Unsung Heroes at Hot Docs 21! Films reviewed: The Face of Anonymous, It Is Not Over Yet, Mary Two-Axe Earley: I Am Indian Again

Posted in 1960s, 1970s, Anonymous, Canada, Dementia, Denmark, documentary, FBI, Feminism, Hacking, Indigenous, Protest by CulturalMining.com on April 30, 2021

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

The 28th edition of Hot Docs — Canada’s International Documentary Festival — has begun, with features and shorts streaming from today until May 9th. It’s online-only this year, but with many live events, Q&As and workshops. As every year, a selection of tickets are offered free to students and Students and Seniors (over 60) with new titles released each day.

I’ve started to watch some the films but first let me tell you about a few that I haven’t seen yet but look good. Wuhan Wuhan, by Toronto’s own Yung Chang, goes to the city where the current pandemic was first discovered. Misha and the Wolves tells the extraordinary story of a young Belgian Holocaust survivor who sought refuge by living among the wolves… but was her story true? Sex, Revolution and Islam looks at the first female imams in Europe and how they’re radically changing their religion’s outlook. And We are as Gods looks at an environmental iconoclast wants to de-extinct animals using DNA… an eco-hero or shades of Jurassic Park? These are just a few of the docs playing at HotDocs.

This week I’m looking at three more docs about unsung heroes. There are Danish nurses changing how we deal with dementia, a  hacktivist changing world events, and a Mohawk activist who changed history.

The Face of Anonymous

Dir: Gary Lang

It’s the 2000s. The US has invaded Iraq, killing hundreds of thousands and displacing millions, supposedly looking for “weapons of mass destruction” and someone to blame for 9/11, when a video started circulating. It is secretly released by Chelsea Manning and published by Julian Assange at Wikileaks, and it shows footage of a heinous war crime, the gunning down of unarmed journalists in Baghdad by the US military. This leads to a crackdown on the whistleblowers, with corporations like PayPal, Visa and MasterCard trying to choke Wikileaks. 

This is when a new group appears in the mainstream media. It’s called Anonymous (previously known for fighting Scientology), and consists of hundreds or thousands of anonymous hackers working in tandem. Together they DDOS (directed denial of service) the corporations and government agencies blocking the truth. And they release scary-looking announcement videos. Their members wear Guy Fawkes masks in public to conceal their faces, and one of their public voices is an unknown person called CommanderX. Later the US government starts a nationwide attack on Anonymous members, arresting many people across the country.

But not Commander X.

The Face of Anonymous gives you this background, but then reveals some things you never knew about. Commander X is living on the streets of Toronto in the 2010s having snuck across the border. He continues to be an active presence, even while he’s sleeping outdoors in a park using his laptop as a pillow. Christopher Doyon. You know why they wore Guy Fawkes masks? Because after V is for Vendetta the masks were sitting on warehouse shelves across the continent at discount prices — so everyone in Anonymous could easily get a hold of one.

This fascinating film follows Commander X, how he travelled from Canada to. Mexico, and where he is now. It reveals he also played a role in the start of the Arab Spring in Tunisia. It also interviews other prominent former Anonymous activists. For me, this is especially interesting because I was talking about We Are Legion: The Story of the Hacktivists a doc that played at Hot Docs a decade ago, without knowing Commander X was here in Toronto at the same time viewing the same movie.

It Is Not Over Yet

Dir: Louise Detlefsen

It’s a nursing home in rural Denmark. The residents come from a wide variety of backgrounds; one woman is a former social worker and sexologist. Another ran one of the country’s biggest pharmacies. But they share a common trait: they’re all suffering from dementia. What’s unusual about this place, though is its approach. It’s an open-style residence, located near a forest. They keep chickens I’m the yard, and they’re encouraged to take walks and hug trees. People sing songs, tell jokes, and are always treated with respect. One thing not present is medications. In Denmark the average patient is on 10 different meds. Here they react with horror when they see the medical record of a heavily-drugged newcomer, whom they determine doesn’t have Alzheimers at all.  They all share meals and celebrations to mark the death of any residentn(when the flag outside flies at half mast, their birthdays, and other major events. 

It Is Not Over Yet is a slow-paced but tender look at the final years of some elderly Danes. It’s told in a “fly on the wall” manner — so we get to see the nurses and attendants discussing their cases, their interaction with the residents, and among the elderly themselves; their friendships, loves, and quirks. It’s not so much about dementia or dying as it is about living life to the fullest.

Mary Two-Axe Earley: I Am Indian Again

Dir: Courtney Montour

It’s the 1960s. Mary Two-Axe Earley is a Mohawk woman from Kahnawa:ke who marries a non-indigenous man. She is immediately told that she is no longer an Indian and must leave her home and community. (This rule is part of the Indian Act). She is shocked and flabbergasted but refuses to follow orders. I am Mohawk, I am an Indian, despite what they say, and you can’t take that away from me. She starts up a group, Indian Rights for Indian Women, and takes it to Ottawa to testify before Parliament. The hypocrisy of it all: can you imagine a brother and sister, one considered indigenous, the other not? A woman marrying a non-native man, even if later divorced, lost her Indian status for life. Even after death, she can’t be buried in her ancestral land. (In contrast, a man who marries a non-native keeps his status).

Other women’s groups join in solidarity. Mary Two-Axe struggles for many years until she triumphs, changing the law. And she — and 100,000 others — are finally able to say they are Indians again.

