review Archives - Page 17 of 64 - Ramblin' with Roger

Movie review: TÁR [Todd Fields]

Cate Blanchett will get an oscar nod

My wife and I went to see the late afternoon matinee of the movie TÁR back on November 10 at the Spectrum Theatre. There was, coincidentally, one other couple in the roomy theater, who we’ve known for years. Afterward, as the four of us mused about what we had just seen, a young man who worked at the cinema proclaimed, “Isn’t that the best movie EVER?”

The four patrons all agreed that Cate Blanchett inhabited the character of music conductor Lydia Tár wholly. It is not surprising that people sought Tár’s body of work only to discover that she was a fictional character.

Blanchett’s complex performance featured her actually playing the piano, something she hadn’t tried in decades; conducting and speaking German, which she learned for the role. Tár striking a punching back to the rhythm of Mozart’s A Little Night Music made me laugh aloud.

There were other touches of verisimilitude in the film that I really liked. The far too long introduction by a New Yorker writer before interviewing Lydia reminded a specific Writer’s Institute event I attended several years ago. Deutsche grammophon is the imprint of many of the classical recordings that many folks, including me, own.

Okay, and

But, as several of my friends asked me, what is the movie about? The Spectrum description says it “examines the changing nature of power, its impact, and durability in our modern world.” So it’s the looking away from the foibles of a talented artist, at least for a while? The power of the cancel culture? Is Icarus flying too close to the sun?

Mashable opined: “Like its protagonist, Tár is many things all at once: a psychological drama, a foray into horror, a (very) dry comedy, and a relationship drama.”

Friend Karen suggested that we are supposed to feel some sympathy for the conductor. This is even though, according to another of the movie’s other main characters, all of Tár’s relationships, save one, are transactional. That is dead on.

Over a week later, I’m still musing about the film. It was good to see it in a movie theater with speakers. I think this would be too claustrophobic to watch on the small screen. And I did love not just the music but the thought and process of creating a performance.

So I looked at some of the reviews; 92% were positive from the critics, but only 72% from the audience. From The Guardian: “a singularly strange offering from US writer-director Todd Field.” I cannot argue with that.

That’s not my take

But I will dispute Amy Taubin’s assessment in ArtForum. “Cate Blanchett, playing one overblown note in Todd Field’s imbecilic and carelessly racist TÁR.” The characterization is based on the fact that “Field cuts from the concert halls and trophy residential real estate of Berlin and New York… to the filthy streets and decaying buildings of an unnamed Southeast Asian country…”

No, it was not a one-note performance. And, as my friend David divined, it’s a particular country, as a reptilian reference in the dialogue would suggest.

I’m glad I saw it, yet I don’t imagine I’d watch it again. 178 minutes is a long haul that’s so…internal.As Charles Koplinski noted, “TÁR is a movie you admire more than enjoy.”

Movie – Hallelujah: Leonard Cohen, a Journey, a Song

September Cohen

When we were in the Berkshires last week, my wife recommended that we go to the Images Cinema in downtown Williamstown, MA, to see the documentary Hallelujah: Leonard Cohen, A Journey, A Song. She knew this would be the type of film I would be interested in seeing. I didn’t even know of its existence.

It is, the New York Times called “a definitive exploration of [the] singer-songwriter Leonard Cohen as seen through the prism of his internationally renowned hymn.”

It starts off with the poet and perhaps dilatant songwriter too shy to go out on stage. His then-new friend, Judy Collins, who had just covered his song Suzanne, went out on stage with him. He developed some confidence in performing, but developed some bad, though not uncommon, habits.

Leonard and his producer created an album containing Hallelujah and other good songs. In 1984, his label, Columbia, initially rejected it! (Yet they released an overdone album produced by Phil Spector.) The path of the song, involving perhaps 150 verses, Bob Dylan, John Cale, Jeff Buckley, Rufus Wainwright, and far too many versions from American Idol and similar programs, is a fascinating tale.

Then in his seventies, Leonard has a musical resurgence. I have two albums of his from the 2010s, which I enjoy. He died in 2016 at the age of 82.

Rarities

“Approved for production by Leonard Cohen just before his 80th birthday in 2014, the film accesses a wealth of never-before-seen archival materials from the Cohen Trust, including Cohen’s personal notebooks, journals and photographs, performance footage, and extremely rare audio recordings and interviews.” The film’s copyright is 2021, but the release date was July 15, 2022.

