Posts tagged ‘film festival’

Hey You: San Francisco Jewish Film Festival 38

Sammy being Sammy, Sammy Davis, Jr: I Gotta Be Me, 2018

The film festival cavalcade rolls on with the arrival of the 38th San Francisco Jewish Film Festival this week at theaters around the Bay. This year’s lineup includes a plethora of great films about Jewishness in all its incarnations.

Valentine, Love, Gilda, 2018

The opening night film, LOVE, GILDA, is a valentine to famed Saturday Night Live comedian Gilda Radner, tracing her life from childhood until her untimely death at age 43 from ovarian cancer. It’s a fond tribute to the hilarious comedian who earned fame on SNL as an original cast member back in the 1970s. The film exhaustively covers Gilda’s life from her comfortable upbringing in Detroit through her years as a member of seminal comedy troupes such as Second City and the National Lampoon Radio Hour, and into her years as a star following her television debut on SNL.

Laraine & G, Love, Gilda, 2018

Using lots and lots of archival footage and photos, plus audio of Gilda’s own voice supplemented by readings of her journal by comedy folks such as Amy Poehler, the movie also includes interviews with co-stars including Martin Short, Laraine Newman, and Chevy Chase. Interestingly, there is no interview specifically done for the film with actor Gene Wilder, her widower, although he appears in archival footage. The film most vividly comes alive during clips of Radner’s brilliant and charming comedy routines on SNL and elsewhere, which demonstrate her spot-on comic timing and her genius in improvisational and physical comedy. Yet despite the poignancy of Radner’s life, including a struggle with eating disorders and her losing battle with cancer, my heartstrings were not quite plucked.

Baby Sammy, Sammy Davis, Jr: I Gotta Be Me, 2018

The closing night film, SAMMY DAVIS JR: I GOTTA BE ME, is a bit more successful in capturing the essence of its famous subject. Growing up in the 1970s my main memory of Davis was as a Vegas-style entertainer who was not at all hip compared to, say, Blue Oyster Cult, Prince, or Thin Lizzy, so my appreciation of Davis’s great gifts didn’t come until later in life. This fast-paced doc goes a long way toward rectifying any ignorance about Davis’s awesomeness as a supremely talented poly-hyphenate trailblazer who broke social and cultural barriers long before it was easy or trendy to do so. Davis was a brilliant tap dancer, an accomplished song stylist, a talented actor, and a celebrity living large with some of the biggest stars in midcentury America.

The pack, Sammy Davis, Jr: I Gotta Be Me, 2018

From his beginning as a child vaudeville performer, Davis’s career spanned much of the 20th century and included movies, television, theater, and concerts. The film expertly tells the tale of his larger-than-life life, with copious clips, recordings and photos and interviews with A-listers such as Whoopi Goldberg, Jerry Lewis, Dionne Warwick, and many more whose lives Davis touched. The film also discusses the racial barriers that Davis faced and in many cases confronted head-on and broke through, including bullying in the military in World War II, his presence as a member of Frank Sinatra’s Rat Pack, and his then-controversial marriage to Swedish actress May Britt. The film is fast-paced and expertly constructed and hardly seems able to keep up with the sheer breadth of achievement of its titular subject as he demonstrates everything from mad impersonation skilz to steezy sartorial choices, along with his singing, dancing, performing, and otherwise embodying legendariness.

Boosted, The Man Who Stole Banksy, 2018

Other highlights from the festival include a screening of BUDAPEST NOIR, co-sponsored by the Film Noir Foundation; THE MAN WHO STOLE BANKSY, a doc about an intrepid West Bank cabbie in who beat the infamous street artist at his own game; THE CITY WITHOUT JEWS, a restoration of a long-lost silent film that was recently found in flea market in Paris; THE WALDHEIM WALTZ, a documentary about Austria’s former president and Nazi-in-chief Kurt Waldheim; and SATAN & ADAM, a film many years in the making that explores the relationship between two very different musicians. I’m also looking forward to a screening of the 1933 pre-code classic BABY FACE, since I try to take advantage of every opportunity to see Barbara Stanwyck on the big screen. Once again, San Francisco proves that it’s a great town for film-watching, with the SF Jewish Film Festival one of the best places this summer to see movies beyond your run-of-the-mill multiplex blockbuster.