This loving and brilliant short film uses decades-old recordings made by Alanis Obomsawin at the NFB, played publicly now for the first time. It’s illustrated by period footage — historic figures like Pierre Trudeau and Rene Levesque pop up frequently — as well as  still photos and new interviews with others involved in the struggle. Mary Two-Axe Earley died in 1996, but her legacy lives on.

This is a hero everyone should know about. 

Mary Two-Axe Earley: I am Indian Again, It is Not Over Yet and The Face of Anonymous,…are all playing at Hot Docs now through May. 9th.

This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com

Canadian Film Day! The Courier, Bloodthirsty, The Marijuana Conspiracy

Posted in 1960s, 1970s, Cold War, drugs, Espionage, Lesbian, Mental Illness, Music, Toronto, UK, USSR, Werewolves by CulturalMining.com on April 16, 2021

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

Hey, did you know next Wednesday is Canadian Film Day? Yeah, I know all the theatres will be closed but you can still attend Canadian movies all across the country. Things like 11 new short films from emerging filmmakers, called Light(s) at the End of the Tunnel; online discussions, and lots of films you can watch on TV or streaming online. Go to canadianfilmday.ca for details.

This week I’m looking at three new movies, two of which are Canadian. There’s tokes in Toronto, Spooks in the Soviet Union, and lycanthropes in Alberta.

The Courier

Dir: Dominic Cooke

It’s 1960 in Moscow and the space race, the arms race and the cold war are in full swing. Oleg Pankovsky (Merab Ninidze) is a high-ranked officer in Soviet military intelligence. He has access to secret documents,  and knows something big and potentially dangerous is coming. And he doesn’t like Kruschev’s inflammatory speeches. It feels like the USSR and the USA are heading toward all out nuclear war. So he decides to do something. He leaks a bundle of documents to the American embassy with a promise of more to come. But Oleg is too important for the  CIA and the MI5 to risk exposing him by using one of their own agents.

So, instead, a CIA agent named Emily (Rachel Brosnahan) and her MI5 counterpart approach a mild-mannered British businessman who already conducts trade behind the Iron Curtain. Greville Wynne (Benedict Cumberbatch) is just an ordinary fellow, who lives in a modest London home with his wife Sheila (Jessie Buckley) and their young son. And he wants nothing to do with it. He’s untrained and uninterested. But when he learns that the fate of the world may be at stake, he agrees. All he has to do is continue what he was always doing — making deals and signing import and export contracts. And regular meeting with Oleg to carry secret documents back to London. Heh’s a courier. But as tensions rise moles on both sides are revealing secrets. Wynne and Oleg both face growing suspicion, and their home lives suffer (Wynne’s wife thinks he’s having an affair). And when something goes wrong both Oleg and Wynne are in grave danger. Will they be discovered? Can they safely make it to the west? Or is their fate already sealed?

The Courier is a gripping historical spy thriller set at the height of the Cold War, during the Cuban Missile Crisis. It’s exciting and mysterious, filled with quirky realistic characters. It’s also based on an actual case. On the other hand, it regurgitates Cold War politics as if it’s still 1960.  The KGB was surely a nasty agency, but so were the CIA and the MI5. They were all busy assassinating leaders, supporting coups, installing dictators and thwarting democratic elections worldwide. But in this movie it’s “Russians bad, Anglo-Americans good”.

Keep that in mind, but it doesn’t detract from the gripping story, and excellent acting. I liked this one.

Bloodthirsty

Dir: Amelia Moses

Grey (Lauren Beatty) is a singer-songwriter in Edmonton, Alberta. She’s a vegan and an animal lover who treats everyone, even the four-legged, with love and respect. She lives with her long-time girlfriend  Charlie, an artist (Katharine King So).  Her first album was a smash hit, but now she’s facing two problems: First she has writer’s block and sophomore blues — she’s afraid her second album will suck. She’s also  on prescription meds to battle a strange phenomenon: frequent, realistic nightmares about gorging on raw flesh, dripping with blood, and similar hallucinations when she’s awake.

So, when a famous but reclusive record producer named Vaughn Daniels (Greg Bryk) invites her to his home to record her next album, she jumps at the chance. Charlie is less enthusiastic. Why does he live in a house in the woods. And isn’t he a convicted murderer? (Actually he was charged but never convicted.) So they drive up north. He takes Grey under his wing, so she can let her mind free. It’s not writer’s block it’s your inhibitions that are holding you back, he tells her. He takes off her meds, plies her with hard liquor and tries to get her to eat raw meat.  And Grey notices she’s changing — she’s creating good, dark music,  but her head is filled with violent ideas. Why did Vaughn choose her? What is he after? And why do dead animals and humans — ostensibly killed by wolves — keep turning up near his home?

Bloodthirsty, as the title suggests, is a dark and brooding, horror movie about werewolves and music.  It’s spooky but not all that scary. It’s a low-budget movie with a very small cast and low-rent special effects. And it could have used a bit more humour… and a scarier-looking house. (Vaughn’s lair just looks strange.)

What’s great about this movie is the way it combines the creative process of composing and writing lyrics with supernatural bloodlust! That is totally original, and and Lauren Beatty as Grey does it really well (with a beautiful voice, too). 

The Marijuana Conspiracy 

Wri/Dir: Craig Pryce

It’s 1972 in downtown Toronto. Trudeaumania has swept across Canada but here in True Blue Ontario, the Tories are worried. Rumour has it that Trudeau — Pierre, not Justin — might legalize marijuana. So they commission a study of the dangers of the demon weed. 20 young women, age 18-25 are paid subjects at the Addiction Research Foundation, (later merged with CAMH). They’re given rooms to live in, food and recreation for three months. What’s the catch? They’re not allowed to leave the premises and  have to smoke cannabis every day. The doctors observe the results but don’t interfere. And to measure the long term effects the patients weave macrame wall hangings out of hemp and beads, and they’ll be paid upon completion of the study for each one they successfully finish (that measures motivation.)  What they’re measuring is whether smoking grass impedes work production. (There’s also a control group in the study identical in every way except they don’t smoke.)

