performing for ourselves in the audience.
As for Tom Hanks, the excellence of his performance is extends far beyond imitation, even though his interpretation is often eerie in its perfection of the real Fred Rogers' vocal mannerisms and physicality. Hanks somehow has found a way to embody Fred Rogers from the inside out, and especially strong accomplishment due partially to the iconic status of this figure and partially due to the fact that this film is not a biographical drama or necessarily even about Fred Rogers in the first place.
For as much as we witness Fred Rogers' relationship with Lloyd as one where Lloyd is the beneficiary of Rogers' kindness and counseling, Tom Hanks ensures that Fred Rogers is always presented as human while most people may view him as a saint. In doing so, we witness moments when Rogers is visibly thankful that he himself is a person who wishes to be as seen just as anyone else in the world.
I enjoyed a scene during the creation of an episode during which Mr. Rogers is planning to erect a tent, a task which ultimately proves unsuccessful and even frustrating. As his television crew questions whether he wishes to re-take the scene, Fred Rogers demurs and says that it is better to show his audience of children how sometimes things do not go as planned and how we figure out ways to overcome failure. On a larger scale, when Lloyd genuinely suggests to Rogers that being the person and public media figure he is must carry a significant burden, Fred Rogers' reaction at being seen, honestly seen is enlightening in its graciousness and gratefulness.
With Tom Hanks' performance, we witness that even as he aids Lloyd and his beloved audience of children, he subtlety illustrates that the act of being "Mr. Rogers" to the world while living life as Mr. Rogers must have taken its toll on some level, making him a figure who was always, and crucially, one of the rest of us. A person who never spoke down to anyone because, quite possibly, he was always speaking to himself along with us every single time, illustrated beautifully by Heller as she focuses her camera upon Mr. Rogers singing and puppetering out of view instead of his puppet creation Daniel Tiger during a Land Of Make Believe segment.
Marielle Heller's "A Beautiful Day In The Neighborhood" is a film that works as the gentlest and all inclusive Sunday service sermon. There is no proselytizing or any stitch of dogma. Just genuine care and concern and love for one's fellow human being, all of whom are just trying to get by day-by-day.
As evidenced in Fred Rogers' painfully, gorgeously fragile musical composition entitled "Am I A Mistake?," a sentiment that we all harbor as we try to understand our own existence, Heller's film exists not solely as a tribute to Mr. Fred Rogers, but as a work that provides us the warmest, strongest embrace and the most sympathetic set of ears in these very dark times in which we live.
Tuesday, December 24, 2019
Based upon characters and situations created by George Lucas
Story by Derek Connolly & Colin Trevorrow and Chris Terrio & J.J. Abrams
Screenplay Written by Chris Terrio & J.J. Abrams
Directed by J.J. Abrams
**** (four stars)
RATED PG 13
Enthralling, extravagant, enormously entertaining, explosive, exhilarating, excessive and exhausting, we have reached the conclusion of the story, 42 years in the making, set a long time ago in a galaxy far, far away.
I vividly remember the year 1980, the year in which I was 11 years old and was already salivating with anticipation for the release of what was then the second "Star Wars" film, "The Empire Strikes Back." It was within the corresponding TIME magazine article, written and published just before the film's release, where I (and therefore, everyone) discovered precisely what series creator George Lucas had in mind regarding the further adventures of Luke Skywalker, Princess Leia, Han Solo and their friends as they continued their battles against the Dark Lord of the Sith, Darth Vader.
The article revealed that Lucas' plans were essentially delivered within that film's opening text crawl as we would all see the words, "Episode V." At that time, George Lucas announced that his vision for "Star Wars" would consist of three different trilogies, a whopping nine films overall, and that we were (then) currently viewing the middle trilogy, with Episodes I-III focusing on the times before Luke Skywalker and Episodes VII-IX focusing on our central triumvirate at their advanced ages. That news blew my mind apart, just as it did for all of my friends, and, as I would presume, everyone of my generation whose lives were forever transformed by the original, inaugural 1977 film. It also made me perform some serious mathematics at the time because if each film took three years to make and then, there were obviously seven more films to go, then I would be...32 years old when the whole thing was said and done in the year 2001?!
It just felt so impossible, so inconceivable and still so incredible to behold, I was ready to spend my life taking this ride into this cinematic universe that had so enraptured and enveloped me from that very first film on its' opening day, no matter how long it took to play out and however old I was once the finish line had been reached.
As of this writing, I am 50 years old and the "Star Wars" saga has taken its fair share of twists and turns over these past 42 years, with all manner of stops and starts and even Lucas' self-removal from the creation of the films altogether. But, here we are, Episode IX, fully graced with the title "The Rise Of Skywalker," is finally in the world and as advertised, it is indeed the epic conclusion to the full story of the Skywalker family, which, by no small feat whatsoever, has been valiantly brought to us by Director J.J. Abrams.
"The Rise Of Skywalker" is indeed a terrific film, as it is resoundingly well made, furiously presented and in complete reverence to the universe George Lucas built. But that being said, the film is not quite as smooth of a ride as Abrams' "Star Wars: Episode VII-The Force Awakens" (2015) or Writer/Director Rian Johnson's polarizing "Star Wars: Episode VIII-The Last Jedi" (2017), which, in my opinion, absolutely soared, nearly redefining what a "Star Wars" movie could actually be.
But any struggles have got to be evident when any filmmaker has taken up the intense, immense challenge of completing a nine chapter story that they never even began in the first place. Yet, once those final end credits began to pepper the galaxy of stars, my heart was profoundly full and yes...my face was flush with tears.
"Star Wars: Episode IX-The Rise Of Skywalker" opens one year after the events of "The Last Jedi" as the decimated forces of the Resistance, still under the steady guiding hand of General Leia Organa (the late, great Carrie Fisher), are preparing to make their last ditch effort against the fascistic First Order and Supreme Leader Kylo Ren (Adam Driver).
As our heroes Finn (John Boyega), Poe Dameron (Oscar Isaac), Chewbacca (Joonas Suotamo), C-3PO (Anthony Daniels) and BB-8 gear up for what will essentially be the Resistance's last stand against galactic tyranny, Rey (Daisy Ridley), more advanced than ever in the ways of the Force will also come to the fullness of terms with her identity, history and legacy, as well as her connection with Kylo Ren.
But even greater (and not a spoiler, so do not worry), is the orchestration of all of the events by the nightmarish influence of the resurrected Emperor Palpatine (Ian McDiarmid, clearly relishing every moment), and his Final Order, which threatens to engulf the galaxy in 1000 generations of the Sith forever.
I have to say at the outset that I do not envy J.J. Abrams one bit because when conceiving of an ending, how does one even begin? I really began to house these feelings even more as I have re-watched "The Last Jedi" several times over these past two years, and what continues to strike me so powerfully about that film is its sense of completeness. Yes, there are the obvious plot threads that are left open at that film's conclusion, but what Rian Johnson grandly accomplished for me was to deliver a "Star Wars" movie that was so full, in and of itself, that by its final shot, we had a vision that encapsulated the entirety of the "Star Wars" experience so thoroughly that I literally wanted for nothing and if the films ended there, I would have been sated.
Rian Johnson's "The Last Jedi" was the singular "Star Wars" film that simultaneously honored, celebrated and most importantly, challenged its own legacy and existence, therefore, allowing whatever that followed the freedom to be potentially anything at all.
Now, we now that these films were not created in their respective vacuums, so to speak as both J.J. Abrams and Rian Johnson were aware of what each other was doing within their respective films. Even so, I can only imagine how daunting it must have been to take up the mantle to finish the entire saga, especially after Johnson's idiosyncratic definitiveness. Yet, I can also imagine that one cannot be tentative about something like this and one just needs to get to the business of the thing and make the movie. Or as Yoda once said long ago, "Do or do not. There is no try."
