Everything. Films Reviewed: 12 Years a Slave, The Motherload, Starred up.
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM, looking at high-brow and low-brow movies, indie, cult, foreign, festival, documentary, genre and mainstream films, helping you see movies with good taste, movies that taste good, and how to tell the difference.
Welcome to an icy cold 2014! People tend to think in big terms with the New Year. They hope everything will improve. So, this week I’m looking at an historical drama about a man who loses everything, a documentary about women who want everything, and a prison drama about a guy with nothing to lose.
12 Years a Slave
Dir: Steve McQueen
Solomon Northup (Chiwetel Ejiofor) is a nice, middle-class guy in mid-nineteenth century America. He’s a professional (plays the violin) owns a home, is married with children and is an upstanding member of his community in New York state. And he’s black.
So when he’s offered a well-paying gig in Washington DC, he can’t resist and follows the recruiters south. But soon after, he finds himself kidnapped, thrown into a bare cell and beaten. His captors strip him of his fine clothes, his family, his dignity, his status, and even his name. Based solely on the colour of his skin, he’s sold as a slave. A slave!
He’s no longer considered a human being, now he’s just chattel.
And so begins his nightmare. The movie follows the next twelve years (it’s based on Northup’s own memoirs) as he is sold to various southern plantation owners. Some are relatively kind and humane, some monstrously cruel, but none consider that it is fundamentally wrong for one man to own another. He sees slaves being beaten, tortured, raped or even murdered at their owner’s whim. None of this is against the law. They have no rights, no legal standing, no recourse to justice.
On the way, he acquires a violin (from a kindly slave owner). But far from lightening his burden, music is shown as part of the whole slave system. Slaves driven to sing to a pounding drum as they pick cotton. And in one of the most painful scenes in the movie, he has to play ditties on his fiddle as the others are forced to perform grotesque high-stepping cake-walks to entertainer the planters.
Work is a constant danger. If he politely corrects an error or suggests a more efficient alternative he risks being beaten or lynched.
At a cotton plantation he meets a pretty young woman named Patsey (Lupita Nyong’o). She is the fastest worker in the cotton fields (most of the rest got flogged each day for not picking enough). She’s also a “favourite” of Epps, a cruel plantation owner (Michael Fassbender) and a captive to his wishes. But Patsey has to fear equally Epp’s, wife who has it in for her. Solomon observes it all.
Gradually they grind down his pride until he too walks hunched over, never looking a white man in the eyes. Will Solomon ever escape from this hell? And if so, how? And can he grant Patsey request to save her from her hopeless existence?
This is a great film, and you should definitely see it if you haven’t already. It’s painful, shocking, realistic and explicit. It gives a new visual meaning to slavery in most people’s minds. It’s also a tense but satisfying thriller about rescue and escape. Ejiofor and N’yongo are both amazing, as is director McQueen’s usual leading man Fassbender. It won the TIFF People’s Choice award and hopefully many others.
The Motherload
Dir: Cornelia Principe
Some recent books and articles ask “why can’t women have it all?” The “all” being a top job combined with raising kids. Anne-Marie Slaughter (policy advisor to Hillary Clinton) and Sheryl Sandberg (Facebook, COO) both wondered if woman can achieve both of these goals. Why aren’t women allowed the same opportunities to succeed as men?
These works received a lot of criticism. Is evening-out the playing field in the top 1% really the goal of feminism? And why should success be viewed in an acquisitive context of greed and possessiveness?
This documentary avoids some of these problems by looking at a broader range of subjects. In addition to the super-rich and powerful, it also shows middle-class women and one single mother with two jobs. It points out that paternity leave (in Canada, it’s routine only in Quebec) would help even out the discrepancies in the division of work by sex. And it shows how some 
families are thinking about redistributing roles.
The Motherload is an interesting doc dealing with a broad topic in less than an hour. And director Principe, who also produced the fantastic doc The World Before Her, clearly knows her stuff. Still, I’m a bit surprised that it never even touches on the issue of public daycare. While perhaps not an issue for CEOs, isn’t affordable daycare the crucial step in allowing mothers to work and raise children simultaneously?
And finally, I want to mention a fantastic movie — a sleeper that played at TIFF13 – that I really hope will open later this year in Canada. It’s called
Starred Up
Dir: David MacKenzie
Eric (Jack O’Connell) is an 18 year old who’s been “starred up”. That means he’s sent direct from juvie to a real, live adult prison. He seems at first like a vulnerable kid who’s going to die on his first day there. But things aren’t what they seem. His street smarts and prison savvy keep him safe but his high 
threshold for brutal violence and volatile temper could prove to be his undoing. So he joins a special therapy group within the prison walls to help him handle his anger. But he keeps running into trouble with an older, “head” prisoner called Neville (played by Australian actor Ben Mendelsohn). Neville keeps taking charge, instead of discussing and compromising. And here’s the twist – Neville is Eric’s real-live father serving a life sentence! O’Connell and Mendelsohn give unbelievably dynamic performances as the fractious father and son. This is a fantastic movie – look out for it.
