Archive for July, 2013
It’s July, the fog has swamped the city, and the Silent Film Festival (SFF) returns this week to San Francisco. Spanning an action-packed four days, the lineup includes classics, gems, and newly restored discoveries from locales around the world including Bali, Japan, Germany, Sweden, Denmark, England, Russia, and the United States. This year’s festival features legendary stars such as Louise Brooks (Prix de Beaute), Greta Garbo (The Joyless Street), Harold Lloyd (Safety Last!) and Douglas Fairbanks (The Half-Breed) and famed directors including G.W. Pabst and Yasujiro Ozu.
In contrast to the high-tone glamor found in the movies above, The House on Trubnaya Square is a sprightly little Soviet comedy that follows the misadventures of a cleaning lady in Moscow. As the cleaning lady rises through the ranks of the workers’ movement, the film satirically exposes the foibles of feudalism, capitalism, and socialism alike. As to be expected from the land of Eisenstein, the movie features great editing, along with excellent camerawork, choreography, and story structure, as well as a cheeky performance by Vera Maretskaya as the cleaning lady swept up in the social movements of the time.
Another notable program is the premiere of the recent restoration of The Last Edition, an entertaining yarn shot in San Francisco in 1924. The movie looks at corruption in the newspaper publishing business, in which an unscrupulous publisher takes advantage of an overly trusting pressman. The populist film sides with the workingman against the corrupt bosses, reflecting the sentiments of the Wobblies and other early 20th-century labor organizations. The movie is especially fun for its local flava, as much of it is shot at the Chronicle Building at 5th and Mission Street and concludes with an exciting chase through the streets of San Francisco, passing by recognizable landmarks including the newly rebuilt City Hall. The film also features huge mechanical presses, typesetting trays, switchboards and rotary phones, and other industrial age machinery that will gun the engines of your inner steampunk.
Also part of the festival is a presentation by John Canemaker on well-known newspaper cartoonist Winsor McKay that includes of illustrations from Canemaker’s bio on McKay as well as a screening of several of McKay’s brilliant animated films. Best known for his long-running comic strip Little Nemo, McKay’s animations are masterful, deft, and magical, ranging from the whimsical Little Nemo and Gertie the Dinosaur through the dramatic, realistic Sinking of the Lusitania. My personal favorite is How A Mosquito Operates, in which a prodigious bug repeatedly sinks its very sharp stinger into a sleeping man’s nose, its protuberant abdomen swelling with blood after each bite.
The Silent Film Festival is a rare opportunity to see these movies in all their big-screen glory, and it’s markedly more fun than watching DVDs by yourself at home. As per usual, all SFF screenings (at the gloriously appropriate Castro Theater) include live accompaniment.
July 18-21, 2013
429 Castro Street (near the intersection of Castro and Market Street)
San Francisco, CA 94114
The week of June 24, 2013 was absolutely monumental in the LGBT community, following the Supreme Court’s landmark decision on the Defense of Marriage Act. After watching Texas State Senator Wendy Davis’ schooling of the Texas GOP on Tuesday night*, I went to bed conscious of the fact that the Supreme Court would announce its ruling on DOMA and Prop 8 on Wednesday morning at 7am PST. I woke up shortly after 7am and immediately checked my facebook and twitter feeds to find the brilliant news that DOMA had been struck down and Prop 8 invalidated. There was nothing but joy all over my newsfeeds as everyone seemed to be celebrating the glad tidings.
That night we had tickets to the Frameline Film Festival at the Castro Theater, the heart of the LGBT community in San Francisco. We arrived an hour before showtime and lucked out on parking not far from the theater, although the streets were closed off and full of ecstatic, celebratory throngs. At one point it took twenty minutes to navigate a half block down Market Street to pick up my tickets, so jam-packed was the crowd, but I didn’t mind the inconvenience. It was fun to be out and about on such a historic night and even the weather in San Francisco cooperated, as it was uncharacteristically balmy and warm until well after sundown.
After basking in the glow of the celebrating crowds in the Castro, it was great to settle in at the 37th annual Frameline Festival of LGBT Cinema. I only caught three out of the dozens of films at the fest this year, but they were interesting in the various ways they reflected current events.