The movie focuses on a few of the subjects. One is homeless, another is upper middle class, a third is hippy who wants to move to a commune in Vancouver, and one whose father is serving time for drug possession. There’s also intrigue, sex, humour music, and friendship. And it touches on sexuality, race, psychiatry, politics and many other issues. Here’s the biggest twist: This is not a documentary! It’s base on the actual study but this is character-driven drama about the the young volunteers, and the doctors, nurses, and grad students they interact with.

This is such an unusual movie, it really grabbed me, both for the characters and drama and surprises, but also the weirdness of it all — and because it actually happened right here in Toronto.

The Courier is released today on PVOD; The Marijuana Conspiracy opens across North America on Tuesday, April 20th, and you can pre-order Bloodthirsty beginning next Friday.

This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com

Daniel Garber talks with producer Robert Lantos about The Song of Names

Posted in 1940s, 1970s, Holocaust, Hungary, Judaism, Mental Illness, Morality, Movies, Music, Mystery, Poland, Religion, UK, US by CulturalMining.com on December 13, 2019

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

Photo of Robert Lantos by Jeff Harris.

Martin is an aspiring youg musician, the only son of a concert impresario in prewar London. Then Dovidl, a Jewish-Polish boy his age – who is also a violin prodigy – is left in the care of his family. As war rages across Europe, the two boys grow up together, first as rivals, best friends and almost like brothers. Then, on the evening of his solo debut in a sold out concert, Dovidl just disappears. Where has he gone, Is he living or dead, will Martin ever see him again, and what is this “Song of Names” that may be the reason behind his disappearance?

The Song of Names is the title of a new film that looks at identity, family, friendship, memory, and mourning. It’s directed by Francois Girard, stars Tim Roth and Clive Owen, and its producer is Robert Lantos.

Robert Lantos is one of Canada’s most famous producers – he founded and ran Alliance Communications and later Serendipity Point Films. His production credits are a veritable history of Canadian cinema: Atom Egoyan’s Exotica and The Sweet Hereafter; David Cronenberg’s Eastern Promises; Jeremy Podeswa’s Fugitive Pieces, Istvan Szabo’s Sunshine; an adaptation of Mordechai Richler’s Barney’s Version, among many many others.

I spoke with Robert Lantos in studio at CIUT 89.5 FM.

The Song of Names opens in Toronto, Montreal and Vancouver on Christmas Day.

Mums and their sons. Films reviewed: Code 8, Brotherhood, In Fabric

Posted in 1920s, 1970s, Action, Canada, Death, Drama, Fashion, Horror, Science Fiction, UK by CulturalMining.com on December 6, 2019

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

This week I’m looking at three movies about mums and their sons. There’s a historical drama about fatherless boys facing disaster at summer camp; a sci-fi action/thriller about a guy with secret powers and a dying mom; and a retro horror movie about a divorced mom and her sinister red dress.

Code 8

Dir: Jeff Chan

It’s the future, a dystopian America patrolled by drones that terrorize ordinary people in the war on drugs. Conner (Robbie Amell) is a young guy livng with his mom in a big city. He’s a day labourer who does pickup construction work for cash, while she stocks shelves at a corner grocery store. They’re in debt and can’t pay their bills. Worse than that, his mom (Kari Matchett) needs medical care… badly. She has a science-fictiony disease that has you bleed fluorescent blue gunk, but they can’t afford the treatment. What can they do?

Opportunity knocks when a criminal named Garrett (Stephen Amell) hires him to help with a job. He needs someone with high level electrical skills… and he doesn’t mean wiring. Conner is a guy with special powers – he can shortcircuit a generator with his bare hands. But in this world, mutants are kept down by the cops and forced to take menial jobs. So it’s poverty or a life of crime. His mother raised him to be honest and hide his powers, but he needs to cure her illness. If he can help the criminals secure the scarce narcotic Psyke – made from human spinal fluid – maybe they’ll give him the cure his mom so desperately needs.

Code 8 is a fast-moving action-thriller about a future world where power is shared by corrupt cops and organized criminals. It was shot in Toronto, with recognizable locations – Regent Park! – in many scenes. Good special effects and music, and recognizable actors – Stephen Amell is TVs The Arrow, and Robbie Amell his real-life cousin. (Sung Kang co-stars as a good cop). I enjoyed this movie, but I gotta say: Code 8 feels more like the pilot for an upcoming TV series than a one-off movie.

Brotherhood

Wri/Dir: Richard Bell

It’s the summer of ’26 in Ontario’s cottage country. Arthur Lambdon (Brendan Fletcher) is a WWI vet who lost his wife and kid to the Spanish Flu. He’s a counsellor alongside Mr Butcher (Brendan Fehr) who walks with a cane. He busted up his leg in the war. They’re at a summer camp for fatherless teens on placid Lake Balsam in the Kawarthas to provide leadership role models. And the kids there are really into it. There’s a whole crew of eager kids: Waller (Jack Manley) the quick-to-anger alpha dog; brothers Jack and Will who are always fighting, one kid with a runny nose – I’m allergic to trees! – , and another who likes to sing dirty camp songs. They are all very excited by an upcoming trip across the lake in a long, war canoe that can fit them all.