With "The Rise Of Skywalker," J.J. Abrams hits light speed from the film's first moments and does not let up for a solitary second. Trust me, this is not hyperbole from me. Abrams' pacing is white lightning as he propels us from one moment to another with such whiplash inducing alacrity that it is almost counter productive to the entire proceedings.
I am actually surprised that I am making this kind of an observation but there were points where I wanted him to actually slow down. Of course, the urgency of the film's plot dictates the pacing to a degree but mostly, "The Rise Of Skywalker," as least for much of its first half, felt like an orchestra of ideas, plot points, revelations, confrontations and surprises that all arrived with the same fever dream intensity and therefore, without much nuance and the result undercut its own sense of awe from time to time.
Yes, J.J. Abrams flies so fast that he nearly careens off of the rails. This film has marked, for me, the very first time that I have had the odd sensation of watching Abrams struggle as a storyteller as he throws so much at us so rapidly that at best, it carried the "we-have-so-much-to-get-through-in-just-so-much-time" effect, and at its worst, it felt like the first time a "Star Wars" movie was trying to sneak something past me through the sheer...ahem...force of its own velocity.
No matter what has ever occurred within the previous eight chapters and two stand alone features, I always have felt that, for better or for worse, George Lucas believed in his own material. That other filmmakers within this expansive saga believed in their own material. With "The Rise Of Skywalker," J.J. Abrams blinks a little, (or mistakenly allowed the voices of the fan community get in his ear) as if he doesn't quite believe the revelations he is unveiling, as the film seemed unwilling to take a moment of pause to allow its story to resonate fully.
As you can see from my personal star rating, I have awarded the film with my highest posting of four stars but as I have often expressed on this site, star ratings are arbitrary and not all four star movies are the same. In the case of this latest, final trilogy in the Skywalker saga, "The Rise Of Skywalker" falls a tad short from its two predecessors, but that being said, once the film settles and allows itself to grow quiet, to meditate within itself, to bring its core themes to their fullest fruition, man does this film RISE!!!
All of the action sequences, costumes, set designs, visual effects are the pinnacle of their dazzling wonderment. Jedi Master Composer John Williams should receive a special award celebrating the unparalleled skill and beauty to which he has told the entirety of this nine chapter saga musically, where all of his signature themes are felt within every synapse and nerve ending. But it is through J.J. Abrams' entire cast, all of whom work wonders, thus ensuring our connection to these characters remains paramount amidst all of the pyrotechnics, interstellar dogfights, shoot-outs, predicaments and escapes and most certainly, the whirlwind lightsaber duel set atop the ruins of the fallen Death Star in a howling sea storm.
Daisy Ridley has taken her three film arc in the odyssey of Rey, from desert scavenger to Jedi Knight, and has performed brilliantly, making this journey of mythological self-discovery succeed as equally as it is a story of empowerment and independence. Her determination pulsates and radiates from the screen resulting in one of the richest acting performances within the entire series. To that end, Adam Driver is molten lava! He remains as outstanding as ever as his raging internal conflict, combined with his intimidating physicality and presence, has made Kylo Ren the saga's most turbulent member of the Skywalker clan as well as its most compelling and magnetic. When he is on screen, you hardly look at anything else.
Of course, to again witness the sight of the late Carrie Fisher as General Leia Organa, who passed away in 2016 after the filming of "The Last Jedi," is fraught with a tremendous bittersweetness. In a film that already possessed considerable cinematic mountains to climb, I do give great credit to Abrams to did execute some striking movie magic through the insertion of unused footage from "The Force Awakens" in a creative, inventive and story driven fashion, allowing us to luxuriate in her gravitas and allow her a proper farewell.
And of course, I would be more than remiss if I did not express how wonderful it was to witness the smooth as the silken cosmos Billy Dee Williams in his grand return as Lando Calrissian. It appeared that he was as thrilled to be back in the cape as well as in the seat of the Millennium Falcon as we are to see him again. And in the spirit of the film's finality, just regard the strength of his performance as he wordlessly observes all around him. He captures the poignancy and poetry of the character, the fullness of the story and most importantly, our relationship to all we have seen and experienced throughout this entire journey.
In his review of "Return Of The Jedi" (1983), the late, great Roger Ebert took notice of a throwaway yet profound moment that occurs after Luke Skywalker has escaped from and vanquished the fearsome Rancor while trapped in the bowels of Jabba The Hutt's lair. It is a moment when the Rancor's keeper comes upon the creature's lifeless body and then breaks down in sobs as this was his pet. Ebert remarked that within the "Star Wars" universe, everyone loves someone.
Despite its flaws, J.J. Abrams' "The Rise Of Skywalker" is indeed a testament to the love that flows throughout the entire saga within all of the characters and it is because of that purity of heart, the notion that the act of love towards one another is the only thing that will save us from the end is a core theme and message that permeates from fantasy into our very grim realities of the 21st century.
As tyranny rises and fascism knocks louder and louder upon our doors, the film, through the Resistance and their battle against the Final Order, passionately expresses that we are only as alone as we may think. Part of what makes such evil succeed is to convince the masses that their numbers are greater than they actually are so how do we combat something that feels insurmountable?
Well...in the case of "Star Wars," all we need to do is to look at the all of the misfits, outcasts, loners and cast aways who all found each other, banded together and found the drive within themselves to become unlikely heroes, all standing upon the shoulders of each other as well as all who came before themselves. With "The Rise Of Skywalker," we have reached the culmination of this journey and it is the love that J.J. Abrams clearly holds for "Star Wars," a love that mirrors the love we hold for it ourselves and which shines as brightly and as powerfully as the most luminous lightsaber through one exquisitely presented grace note after another.
J.J. Abrams' "The Rise Of Skywalker" certainly shakes the theater walls with copious excitement and several stand up and cheer moments. But, the sheer emotion of the film is staggering as it fully earns any and all tears we may happen to shed as we experience and remember and know so completely that The Force will be with us...always.
Sunday, December 15, 2019
Story by James Frey & Lena Waithe
Screenplay Written by Lena Waithe
Directed by Melina Matsoukas
***1/2 (three and a half stars)
I have said it before upon this site, and here I am having the need to express these thoughts once again. I distinctly remember the night on July 13, 2013 when George Zimmerman was found not guilty for the murder of 17 year old Trayvon Martin on February 26, 2012. I remember seeing the verdict on television and thinking out loud...
"It is now 'Open Season' on Black people."
Again I have to express that in the time since that horrific, seemingly impossible verdict, we have seen the rise of the Black Lives Matter movement, a protest that has, in equal measures horrific and seemingly impossible, has received considerable push-back and outright derision. Police shootings, and therefore murders, of unarmed Black people, and with no sense of legal retribution have grown to levels I feel are at an epidemic, especially as these crimes against humanity have seemingly grown more bold and brazen, precisely because they are now being filmed and even still, there is no sense of justice.
And again, I have to express that gun laws have become lessened just as "Stand Your Ground" laws have only become more enforced. And just having the now routine images and news stories about White people having the police called to investigate Black people for having a barbecue, for entering their own homes, for taking a nap in a student commons area and so on, have all made me more fearful for my own safety than I have ever been in my lifetime.
My skin color and size have never been more apparent to me as I have grown more, and rightfully, paranoid with how others may perceive me without ever speaking one word to me and how they may or may not react to me upon seeing me. And again and again, I have to express that the sight of police cars as I am driving, especially at night, give me serious pause, making me wonder with fright, what would I do if I were to be pulled over. Would any moment like that be the final moments of my life? This is being Black in America, right NOW in 2019.
Yes, I felt the intense need to say those words all over again.