On that historic Wednesday evening I saw Arvin Chen’s Will You Still Love Me Tomorrow? Chen grew up in the Bay Area but now lives and works in Taiwan. WYSLMT is his second feature, following his well-received debut Au Revoir, Taipei (2010)
Will You Still Love Me Tomorrow? is a charming and bittersweet tale of a man reconsidering his sexuality after nine years of marriage. Weichung (Richie Jen) has a young son on whom he dotes and a good job at an eyeglass store, and he and his wife Feng (Mavis Fan) seem content. But after Weichung’s boss abruptly leaves the steady-but-dull optician’s business to him (after happily declaring the end of his “relationship with glasses”), Weichung begins to question his satisfaction with life. Running into an old friend, the openly and happily gay wedding photographer Stephen, further catalyzes Weichung’s dissatisfaction. After a chance meeting with dreamy flight attendant Thomas, played by Hong Kong heartthrob Wong Ka Lok, Weichung has to make some hard choices about his life as a “former” gay man.
The movie is sexy in a subdued way, with unrequited lust rather than full-on passion supplying most of the erotic heat between Weichung and Thomas. In a role that’s a change of pace from the Johnnie To action films (Exiled; Breaking News; Punished) he’s known for in the West, Richie Jen is very good as the husband on the down-low. Wong Ka-Lok is beautiful and charming as Thomas, Weichung’s lovely temptation, and the rest of the cast is excellent, including glamourous Taiwanese pop star Mavis Fan playing it straight as Feng, Weichung’s earnest wife, with her real-life full-sleeve tats airbrushed in postproduction. Also outstanding is a subplot involving Weichung’s high-maintenance sister who gets cold feet a few weeks before her planned wedding to the nerdy and devoted San San (played with forlorn mopiness by Taiwanese rock star Stone). Chen directs the movie with a deft touch, with likeable characters, believable situations, and a light touch of magical realism, including a spot-on spoof of a weepy Taiwanese drama. The movie is poignant, funny, and enjoyable, with sympathetic characterizations of its many characters.
South Korea’s White Night (2012) is slow, beautiful, and deliberate, a very different kind of movie than Chen’s brisk and buoyant film. Won-gyu (another sexy flight attendant, what?) returns to Seoul after a two-year self-imposed exile following a traumatic event. He hooks up via the interwebs with Tae Jun, a motorcycle courier, and despite their initial antagonism, the two court and spark throughout a long and eventful night on the streets of Seoul. Director Lee Song Hee-Il depicts Seoul at night as a brilliant, glittering, yet somewhat malevolent site, locating his actors on rain-slicked streets and in shadowy, cramped interiors. His actors do a good job maintaining their complex and often conflicted relationship, with Lee I-kyeong as the streetwise Tae Jun in particular showing a lot of swagga and charisma. White Night touches on relevant issues including internalized homophobia and gay bashing and possesses some great sexual heat from the two hunky leads. However, despite the effectiveness of its moody mise-en-scene, the film’s elliptical and somewhat opaque narrative leaves a few too many questions unanswered.
Like Will You Still Love Me Tomorrow?, Two Weddings and A Funeral (2012, South Korea) also looks at the plight of a married man living on the down-low. But in comparison to Arvin Chen’s delightful and subtle film, Two Weddings and A Funeral, though heartfelt, is a much less accomplished piece of filmmaking. The film follows a gay man who marries a lesbian co-worker in order to convince his nagging parents of his heterosexuality, with a predictable lack of success. The film includes queeny friends, gay-bashers, tearz, and contrived situations, and is fairly clumsy and overwrought, filled with overacting and unbelievable plot twists, but there are some funny and charming moments sprinkled throughout. The Frameline screening was also marred by digital artifacts in the projection, which were distracting and took the viewer out of the story. The best part of the screening, however, was Jo Gwang-soo Kim, the film’s very sweet director, announcing to cheers from the audience that he and his partner, the film’s producer, were soon to be married. The two left the stage happily holding hands, yet another reminder of the great historical moment that we were inhabiting.
*NOTE: As a prelude to the repeal of DOMA, Tuesday night brought another significant civil rights drama, played out mostly on the internet. I stayed up well past midnight to watch the awesome smackdown of the Texas GOP by State Senator Wendy Davis, as she filibustered in her neon pink running shoes for 11 hours in order to block draconian anti-abortion legislation. After watching the whole thing play out on ustream and twitter (with the cable and broadcast news channels completely ignoring this fine political theater) I went to bed satisfied, as the bill was not passed in the Texas legislature. Asshat Texas governer Rick Perry has since called a special session to try to ram through the rejected bill, but Texans are not letting him slide by so easy this time. Later that week, thousands demonstrated outside of the state capital building in 100 degree weather, keeping a watchful eye on the sneaky Republicans as they try to roll back women’s rights in Texas. More to come as it develops.