But once they reach the middle of the lake disaster strikes in the form of a freak summer storm. Heavy winds roil the waters and capsize the boat. Someare lost and the rest forced to spend the night, in the dark, in the cold water, taking turns hanging onto the upsidedown canoe. Who will survive the night? And who will make it back to shore?

Brotherhood is a well-made look at a real-life tragedy from the distant past. It has all the right period costumes, authentic language and historical details, beautifully photographed panoramas of scenic lakes… The problem is I just couldn’t connect with any of the characters. There was nothing surprising or intriguing about the story – you know from the start that they will drown. In fact, most of the movie is a self-imposed spoiler, a series of flashbacks leading up to the inevitable accident, as seen through the opaque eyes of uninteresting Arthur. It’s based on a true story (in real life the victims were as young as 6, not all teenagers like they are in the movie), but, perhaps because of its suspense-free method of storytelling, this tragic movie didn’t pluck a single heart string.

In Fabric

Wri/Dir: Peter Strickland

It’s London, in the 1970s. Sheila (Marianne Jean-Baptiste: Secrets & Lies) is a middle-aged divorced woman, who lives with her adult son, a student. She works full time but wants more out of life. So she’s preparing for a blind date with a gentleman she met through the Lonelyhearts column in the newspaper classifieds. She wants it to be a night to remember so she stops by an exclusive women’s store to buy a dress. There she’s greeted by Miss Luckmoore (Fatma Mohamed) an enigmatic saleswoman with pointy red nails, dramatic black hair and an uncanny way if speaking. She insists Sheila buy only the best, a blood-red satin dress with a plunging neckline. It’s a one of a kind, Miss Luckmoore says, and despite being the wrong size (“size 36”), it fits Sheila like a glove. Her date is less than elegant – a chips-and-kebab house – but the dress takes on an increasing importance. It leaves strange marks on her body, inspires horrible nightmares, and leads to increasingly awful incidents – like the dress had a mind if it’s own. Is it just her imagination or is it trying to kill her?

In Fabric is a bizarre, haunting horror film, with loads of dark comedy, stylized violence and perverse sex. Sheila’s story intertwines with that of Reg Speaks (Leo Bill) a newly-married washing machine repairman (and other side plots) all centred on that insidious, satanic red dress and the witch-like saleswoman who controls it. With its intentionally stilted dialogue, amazing production design, jarring editing, brilliantly spooky music, and perfect deadpan acting, In Fabric is like nothing you’ve ever seen before (unless you’ve seen Peter Strictland’s other movies.) It’s disturbing, and you may wonder what the hell is going on, but if you like art, sound, design and fashion; if you like horror/comedy without too much gore, this avant garde film is a must-see.

In Fabric (at the TIFF Bell Lightbox), Code 8, and Brotherhood all open today in Toronto; check your local listings.

This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.

Not Marvel Movies. Films reviewed: The Irishman, Last Christmas, Midway

Posted in 1940s, 1960s, 1970s, Christmas, Corruption, Crime, Cuba, Hawaii, Romantic Comedy, UK, Unions, War, Woody Harrelson, WWII by CulturalMining.com on November 8, 2019

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

Martin Scorsese recently wrote that tentpole movies, like ones that Marvel makes, are hogging a disproportionate share of Hollywood bucks. This squeezes traditional, medium-budget, one-off films out of the picture. Luckilly, they’re not all gone.  This week, I’m looking at three films – a crime drama, a war movie and a rom-com – without superheroes.

The Irishman

Dir: Martin Scorsese

It’s the 1950s.

Frank Sheeran (Robert De Niro) is a truck driver who delivers beef hindquarters. When his truck breaks down on the highway, a strange man offers advice on how to fix it. He’s Russell Buffalino (Joe Pesci) a mob boss in Pennsylvania. When Sheeran is caught stealing beef, Russell supplies a lawyer, thus starting a longtime relationship between the trucker and the Mafia. And Teamsters, the truckers union, stands with them all the way. Soon Frank is doing a different kind of work for Russell: he paints houses. Which really means he’s a hitman for the mob. Despite his Irish background, he speaks Italian: he served in the Army in Anzio in WWII. Soon they’re thick as thieves, and Frank enjoys the benefits, but Russell is always the boss.

Eventually he’s sent to Jimmy Hoffa (Al Pacino), the head of Teamsters as a bodyguard, as well as the middleman between Hoffa and the mob. Hoffa is a brash firebrand, an old-school union organizer with legions of loyal members. He’s also an extremely powerful leader, and he controls the union’s pension. This means he can finance Las Vegas casinos with cash, something banks refuse to do. And he gives money to the Nixon campaign, a rare instance of a labour union officially supporting a Republican. But friction grows between Hoffa and the mafia until the day Hoffa mysteriously disappears without a trace, his body never found. What happened to Jimmy Hoffa?

The Irishman is narrated by Frank in an old age home, which gives it the feel of an old man’s movie. It’s a Forest Gump for gangsters, with Frank somehow tied to all the major events of the 60s and 70s: The Kennedies, Bay of Pigs, Jimmy Hoffa disappearance, to name just a few. This film has some problems: the CGI de-aged faces look wooden; female characters have virtually no lines – they just scowl and disapprove; and it’s missing the sharp edges and sexual zing of Scorsese’s early movies.

That said, I was never bored; I was glued to the screen the whole time. Pacino is fantastic as Jimmie Hoffa, and Scorsese’s movies are always superior.

The quality of filmmaking is superb and The Irishman tells a great story.