Tapping into this terrifying, mournful, maddening and now expected aspect of what it means to be Black in America, we arrive with Director Melina Matsoukas' "Queen & Slim," an atmospheric, meditative road movie during which our titular characters find themselves up on a date and then, the subjects of a manhunt over the course of six days in the blink of an eye. It is a sobering, somber film that is by turns crackling with energy, poetic in its pathos, and submerged in the life and pain of two African-Americans in a world they never made that has now turned its cross-hairs upon them. Beyond that, Matsoukas and Writer Lena Waithe have perceptively and wisely created a film that explores the subjective nature of prejudices and stereotypes in a deft fashion that smartly and uncomfortably involves the audience as well, forcing us to examine ourselves as we regard this doomed affair.
In a small Cleveland, Ohio restaurant, sit Queen (played by Jodie Turner-Smith) and Slim (played by Daniel Kaluuya), out on what is essentially a blind date and the date is going badly. It is an evening already fraught with mixed messages, misrepresentations, and a tension that could be considered sexual or even romantic if not for the obvious fact that the two clearly are not finding a connection.
Queen is a criminal defense attorney, who at this time is despondent due to a lost case earlier in the day, while Slim is an employee of Costco. Slim prays before eating his meal. Queen does not and appears irritated to be in the presence of something so private and possibly foreign to herself. Queen, clearly disapproving of the meager quality of the restaurant, openly questions whether the establishment was all Slim could afford, to which he replies that he chose this restaurant because "It is Black owned." Touche. Trying to work a new angle, Slim asks Queen why she decided to swipe on his photo and call him to which she replies that in his profile photo he looked "sad" and that she felt sorry for him. Ouch.
They finish eating and Slim begins to drive Queen home, a jaunt that is beginning to feel interminable and is undoubtedly not going to lead to anything remotely intimate. As the car sways in the late night traffic due to a mini-tiff between the two, Queen and Slim are soon pulled over by an antagonistic--and White--police officer, leading to an altercation that leaves the police officer dead and Queen and Slim now on the run, their lives upended forever.
Melina Matsoukas' "Queen & Slim" is an evocative, nuanced experience that combines the epic nature of the road movie with the intimacy of a relationship drama as filtered through the lens of the Black Experience. Certainly, comparisons to Arthur Penn's "Bonnie and Clyde" (1967) will be made by viewers as well as some of the characters in the film itself. But for me, Matsoukas created an experience that is more in line with Dennis Hopper's "Easy Rider" (1969) and definitely Ridley Scott and Writer Callie Khouri's now iconic "Thelma & Louise" (1991), films where outsiders, disenfranchised and the discriminated find themselves all on the wrong end of America's malevolence and all to a tragic effect.
The tragedy of Melina Matsoukas' "Queen & Slim" does not arrive through any sense of conceptual unpredictability. The tragedy arrives in real-as-life inevitability. It would not prove itself to be any sort of a spoiler to suggest that the film concludes with grim inevitability, for any one of you who has been paying any attention whatsoever to the social/political/cultural/racial events of our modern times, the outcome of Queen and Slim's journey is as brutally obvious as it is honest.
In fact, what Matsoukas has accomplished is presenting yet one more impassioned film that is effectively designed for the Black Lives Matter era, a film that walks cinematic hand in hand with Ryan Coogler's "Fruitvale Station" (2013) and George Tillman Jr.'s "The Hate U Give" (2018), as they each are the screams of the Black community to the nation at large that we are human beings deserving of living life as much as our White counterparts.
To that end, Matsoukas' film works powerfully alongside Steve McQueen's "12 Years A Slave" (2013) and even Damon Lindelof and HBO's shockingly outstanding "Watchmen" television series. She and Waithe depict precisely that for Black people in America, even in the 21st century, we are never as free as we think or as free as we wish ourselves to being as our lives can change in a split second for no other reason than for the color of our skin and the ignorance, fear, prejudices of those who project their demons onto us as well as a social/political infrastructure that is purposefully designed against us.
At its core, I feel that "Queen & Slim" is an exploration of perceptions and the subjectivity that allows us to place a certain significance upon individuals when they could possibly be the furthest from the truth...and at times, without any conceivable knowledge of the truth. Just take the film's opening sequence at the diner. Lena Waithe's screenplay writing is never more riveting and brilliant than in that first scene when every line of dialogue is a firecracker that blows up any pre-conceived perceptions both Queen and Slim have towards each other.
Certainly, as they are pulled over, the perceptions of fear and racism from the police officer's vantage point are obviously the engine driving the confrontation. As the twosome go on the run and their story via the police officer's dash camera which recorded the altercation hits the media, everyone that views the footage is then able to dream up their own individualized perceptions and misconceptions about Queen and Slim, neither of whom are outlaws by an stretch of the imagination. But only we in the audience know that to be a fact. Yet, even so, we, sitting comfortably in our movie theater seats are not let off of the hook as we do not even learn of these two characters' real name until the film's final moments, showing us how little we all knew of these two human beings relentlessly hunted down like game.
Matsoukas and Waithe continue this conceptual thread throughout the Queen and Slim's odyssey via the characters they meet along the way, from a mechanic, a teenager, the intensely complicated existence of Black police officers when played against White police officers and the African-American community to a White couple (played by Chloe Sevigny and, surprise, surprise, Flea of Red Hot Chili Peppers) in Florida to whom the twosome are directed for sanctuary.
For me, the most compelling figure was of Queen's Uncle Earl (played by a superbly magnetic Bokeem Woodbine), an Iraq war veteran suffering from PTSD, who is now living in a small New Orleans home now living out his existence as a pimp. This character was one deserving of his own feature film as richly conceived as he was in a few brief scenes. On sight, we have formulated a perception and then we are challenged as we learn more and more of his backstory, as it plays out with his conflicted relationships with the women in his life, while he also provides Queen and Slim with crucial aid on their escape.
And through everything we experience, so richly through Matsoukas' direction, Waithe's strong script, as well as Cinematographer Tat Radcliffe's stunning visuals (I swear every time the color blue appeared, I felt chills of impending doom) and the diverse and exquisitely curated collection of songs that provide's our titular characters with their musical voices, the performances of Daniel Kaluuya and Jodie Turner-Smith hold us powerfully as through them, we see the humanity that the world refuses to acknowledge.
When will the world acknowledge our humanity? This is the plea of Melina Matsoukas' "Queen & Slim," where the only moment of freedom arrives in the rush of the breeze upon the skin through a open car window in a world where freedom should exist within every moment we take a breath.
Monday, December 2, 2019
Based upon the novel Caging Skies by Christine Leunens
Written and Directed by Taika Waititi
***1/2 (three and a half stars)
RATED PG 13
It always fascinates me to contemplate what the world looks like through the eyes, mind and spirit of a child, especially a world that exists in turmoil. If one were able to purchase a ticket to take a ride through that child's mind and perceptions, how would we find the same visual/societal information that we witness as adults to be interpreted, and therefore, experienced?
That very thought played often through my mind as I screened "Jojo Rabbit," the new film from Writer/Director Taika Waititi, his self-described "anti-hate satire," and what a satire it is. Yes, the film is audacious and fully irreverent in its conception but truth be told, Waititi, did not preset a satire of say, the Stanley Kubrick sense, that devastating cold, and even nihilistic, brick-through-the-window satire. Waititi's film is far gentler in its execution, its sense of moral outrage firmly intact yet quieter in its voicing.
That said, this does not suggest that what Waititi has achieved is anything remotely toothless considering its subject matter. On the contrary, "Jojo Rabbit" is discomforting in its surreal almost hallucinogenic quality but fittingly so as we are indeed viewing World War II, most specifically, Nazi-ism, from a child's eye level. But it is that very strange quality that allows the film to achieve its surprisingly powerful aura of humanity. Taika Waititi's "Jojo Rabbit" is unquestionably one of 2019's most unique, singular films and it is also one of the year's most poignant and poetic.