San Francisco Jewish Film Festival 38

July 19-August 5, 2018

various locations throughout the Bay Area

 

 

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July 21, 2018 at 2:48 am Leave a comment

Once You Get Started: Frameline 42 Film Festival

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Tapestry, Yours In Sisterhood, 2018

Like Hong Kong, San Francisco is an excellent city for film-viewing, and with Frameline (official title: San Francisco International LGBTQ Film Festival) in full swing this week I suddenly feel like there are not enough hours in the day to see all of the movies I want to see. But I’m valiantly carrying on despite the burden of sorting through and prioritizing the festival’s ridiculously stacked schedule. A few highlights from my Frameline viewings this week include three outstanding documentaries and a narrative that demonstrate the high bar of the festival’s stellar programming this year.

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Mixing it up, Yours In Sisterhood, 2018

Irene Lusztig’s documentary Yours In Sisterhood has a simple premise. Back in the 1970s thousands of women wrote letters to Ms. Magazine, the premiere mainstream feminist publication of the day, but due to space restrictions only a handful of those letters were published. The rest reside in an archive at Radcliffe University that Lusztig accessed some years ago. From that archive she chose about 300 letters and then found women from the same locales as the original writers to re-read the letters on camera—from those 300-odd readings she chose twenty-seven for the film. The results are a brilliant tapestry of 1970s feminism and the resonances from that era to the present day. Lusztig presents the first several of the re-readings straight up to the camera without commentary, then gradually embroiders this format, showing the responses of the modern-day readers to their 1970s counterparts’ missives. A handful of the letters are reread by their original authors as well, including a particularly poignant coming-out letter written by a woman who was sixteen in the 1970s. After reading her letter she recalls how at the time she thought that being queer meant that she would be lonely all her life and that she would never marry or have children. Happily, this bleak prediction did not come to pass as the woman reveals that in the intervening years she and her longtime partner have raised two children and are well-liked in their small-town community.

Lusztig also provides a bit of dyke fanservice by including lesbian author Deena Metzger reading her 1970s letter onscreen, which was cheered loudly at the Frameline screening I attended. A minor quibble: the film includes only one Asian American woman and one Latina, which I understand reflects the mostly-white demographics of the Ms. Magazine readership back in the day. But other than that Lusztig does a great job mixing up the optics of the film and presenting a diverse range of points of view.

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Imbalance of power, Call Her Ganda, 2018

PJ Raval’s documentary Call Her Ganda follows the case of the murder of transgender Filipina Jennifer Laude, who was killed in a fit of gay panic by US Marine Joseph Scott Pemberton. Despite being convicted of the crime Pemberton was shielded from imprisonment by the US government, much to the outrage of the Filipino populace in general and the transgender community in particular. Raval’s film explicates the fraught history of the United States and the Philippines, using Laude’s case as an example of history of colonialism and the imbalance of power between the two countries. The film’s gliding camerawork effectively captures the glowing lights of Olongapo City by night and its hodgepodge of street markets, as well as the utilitarian bleakness of US military bases in the Philippines, which has long been exploited by the US due to its strategic location in the Pacific theater.

By focusing on the grassroots activism surrounding Laude’s murder Raval’s film recalls seminal Asian Pacific American documentaries such as Who Killed Vincent Chin? and The Fall of the I-Hotel which similarly depict the empowerment of the API community in the face of systemic injustices.

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Vibrant, When The Beat Drops, 2018

Jamal Sims’ exuberant documentary When The Beat Drops is a vibrant celebration of bucking, or j-setting, a dance form originating in the black gay community in Atlanta. Based on moves from female cheerleading squads at historically black colleges and universities, in particular the cheer squad from Jackson State University, bucking primarily takes place in gay clubs throughout the south and southeast United States.

The movie helps to explode definitions of what makes a man and the fluidity of the various characters is breathtaking and effortless. It’s beautiful to see men so confident in their maleness that they are able to demolish the gender binary and let the many facets of their identity shine through. Added to that are some dope AF dance sequences, in clubs, in competitions, and en la calle, that strikingly depict the dynamism and creativity of the j-setting scene. I especially love the fact that the bucking competitions shown in the film are judged by some of the female cheer squad members whose routines j-setting pays homage to.