At some point, Leonard considered changing his first name to September. It’s not only his birth month, but it is also the month that Rosh Hashanah and Yom Kippur often fall. I was particularly fascinated with him negotiating with his religious beliefs.

As luck would have it, Kelly has already written an essay about the song and has linked it to a Cohen version of Hallelujah.

The documentary is recommended if you can find it.

Movies: Elvis; Mr. Malcolm’s List

jilted

After seeing the new movie Elvis – and knowing the limitations of the biopic genre – I wish my father were still around so that we could debate the merits, but not the film per se. It was more that he hated Elvis for his cultural appropriation. I believe that the film showed that the kid from Tupelo, MS (the young Australian actor Chaydon Jay) came by his love of black music honestly. (Unlike, say, Pat Boone covering Little Richard’s Tutti Fruiti.)

When my wife and I saw the previews a few months ago, featuring the somewhat older Elvis (the magnetic Austin Butler), my wife asked, “Was Elvis REALLY that sexy?” I SHOULD have said, “50,000,000 Elvis Fans Can’t Be Wrong!” which is (sort of) the title of one of his greatest hits albums. Instead, I just said, “Yes, yes, he was.” Her query comes from only being familiar with the “fat Elvis” stuck in Vegas.

I liked it a lot. Sean P. Means of The Movie Cricket wrote, “It’s big, bold, and brassy. It’s not perfect, and at 2 hours and 39 minutes still doesn’t deliver everything you’d expect in a telling of Elvis’s life story. But it’s always holding your attention.” Yeah, that’s about right.

Who is that?

It’s always nice to see the bits one’s aware of, such as Elvis singing to an actual hound dog on Steve Allen’s show. I don’t know exactly what his relationship with some of the black stars of the era was, but it was fun to try to identify them. I didn’t recognize B.B. King (Kelvin Harrison Jr.) or Arthur ‘Big Boy’ Crudup (Gary Clark Jr.). Still, Sister Rosetta Tharpe (Yola), Big Mama Thornton (Shonka Dukureh), and especially Little Richard (Alton Mason) were obvious to me. Sadly, Shonka Dukureh died recently.

The one aspect I’m still puzzling about is Tom Hanks’ accent as Colonel Tom Parker. It’s…weird. Parker biographer Alanna Nash says that’s not what he sounded like, which frankly doesn’t bother me. Nash said, “He didn’t have an impediment — he was just trying to wrap a Dutch tongue around the English language, Southern-style… But [director Baz Luhrmann] wanted to make him seem more ‘other.’ Or as Baz told me in an interview, ‘I thought it was very important that Tom presents the audience with a strangeness, a sort of ‘What is going on with this guy?'”

But “Nash did say that there are some things Baz Luhrmann got right with Elvis. This includes the suggestion that Parker did all he could to prevent Presley from fulfilling his dream of embarking on a European tour. It was unfortunate for Presley, as the reason had nothing to do with the singer but with Parker’s lack of a passport.”

I suspect Austin Butler will get an Academy Award nomination for playing Elvis. His energy and charisma, and talent are tremendous. All in all, I recommend the movie.

Very Jane Austen-y

“A young woman courts a mysterious wealthy suitor in 19th century England.” That’s the premise of the newish movie Mr. Malcolm’s List. Do you want more? “When she fails to meet an item on his list of requirements for a bride, Julia Thistlewaite (Zawe Ashton) is jilted by London’s most eligible bachelor, Mr. Malcolm (Ṣọpẹ́ Dìrísù). Feeling humiliated and determined to exact revenge, she convinces her friend Selina Dalton (Freida Pinto) to play the role of his ideal match. Soon, Mr. Malcolm wonders whether he’s found the perfect woman…or the perfect hoax.”

My wife loves this stuff and was very fond of the film. I thought it was fine, and the diverse cast was entertaining.

We saw both films at the Spectrum Theatre in Albany in July 2022.

Downton Abbey: A New Era

the south of France

My wife said during the Memorial Day weekend, “Do you want to see Downton Abbey: A New Era?” We go to few enough movies that the answer is almost always YES.

So we got in the car to head to the Spectrum Theatre when she noticed that it was also showing at the nearby Madison Theatre. Should we go there? Nah, the Spectrum popcorn is better, and there’s more room at the Spectrum.

