People who have been huddling in their homes over the past several days to protect their health due to the coronavirus outbreak may have been a little surprised to see that a couple of Windsor movie theatres were still open. As of today, The Windsor Star was still advertising showtimes at Cineplex’s Devonshire and Silver City cinemas. This despite the City of Windsor declaring a state of emergency last Friday which effectively shut down Devonshire Mall, where one of the Cineplex theatres is located. Businesses at stand alone “pads” were unaffected by the closures. That could have meant that Silver City, as a stand-alone complex in a south Windsor big box retail site, remained open. But, no, that theatre, as part of the nationwide Cineplex chain, was also closed by the theatre chain March 16. The next day the province imposed a state of emergency and banned operation of public facilities such as theatres, cinemas and concert venues, as well as bars and restaurants. But today in The Windsor Star’s entertainment section the movies at those theatres were still being advertised, along with their weekly showtimes for Friday March 20 through Thursday March 26. Cineplex’s director of exhibition marketing Avery Ironside was stunned when told of the still running ads. "Our theatres are indeed currently closed due to the coronavirus situation, and no advertising should be running.” He suggested the ads kept being placed due to “an automatic feed” that “didn’t stop” and they will be “pulled ASAP.” On March 16 Cineplex announced the temporary cinema closures through to April 2 when re-openings will be “reassessed.” This announcement reflected the rapidly evolving pandemic crisis. Just four days previously the chain said it was keeping theatres open but “taking all appropriate measures to ensure our venues are safe and that we have existing plans and training protocols in place to ensure they stay that way.” This included enhanced cleaning and asking patrons not feeling well to refrain from visiting the cinemas.
Tuesday, March 24, 2020
Wednesday, March 11, 2020
So now, Woody Allen’s new autobiography, Apropos of Nothing, will not be published. Thanks a lot Hachette, the publishing group that had been all set to release the book April 7. I was so anticipating it I was thinking of pre-ordering it. Not because Allen is an icon and, well, an acting, directing and comic genius, but, you know, because I’m dying to read his response to all the allegations thrown against him by one part of his family that he molested his daughter Dylan Farrow, when she was seven years old. We’ve all heard the other side of the story – the allegations ex-wife Mia Farrow and son Ronan Farrow, who has risen to extreme prominence in recent years (justifiably so) for his investigative reporting on sexual abuse by people in high places like Hollywood producer Harvey Weinstein. His book Catch and Kill is a bestseller. But when it was announced that a Hachette imprint was publishing Allen’s new book, Farrow announced he was cutting ties with the same publishing company. Dylan Farrow also denounced the publisher for not fact checking the book. Woody Allen has always vehemently denied the allegations and in fact a legal investigation found no substance to them. After the Ronan and Dylan social media outrage, a walkout by about 75 staff at Hachette’s Manhattan offices took place, condemning their employer for publishing the book. Guess what then shortly happened? Hachette, with all the spine of a wavering jelly dish, cancelled publication. There are several points of principle here. First, regardless of who is right in this alleged sexual assault controversy, why would someone like Ronan Farrow, supposedly a journalist of high integrity who believes in the First Amendment, want to stamp out a book? Second, the employees at Hachette should be ashamed of themselves. They work for a publishing company, the very idea of which is to publish material in an environment of freedom of expression. I hope some other publisher will now take the book on and I will be among the first in line to buy it. Allen should also take legal action for breach of contract against the cowering Hachette.
Monday, March 2, 2020
The new film Seberg, directed by Benedict Andrews, who wasn’t even born when the events in the film take place, takes one facet of the 1960s iconic actress’s life and blows it up. That aspect is Jean Seberg’s politics. Never mind that Seberg is best identified as the literal face of French New Wave director Jean-Luc Godard’s first and breakthrough 1960s film Breathless (Seberg is the one in the New York Herald Tribune shirt). Nor the rest of her filmography. Instead, during our hyper politicized current era, why wouldn’t Andrews want to focus only on her politics and the US government’s surveillance of her support for various 1960s radical causes? And it fits to a T with Hollywood’s current leftist zeitgeist. Having said that this was a remarkable chapter in an actor’s history, the revolutionary Left of the 1960s and the FBI’s extraordinary and often illegal spying on dissidents. The film has been panned for providing a superficial look at Seberg’s character. But if you’re only focusing on one chapter in her life how much more can you do? Superficial or not Kristen Stewart as Seberg bears an uncanny resemblance to the actress. And, to her credit, Stewart, an actor of some substance, brings as much heft as she can to the role. As for the plot, well, it is what it is. The focus squarely is on the FBI COINTELPRO program. Having grown up in the late 1960s (high school) I had completely forgotten about Seberg being the most spied upon Hollywood actor of the era. Seberg was aiding the Black Panthers, a revolutionary African American group which took up arms against what they called police brutality at a time when there really was widespread police violence. Seberg becomes infatuated with black nationalist Hakim Jamal (Anthony Mackie), has an affair with him (both are married), and donates liberally to Panther causes. There’s a scene in her opulent Hollywood home where Tinseltown’s elite gather to toast the Panthers, still wearing their leather jackets and berets. It’s reminiscent of how elite groups fete revolutionaries – their supposed enemies - like composer Leonard Bernstein’s hosting a New York cocktail party for the Panthers, immortalized by writer Tom Wolfe as “radical chic.” Some of the technical aspects of this movie are good, such as the array of surveillance equipment and period sets that mostly re-create the era; but they got the plane wrong, substituting a 707 for a 747. So, this is a film about nasty US government policies, though anyone who lived through the era remembers groups like the Panthers as indeed being threatening and the USA on the brink of revolution amidst riots and bombings. And Stewart as Seberg looks fabulous, especially in those shimmering striped minidresses; she’s the best thing about Seberg.