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Perspective, Retablo, 2018

Álvaro Delgado-Aparicio’s Retablo is a beautifully told narrative that further explores the boundaries of masculinity, this time through the lens of a Peruvian family in the Andes. Delgado-Aparicio beautifully uses the cinematic grammar to underscore the mindset of Segundo, his young protagonist, who inadvertently finds out an uncomfortable truth about his father Noe. Noe is a master artisan who is training Segundo to create retablos, three-dimensional tableaux that act as family portraits, as devotionals, and as representations of significant events in their small Andean village. In the first part of the film Segundo’s worldview is stable and stationary, framed almost exclusively in master shots, which echoes the proscenium framing of the Noe and Segundo’s retablos. Once Segundo learns about his father’s clandestine trysts with other men the film’s framing and editing become more jagged and abrupt, reflecting Segundo’s unsettled state of mind. Delgado-Aparicio’s limited use of conventional tight shots and point-of-view shots in the first part of the film also pays off when he finally frames a key moment in the film in close-up from Segundo’s vantage point. The impact is shattering, reflecting the moment’s effect on Segundo’s previously limited perspective.

Retablo also explicates the village’s cultural taboos around same-sex relationships by emphasizing the hypermasculinity of Segundo’s friend Mardonio, whose bragaddocio possibly masks his insecurity about his own sexuality. Segundo and Mardonio enact a classic homoerotic triangle with local shopowner Felicita as Mardonio crudely sexualizes Felicita in order to deny his attraction to Segundo. The film’s dialog in both Spanish and Ayacucho Quechua, one of the most widely spoken Andean dialects in Peru, also lends an immediacy to the film.

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Intimate, We The Animals, 2018

Still to come this week at Frameline: big, showy titles including those focusing on queer superstars Emily Dickinson (Wild Nights With Emily), Alexander McQueen (McQueen)and Robert Mapplethorpe (Mapplethorpe), the Chloë Grace Moretz vehicle The Miseducation of Cameron Post, and the closing night doc Studio 54, about the legendary New York City disco of the same name, the ever-popular shorts programs Fun In Girls Shorts and Fun In Boys Shorts, and smaller, more intimate movies such as the Sundance favorite We The Animals and the UK/Spain co-production Anchor And Hope, (starring #HarryPotter alumna Natalia Tena). I’m hoping to make it to most of these shows since I love me a good film festival, and this year’s Frameline is one of the best.

June 21, 2018 at 7:15 am Leave a comment

Both Ends Burning: Crossroads festival of artist-made films and video

Los proyectors

Over this past weekend I caught a few shows at the Crossroads film festival that demonstrated a much more culturally integrated state of affairs in the experimental film world than had existed back when I was a pup. I’ve complained in the past about #ExperimentalFilmSoWhite but I’m happy to report that this year’s festival had a good range of makers from many different ethnic backgrounds. Similarly, it’s still somewhat rare to see straight-up art films in most Asian American film festivals, despite the active production of AA experimentalists for many decades, so it’s nice to see AA art films included in the mix.

Jun Okada has posited that some years ago the dominant AA film festival powers-that-be chose to focus on community-based narrative and documentary filmmakers rather than experimental filmmaking, especially on the West Coast. But when I was coming up as a young video artist back in the day there were several other Asian American experimentalists making work then including Janice Tanaka, Rea Tajiri, Stuart Gaffney, and Shu Lea Cheng, to name just a few, who did get a lot of play in AA festivals. However, only rarely were those artists included in mainstream art film programming and fests.

Singular, Highview, Simon Liu and Warren Ng, 2017

So it’s great that Crossroads’ Saturday night show featured Simon Liu and Warren Ng’s Highview, a gorgeous four-projector piece with live guitar accompaniment. Highview’s live performance emphasized the singular appeal of celluloid, with the rapid-fire clattering of the 16mm projectors adding a percussive backbeat to Ng’s dreamlike guitar line. Liu’s projections capture Liu’s memories of Hong Kong, with the film’s green and red palette evoking the former Crown Colony’s characteristic neon-lit nightscape. The project’s imagery includes hand-processed footage, faces that gradually appear and fade away, and cityscapes and starry nights, with a textural, visceral visuality grounded in place and history.