Set in Nazi Germany near the end of World War II, Taika Waititi's "Jojo Rabbit" stars a wonderful Roman Griffin Davis as Johannes "Jojo" Betzler, a jingoistic 10 year old and aspiring member of the Hitler Youth who lives with his Mother, Rosie (Scarlett Johansson, in one of her warmest performances in years). Jojo's Father, a soldier has gone missing while his sister Inge has recently passed away due to complications from influenza.
Desperate to join Hitler's army, Jojo enrolls into a Hitler youth training camp run by the one-eyed, alcoholic Captain Klenzendorf (the always engaging Sam Rockwell) and Fraulein Rahm (Rebel Wilson, in just the right small doses), yet discovers that he lacks that merciless killer instinct, as evidenced by his inability to murder a rabbit, an event with makes him the target of teasing by his peers thus earning him the nickname contained in the film's title. Furthermore, an accident with a misfired grenade leaves him with facial scars, a slight limp and a lengthy convalescence at home, leaving him lonelier and more isolated than ever.
Jojo's life is irrevocably altered on the day he is shocked by the presence of Elsa Korr (a terrific Thomasin McKenzie), a teenage Jewish girl, as well as a former classmate of Jojo's now deceased sister, hidden within their home by Rosie. The relationship that ensues between Elsa and Jojo, forces the aspiring Nazi to face down his prejudices, all of which have been taught to him by the environment in which he exists, in addition to his growing romantic feelings towards Elsa.
And even then, there is the on-going guiding presence of his imaginary friend, a ridiculous, child-like version of Adolf Hitler himself (played by Taika Waititi).
To a degree, I would not be surprised if there are some of you who are wondering just why do we even need a film like this, especially in the 21st century. That thought certainly crossed my mind here and there before seeing the film. Honestly, do we really have to explicitly state that Nazis are bad in 2019?! I wish that we did not have to but unfortunately, we do not happen to live in that world, and stories that extol the virtues of humanity and tolerance are essentially more urgently needed than ever.
With Taika Waititi's "Jojo Rabbit," we do indeed have yet another parable that explores the world of intolerance, racism and fascism but it is one that is unapologetically absurd. That being said, please allow me to assure you that for all of the humor, which ranges from a certain Monty Python-esque style from physical comedy to playful uses of language ("Heil me!!" the insecure, imaginary Adolf pleads to Jojo at one point), a mischievously frolicsome visual aesthetic, the usage of The Beatles' German version of "I Wanna Hold Your Hand" to rapturously open the film, plus the variety of performances, including the completely endearing work by young Archie Yates as Jojo's chubby, bespectacled Hitler Youth buddy Yorki, whose shared conversations with Jojo suggest a certain "Welcome To The Third Reich, Charlie Brown!!" quality, Waititi never at any moment treats the Holocaust as a joke.
While some may fear it to be, and others may debate its intentions, I never found "Jojo Rabbit" to be distasteful or disrespectful. It is also not presented as a one-joke movie or something akin to some misguided newfangled version of "Hogan's Heroes." Taika Waititi utilizes the humor, again the overall gentle satire, to examine the means of prejudice through the multi-fated, multi-layered lens of viewing the world through the eyes of an impressionable, and therefore traumatized, 10 year old boy. And while being asked to sympathize with a child who wishes to be a Nazi may be too much to ask conceptually, Waititi's sense of empathy is enormous, somehow, almost magically allowing us to view the child first and foremost as a child and not through the evils of a swastika, a technique which does indeed make "Jojo Rabbit" quite a bit of a high wire act, a feat Waititi succeeds miraculously.
Again, please allow me to assure you that Taika Waititi's "Jojo Rabbit" is not, in any way, shape or form, asking of us to see the ruthlessly irresponsible "good people on both sides" argument regarding Civil Rights protesters and 21st century Nazis as uttered by a certain orange tinted reality TV show personality now occupying The White House. But, what Waititi is doing via Jojo is to provide a series of moral quandaries for his young character to experience and wrestle with, while also asking of us to do the same as we explore the shared humanity of every character.
Once the presence of Elsa is revealed in Jojo's home, he is immediately faced with the moral question of whether to turn her over to the Gestapo, for if he does, he will then place his Mother in grave danger because she was the one to hide Elsa in the first place. If he continues to covertly hide Elsa, then his own life, plus the lives of Elsa and his Mother are in danger. Jojo is forced to confront the sheer idiocy of his prejudices against Jews as he is slowly falling in love with Elsa, which even then presents additional moral questions regarding how to treat the one you love with regards to honesty and jealousy.
As Jojo, Roman Griffin Davis is skilled beyond his years as he is required to exude a emotional, psychological and moral depth at the exact point where every perception and belief he ever held is being challenged and ultimately altered forever. Davis beautifully showcases all of the layers of Jojo with tremendous innocence and pathos. As Elsa, Thomasin McKenzie is a superb equal to Davis, as she elicits a strength and terror, which deftly slides from the brightness of romantic comedy to the inherent horror of her life and predicament as she hides in Jojo's home. Their relationship, combined with Waititi's delivery makes "Jojo Rabbit" feel like the midway point between Charlie Chaplin's iconic "The Great Dictator" (1940) and the youthful romance dreamworld of Wes Anderson's "Moonrise Kingdom" (2012).
"Jojo Rabbit" is indeed a coming-of-age film and by viewing the world of Nazi Germany through the perspective of the 10 year old Jojo, Taika Waititi allows his film to posses an almost storybook pastiche, again, an approach that some may question seriously but I feel worked tremendously due to the eyes through which we are viewing the film. Certainly, Waititi is not making a figure like Adolf Hitler a joke by having him exist as Jojo's imaginary friend. On the contrary, it only makes sense that Hitler would be viewed as an imaginary Father figure in the Fatherland, especially as Jojo has no Father of his own to depend upon. And to this particular 10 year old boy, what else would an imagined Hitler be but an extension of his own 10 year old perceptions of the world? And once those perceptions are challenged, then that imaginary friend becomes threatened as Jojo's worldview begins to broaden, change and even upended.
Granted, there are points during which I felt my own perceptions being upended as I did find myself struggling a bit with the demands of the story, which does essentially include a large cast of characters that are all working within aspects of the Nazi party, so why should I harbor any empathy towards them? Well...while you are not exactly having to find empathy for characters who represent people who committed crimes against humanity, Taika Waititi does indeed allow us to witness the empathy they possess towards each other, for even those who commit genocide love someone themselves.
This technique reminded quite a bit of Spike Lee's exemplary "BlacKKKlansman" (2018), a film that could have easily taken the obvious route and just presented the characters within the Ku Klux Klan, as well as David Duke him self as cartoonish caricatures of evil. Yet, what Spike Lee achieved was for us to view even the KKK as human beings, people who have friends, families, confidants and lovers just like you and me. Waititi's "Jojo Rabbit" accomplishes the same feat as we witness the relationships held by the film's characters and even striking acts of humanity, the final moments between Jojo and Sam Rockwell's Captain Klenzendorf are especially moving.
Taika Waititi has quickly announced himself as a cinematic artist to keep a sharp eye upon. To think that he could go from fully revamping the God of Thunder himself into the frisky, feisty, rainbow colored wonderland of "Thor: Ragnarok" (2017) to the rich and risk talking, fully idiosyncratic film such as "Jojo Rabbit" with such style, confidence and grace. And for all of the dynamic comedy on display, it is that very grace that anchors the film so urgently and with tremendously bittersweet sorrow.
For how else could a world of such unspeakable tragedy look to the eyes of a sad 10 year old boy who wishes to be a Nazi but is still unable to successfully navigate tying his own shoes?