Last Christmas

Dir: Paul Feig

Kate (Emilia Clarke) is an quirky, aspiring young singer in London. By day she’s a cute little green elf, working in a kitschy, Christmas-themed gift shop run by a prickly boss named Santa (Michelle Yeoh). By night, she’s a barfly, sleeping with any guy she fancies, a different one each night. Ever since her operation, she’s been depressed. She’s embarrassed by her Yugoslavian family, and her singing career is going nowhere fast. She’s on a downward spiral of self-pity and self desctruction… until she meets Tom (Henry Golding).

Tom is everything Kate is not. He’s saintly, altruistic and generous. While Kate looks down and sees garbage tips, Tom looks up and sees tropical birds and quaint old signs. He takes her on a walk to show her the hidden side of London – a secret garden where people go to be alone; a soup kitchen for the homeless (he’s a volunteer), a deserted skating rink. Is it love? But he disappears for days at a time. What secret is he hiding? Is this true love? And can their relationship keep them together?

Last Christmas is a cute Romcom about a depressed woman coming out of her shell and her happy-go-lucky, would-be boyfriend. Emma Thompson plays Kate’s weepy Croatian mom and she also co-wrote the script. It’s cute and heartwarming… but not that funny.

Michelle Yeoh is terrific as a middle-aged woman still on the hunt, and Clarke and Golding make an appealing romantic couple. There is a totally surprising twist which brought tears to my eyes – No Spoiler – which left me with a bit more than I expected.

Midway

Dir: Roland Emmerich

It’s 1941, with war raging across Europe, China and the Pacific. But the US is cautiously viewing it from the sidelines. Dick Best (Ed Screin) is a gum chewing pilot based in Pearl Harbour. He’s a daredevil dive bomber, showing off his new techniques. Also on board the aircraft carrier is his rival, a by-the-books officer named McClusky (Luke Evans). He says Dick is a cowboy who should stop showing off. But while their aircraft carrier is out at sea, all the ships in Pearl Harbour are wiped out in a surprise attack by the Japanese, pulling the US into WWII.

Only Edwin Layton (Patrick Wilson) – the intel expert on Japan – predicted it. And he thinks a crucial battle up ahead: the Battle of Midway, an island in the South Pacific. Midway is a point crucial for control of the Pacific: if Layton is right, whoever wins the battle will win the war; it’s just a matter of time.

Midway is a dramatization of the years leading up to the naval battle of Midway, and the intense fight that follow: in submarines, on aircraft carriers and in planes overhead. It’s filtered through the eyes of lantern-jawed military figures like Jimmy Doolittle ( Aaron Eckhardt), Admiral Nimitz (Woody Harrelson) Vice Adm Bull Halsey (Dennis Quaid), and many semi-fictional sailors and pilots in various acts of bravery… like Bruno Gaido (Nick Jonas, of the Jonas brothers!). The story also switches back and forth to the Japanese side, with Admirals Nagumo, Yamaguchi and Yamamoto plotting to defeat the Americans.

Midway is exactly the sort of movie I can’t stand – yet another tired war pic about a long-forgotten battle, filled with smarmy patriotism. But I went to the press screening, and guess what? I actually really liked Midway! Fantastic special effects, complex battles shown in an easy-to-follow way, good acting, and great characters. Japanese are portrayed respectfully, not as hokey villains, but without covering up their war crimes in Eastern China. Like The Irishman, women are there mainly to worry about their husbands. It’s two hours, twenty minutes long, but the thrills keep you staring, rapt, till it’s over. I’m sure a lot of critics are going to compare it (unfavourably) with Dunkirk, but to me Midway is more thrilling, less ponderous.

Midway and Last Christmas both start today in Toronto; check your local listings. And The Irishman is screening at the TIFF Bell Lightbox, also beginning today.

This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.

Daniel Garber talks with Matt Tyrnauer about Where’s My Roy Cohn?

Posted in 1950s, 1960s, 1970s, 1980s, Communism, Conservativism, Crime, documentary, LGBT, New York City, Super Villains by CulturalMining.com on October 4, 2019

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

Roy Cohn is a historical phenomenon, despised by many and feared by more. In his lifetime, he sent Ethel and Julius Rosenberg to the electric chair, worked beside Joe McCarthy in the massive government purge of the left; persecuted homosexuals, defended right-wing causes, mentored Donald Trump, and defended the mob. Behind the scenes he lived a decadent gay life. He was a devious, ruthless and powerful lawyer who ruled NY City… prompting more than one to ask: Where’s my Roy Cohn?

Where’s my Roy Cohn? is also the name of a new documentary that chronicles the notorious man’s life. It shares photos, recordings, period news footage and new interviews with some of his closest friends, family and past lovers. The film was directed by Matt Tyrnauer, known for his documentaries on the folk heroes and villains of our age, from Scotty Bowers to Jane Jacobs to Robert Moses.

I spoke to Matt Tyrnauer via telephone from CIUT 89.5 FM.

Where’s my Roy Cohn? opens on November 4 in Toronto at the TIFF Bell Lightbox.

Photo of Matt Tyrnauer by Jeff Harris.

Families. Films reviewed: Before You Know It, Downton Abbey, Once Were Brothers: Robbie Robertson and the Band

Posted in 1920s, 1960s, 1970s, Canada, Class, documentary, Drama, Family, Music, Screwball Comedy, Theatre, TV, UK by CulturalMining.com on September 20, 2019

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

This week I’m looking at three movies exploring different families. There’s a band of brothers who form a band inside a big pink house; a pair of sisters who live inside a Greenwich Village theatre; and an extended family of aristocrats – and their servants – who live inside a stately mansion.