Resistance, Fluid Frontiers, 2017, Ephraim Asili

Although the Crossroads shows that I saw were heavily on the abstraction tip, there were some pieces that managed to mix in some content and social critique along with all of the visual manipulations. Ephraim Asili’s Fluid Frontiers incorporates readings of Black Power texts overlaid with images of significant African American sites in Detroit and an audio reenactment of Harriet Tubman’s biography, creating an impressionistic portrait of that city’s legacy of resistance and activism.

Direct action, The Sun Quartet, 2017, Colectivo Los ingrávidos

Mexico City artists Colectivo Los ingrávidos tetralogy The Sun Quartet uses as a jumping-off point the disappearance of forty-three student activists to comment on Mexico’s political and cultural tensions and to advocate for direct action in combating injustice and oppression. Peggy Ahwesh’s The Falling Sky ironically repurposes footage from Taiwan’s Next Media animated news sequences to comment on the foibles of the human condition.

The festival was a great opportunity to see a wide sampling of international experimental film and video, but although the filmmakers included represented a breadth of cultural backgrounds the festival’s audience was still predominantly white. After kicking it at CAAMfest, Third I South Asian, and other AZN-focused festivals it was a bit of shock to re-enter the mainstream artworld’s decidedly un-diverse universe. Of course this is not something only seen at Crossroads, since the art world is still mostly a playground for the white educated upper middle class. So I’m glad to see Crossroads drawing in a wider cultural spectrum of filmmakers, as this can only enrich and improve the experimental film world.

 

 

 

 

 

 

June 12, 2018 at 7:10 am Leave a comment

Starlit Night: 2018 San Francisco Silent Film Festival

Favorite, An Inn In Tokyo, 1935


I think it’s safe to say that Yasujirō Ozu is one of my favorite film directors. At one point some years back I binged on all the Ozu films I could find, focusing mostly on his midcentury classics, but I really love almost all of his movies that I’ve had the pleasure of seeing. So it’s nice to see that this year’s edition of the San Francisco Silent Film Festival is including one of his later black-and-white silents, An Inn In Tokyo (1935), as part of its lineup.

The film follows a down on his luck widower and his two young sons as the father tries to find a job in prewar Tokyo. With the paltry income they scrape together catching stray dogs the trio has a daily choice of sleeping in an inn or eating, while the father searches in vain for employment. In their travails they cross paths with a young mother and her daughter who are in similar dire straits.

Geometric, An Inn In Tokyo, 1935

Although relatively early on in Ozu’s career the film still has many of the hallmarks of his aesthetic including a deeply humanistic and empathetic worldview, focusing on the gentle and deep bonding among family members. Severel of Ozu’s formal tics are already in evidence as well including his geometric compositions and his use of full-face camera address. The film utilizes more camera movement than his later movies, primarily using a gliding pan that follows the action of his characters through the landscape.

Ozu also draws out sympathetic, effective performances from his cast, from both the adult and child actors, and captures several beautiful interplays between them. A particularly nice scene early on in the film features the food-deprived father and sons miming eating and drinking their favorite dishes and beverages, including sake, in the middle of the field. The playful longing in their actions coupled with the sweetness of their family bonding creates a charming and sad moment.

Queen, The Saga Of Gösta Berling, 1924

In addition to the Ozu, as usual this year’s Silent Film Festival includes several other gems. These include another Japanese silent film that sounds very different from An Inn In Tokyo, Tomu Uchida’s crime film Policeman (1933), Piel Jutzi’s Mother Krause’s Journey To Happiness (1929), which looks at life in a seedy Weimar Republic- tenement, and the epic 200-minute long The Saga Of Gösta Berling (1924, dir. Mauritz Stiller), which was queen Greta Garbo’s first starring role. As usual all screenings include live musical accompaniment.

Brilliant, Battling Butler, 1926

Closing out the festival on June 3 is Battling Butler (1926), by another one of my favorite directors, Buster Keaton. The film features The Great Stoneface’s brilliant physical comedy combined with his typical underdog fish-out-of-water lead character. Seeing Keaton on the big screen is always a treat so this one is not to be missed.