Sunday, December 1, 2019
My love of the movies. Or better yet, my discovery of the movies as an art form that could transform and transport a viewer arrived to me in fullness at the age of 8 in 1977 when I saw George Lucas' "Star Wars" on its opening day, all all with endless, bottomless gratitude to my Dad, who took my family to see the movie because he was the one whose curiosity was tickled regarding the then new "space opera" set a long time ago in a galaxy far, far away. And now, after 42 years, the story that first engaged, enthralled and inspired me is coming to a close.
Now...while this film does not even arrive until just before Christmas, there are several late November releases that I haven't even seen yet and still wish to. Furthermore, I am certain that many releases, technically scheduled to arrive this month, may not see wide releases until January 2020. So, things might go a bit wobbly and yes, this again means I will not compile a "Best of 2019" list until perhaps late January, which then means my Savage Cinema Time Capsule series during which I will reveal my favorite films from the decade of 2010-2019 will only arrive afterwards as well.
Even so, I am more than curious to see the following selections...
Sam Mendes' "1917" does not open widely until January 2020, I am certain. But that does not mean that I am not just salivating over witnessing an experience that is already garnering an enormously enthusiastic response.
OK...as it has been throughout this year, the month could very easily be interrupted by all manner of life. But, that being said, please do send me your well wishes and I will again see you when the house lights go down!!!
Sunday, November 17, 2019
Story by Gregory Allen Howard
Screenplay Written by Gregory Allen Howard and Kasi Lemmons
Directed by Kasi Lemmons
*** (three stars)
RATED PG 13
Special thanks to my Mom, Mrs. Aretha Collins, for saying the very words that have become the title of this review
I am reminded of a time during childhood when I would watch Chicago's channel 44, anxiously awaiting the (barely) animated but entirely enveloping adventures of the Marvel Comics superheroes, an d enduring the downright endless installments of "The 700 Club," when on occasion I would be intrigued by commercials advertising Bible stories reformatted into comic books.
While I was not necessarily interested in reading Bible stories, comic books were comic books and perhaps, the stories that completely eluded me during church would somehow become more tangible if presented within a context that I did understand. Needless to say, my Mother refused to indulge this interest, feeling that the comic book treatment would only trivialize, and therefore, undermine what she believes to be the Word Of God.
And so it is very interesting that this memory arrived to me as I watched Director Kasi Lemmons' "Harriet," her biopic of the slave turned abolitionist freedom fighter Harriet Tubman. While an undeniably effective film, it is also an oddly shallow one as well, especially considering the subject matter, from the titular figure to the time period and American history through which she existed and ultimately shaped.
One would think (or at least I did) that any film about Harriet Tubman would be the sort of Oscar worthy (or more cynical viewers might brand as "Oscar bait") experience that would play as more lavish, stately, and epic...essentially the type of film that a historical figure and hero like Harriet Tubman would deserve. Yet, what Lemmons delivered is a film experience that oddly enough speaks more to the dominant cinematic language and landscape of the day: the superhero movie, and I have to admit, this approach simultaneously confused me while it also intrigued.
Kasi Lemmons' "Harriet" stars Cynthia Erivo as our legendary heroine, but beginning her story in 1848 Buckton, Maryland while as a slave named Minty. As the film opens, Minty, alongside her emancipated husband John Tubman (Zakary Momoh) approach slave/plantation master Edward Brodess (Michael Marunde) to request permission to begin a family and that any children would be born free. Not only is that request vehemently denied, plans have been made to sell Minty to another plantation owner thus separating her from her husband plus her brothers Henry and Robert (played by Antonio J. Bell and Joseph Lee Anderson, respectively), her sister Rachel (Deborah Ayorinde) and parents Rit and Ben Ross (played by Vanessa Bell Calloway and Clarke Peters).
Fueled by an unshakable resolve and refusal to be ripped away from her family and further enslaved and armed with an equally unshakable spiritual faith with God, which is revealed to her through hallucinations/premonitions brought on by her frequent fainting spells (created by a brutal head injury inflicted upon her as a child by a slave owner), Minty makes her escape from the plantation deep into the night.
Although she is relentlessly pursued and nearly captured by Edward Burgess' son, slave master Gideon Burgess (Joe Alwyn), Minty valiantly leaps into the rivers as a last ditch effort and soon finds herself, after washing ashore and then making a 100 ft journey, in Philadelphia, where she meets abolitionists William Still (Leslie Odom Jr.), the wealthy Marie Buchanon (Janelle Monae), the organizers and "conductors" of the Underground Railroad Network and fin ally re-christens herself as a self-emancipated woman with the name Harriet Tubman.
Invigorated by her newfound freedom and emboldened by her refusal to be enslaved again combined with her determination to free her family, Harriet Tubman doggedly returns to Maryland over and over again to rescue and further emancipate the slaves, thus crippling the slave owners' businesses and further enraging Gideon, whose clutches she continuously evades, thus earning her the nickname of "Moses The Slave Stealer."
Stakes are raised further with the U.S. Congress' passing of the Fugitive Slave Law of 1850 which forces the Underground Railroad's re-location into Canada, making Harriet Tubman's rescue missions that much more perilous, and now with the deadly (and traitorous Black man) bounty hunter Bigger Long (Omar Dorsey) in cahoots with Gideon, feverishly on her trail. Yet, with each success, Harriet Tubman grows more intrepid, more fearless, bolder, braver and wholly uncompromising in her determination to live free or die.
Kasi Lemmons' "Harriet" is undeniably a gloriously presented production augmented by the always luscious visual palate from veteran Cinematographer John Toll as well as a rich, lustrous score from Composer Terence Blanchard. All of the film's performances are first rate and indeed beautifully anchored by Cynthia Erivo's measured, mournful fury. It is unquestionably an effective film, one that contains a certain power but for some reason throughout, I felt that there was something about the proceedings that felt to be a tad...off.
Again, perhaps as I thought about the possibilities of what a biopic film centered around Harriet Tubman could be, I was imagining something that did possess a certain emotional complexity that Lemmons film actually did not contain. There was something that felt to be more than a little simple or basic or so direct in its straightforwardness, that there was not any room for anything to delve underneath the surface of the plot...and for that matter, the film didn't seem to be remotely interested in delving into any deep waters whatsoever. And for whatever reasons, this was the point when it hit me that what I was watching felt to be more akin to an action film or more truthfully, a comic book origin story film, the type of film we have all become exceedingly educated with over these last ten years with the Marvel Comics films in particular.
Kasi Lemmons' "Harriet" is essentially the origin story of Harriet Tubman and is indeed structured as such. We see her beginnings, or at least the point at which she is beginning to make her crucial transformation into something larger than she may have ever imagined of herself.
We witness the moment of pivotal change from Minty into Harriet Tubman and how she eventually earns the descriptive moniker of "Moses The Slave Stealer" like Superman is known as the "Man Of Steel" or Batman as "The Dark Knight." Her fainting spell induced visions/premonitions from God are essentially her equivalent to Peter Parker's tingling "Spidey sense" alerting him to on-coming dangers. The members of the Underground Railroad secret society,a group which includes Frederick Douglass could be seen as a version of The Avengers of the Justice League. Watch how her wardrobe changes throughout the film from her slave clothing to the Harriet Tubman "costume" that features the smart fedora, long coat, smart satchel and accompanying loaded pistols. It is all there, turning the true, larger than life story of Harriet Tubman into "Harriet" our latest superhero film yet this time about a real life superhero that assisted greatly in saving the African -American race from the annihilation of slavery.