Before You Know It

Dir: Hannah Pearl Utt

Rachel and Jackie (Hannah Pearl Utt, Jen Tullock) are adult sisters who live inside a Greenwich Village playhouse. Homeschooled by their playwright Dad (Mandy Patinkin) since their mom died, their world is centred on their family theatre. Rachel, dressed in plain clothes and sensible shoes, is their always-reliable stage manager. Jackie – flamboyant, and self-obsessed – is an actress. Her impulsive behaviour gave her with an alcohol problem and a 13-year-old daughter named Dodge (Oona Yaffe). Rachel wishes she could date more, but she has too many responsibilities.

Life continues, until a major revelation shakes up their lives. Turns out their mom (Judith Light) is still alive, and has been living nearby under a stage name since they were kids! What’s more, she owns their theatre, and they might lose their careers, their home, their entire lives. Can Jackie and Rachel infiltrate a TV studio, meet their soap opera actress mom, and convince her to let them stay on at their theatre they call home? Or is this their final act?

Before You Know It is a delightful story of three generations of women in a theatrical setting. Written by Jen Tullock and Hannah Pearl Utt it veers between a gently screwball plot and a somewhat more serious coming-of-age story about growing up, both for Dodge and the two adult sisters. Nothing spectacular, just a pleasant and fun indie movie.

Downton Abbey: The Movie

Dir: Michael Engler

The Crawley’s are an aristocratic family living in a stately mansion on a vast manor estate in post- Edwardian England. It takes a village to keep things going smoothly, and it’s almost as self-sufficient community living inside the walls. This includes the extended family and their in-laws but also the multitude of servants, footmen, groomsmen, maids, kitchen help, grounds keepers, valets, a butler and more. But the normal social order is threatened by some unexpected guests. The King is coming! The King is coming!

Amd this brings all sorts of problems. Violet, the dowager Countess (Maggie Smith) has a longstanding inheritance feud with Maud Bagshaw, a lady in waiting (Imelda Staunton) for theQueen. Tom Branson (Allen Leech), an Irish socialist and widower who started as a chauffeur but later married into the family, is suspected by a mysterious government agent as being disloyal to the King. Meanwhile, amongst the other half of the house, other troubles are revealed. Kitchen maid Daisy (Sophie McSheera) wonders whether longtime boyfriend William is right for her, especially since a handsome young plumber arrives on the scene. And when the Kings servants barge in and take over everything, they must concoct a plot to get back their rightful place within their own house. Meanwle Thomas Barrow (Robert James Collier) the usually secretive and conniving butler seizes the chance to explore his sexuality in a nearby town.

Downton Abbey,the movie is a continuation of the popular British nighttime soap that ran for many years. I remember watching the first two seasons of it before giving up.It concentrated on a dull patriarch andhis faithful butler, his bickering daughters and various servants seen skitting around behind the scenes. It felt like a Leaveit to Beaver sitcom superimposed ona feudal estate. Deadly dull, politically loathesome – I hated it. But I found the movie much more interesting. It concentrates as much on the “Downstairs” as on the “Upstairs”, there are real surprises, and the characters are allowed to grow and progress.

I’m as surprised as you that I actually enjoyed this movie.

Once Were Brothers: Robbie Robertson and the Band

Dir: Daniel Roher

It’s the late 1950s in Toronto. Robbie Robertson is a teenaged boy and aspiring musician who learns to play chords on visits to his mom’s family at Mohawk Six Nations. When Southern rocker Ronnie Hawkins brings his band to town, Robbie is mesmerized by their energy, showmanship and confidence, especially their stick-twirling drummer Levon Helm. He writes some tunes and joins the Hawks at age 16, alongside other multitalented Canadian musicians: Rick Danko, Garth Hudson, and Richard Manuel. They travel down south to perfect their style, playing alongside blues artist and country musicians. The Hawks outgrow their front man and set out on their own,

They tour Europe as Bob Dylan,s band rght when he goes electric.They are booed on every stage, but realize they have something special. They move into a big pink house in woodstock NY where they prefect their unique boendof folk,country, rock,blues and R&B. Robbie writes most of the songs while the entire band, one with the three vocalists, crafts each song. They start releasing their own songs under the name The Band and become one of the most influential North American groups of the ’60s and ’70s.

Once Were Brothers is a great music doc about the Band, as told through Robbie Robertson’s eyes. Through old photos, magazine clippings, period footage, and new interviews, it explores their brother-like friendship through its ups and downs, including jeolousy, addiction and car crashes. And looks at the rivalry between him and Levon Helm which eventually tore the band apart. It looks at their music, the pele they knew even their look — long hair and bearded, country gentlemen farmers, dressed like in 19th Century photos. It follows them from the early 60s through their Last Waltz, a giant concert filmed by Martin Scorsese. This is a beautiful, compelling story of the – can I say it? – legendary band.

Before You Know It (at the Tiff Bell Lightbox) Once Were Brothers and Downton Abbey all open today in Toronto; check your local listings. And Toronto’s fall festival season continues through the weekend with the Toronto Palestine Film Fest.

This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.

Self Help. Films reviewed: Becoming Nobody, Brittany Runs a Marathon

Posted in 1960s, 1970s, comedy, Death, Depression, documentary, drugs, Philosophy, psychedelia, Psychology, Women by CulturalMining.com on August 30, 2019

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

It’s Labour Day weekend, a good time to catch up on all those things you’ve been meaning to do. That’s why this week I’m looking at two movies – a dramedy and a documentary – about Self Help. There’s a woman who wants to lose some of herself, and a man who wants to lose all of himself.