23rd San Francisco Silent Film Festival

May 30-June 3, 2018

Castro Theater

San Francisco CA 94114

 

June 1, 2018 at 6:53 am Leave a comment

Thinking Out Loud: 2018 San Francisco International Film Festival

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Paternalism, Angels Wear White, 2017

The San Francisco International Film Festival is in full swing right now and as usual the fest has a great lineup of world cinema. Although my viewing schedule was very truncated due to life circumstances I still had a quality film festival experience over the first weekend.

 

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Compassionate, The Third Murder, 2017

I started my mini-marathon with Hirokazu Kore-eda’s latest film, The Third Murder. As per usual Kore-eda goes directly to the psychological heart of his characters, examining their motivations without judgment or prejudice. In The Third Murder a seemingly straightforward homicide investigation takes several unpredictable turns and eventually leads down many unexpected paths. Almost every character presents an unreliable point of view, contributing to the many shades of gray of complicity and blame. Yet Kore-eda emphasizes the compassionate over the judgmental and the film’s open-ended conclusion questions assumptions of guilt and innocence.

The Third Murder is beautifully lit and shot, with Kore-eda using gliding zooms and slow pans to delineate the cinematic space. The film also makes great use of reflection and mirroring to suggest complicity and transference of guilt, since almost everyone in the film lies at one point or another. Performances are also on point, led by the ever-awesome Yakusho Koji (Shall We Dance? The Eel) as the man accused of murder, and the dapper Fukuyama Masaharu (Like Father, Like Son) as the lawyer assigned to the case who begins to doubt everything and everybody as the film progresses.

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Vulnerable, A Man of Integrity, 2017

I continued my festival viewing with A Man Of Integrity, by Iranian director Mohammad Rasoulof. Like his compatriot Jafar Panahi, Rasoulof has been arrested in his home country and banned from making films, so A Man Of Integrity was shot on the down-low in a wintry northern area of Iran. The film is a bitter and intense drama about a family settled in a remote Iranian village that comes face to face with the town’s intractable corruption and cronyism. The delicate and vulnerable goldfish that they farm become a metaphor for the family’s tenuous status in the town, and the film is grounded in strong and intense performances by Reza Akhlaghirad and Soudabeh Beizaee as the couple who stand up to corruption in the village.

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Power dynamics, Angels Wear White, 2017

Vivian Qu’s Angels Wear White also looks at corruption and power dynamics, this time in a seaside village in China. It’s a gripping narrative about the aftermath of an assault on two schoolgirls and the reverberations of that crime on its small-town location. Director Qu captures the precarious position of the female characters in the film, most of whom are suffering under a sexist and paternalistic system, and she brings out great performances from both the adults and the preteen and teenage actors. Also of note is the film’s excellent editing which moves the story along at a steady and assured pace.

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Obscured, The White Girl, 2017

The White Girl features some beautiful cinematography by the legendary cameraman Christopher Doyle (Chungking Express), who co-directed the film with Jenny Suen. Set in one of the last fishing villages in Hong Kong, the film follows a young woman known for her very pale complexion that she protects religiously, supposedly due to her allergy to sunlight. Along the way she encounters a mysterious dude (Joe Odagiri) who lives in a ruined building that is also a camera obscura. Added to mix is an evil developer who wants to pave over the cute fishing village and a subplot involving the white girl’s mother, a famous singing star who long ago abandoned her partner and daughter. The film is heavy with allegory about Hong Kong’s current struggles with China and is a little too elliptical for my taste, but it’s always a pleasure to hear Cantonese dialog.

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Struggles, Minding The Gap, 2018

I rounded off my viewings with Bing Liu’s Minding The Gap, which blends character-driven verite with personal documentary. The film follows Liu and two of his skateboarding friends who talk about surviving life in Rockford, a picturesque city about 1.5 hours outside of Chicago that in fact suffers from a high crime rate, most of which is due to domestic violence. The film becomes cathartic for its three distinct and sympathetic characters, including Liu himself, revealing the struggles each encounters in reconciling their painful histories with their current lives. It’s the kind of humanistic doc that Kartemquin Films (which executive-produced the film) is known for, their most famous film being Hoop Dreams. Minding The Gap is good, solid documentary filmmaking that isn’t afraid to touch on difficult topics like alcoholism, wife beating, and child abuse.