Admittedly, as engaged as I was, I really was unsure as to how much I actually liked this kind of a portrayal because just as my Mom was not willing to allow me to experience stories from the Bible as comic books, I seriously questioned if the story of Harriet Tubman could, would or should be possibly, or inadvertently, trivialized from this well-intentioned but potentially slight execution,. As I watched, the film made me feel that Lemmons was trying to create some sort of hybrid of Director John Singleton's "Rosewood" (1997), Director Steve McQueen's outstanding, artfully stark "12 Years A Slave" (2013), and the brutally pulpy, morally righteous rage of Writer/Director Quentin Tarantino's "Django Unchained" (2012), where her interpretation of Harriet Tubman was some kind of Civil War version of Shaft or Foxy Brown, cinematic icons of the 1970's Blaxploitation era.
And yet, as I questioned, I did remember an interview with Tarantino around the time of the release of "Django Unchained" when he remarked that he felt that sometimes the tone of the exploitation film is better suited and therefore woud reach a greater sense of truth about difficult subject matter than the classy, Hollywood epic because the exploitation film would indeed get down and dirty where the Oscar hopeful would more than likely be more tentative in getting its cinematic hands considerably messy.
I have to say there is some truth to that assessment because I would not be surprised if Kasi Lemmons originally questioned as to how to make the story of Harriet Tubman resonate powerfully in the 21st century and not make her film feel like a dusty History lesson during a time when it feels that knowing one's history is not en vogue. Perhaps what I was watching within "Harriet" was a directorial choice, something 100% intentional...
There is no question as to Kasi Lemmons' filmmaking skill, talent and audacity, especially as evidenced in her previous films, which include her excellent debut feature "Eve's Bayou" (1997) and the sensational "Talk To Me" (2007). She more than understands the language of cinema, how it works and operates and perhaps, seeing the tenor of the current cinematic times, she made a purposeful decision to meet the audience where it exists and deliver her experience in the dominant cinematic language we understand.
"Harriet" is a visceral experience, a slave epic that works as a chase film that often recalls Director Andrew Davis' "The Fugitive" (1993), as well as a film of female empowerment in the #MeToo era (the film could also work as a companion piece to television's "The Handmaid's Tale"), and a ferocious war cry in the Black Lives Matter era, therefore making the film deceptively simplistic.
I am reminded of Producer George Lucas and Director Anthony Hemingway's underseen "Red Tails" (2012), their film about the all African-American Tuskegee Airmen, where the film's tone harkened back to the corny, stilted style of 1940's war films but this time, we were graced with the undeniably magnetic images of young, attractive Black men in positions of power, valiantly driving the engine of the film and being the stars of the type of gorgeously realized aerial dogfights this side of Lucas' own "Star Wars" series. It was the approach that set the stage to first entertain and then, hopefully inspire audiences to discover more and delve deeper once we exited the theaters.
With Lemmons' "Harriet," I am feeling that maybe this was her intent. To first entertain, and to then inspire. And I have to say, that is precisely what I did after leaving the film, which I did happen to screen with my Mom...and what we discovered afterwards was stupendously fascinating and enlightening.
On our way home from the film, my Mom mentioned that she had been unfamiliar with the name of William Still and that perhaps we should look him up. As depicted in the film, Still was a free Black man who, in Philadelphia, chronicled the names, dates and experiences of every escaped and emancipated slave who arrived, all culminated and compiled in The Underground Railroad Records (published 1872), and which incidentally can be easily found on-line and I will happily post a link at the conclusion of this review for you.
To read the real words in a journal that inexplicably still exists in 2019 is stunning and profoundly humbling, and in some ways, lends itself to Kasi Lemmons (or any other willing filmmaker) to bring the story of William Still and the creation and survival of his journals to the big screen...and coming to this realization, I could see more greatly just how potent Lemmons' "Harriet" actually is. It INSPIRED me and my Mom to seek, to learn more and to even view our existence through an even wider lens than before. If that was Kasi Lemmons intent, then mission accomplished and then some,
Even so, "Harriet" is not a flawless experience as there are scenes that ring as inauthentic, some characters that are not terribly well drawn and I do greatly question why the film's most graphically violent moment occurs between a Black man and a Black woman.
Yet, I did appreciate how Lemmons' did showcase the business of slavery and therefore, the unforgivable inhumanity of that business that treated human beings as less than furniture. I appreciated how Lemmons did present the horrors of White supremacy in language that clearly mirrors words spoken today as well as the relentless psychological damage of slavery which created a sense of distrust within African-Americans towards each other, a distrust that also exists to this very day.
And returning to William Still's The Underground Railroad Records, I present to you some of his own written impressions about the real Harriet Tubman:
"Harriet was a woman of no pretensions, indeed, a more ordinary specimen of humanity could hardly be found among the most unfortunate-looking farm hands of the South. Yet, in point of courage, shrewdness and disinterested exertions rescue her fellow-men, by making personal visits to Maryland among the slaves, she was without her equal.
Her success was wonderful...Great fears were entertained for her safety, but she seemed wholly devoid of personal fear. The idea of being captured by slave-hunters or slave-holders seemed never to enter her mind. She was apparently proof against all adversaries. While she thus manifested such utter personal indifference, she was much more watchful with regard to those she was piloting...
...Of course Harriet was supreme, and her followers generally had full faith in her, and woud back up any word she might utter...It is obvious enough, however, that her success in going into Maryland as she did, was attributable to her adventurous spirit and utter disregard of consequences. Her like it is probable was never known before or since."
If Kasi Lemmons captured anything at all, she indeed captured that essence and impression in full, the essence and impression of a woman who eventually emerged and lived her life as a real world superhero. And in doing so, maybe this was the correct artistic approach to "Harriet" after all.
Here is the link to The Underground Railroad Records...
Friday, November 8, 2019
Story by Bong Joon-ho
Screenplay Written by Bong Joon-ho & Han Jin-wan
Directed by Bong Joon-ho
**** (four stars)
This is the magic of going to the movies!! The magic of entering a storytelling universe and allowing yourself to be taken in by its cinematic spell in a darkened roomful of strangers all having the exact same experience. When that very storytelling universe happens to be one that is foreign to the viewer, then all going well and if the film is executed at its most successful levels, then, the magic of going to the movies is felt tenfold.
For me, in all of my years of going to the movies, I have not ever seen any films from Director Bong Joon-ho. While I have been loosely familiar with his name and a couple of his films, including "The Host" (2006) and "Snowpiercer" (2013), I just have not taken the plunge into his cinematic world...and for no apparent reason whatsoever. With the arrival of his latest film, "Parasite," I would like to think that my whole ignorance of Bong Joon-ho certainly played into my response to the film as I honestly had not one pre-conceived notion of what I would experience, making his cinematic voice one that was completely unknown to me.
But that is not to take anything away from what "Parasite" is in its entirety, whether I had previously known of Bong Joon-ho, or not and that is to say that his new film is ingenious, it is jaw dropping, it is a Pandora's Box of malevolent surprises and it is unquestionably a revelation in our movie landscape which is indeed favoring those lavishly produced yet assembly line theme parks that audiences are growing dangerously accustomed to. Honestly, when was the last time you went to a film not having an idea of what to expect and just ended being blown away by the results? Trust me, dear readers, when I emphatically urge you to take a chance on Bong Joon-ho's "Parasite," a film so audacious in it brilliance that it is easily one of 2019's tallest achievements.
In order to ensure that there are no spoilers, I will only provide the following description detailing the plot of "Parasite." As the film opens, we meet the Kim family, which includes family patriarch Ki-taek (Song Kang-ho), matriarch Chung-sook (Jang Hye-jin), daughter Ki-jeong (Park So-dam) and son Ki-woo (Choi Woo-shik), all of whom are unemployed and live together in a dilapidated semi-basement apartment.
