cinema

Tenet is the most recent film produced, written, and directed by Christopher Nolan.  It’s up for two Oscars, one for Best Achievement in Visual Effects and one for Best Achievement in Production Design.  At the age of fifty, Nolan has earned a slew of award nominations for his gifted, cerebral, sometimes nonlinear approach to filmmaking. 

One of Netflix’s popular films is Ma Rainey’s Black Bottom, an abbreviated version of August Wilson’s 1982 play.  It stars Viola Davis as famous early 20th Century African-American blues singer Ma Rainey, and the late Chadwick Boseman as Levee Green, a young and ambitious member of her band.  Denzel Washington produced.  This is Boseman’s final role, and even though he was quietly going through cancer treatment during the production, he is an absolute powerhouse. The year of the action is 1927.  The circumstance is a recording session by Ma Rainey and her band, all men of color, in a Chicago studio run by white producers.

If ever there were two movies suitable for a double feature, they are the recent releases Ammonite and The Dig.  The Dig is a Netflix original and Ammonite is available from several sources on DVD and BluRay as well as streaming.

Someone I know who works in the film industry once told me that if a movie or TV show doesn’t grab you in the first ten minutes, it probably will not grab you at all.  Recently, a number of Netflix and Amazon originals that have been listed among the most popular programs for streaming have not grabbed me.  After watching a couple episodes of such series as Bridgerton and Firefly Lane, I was not left wanting more.  Both are quality productions, the casting is terrific, but the stories are not innovative. Their themes remind me of the the paperback romance novels that were popular from the 1950s through the 1970s.  Harlequin books come to mind.  Barbara Cartland comes to mind, as well.

Some are cerebral.  Some are character-driven.  Some specialize in car chases.  The genre is known as criminal investigations, police procedurals, and just plain detective shows.  I find the best of them so entertaining, no matter the approach. 

In early January, WMHT and other PBS stations ran a feature film from 2019 starring Glenda Jackson as part of their Masterpiece series.  It’s called Elizabeth Is Missing, and its available on DVD and streaming on PBS Passport.  Looking haggard at the age of 85, Jackson proves that her acting ability is in topnotch condition, even as her wrinkled face and scrawny physique show advanced age.  She embodies the lead character of Maud Horsham, a woman who is sinking, or has sunk, into dementia. 

When it comes to films about Hollywood history, the more cynical the presentation, the more audiences relish them.  That concept has influenced the creation of Mank, a recent black-and-white arty release, written and directed by David Fincher and being streamed on Netflix.

Remember the old ad for chocolate bars:  Sometimes you feel like a nut; sometimes you don’t.  Well, that adage applies to films as well as candy.  Two recent quality films available for home viewing may well satisfy your craving, whichever that craving may be.

Kino Classics has just released a ten- film BluRay set of Yiddish language feature films.  The titles come from the heyday of Yiddish film production, the late 1930s.  When I first heard of the release, I assumed it featured the restorations of The National Center for Jewish Film at Brandeis University, but I was mistaken.  These are restorations completed by Serge Bromberg at Lobster Films, along with the Museum of Modern Art, the Deutsche Kinemathek, and the Fillmoteka Narodowa in Warsaw.

Films and TV series about LGBTQ+ adults are not uncommon. Most are distributed with a mainstream audience in mind and are quite popular. The recently released feature film version of the Broadway revival of Mart Crowley’s play The Boys in the Band on Netflix is one example of a lively, evocative production centering around a small group of gay men in 1968. Crowley’s play was quite controversial when it opened off-Broadway pre-Stonewall riots when gays were closeted for the most part and shunned by many.

It would take half this radio piece to explain all the awards that Sophia Loren has received over the decades.  Her film career in Italy and Hollywood blossomed in the 1950s when producer Carlo Ponti changed her name from Scicolone to Loren and redesigned her career.  They married in 1957.

Born in Warsaw shortly after World War II, filmmaker Agnieszka Holland has had a prolific career writing and directing for film and television. Her parents were journalists who fought in the resistance.  She’ll be remembered for her works centering on the horrors of World War II, particularly Europa, Europa in 1990 and In Darkness in 2011.  She also directed several episodes of House of Cards.

The gruesome legend of Lizzie Borden has not faded from our popular culture, even after 108 years.  Remember the oft-quoted rhyme:  Lizzie Borden took an axe and gave her father forty whacks. When she saw what she had done, she gave her mother forty-one. 

In thinking about the Spanish Flu pandemic that lasted approximately from the spring of 1918 to the summer of 1919, a crisis that appears to have begun in Kansas, not Spain, I am interested to read of its effect on the movie industry.  Richard Brody wrote a piece on this subject for the March 17 issue of the New Yorker magazine.

The career of Oscar-nominated and BAFTA-winning actor/producer/writer Steve Coogan hit one of several high points a couple years ago with his interpretation of Stan Laurel, the great silent film comic, in his final years. Stan & Ollie is one of the few of Coogan’s most memorable projects on which he seemingly did not have creative control.  Among Coogan’s outstanding works—where he clearly had control as actor/producer/writer-- is Philomena from 2013, a drama about an elderly woman, played by Judi Dench, who seeks knowledge of the child she once bore and who was taken away while she was being held in a nightmarish convent. 