Also upcoming this week—the US premiere of John Woo’s latest actioner Manhunt, which may or may not be a return to his past heroic bloodshed glory, Sandi Tan’s personal documentary Shirkers, Hong Sang Soo’s latest Claire’s Camera, and Lee Anne Schmitt’s essay film Purge This Land, among many other cinematic treats.

for tickets and more information go here 

 

April 12, 2018 at 9:41 pm Leave a comment

Keep Your Head To The Sky: 2017 CAAMfest

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Angsty emo, The Lockpicker, 2016

CAAMfest is just around the corner so I’m posting a few quick recos to help people wade through the massive program. As usual this year the festival is screening more than 100 films, plus music and food events, so finding your bliss can be a daunting process. Here are a few things that I’ve seen that I like. Get your tickets while they’re hot—they’re going fast!

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Wood paneling and wide ties, The Tiger Hunter, 2016

The Tiger Hunter, dir. Lena Khan

A sweet and amusing comedy set in the 1970s about an Indian guy who moves to the US to make his fortune, The Tiger Hunter is a crowd-pleaser that’s set as the CAAMfest opening night movie. Danny Pudi is appealing and genial as the son of the titular tiger hunter and the ensemble cast brings a goofy charm to the rest of the film. Speaking as someone who grew up in that inglorious decade I can also say that the 70s art direction is totally on point.

The Lockpicker, dir. Randall Okita

Randall Okita’s teen angst drama made my best-of list for 2016 and I’m sticking by that decision. Asian American narrative film directors have pretty much mastered the art of mimicking Hollywood movies these days, but The Lockpicker is a different animal altogether. Raw, unstructured, and brutally honest in its examination of some of the worst aspects of adolescence, the film is anchored by a charismatic and emo performance by first-time actor Keigian Umi Tang. As I’ve said before, as a parent of teenagers this movie terrified me in its depiction of the casual cruelty of ennui-stricken youth.

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Sunkrish looking fly, Chee and T, 2016

Chee and T, dir. Tanuj Chopra

Tanuj Chopra’s latest flick is a wacky ride through the wilds of Palo Alto with a couple slightly sketchy desi dudes who exist on the fringes of Silicon Valley’s tech wonderland. Funny and frantic, with typical Tanuj Chopra hijinks including hallucinogenic drugs, ethically questionable characters, and surprising individuals who are not what they seem to be.

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Search for self, AKA Seoul, 2016

AKA Seoul, dir. Jon Maxwell

An intriguing look at the experiences of a handful of twentysomething Korean adoptees as they return to Seoul to search for some of the answers to their family histories. Along the way they discover that uncovering the truth may not always be the best way to determine your destiny and that detours don’t necessarily mean derailment on the track tracks of life (wut?).

Basha Man, dir. Daniel Chein

A perceptive look at the conflict between capital and culture, this short documentary profiles a young tour guide and performer in a small village in western China. The film explores the difficulties in maintaining a cultural heritage in a rapidly commodifying world.

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Francis cameo, Bruce Takes Dragon Town, 2015

Bruce Takes Dragon Town, dir. Emily Chao

Returning to Taiwan during Ghost Month takes on extra significance for a Taiwanese American filmmaker tracing her family’s migrations. This short experimental doc gets bonus points for featuring clips of the obscure Francis Ng film Banana Spirit.

It Is What It Is, dir. Cyrus Tabor

This short experimental documentary uses home movies, archival footage, and a personal narrative that attempts to unlock family secrets across generations and between continents. Dreamy, sad, and perplexing, with a blurry sheen of flawed memories that demonstrates the difficulties in finding the line between truth and fiction.

Death In A Day, dir. Lin Wang

A brief look at a significant moment in a young boy’s life, this sharply observed short narrative, told from the boy’s point of view, is full of subtlety and symbolism.