Sunday, February 23, 2020
I was watching President Donald Trump’s speech last week when, as per Trump’s usual off the cuff rip-from-the-headlines remarks, he brought up the Academy Awards. Ah ha, I thought. And there it was, “And the winner is... a movie from South Korea! What the (expletive) was that all that about? We've got enough problems with South Korea, with trade. On top of that, they give them the best movie of the year. Was it good? I don't know. Let's get 'Gone with the Wind' back, please? 'Sunset Boulevard.' So many great movies.” The studio that made the film, Neon, predictably shot back, “Understandable, he can't read,” a supposed reference to the fact the movie had English subtitles and of course, as per stereotype, Trump is dumb. (Let me tell you how many people I know, even those who supposedly like films, who have trouble with subtitles. I don’t get it, I’ve never had any problem and sometimes think movies with subtitles are better.) But the studio's jokingly defensive response misses the mark. Trump wasn’t criticizing Parasite (a movie I thought was unexceptional and hardly deserving of Best Picture) per se but a few things generally. Remember: Trump is an Everyman American. Fact is the vast majority of “regular” people (ie., non-cineastes) have never seen Parasite nor know anything about it; the same as Trump. The second is that, indeed, where are the current films made in the great classic American tradition? Trump critics lambasted him for picking Gone with the Wind, which they suggested was racist. Huh? Gone with the Wind is one of the greatest movies of all time and depicts the fall of the Antebellum South and its antiquated and oppressive system of slavery. And Trump also picked Sunset Boulevard - is that racist? If Trump made any slight it was towards the fact Parasite was from South Korea. In my books, I couldn’t care less if the Oscars Best Picture was from South Korea, Madagascar or the good ol' USA, so long as it’s worthy of the award.
Monday, February 17, 2020
Watching Casablanca for the umpteenth time - one of those movies I never get tired of viewing - the other night on TCM, I was struck by just how much this movie embodies it all and therefore why it might be the greatest movie of all time, or at least one of the top five. Let's count the ways. The Michael Curtiz 1942 classic from an unproduced play has drama and strife (World War II refugee crisis and the Nazis gaining on North Africa), comedy (with numerous comic turns by Claude Rains as Capt. Renault – i.e., “I'm shocked to find out that gambling is going on!”, Sydney Greenstreet as Signor Ferrari’s swatting flies at the end of each poker-faced comment, and even Humphrey Bogart’s Rick’s wry “I came to Casablanca for the waters.”) The movie has romance with Rick’s “We’ll always have Paris,” and “Here’s looking at you kid” to Ilsa (Ingrid Bergman). It has patriotism (the nightclub crowd drowns out the German officers by singing La Marseillaise). It has a terrific score topped by Herman Hupfeld’s As Time Goes By. There are the iconic characters including Paul Henreid as Victor Laszlo, Peter Lorre as Signor Ugart, Dooley Wilson as Sam and S. Z. Sakall as Carl. And, if you want, the movie goes even deeper, portraying Rick as an existential character who looks out only for himself – “I’m the only cause I’m interested in” - until he’s forced to choose.
Prior to Casablanca that night on TCM, the network showed another Ingrid Bergman classic, Gaslight (George Cukor, 1944). For a reason I still haven’t been able to figure out this old movie has served as the background for one of the most common current political catchwords, “gaslighting.” In the movie, Bergman as Paula is manipulated by her husband Gregory (Charles Boyer) to a point where she is being driven insane. That’s because he keeps denying her perceptions - her truth - until she doesn’t believe herself at all.
I am currently in St. Petersburg, Fla., where last week I caught the Oscar nominated documentary short films (five) as well as the Oscar nominated live action shorts (five). The contrast between the screening of those films here (at the Tampa Theatre) and in Detroit (at the DIA’s Detroit Film Theatre) is amazing. In Detroit, viewing the Oscar shorts is a major event and you better come early to get a parking space. Here, you could count the number of people on your fingers in the extraordinary elegant 1920-era Tampa Theatre, with an interior designed like a Mediterranean village.