As it turned out, there were more folks at a Friday matinee than I have seen in a long time. Every row on both sides had at least a party of two, and often more, from the back to the fourth row from the front, where we sat.

As I noted in my review of the first film, I had/have never seen a full episode of the TV show, even though the DVDs are in the house. An imperfect analogy: it would be like watching the last two Avengers movies without having seen any of the other films in the Marvel Cinematic Universe. You might get the gist of the story, but pieces would be missing.

What is necessary

So I’m responding to what I know. There were two basic plotlines taking place in the early 1930s. One involved an offer from a company to make a film at the mansion. While the initial offer was rejected outright by Robert Grantham (Hugh Bonneville), others, notably Lady Mary (Michelle Dockery) noted that the building is in disrepair, including a leaky roof, and that the family really could use the infusion of cash.

Fortunately, some of the family had another place to go, to the south of France, to a villa given to the Countess of Grantham (Maggie Smith) back in the 1860s, by a gentleman of her brief acquaintance, much to the dismay of that man’s widow. Although he wasn’t really needed, Mr. Carson (Jim Carter) came along to help the family.

I enjoyed the film – and my wife even more so – in meeting up with the familiar cast. In particular, the issue of making a silent film when the talkies were starting to take hold was a lot of fun. Ah, that’s Hugh Dancy as the film director; isn’t he in the new Law and Order?

The downstairs people – the staff, in general, I find more interested than most of the “passive income earners.” And I think their stories were more compelling. I laughed aloud at least a half dozen times, especially at what I should have anticipated but did not.

I often look at negative reviews, though 85% positive rating on Rotten Tomatoes. There was a bit of “it’s not cinematic enough” and “another (longer) episode of the show.” Since I didn’t watch the series, it’s impossible for me to assess those aspects. But having seen too many movies on television over the past two years, I’m having a bit more difficulty figuring out what that even means anymore.

Documentary review: Attica

Rocky

If “Attica” is just a line you recognize from the movie Dog Day Afternoon, you should watch the Oscar-nominated, 2021 documentary of that name.

Now, if you were around then, you will discover a lot of details that you forgot, or more likely, did not know at all about one of the most significant prison riots in the United States. “This unnervingly vivid dive into the 1971 uprising… sheds new light on the enduring violence and racism of the prison system…”

A little over half of the approximately 2,200 prisoners took over the facility on September 9, taking 42 staff hostage. They had tired of their brutalizing conditions and sought to be treated like human beings. The stories in the film were told by some of the former prisoners. As one critic correctly notes, “I don’t think Attica glorifies the prisoners, but it does humanize them. That is, it presents them as human beings.”

There were four days of negotiations, including with the state Commissioner of Corrections, Russell G. Oswald. While there were some prisoners who wanted to hold Oswald and other negotiators hostage as well, the prisoner leadership opposed this, saying that they should deal in good faith.

Other people interviewed in the documentary included the families of the guards held hostage. Attica is a small town in rural Wyoming County, southwest of Rochester and southeast of Buffalo. The Department of Corrections is the major employer. Most of the prison personnel were white local folks, while most of the prisoners were black and/or Hispanic, creating a definite culture clash beyond the guard/prisoner dynamic.

During the negotiations, authorities agreed to 28 of the prisoners’ demands. But they would not agree to complete amnesty for the inmates involved with the prison takeover.

Nixon’s the one

The film shares audiotape of Nelson Rockefeller conferring with Richard M. Nixon. The governor assured the President that he would not accede to the demands to go to Attica, a position that Nixon applauded. Then on September 13, Rocky ordered armed corrections officers, and state and local police to retake the prison.

The next thing that happened, you may know. Or not, as disinformation was sent out by Rocky himself, disputed initially by ABC News reporter John Johnson and soon by medical examiners.

But it is what happened AFTER the siege that I had never heard about or seen before. It was quite disturbing in its own right. And that’s the strange thing about the movie. If you don’t know how the story ends, you might get three-quarters of the way through and still hold out for a happy ending.

The movie by writer/director Stanley Nelson got positive reviews from 50 of 51 critics. And the 51st has a snippet that says, “Extraordinary archival footage… You can’t just dismiss it as hyperbole.” I watched it on Amazon Prime.