Category Archives: Events

Play Review: The Long Red Road

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Written by Brett C. Leonard.  Directed by Philip Seymour Hoffman.  Performed at the Owen Theatre at The Goodman, Chicago.

I know I have a tendency to overstate how good I think something is, so here is a fact.  Several minutes after the show was over, I called Brian to tell him I was on my way home.  I was crying so uncontrollably that he thought I had been mugged.  Not even The Notebook had this kind of power over me.  Wow.

The Long Red Road is an intimate story appropriately performed in a small theater.  For this production, the stage protrudes into the center of the theater, with the audience surrounding the stage in a U shape.  This set up puts the audience up close and personal that you can even see the contents of the underwear drawer.

The play opens with an intense sex scene between Sam, a hopeless drunk, and his girlfriend Annie.  Sam is hiding out on an Indian Reservation in South Dakota.  Annie tolerates Sam’s apathy because she thinks she can save him.  Meanwhile Sandra (a real-life double leg amputee), her teenage daughter Tasha and live-in father-figure Bob have their own dysfunctional drama in Kansas.  We later discover that Bob is Sam’s brother, and that Sam abandoned his wife Sandra and daughter Tasha after his drunk driving caused a tragic accident.

While the play contained some typical elements of a sappy family drama, nothing prepared me for this kind of intense storytelling.  The Long Red Road is a beautiful combination of  lighting, sound effects and set decoration, but is also so much more than that.  Tom Hardy is exceptional as Sam, taking the audience on an emotional rollercoaster through Sam’s delusions, denial and violence.  There are several long moments without dialogue where the audience gets a chance to absorb Sam’s shame and despair and starts to sympathize with this rotten asshole.

Knowing that Hoffman has taken Jack Goes Boating from the stage to the silver screen, I hope to see the same with The Long Red Road.  I think the intimacy of the theater production would be hard to recreate, but I would look forward to the result.

Nosferatu, a Symphony of Horror

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NosferatuShadow

There are few things more exciting to me than having the privilege of watching a classic silent film in 35mm with live accompaniment.  I have seen The Phantom of the Opera (1925)  (full orchestra), The General (organ) and Battleship Potemkin (piano).  I can now add Nosferatu to the list.

The Gene Siskel Film Center in Chicago is playing Nosferatu as part of their “Art of the Remake” series.  Next week they will show Werner Herzog’s Nosferatu.  I’ve seen both films on DVD, but I love having the opportunity to see them in 35mm.

Nosferatu was directed by F.W. Murnau and the screenplay “freely adapted” from Bram Stoker’s Dracula by Henrik Galeen.  Max Schreck infamously plays the vampire Count Orlok.  His long dangling fingers and rat-like teeth were enough to make me uncomfortable that my neck was exposed.  It isn’t the greatest film story-wise, but the use of shadow makes it iconic.  The most unforgettable scene takes place when the shadow of the vampire reaches out and clutches the heart of Ellen, the film’s heroine.

This was a 1996 restoration print on loan from a private collector in Milwaukee, which I thought was interesting.  The film quailty was stunning.  It’s just a shame the projectionist couldn’t keep it in frame the entire time.

The piano accompaniment was pretty good for the most part.  It must have taken a little while for the pianist to really get in the spirit of things because the musical phrases seemed fairly detached at the beginning.  Of course I’m a bit of a music snob, so maybe no one else noticed but me.  Things got better after Count Orlok was introduced.

I’d like to thank the private film collector in Milwaukee, the Gene Siskel Film Center, and pianist David Drazin for making this all possible.  This was quite a treat.

Only in Sweden

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On April 2-3 the University of Dalarna will hold the annual Existential Film Festival, to discuss whether there is a rise in unhappy endings in modern cinema and its possible causes. The theme of this year’s festival will be “Collapse and Renewal”

Translated from the festival webpage. (Bold text mine)

We think we see a clear trend in which happy endings on the screen are increasingly overshadowed by a dark perspective; No Happy End. Is cinema in this manner reflecting a growing desorientation and confusion in the present, a lack of confidence and a sense of imminent collapse?