Finally, February 2 was Groundhog Day. But do you think I could find Groundhog Day, the movie, anywhere? Not on TCM, not on Netflix. This modern comedy classic (1992) by Harold Ramis and starring Bill Murray and Andie MacDowell, deserves to be screened every year, as an alleged holiday film, just like A Charlie Brown Christmas and Easter Parade.
Monday, February 10, 2020
Well, Bong Joon-ho’s Parasite won best Oscar pick last night and should I be surprised? Maybe, since many bets, including mine, were on Sam Mendes’s 1917 taking top award. This, after the film – which hardly anyone has seen (with 18 weeks since release its box office is $35 million domestically and ranks 14 compared to Bad Boys for Life at No. 2 and $165 mil. after just four weeks.) But there’s no question it was the critics’ darling. And the Academy so bestowed the award making history as the first foreign language (“International” as the name was changed this year) movie to take the top prize. My viewing of the film left me flat – very flat; seldom have I been so in variance with much critical opinion. And I think the Academy, after years of criticism for its picks being “so white” and not diverse enough, was trying to make up for it. No doubt it was time for an international film breakthrough but, uh, Parasite? (I guess they had no other choice.) Now, let’s see if regular people will go to watch this convoluted comedy-drama……Meanwhile, a brilliant actor can often be the flip side of a bizarre personality, as many of us have long suspected of Joaquin Phoenix. Phoenix won best actor for his portrayal of the Joker (Todd Phillips). Remember Phoenix’s strange interview, among others, with David Letterman when there was lots of embarrassing dead air and he talked about his career diverging into “hip hop?” This time he warped on about sentient animals: “We feel entitled to artificially inseminate a cow, and when she gives birth, we steal her baby, even though her cries of anguish are unmistakable. Then we take her milk intended for her calf and we put it in our coffee and our cereal." Remember that, breakfast lovers everywhere!.....Renée Zellweger (above) gave the best acceptance speech, winning best actress for her performance in Judy (Rupert Goold). Poised, thoughtful, articulate, she not only gave heartfelt praise to a slew of production people but went out of her way to give a nod to ordinary Americans - not something Hollywood types tend to do – praising the military and first responders……Other than Parasite winning best picture, I agreed with pretty much all of the other awards and some were pretty predictable, like Laura Dern as best supporting actress in Noah Baumbach’s Marriage Story, James Mangold’s Ford v Ferrari for best film editing, Jay Roach’s Bombshell for best makeup and hairstyling, 1917 for best visual effects, and Parasite for, well best international feature…..If there was a Marxist-Leninist award it definitely should have gone to Julia Reichart, director of the winning documentary American Factory. Dredging up the hoary old communist slogan, Julia exclaimed: “Workers of the world, unite!” which is straight out of The Communist Manifesto! ….As for red carpet pre-show, lovers of fashion were probably vastly disappointed. Instead of watching the stars (okay, female stars) walk in in their glamorous gowns we got interview after interview with many (male) directors and the occasional spilt screen image of a fashionista.
Friday, February 7, 2020
Taylor Swift: Miss Americana (Lana Wilson) opened last weekend on Netflix and I promptly caught it. I knew virtually nothing about Taylor Swift. It’s possible I might be able to recognize one of her songs if only through excessive radio play. My reason for watching the doc was because of Swift’s superstar persona. Who, after all, is this cultural icon? For one thing, I learned that Swift, the highest-earing female artist of the past decade with more than 50 million albums sold, comes from a Country and Western background, not Pop. For another, she’s exceedingly hardworking. For a third, her career comes before all else. For years, she seemed to never have a boyfriend and was offended when a TV interviewer, seeing her in a glam dress at an awards show, suggested she wouldn’t be going home alone. She now has a boyfriend but highly protects his identity; there’s a couple of shots in the film with his back to us. The doc follows Swift chronologically from a childhood virtuoso to teen and young adult phenom. Throughout, what we get is a view of someone who comes across as ordinary as you and me. The closest person in her life is her mother, Andrea. Despite her success Swift eschews the phoniness of stardom and tries at all costs not to be caught up in it. You can easily imagine her being your friend and all the showbiz surrounding her as abstract background noise. The last third of the film is about her political coming out. Largely stemming from a sexual assault against her by a disc jockey (she won a civil case), Swift rails against her adopted home state Tennessee senator Marsha Blackburn, who voted against the Reauthorization of the Violence Against Women Act, which seeks to protect women from domestic violence, stalking, and date rape. From there, Swift aligns herself with the LGBTQ community and against the Trump administration, despite concerns of alienating half her audience. Checking for accuracy I looked it up. Blackburn, a Republican, indeed never took issue with Swift on the vote. But the senator did strike a conciliatory tone, lauding Swift as an “exceptionally gifted” artist and backing her other well-publicized campaign to protect songwriters and musicians from censorship, copyright theft, and profiteering. Hmmm.