When Ki-woo's college bound friend Min-hyuk (Park Seo-joon), suggests to Ki-woo that he pose as a college student and become an English tutor for the teenage daughter in the wealthy Park family, which includes Mr. and Mrs. Park (Lee Sun-kyun and Cho Yeo-jeung, respectively), their young son Da-song (Jung Hyun-joon) plus the aforementioned Da-hye (Jung Ji-so), Ki-woo's decision begins to intertwine the two families.
And yes indeed, that is all I am going to divulge to you. But, I will extol to following...
While the title may suggest something either grotesquely violent or something possibly regarding the supernatural, I will assure you that this film does not fit either description. That said, Bong Joon-ho's "Parasite" is masterful in its direction, meticulous in its writing, acting, and visual aesthetics most notably, its set design and finally, it is brilliantly multi-layered in its characters and overall thematic elements. Because of these qualities and attributes, it is of no surprise to me that the film was awarded the top prize at the Cannes Film Festival earlier this year.
Working in superbly crisp and razor sharp collaboration with Cinematographer Hong Kyung-pyo, Editor Yang Jin-mo, and Composer Jeong-Jae-il, Bong Joon-ho's "Parasite" sprints across and weaves together the elements of the social satire and the pulse pounding thriller in a fashion that feels as if it is indeed the first time you have ever experienced anything quite like this film while also existing as something familiar enough to evoke nothing less than the finest of Hitchcock, The Coen Brothers, some Quentin Tarantino and even Woody Allen's "Match Point" (2005).
As the subtleties and overtures, plus micro-aggressions, stereotypes, prejudices, fears and dark wish fulfillments that exist within class warfare are all on display and crucial to the entire experience with "Parasite," we have a film that does indeed extended beyond film genre hopping/blending and exists as a passionate and uncompromising morality tale in which Bong Joon-ho never utilizes his film as a platform to sermonize but as a means to explore our collective humanity if presented with a set of seemingly impossible choices.
In doing so, Bong allows us to be tickled and terrified by what unfolds throughout the film so seamlessly as it is somehow so inexplicably identifiable and recognizable enough to picture ourselves within the film's scenarios, thus making for a film experience that is simultaneously claustrophobic and cavernous, intimate and universal, foreign and familiar, hilarious and horrifying.
Again, dear readers, and especially for those of you who are typically adverse to viewing anything with subtitles, which "Parasite" indeed is filled with from end-to-end, this is why we go to the movies!!!! This is what the movies are for!!
If you please allow me to stand upon my Savage Soapbox for a moment and address once again the controversy surrounding the comments made by Martin Scorsese against the Marvel Comics movies and their ilk, which is precisely the same gripes and grievances I have made against the entire sequel, prequel, remake, reboot, re-imagining culture that is now the engine driving the movie industry regarding which films are made to how they are all released.
As I have always presented to you throughout the history of Savage Cinema, I love films that are created and designed to exist as escapist and many of those types of movies are indeed some of my most favorite movies. Some of those movies are the very ones that made me fall in love with the movies as an art form.
I saw and loved Anthony and Joe Russo's "Avengers: Endgame" just like all of you. I am practically salivating with anticipation for J.J. Abrams' "Star Wars: Episode IX-The Rise Of Skywalker." But, that being said, I don't wish to see those kinds of movies every week. And I passionately believe that as movie goers, we should not want to have those types of movies as our steady, constant cinematic diet every week.
What I hate is how the prevalence of those types films have powerfully altered the movie going landscape and this is what Scorsese is rallying against, the theme park reconstruction of what we, the general public, are being given to see in our movie theaters via the illusion of choice. Certainly, naysayers would argue that the sheer spectacle of those escapist movies are tailor made for our movie screens. True. But honestly, how large does Batman's cowl have to be?
I believe that our movies screens are as tailor made for rich, multi-layered cinematic storytelling of all styles and genres as much as it is for the awesome sight of the destruction of the Death Star. And to find yourself lost in the superior cinematic storytelling told by an unfamiliar creative voice delivering a wholly unfamiliar perspective, it is as if you are seeing the movies anew all over again.
This is why the arrival of Bong Joon-ho's "Parasite" is so crucial as this film is cinematic storytelling at its most artful, entertaining and ferociously original. If I wished, I would describe this movie further for you. Yet, I wish for you to receive it just as I did, with little to no information. That way, perhaps you can take a chance and find yourselves in that dark movie theater prepared to enter into a cinematic vision that will feel like falling into a new world, emerging afterwards with your perceptions possibly altered. What a shame it would be to miss a film of this high level for no other reason than it was foreign, subtitled and otherwise unfamiliar.
Again, Bong Joon-ho's "Parasite" is one of the very best films of 2019.
Saturday, November 2, 2019
Produced and Directed by Stanley Nelson
**** (four stars)
For my Dad, Mr. Powhatan Collins, who would have absolutely loved this film...
Three years ago, I found myself enthralled by Co-Writer/Actor/Director Don Cheadle's "Miles Ahead" (2016), his defiant, unrepentant exploration of the iconic musician Miles Davis (ruthlessly portrayed by Cheadle). Like Davis himself as he ventured through his artistic odyssey and music career by breaking through every conceivable barrier in what could or could not be presented as jazz, Cheadle's film unapologetically refused to follow the cinematic rule book regarding anything resembling a biopic, which, it should be noted, "Miles Ahead" emphatically was not.
What I loved, in addition to Cheadle's searing performance, was the film's sheer audacity within its primary conceit. To create an impressionistic portrait of the artist when he is not creating, illustrating his inner world via a non-linear structure of memories, dreams, and surreal touches resulting in an experience that was not only electrifying but one that felt as if it could have been the very film Miles Davis could have made about himself.
And my Dad hated it.
Yes indeed, Miles Davis has existed within the spectrum of my life for the entirety of my life and not because I have been a fan myself, which I actually had not been. Miles Davis has existed as a towering artistic figure within my household because he existed as my Dad's #1 favorite artist of all time, the one figure above all who would inspire my Dad to seek and follow from one giant artistic shift to another, as his idiosyncratic qualities were second to none and there would never be another like him again.
For my Dad, "Miles Ahead" did not do the legend the proper justice he felt that Miles Davis deserved. While my Dad did indeed love the language and artistry of the movies, he grew irritated when films became overly esoteric and did not just get to the point. It was not that he did not appreciate nuance. But if the work, to him, felt to be designed to make you, the viewer, work just for the sake of working and not because you found yourself lost in the story, he became distrustful and frustrated. And furthermore, with "Miles Ahead," he simply did not wish to see his lifelong hero presented in the way Cheadle envisioned him. My Dad wanted something more straightforward certainly but something more all encompassing and worthy of the life story being told.
Stanley Nelson's superlative documentary, "Miles Davis: Birth Of The Cool," is not only precisely the film I am certain that my Dad had always wanted to witness about his hero, it is an excellent film for absolutely anyone and everyone who wishes to gaze into the mind and musical world of one of our most feverishly adventurous artists of any conceivable genre. Much like Miles Davis himself, Nelson creates a portrait and overall film experience that is cool, sophisticated, angry, and clean and as with the finest documentaries I have seen in recent years, it is also a film that transcends its subject matter to bring into focus larger themes, all of which enhance and enlighten the man and his artistic legacy, while also expanding into our shared existence. Raw and remarkable, Stanley Nelson's film serves as a masterful tribute to one of our most formidable artistic masters.
Stanley Nelson's "Miles Davis: Birth Of The Cool" takes its full linear cradle-to-grave narrative and structure and utilizes the life story of Miles Davis as both a primer to the artist as well as a rich enhancement to all we may already know about the mercurial, fearless, always forward thinking artist.