We see signs of disruptive forces in the western way of life. A growing climate crisis, a slow and inexorable threat to human civilization, demonstrated in such films as The Planet and WALL-E. A small, growing, super-rich elite, anxious and entrenched behind walls and a rising anger among those outside of La Zona or at The Edge of Heaven. Even films that affect human collapse where humanity and compassion is challenged, as in The Secret Life of Words or Young Freud in Gaza. And how do we respond to this? With inertia and apathy? Or with the mobilization and re-orientation?

Good to see my countrymen continuing to lift spirits after the death of Bergman.

11/04/2008

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Michigan and Congress

Michigan and Congress

In the end, things unfolded more or less as expected. The election had turned decisively against McCain in the past few weeks, and by the time Jeanine and I heard that Ohio had been called for Obama, just after we got out of the subway downtown, it was clear enough that McCain would be unable to overcome those long odds.

I spent the day working as an election judge for the 21st precinct of the 49th ward, where things were mostly uneventful, with no long lines (or any lines, for most of the day) or equipment problems in sight. Early voting numbers were substantial, and that particular precinct is located in the heart of the Loyola University campus, where few students were registered (most students register in their home precincts, not the college precinct). We had about 125 ballots cast for the day, which, couple with the early votes, represented a fairly substantial turnout in percentage terms.

Immediately after I finished there, Jeanine and I headed downtown. Jeanine had received a ticket for the Obama rally earlier in the day, so we were excited about that. After all, how often do you get to see a President-elect give his acceptance speech, even without the historical ramifications of this election? Shortly after, we learned that Pennsylvania had been called for Obama. This was expected, of course, but good news nonetheless since McCain’s closing strategy depended heavily on winning the state.

We got to Grant Park (at Michigan and Congress) at about 9:00, only to find a line stretching south down Michigan Avenue. And stretching. And stretching. By the time we got to the end of the line, we were at Michigan and Roosevelt, over half a mile from the park entrance. It took about an hour or so to get through, and all the while we were hearing various news and rumors about states that had been called. Finally, as we neared the park entrance, the networks officially called the race for Obama, and cheers went out up and down the street.

We got to the rally site just as McCain got to the meat of his concession speech. It didn’t get much reaction from the crowd, other than visceral disgust when he started talking up Sarah Palin. It’s possible, even likely, that McCain would have lost had he not selected her as running mate, but I can’t help thinking that her selection damaged him in a way that’s hard to measure. Obviously he wasn’t going to be popular with Chicago voters anyway, but with that selection, he went from a mostly respected if underwhelming candidate to a complete rightwing sellout in the eyes of a lot of people. In other words, I think it created hostility where there wasn’t any before, in exchange for what clearly was little tangible value.

At any rate, the rally site was already full by the time of our arrival. We ended up staking out a spot underneath the trees way in the back, where we could at least see the stage, no matter how far off it was. I thought his speech was perfectly appropriate, a gracious acceptance of victory but with a clear call to voters to stay engaged in governance now that the campaigning is over. I thought the story of the 106-year-old Georgia woman struck just the right note – a reminder of how quickly things can change but also of how hard it nonetheless can be for that change to take place.

Regardless of what happens from here, it’s hard not to see this as a watershed election. I don’t even mean that in terms of Obama himself, although a black President is obviously historical. But we saw three things yesterday:

1) A high turnout. The linked AP article shows disagreement over whether this was the highest turnout in a century, or merely the highest in a generation, but it’s clear that the electorate was highly charged this year.

As a footnote to this, let me also say this: one of the reasons that turnout wasn’t even higher is surely because some people simply don’t know how to vote. I estimate, at my precinct yesterday, that somewhere between 20-25 would-be voters were unable to cast a ballot because they weren’t registered in that precinct. In most cases, because they were college kids, they were actually registered somewhere else, even in a couple cases in different states, but had no way to cast a ballot because they couldn’t make it home to vote. Their only recourse was to cast a provisional ballot, but those won’t be counted because their registration is not valid.

In addition to that, some people showed up who simply were not registered to vote at all. They didn’t know that there was a registration deadline, and obviously they couldn’t vote. I hated turning people away, but that’s the state of things. The fact of the matter is that you have to jump through hoops in order to vote in most parts of the country, and if we made the process simpler and easier the turnout would be higher.