Becoming Nobody

Dir: Jamie Catto

A hippie walks into a pizza parlour. The guy behind the counter asks: What would you like?  The hippie says: Make me One… with Everything!

Old joke, but I’m trying to explain who Ram Dass is.

He’s born Richard Alpert in Newton, Mass., to an upper middle class family, and becomes a clinical psychology prof at Harvard University. In the early 1960s Timothy Leary introduces him to hallucinogenic drugs as a part of therapy. Alpert takes psilocybin mushrooms for the first time and it blows his mind (in the positive sense.) But he wants to know how he can harnass its effects when he’s not high. He drops out, grows long hair and a beard. Somehow he ends up in India, in the Himilayas, right on the border of Tibet. There he studies under Maharaj-ji, his spiritual guru – who dubs him Ram Dass, Servant of Rama, Servent of God – and then brings his findings back to America. Back home, youth culture is rejecting the status quo, protesting the war in Vietnam, and opting out of the rat race. They’re looking for new answers. Spiritual answers. His book, Be Here Now (1971) provides just that to a large part of his generation.

I am not a devotee of Ram Dass, I don’t go to yoga classes and I don’t practice meditation in a search for spiritual enlightenment. I do remember being fascinated as a little kid by the cube-shaped book Be Here Now with the hypnotic mandala drawn on its cover.

So I won’t attempt to explain his entire spiritual philosophy in a few sentences. But the film Becoming Nobody, attempts to do some of that in 90 minutes. It’s basically a selection of his talks and conversations spanning his life from the 1960s to the present – discovery, spiritualism, losing oneself, and accepting death. You see him change from uptight academic, to long-haired hippy, to lecturer with a Dr. Phil moustache, to wise and funny old man. The film is illustrated with cute period footage and framed by a dialogue with the director, British musician Jamie Catto.

For a non-initiate like me, some of what Ram Dass says sounds like a collection of simple aphorisms, a mishmash of Hindu and Buddhist thought. But when you think about it, a lot of what he says really make sense; it’s not just hollow rhetoric. So whether you’re looking for a simple introduction to his philosophy, or just interested in him, Becoming Nobody gives you lots to chew on.

Brittany Runs a Marathon

Wri/Dir: Paul Downs Colaizzo

Brittany (Jillian Bell) lives in a cluttered New York apartment. By day she works as a low-paid usher at a theatre. At night she goes to bars with her roommate Gretchen (Alice Lee). A good time means getting high on adderal and having drunken sex with a stranger in a bathroom stall. She thought her college education would land her a creative job on Madison Avenue. Instead she’s underemployed with a huge student debt. Which depresses her. And to rub salt in the wound, her doctor tells her she’s 60 pounds overweight and if she doesn’t do something about it, she might die.

Could her life get any worse? Actually, it begins to get better when her neighbor, Catherine (Michaela Watkins) – who she’s never met and who she refers to as “Moneybags Martha” when she sees her through the window – offers to help Brittany train with her running club. There she meets Seth (Micah Stock) a slightly effeminate, married gay guy, who wants his kids to respect him and call him dad. Catherine is dealing with a painful divorce and custody battle. So the three form a sort of a support group to help Brittany run in the New York City Marathon.

She also lands a long-term house-sitting job, which helps her keep her above water economically and away from roommate Gretchen’s bad influence. She begins to lose weight, her self confidence grown, and she becomes closer to her fellow house-sitter Jern (Utkarsh Ambudkar) a poster boy for slackers. Are they a couple? Can she lose 60 pounds, get a job in her profession, find a home, meet a guy, and run the marathon? Or are these just a series of unattainable hopes?

Brittany Runs a Marathon is exactly what the title suggests – a woman trying to run a marathon to achieve a personal goal. But it’s also a really funny comedy. Jillian Bell is hilarious and disarming as the sneaky, funny, self-deprecating Brittany. You also feel for her character as she goes through crushing disappointments. And it deals with serious issues like the ups and downs of weight loss, body image, and depression, without turning into a condescending sermon. It’s a fun, funny, heartwarming and inspiring movie. I like this one.

Brittany Runs a Marathon opens today in Toronto, check your local listings; and Becoming Nobody opens next Friday, September 6th at Hot Docs.

This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.

Women on the move. Films reviewed: Dora and the Lost City of Gold, Light of My Life, The Kitchen

Posted in 1970s, comedy, Crime, Drama, L.A., New York City, Peru, post-apocalypse, psychedelia, Women by CulturalMining.com on August 9, 2019

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

Who says exciting movies are always about men? This week, I’m looking at three movies about girls and women facing danger in unusual places. There’s a pre-teen girl surviving post-apocalyptic America; a teenager exploring the jungles of Peru; and a gang of middle-aged housewives fighting back in Hell’s Kitchen.

Dora and the Lost City of Gold

Dir: James Bobin

Dora (Isabela Moner) is a smart and friendly 16 year old girl. She was brought up by her academic parents (Eva Langoria, Michael Peña) in the jungles of Peru, where she made friends with all the animals – especially Boots, a monkey. Now her parents want to discover the legendary ruins of Parapata, an Incan city of gold – not as treasure hunters, but as explorers. But it could be dangerous. So they send her to stay with her cousin Diego (Jeff Wahlberg) in far off LA. But life at Silverlake High is not what she expected. Despite her relentless positivity, students tease her for her childlike un-coolness.