Through an enormous arsenal of photographs and visual footage, some of which has never been previously released, plus interviews with Davis' musical collaborators (including bassist Ron Carter, pianist/keyboardist Herbie Hancock, saxophonist Wayne Shorter and bassist/multi-instrumentalist Marcus Miller among others), writers, journalists, scholars, friends and family members, the film is anchored by Miles Davis's own words and voice as narrator--that is the voice of actor Carl Lumbly evoking Davis' signature throaty rasp. And of course, from end to end, we have Miles Davis' musical legacy as the untouchable soundtrack, a collection of music that remains so profound in its depth that it still continues to reveal itself to our ears.
For Miles Davis devotees and novices, Stanley Nelson's film is meticulously and lovingly researched and therefore, beautifully contextualized into a rich, luxuriously executed narrative that is briskly paced and yet never rushed and by its conclusion, feels wholly complete. I truly found it to being remarkable that Nelson was able to condense so much material into a just under two hour running time, when he clearly had several mountains of material to work with regarding Miles Davis' life.
As I regard Davis now, realizing that he passed away at a very young 65 in 1991, it feels that the man experienced and lived several lives within the one he possessed, and in turn, it feels as if Nelson could have made three two hour documentary films about Davis' odyssey. That comment is not to suggest that I felt anything to be lacking. On the contrary, I feel it demands tremendous praise for Stanley Nelson as he was diligent and focused enough in being able to sift through all of the material and determine precisely what needed to be included to create a multi-layered experience, one, I would gather, would hopefully mirror any Miles Davis album, where we continuously discover and re-discover its gifts.
As previously stated, "Miles Davis: Birth Of The Cool" is one more documentary that extends itself far beyond the reaches of what could have served as simply a "music biopic." Through witnessing Miles Davis' upbringing in the exceedingly rare confines of an affluent African-American family in Illinois and East St. Louis in the late 1920's and 1930's, his eventual musical studies at Julliard, the intense diligence and cultivation of his prodigious talents in New York City directly alongside the likes of Dizzy Gillespie and Charlie Parker, and eventually his peerless, restless creativity and innovation that would cement him as one of the 20th century's greatest artistic minds and talents, we are also learning of the African-American experience as it relates to race and class and the similarities and differences as experienced by Davis in America and Europe, plus even larger themes of child abuse, depression, addiction, toxic masculinity, female subjugation and empowerment and finally, Black masculinity and Black excellence as it relates to artistic expression.
And then, we are able to regard how all of those themes are weaved into the full discography and legacy of Miles Davis' musical existence, which for him, clearly was another language, in fact, the most effective language for him in which to communicate to the world around him. I loved the story of how, as a child, he was already being perceived as being "weird" as he would wander in the fields by his home imitating the sounds of the natural world with his trumpet, thus the period in which he was beginning to develop his chosen language of music, leading the the dichotomy of his artistic life when compared with his personal life.
It is of no secret that Miles Davis was, in many ways, a hard man. A difficult individual, a figure one interview subject in the film refers to him as being "anti-social." Nelson thankfully does not shy away from these periods of Davis' life therefore ensuring the establishment of a full three dimensional portrait. Regarding race and racism, we are able to clearly see how being a Black man in Paris, in an environment that saw him standing on equal footing with Jean-Paul Sartre, and then returning to America, where this exact same Black man who could be beaten by police directly outside of the nightclub at which he is the headlining act (with his name on the marquee to boot) led to extreme confusion, depression, righteous and rightful rage as well as an eventual addiction to heroin as the constant realization that his wealth and fame could not protect him from a racist American society ate away at him.
Miles Davis' relationships with women will certainly provide the greatest sense of conflict, especially when viewed through a 21st century/Me Too context. I do think that Nelson is not asking of us to condone but to understand, as we also view Davis's adult relationships through his lens of witnessing the abusive relationship of his own parents. While a romance with French singer/actress Juliette Greco (interviewed in the film) fully disarmed him, it was his subsequent relationships that provided him with tremendous sources of inspiration and turbulence, and Nelson, wisely allows ample screen time to the women with whom Miles Davis shared his life in love and torment.
Most famously is Frances Taylor (also interviewed extensively in the film), Davis' first wife, and with whom would create an sparkling, powerful image of Black excellence, high class and sophistication throughout the African-American community. Through Taylor, we receive a full and fair reminiscence of the rise and fall of their love story, through his mental and physical abuse of her--so impactful that it led to her giving up her career as a dancer--and thus, a reclaiming of herself through her endurance, survival and re-emergence, leaving Miles Davis behind entirely.
Nelson's film also touches upon Miles Davis' turbulent romances with both Cicely Tyson and Betty Wright, which also followed suit in similar fashions as each woman served as artistic muse and combustible force. Yet, what Nelson achieves greatly, especially in our unforgiving social media climate regarding any issues of justice and fairness, is to display crucial nuance into each story. We are able to criticize behavior but Nelson never acts as judge and jury. and nor does he wish us to either. He allows us to understand the experiences as a whole, to understand each relationship's level of power struggles, dynamics as well as virtues of inspiration towards each other and the Black community as a whole, for example, the images of Miles Davis and Frances Taylor in the fullest of their respective glories was the epitome of cool, style and elegance, for the Black community and beyond.
For as much as Davis abused Frances Taylor, he also lavished upon her, most notably, placing her upon the cover of his album "Someday My Prince Will Come" (released December 11, 1961), an image that Taylor herself manipulated for even greater mystique as well as reclamation of the beauty image for Black women and society. For as turbulent as Davis and Betty Wright were together, she inspired his musical transformations in the 1970's as equally as the music of Jimi Hendrix, Sly Stone and James Brown.
And in the end, and above all else, "Miles Davis: Birth Of The Cool" is a celebration of the pioneering artistry that has continued to go unmatched as Davis transcended the jazz genre in enormity, thus inventing his own musical language with which to break boundaries and ultimately, to communicate.
Nelson gives us the ways in which Miles Davis utilized the teaching at Julliard and the New York City nightclubs as his educational grounds that formulated the foundation in which he could aspire to be an artist on the level of Stravinsky. Placing the bell of his trumpet directly into the microphone changed the way in which we heard the instrument and the man who held it. Nelson dives into the creation of Davis' landmark "Kind Of Blue" (released August 17, 1959) as well as the game changing "Bitches Brew" (released April 1970). We witness Davis' reliance on younger musicians to assist him in developing the sounds inside of his spirit and previously unheard in the world and finally, we continue to be awed by his fearless creative restlessness that surged him forwards, always with a refusal to look backwards. We remain amazed!
Even as we watch how he accomplished the seemingly impossible, how he re-invented the wheel over and over again, we are also amazed with how he, his musicality and the trumpet became one entity, communicating in a fashion that is formidable, difficult, demanding and accessible. Again, we understand!!!
It is incredible to watch just how the sensitivity, fury, anxiety, romanticism, and purity of his inner being so difficult to voice in standard interpersonal communication techniques became blindingly visible when he played his trumpet. I especially loved the sequences in which Nelson displays Davis composing and performing the score for the French film "Ascenseur pour L'echafaud" (1958) from Director Louis Malle. It is not what we might already know of traditional film scoring, with a conductor, orchestra and fully composed sheet music at the ready. We see Miles Davis, with trumpet in hand, performing in real time against the film images he is watching, responding intuitively to the characters upon screen, therefore, fusing his musical voice with the existential voice of the character. Absolutely mesmerizing!!
And again, I know my Dad would have loved this film. He would have loved it as much as I did.
Stanley Nelson's "Miles Davis: Birth Of The Cool" is an enormously entertaining and unquestionably essential document in our continuing exploration into the legacy and mystique of Miles Davis, as well as being a brilliant addition to our finest music based documentaries as it is as informative as it is inclusive to any and all who wish to learn and know more.
It is also one of the very best films I have seen in 2019.