2) As that AP article indicates, the demographics of the elecorate have changed in this country. It is no longer possible to be elected President – or even to come all that close – just by winning a majority of white voters.

3) Exit polls are pretty clear that Obama won every age group other than senior citizens. This election is the passing of the torch, if you will, between generations of political power. The Republican Party is obviously not dead, but the current incarnation of it – dependent on jingoism, social conservatism, trickle-down economics – almost certainly is, at least as a national political force (it clearly remains strong as a force in the South).

The politics of the United States has changed. By 2012, the people who voted for McCain this year will be an even smaller percentage of the electorate than they are now, while Obama’s coalition will have grown. This doesn’t in any way tell us what will happen in 2012, but it does point to the challenge that Republicans will face between now and then.

In other races around the country, there were a few spots of bad news. I don’t understand how the Alaska Senate race can be close, with incumbent Ted Stevens’ recent felony corruption convictions and all; not even Tom DeLay could survive that, and he was only indicted (to this day, he’s yet to stand trial). As of right now, the race is yet to be called, though it looks as if Stevens will prevail. And the Prop 8 vote in California is patently ugly and disgusting, with the only silver lining being that the California constitution is notoriously easy to amend, making this result unlikely to stand for long.

But overall, it was a fantastic night. The eyes of the world were squarely focused on Chicago last night, and I think the city came through. It’s a small town in some ways, one of them being the way that they love seeing one of their own make good. The challenge is now on the Democrats to make good on their promises, having consolidated power in the House and Senate in addition to winning the Presidency. It’ll be a tough four years, but I’m looking forward to them.

2008 Melbourne International Film Festival

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It’s not often that one gets the opportunity to have unfettered access to an international film festival but due to a combination of planning and good luck, I have that opportunity with the Melbourne International Film Festival which has began last night (July 25) and finishes on August 10.

To be sure, the MIFF isn’t one of the world’s major film festivals by any stretch, but I’m sure it will be a good experience and am really looking forward to it.

The full schedule can be viewed here. I don’t know enough about festival scheduling to see how typical it is but I’m guessing it’s reasonably representative of modern film festivals in that it’s a mix of new independent releases, films from all corners of the globe, prominently featured local offerings, a stack of docos and a retrospective focus.

Of particular interest to me is the Cannes Directors’ Fortnight Tribute, which celebrates the 40th anniversary of the creation of the Directors’ fortnight created as an alternative to the main Cannes film festival. I’m particularly looking forward to seeing the works of Rainer Fassbinder and Robert Bresson, directors who’s works I’ve seen virtually none of to date.

One of the highlights of the festival is a George A. Romero retrospective which has the added bonus of Romero (and his daughter) being guests of the festival (not sure whether he’ll be doing any q&a sessions). I’m a fan of his work from the films I’ve seen but I probably won’t get a chance to see any of the screenings.

If everything goes according to plan, I hope to provide multiple postings here of films of interest I’ve seen at the festival. I’m sure there’ll be plenty worth discussing here.

In the Good Old Days

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It started as a minor labor dispute between a studio union and the producers and ended up as the bloodiest labor strike in Hollywood history, and it changed the face of Hollywood forever. It’s a story of murder, intrigue, bribery, collusion and Communist baiting. A cast of characters that include corrupt union bosses, movie moguls, gangsters and trade unionists.
- The War For Warner Bros

This strike needs some molotov cocktails.

Sven Nykvist, R.I.P.

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Sven Nykvist, cinematographer extraordinaire, passed away. He was 83. He was one of the first cinematographers who I had heard of, as he was best known for being Ingmar Bergman’s DP. He won two Oscars for Bergman films, Cries and Whispers and Fanny and Alexander, as well as most of the other Bergman classics, such as Persona, The Virgin Spring, Through a Glass Darkly, Winter Light, The Silence, and Scenes from a Marriage.

His American film work included the Woody Allen films Another Woman, Crimes and Misdemeanors, and Celebrity, as well as Chaplin, Sleepless in Seattle and What’s Eating Gilbert Grape?

His last few films were hardly notable–Mixed Nuts, Only You and Without Honors, but he was a great artist.