The City Without Jews, an Austrian silent feature film from 1924, has been rediscovered and restored.  It is available for home viewing with a musical score on Blu-ray and DVD through Flicker Alley.  The title is a shocker, especially coming several years before Hitler’s rise to power and well more than a decade before the Holocaust.  But anti-Semitism didn’t originate with the Nazis; it’s ages old.  In this story, the Jewish population is expelled from a fictional version of Vienna.  The head councilor is warned ahead of time, “Abandon your project!  Inhumanity doesn’t make for good politics.”  Now, to my mind, that is a warning that has never grown stale.

Atom Egoyan is a popular and prolific Canadian filmmaker.  He has been a favorite with audiences at the Toronto Film Festival for more than twenty years.  He had a critical and box-office success as far back as 1994 with a thriller about strip clubs called Exotica.  His top-rated film is 1997’s The Sweet Hereafter about a bus crash in a small town. Yet browsing through his filmography on the Internet Movie Database, I note that a good number of his films received mixed reviews and rather low audience ratings.

Arthouse films are a different breed from most mainstream films.  They often stress style and and creativity over straightforward story-telling.  Since arthouse films are independent productions, the filmmaker usually has the final word about every detail of the movie.  There are no studio staff and moguls to dictate changes to affect marketing.

Just when you think that documentary films have tackled every possible storyline, one pops up to bring new light to a subject and geographic site yet relatively unexplored.  Such is the case with the highly-praised, feature-length documentary called Honeyland, a film of such quality that it is to-date the only movie to be nominated for the Academy Award for Best Documentary Feature and Best International Feature Film. Many thanks to my friend, Everett Aison, artist and filmmaker, for pointing me towards this title, which is available for home viewing. 

In George Stevens’ poignant film, I Remember Mama, the Norwegian-American mother brings her daughter’s writings to a successful author for review.  She trades her most precious Norwegian recipes for that service.  In the end, the author advises her to tell her daughter to write about what she knows.  Tried and true advice, indeed.  And such is the case with the recently released feature Hope Gap, written and directed by William Nicholson. 

The French film Portrait of a Lady on Fire, ercently released for home viewing, has been nominated for a long list of international film awards and has won a healthy number of them.  With this project, French writer/director Celine Sciamma has intended to depict a story about falling in love and showing the span of a deeply-felt but pretty much unrealizable passion.

Now that the third season of the award-winning BBC One television series Killing Eve has finished airing, I am wondering if season three was warranted?  In order to give proper consideration to this point at issue, it was necessary to revisit the 16 episodes making up seasons one and two and then consider the content of the most recent season.  To summarize the plot of Killing Eve in a sentence, when a trained assassin is hunted by an unconventional and inexperienced intelligence officer, the two women click.

Two feature films, A Beautiful Day in the Neighborhood and Emma., have some real entertainment value but suffer from a number of shortcomings.

The Academy of Motion Picture Arts and Sciences has announced that it is expanding its efforts to bring more diversity into its membership an its annual Oscar awards.  For much of the past hundred years, the American film industry establishment hasn’t been particularly welcoming to people of color.  Now that there are many actors, directors, writers and technicians of various races making quality films, it will be interesting to see the results of the improvements the Academy is touting.

FRANKIE is a feature released theatrically a few months ago about a film star who is dying of cancer.  It recently was made available to the home viewing market.  I asked myself, who would think to see a film about a dying person during a pandemic?  My answer was simple.  Many people would, because this movie stars the Oscar-nominated, BAFTA-winning French star Isabelle Huppert who played the lead in Michael Haneke’s THE PIANO TEACHER twenty years ago and in Paul Verhoeven’s suspense film ELLE in 2016.  Furthermore, the producers of ELLE brought us FRANKIE.

Higher Ground Productions, Barack and Michelle Obama’s media production company for distribution through Netflix, has released a new documentary about the 44th First Lady.  It is called Becoming, the same title as her best-selling biographical and philosophical memoir. 

I believe that most of us have hit a point in our stay-at-home lifestyles where a key element of our existence is comfort. That might mean adding more pillows to the sofa, eating mac-and-cheese more often than usual, or watching the movies and TV shows that we love the most.  These may be programs or films that go back to our happy youth or the first years of our marriage.  They may be entertainments that we almost know by heart. 

With so many folks staying at home these days, families are planning weekly movie nights.  They are searching for films that appeal to all ages and spark lively conversation after viewing.  One such film is Blinded by the Light, a 2019 release, the story of a teen-aged Pakistani-British teenager in 1987 who becomes obsessed with the works of Bruce Springsteen.

Kino Classics has released two films from the golden age of German cinema – films from the Weimar Republic, a particularly rich period for the arts that lasted from the end of World War I until the rise of Hitler.

Fifty-year-old South Korean filmmaker Bong Joon Ho has made award-winning, box office hits for close to two decades.  Yet he had not gleaned the attention of mainstream American audiences until the 2019 feature, Parasite, which he directed and co-wrote.  Parasite won four major Academy Awards, including Best Picture.  It has made approximately $270 million, as of mid-March, and it currently is being adapted as an HBO series.