Diego finds her embarrassing. Student president Sammy (Madeleine Madden) scorns her as a rival. Only astronomy nerd Randy (Nicholas Coombe) likes her. But when she is kidnapped and flown back to Peru, along with Randy, Sammy and Diego. it’s up to Dora to escape the bad guys – including mercenary treasure hunters and a masked fox named Swiper – rescue her friends, and find the Incan ruins of Parapata.

Dora and the Lost City of Gold is a very cute take on the popular educational kids show. It’s simultaneously a tongue-in-cheek satire of the original cartoon, and a deadpan recreation of it. Boots and Swiper are there in CGI, but there’s no talking backpack. It’s primarily for kids, but there’s lots of laughs for grownups – like a psychedelic drug scene and a bit of romance. There’s even a song about how to dig a hole to bury your poop when camping in the woods. I saw it with a 50%-toddler audience who loved it. I liked it, too.

Light of My Life

Dir: Casey Affleck

Rag (Anna Pniowsky) is a tough, outdoorsy girl going camping with her dad (Casey Affleck). She’s a preteen with short hair dressed in boyish clothes. He tells her bible stories to put her to sleep. Thing is, they’re not camping for fun. A terrible plague wiped away half the world’s population – the female half – right when she was born. So rag, short for raggedy ann, grew up in an all-male world. leaving only men and some boys. Her dad is terrified about what might happen to her – men can’t be trusted. So they live in a perpetual state of seclusion and escape. He never sleeps. He teaches her how to spell – she reads voraciously – and about the birds and the bees.

They find an empty house and move in, but Dad is terrified when she tries on girls clothes. But when they find an isolated house populated only by bible-thumping grandpas, he thinks they might finally live a normal life. Can the one of the last girls on earth lead a normal life? And will her dad ever relax?

Light of My Life is a low-budget drama about the love between a father and a daughter in extreme circumstances. It’s filled with long scenes of flashlight-lit dialogue in lush, moss-filled forests, punched with occasional bursts of fear and violence. Anna Pniowsky is fantastic as Rag, and Affleck is good as her conflicted father.

I just wonder… what is the point of this movie? That girls in an all-male world will still gravitate to their own gender expression? That guns, bible, and the family are the only things we can trust? This is a zombie movie without zombies, and not nearly as good as Leave No Trace (about a dad and daughter living off the grid). This movie is not bad, just not that great or original.

The Kitchen

Dir: Andrea Berloff

It’s 1978 on a hot summer’s night in Hell’s Kitchen. Claire, Cathy and Ruby are three working class women waiting to hear from their husbands, gangsters with the Irish mob. Cathy (Mellissa McCarthy) is happily married with two young kids. Ruby (Tiffany Haddish), originally from Harlem, is an outsider who doesn’t get along with her matriarchical mother-in-law (Margo Martindale). And Claire (Elisabeth Moss) is just a punching bag for her abusive husband. But when their husbands get jailed by the Feds, they find themselves with no money, no income and few prospects for work. So they decide to take over their husbands’ jobs.

Though untrained, they seem to have a knack for collecting protection payments from local stores. And when they fight off rivals within their husbands’ gang, they become “queenpins” of the neighbourhood. Cathy does the talking, Ruby collects the bucks, and Claire finds new strength in doing “the messy stuff” – shooting, killing, and getting rid of dead bodies. She’s tutored in these skills by Gabriel (Domhnall Gleeson), a ginger-haired hitman with a history. Their business expands northward and southward, with graft, extortion and prostitution. But can they handle the disloyal members of their gang, powerful Mafia dons from Brooklyn, and FBI agents on their tail? And what will happen when their husbands get out of jail?

The Kitchen is a brilliant new twist on the classic gangster movie, with three women rising up in a dog-eat-dog world. Based on a comic, it’s full of love, compassion, violence and intrigue. McCarthy and Haddish are comic actors but convincing in their serious roles, and Moss and Gleeson are even better.There are some missteps. Could working-class financially-strapped women in the late 1970s have no experience working? And some bizarre references to Gloria Steinem and “feminism” seem totally out of line. (There’s no feminist solidarity here; these are three criminals clawing their way to the top.) And the ending is lacklustre. But altogether this is a beautifully shot, fast-moving story that’s fun to watch. The Kitchen is a great crime drama, with women in the lead.

The Kitchen, Light of My Life, and Dora and the Lost City of Gold all open today in Toronto; check your local listings.

This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.

Daniel Garber talks with Leslie Ann Coles and Barrie Wentzell about Melody Makers: Should’ve Been There

Posted in 1960s, 1970s, documentary, Journalism, Music, UK by CulturalMining.com on July 12, 2019

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

Melody Maker was a UK weekly tabloid established in 1926 as a jazz paper for professional musicians. But by the 1960s it shifted its focus, eventually becoming known as “the Bible of rock’n’roll”. Bands were formed in the classified ads at the back, and, in the front, a cover photo could launch a music career. But who were the melody makers who made it all happen?

Melody Makers: Should’ve Been There is a new documentary about the legendary paper — it’s wrters, photographers and editors – and the musicians they wrote about. Using new interview and period footage it traces its rise and fall in an oral history of the age. And the film is illustrated by the black and white pics of Barrie Wentzell, their chief photographer from 1965-1975 chronicling the the gods of rock and roll. The film was directed and produced by award-winning Leslie Ann Coles, who is the founder of Toronto’s Female Eye Film Festival.

I spoke to Barrie Wentzell and Leslie Ann Coles at CIUT 89.5 FM.

Melody Makers opens Friday, July 12th, at the Royal Cinema.

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