March 8, 2017 at 7:16 am Leave a comment

Mighty Mighty: Mostly British Festival

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Hello, mum, Secrets & Lies, 1996

The Mostly British Film Festival is in full swing in San Francisco this week (closing night is Thursday Feb. 25) and it’s a great opportunity to see a lot of indie and classic movies that might not otherwise get theatrical release here in the states. Established eight years ago, this year’s festival includes movies from the UK and the former British empire, including Australia, and India.

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Widmark in London, Night and the City, 1950

Following along the current craze for film noir, MBFF screened the Richard Widmark/Gene Tierney vehicle Night and the City (1950). Directed by Jules Dassin after he fled to England following his blacklisting during the McCarthy era, the movie transplants the noir aesthetic to London, making great use of the city’s seedy docksides and proving that betrayal, backstabbing, conniving, and cheating aren’t strictly the domain of U.S. crime films. Richard Widmark does his thing, using his kinetic and expressionistic acting style to enliven the character of loser and conman Harry Fabian. Gene Tierney looks pretty as the moral center of the movie but doesn’t get to do a lot with a character that’s much less compelling than her leading turn in Laura. Despite an unintentionally comic climactic wrestling match, the film is an excellent example of noir’s examination of dark side of  human existence.

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Costumer extraodinaire Orry-Kelly and Marilyn, Women He’s Undressed, 2015

MBFF also screened Women He’s Undressed (2015) Gillian Armstrong’s documentary about legendary Hollywood costume designer Orry-Kelly. Orry-Kelly was a native of Australia (as is Armstrong) who made his way into the U.S. movie business during its golden age in the 1930-60s. Armstrong’s doc includes lots of Orry-Kelly’s glamorous costumes for stars such as Bette Davis, Marilyn Monroe, Ingrid Berman, and Barbara Stanwyck, and also outs Cary Grant in a big way, describing his on-again-off-again affair with Orry-Kelly over the many years of their relationship. Intercutting dramatic re-enactments of Orry-Kelly’s life, interviews with top Hollywood costume designers, and many examples of Orry-Kelly movie wardrobes, Women He’s Undressed is a fun and light little romp through gay Hollywood.

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Sensitive and stocky Timothy Spall, Secrets & Lies, 1996

The highlight of the festival for me was the chance to see Mike Leigh’s Secrets & Lies on the big screen. I’m a latecomer to Leigh but now that I’ve seen the glory of his brilliant filmmaking I’m trying to see every movie of his that I can track down. As with most of his oevre, in Secrets & Lies Leigh explores the emotional devastation of complex human relationships. After the death of her adopted mother a young black woman discovers that her birth mother is white. Leigh’s film paints fully fleshed out pictures of each of the characters, who are brilliantly realized by actors Marianne Jean-Baptiste as Hortense, the adopted woman, Brenda Blethyn as Cynthia, her birth mother, and Timothy Spall, Cynthia’s brother. Curiously, although it’s a central element of the film, Secrets & Lies elides the narrative’s racial aspect. Although it’s significant that Hortense is black and Cynthia is white this is used mostly as a plot device and not as a means of exploring race relations in the UK in any depth. None of the white characters express any racial animosity toward Hortense and their shocked reactions to her seems to be based mostly on the fact that she is Cynthia’s long-lost daughter and not that she’s black. There’s a passing allusion to Cynthia’s father’s disapproval of Hortense’s biological father, a Jamaican man, but the film implies that the issue of Cynthia’s youth at the time and not the race of the her lover resulted in her giving up Hortense for adoption. Nonetheless, the movie is an excellent look at the overt and underlying tensions in family relations. Secrets & Lies also further indoctrinated me into the cult of Timothy Spall, who I love as a leading man despite his being stocky, doughy, and far from handsome. He’s without a doubt a sensitive, charismatic, and highly underrated actor and he was robbed last year for not getting an Academy Award Best Actor nomination for Mr. Turner (also directed by Leigh). I’m always happy to see him in performances outside of his role as comic relief in the Harry Potter franchise.

The Mostly British Film Festival concludes this Thursday, Feb. 25 with a screening of A Royal Night Out at the newly renovated Alamo Drafthouse in the Mission District. For more information and tickets go here.

 

 

February 24, 2016 at 9:17 pm Leave a comment

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