12 Years a Slave is now playing in Toronto, The Motherload will air on CBC TV’s Doc Zone next Thursday, and Starred Up should open in 2014. 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
Back to the Future? Films Reviewed: The Visitor, The Secret Life of Walter Mitty.
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM, looking at high-brow and low-brow movies, indie, cult, foreign, festival, documentary, genre and mainstream films, helping you see movies with good taste, movies that taste good, and how to tell the difference.
I’m taping this a week in advance, during the Toronto Ice Storm, when the power’s still off, the sidewalks still icy and Rob Ford is still mayor. But who knows what it will be like by the time you’re listening to this. Back to the future? Fittingly, I’m looking at a couple oddball fantasy movies — a remake and a rerelease — both pointless but watchable froth to bring in the new year. The remake is an American comedy about a day-dreaming adult, the rerelease an Italian horror movie (from the 1970’s) about a brat with secret powers.
The Visitor
Dir: Giulio Paradisi
Presented by Drafthouse Films and Fangoria
Barbara Collins (Joanne Nail) is a modern woman who values her freedom. She lives in a mansion in Atlanta with her sweet little daughter Katy (Paige Conner) and Katy’s pet bird. She’s being wooed by Raymond (Lance Henrickson) a slick-but-secretive basketball promoter. What she doesn’t realize is that Raymond reports to a cabal of identically dressed businessmen who are up to no good. They just want her offspring. You see, Barbara has special DNA and Katy has supernatural powers. If the cabal can pull off an alien abduction Barbara will reproduce with a special superbaby (as if her one kid isn’t trouble enough!)
Katy is actually a foul mouthed brat. She uses her powers for selfish reasons – 
puting the kybosh on other kids she goes skating or does gymnastics with. On her birthday, Katy’s gift turns into a handgun, which shoots Barbara, rendering her paraplegic.
Meanwhile, a wise old man with a white beard and a beige leisure suit (John Huston) is tracking Katy, too. He travels with a retinue of kids dressed in white. These silent, baldheaded teenagers are his disciples. You can tell he’s important because whenever he appears the theme music starts up again as he walks down a futuristic-looking escalator. And when a detective (investigates her birthday shooting she sends her pet bird to attack him.
Who will triumph? The satanic businessmen-aliens? Or the benevolent robe-wearing superman-like aliens? And will anyone stop spoiling that evil kid?
This movie exists in its own bizarro-world, circa 1979. Shelley Winters plays Barabara’s intuitive housemaid singing Mama’s little baby loves shortening bread as she spies on Katy. Sam Peckinpah – the director of infamously violent movies (like Strawdogs and the Wild Bunch) — is her gynaecologist!
This is a very trippy, very strange movie. It has lots of horribly dated and vaguely racist shtick, and the story makes no sense whatsoever. But it still feels cool to watch: filled with fantastic dated special effects: a house of mirrors, a swarm of birds, Barbara insanely driving her electric wheelchair in endless circles. It climaxes with a bug-eyed John Huston having his Close Encounters moment with the shooting stars.
Total kitsch, but funny.
The Secret Life of Walter Mitty
Dir: Ben Stiller
Walter (Ben Stiller) is a milquetoast mama’s boy and a longtime employee of Life Magazine. He lives vicariously through the exciting photos he processes in a windowless basement room (he’s in charge of “negative assets” — photo negatives, that is). Instead of a pocket-protector he wears a bad windbreaker. In his frequent daydreams and fantasies, he sees himself as an international adventurer, a “real man” who will stand up to any bully. But in reality he’s lonely, middle-aged and single. He longs for a relationship with a new employee, Cheryl (Kristen Wiig), but can’t seem to connect with her, even on an on-line dating site.
And now he faces a crisis. Life Magazine is folding, except on-line. A douche-y young executive (Adam Scott) is brought in to close it down, and makes Walter into the poster boy for unwanted employees. But when a negative — the cover photo of the final issue — goes missing, Walter takes it upon himself to track it down, wherever it may be. He embarks on a journey by plane, helicopter, boat, 
skateboard, that takes him up mountains, across shark-filled seas, and past erupting volcanoes, all just to find the missing photo.
Will he find the picture? Will he find himself? And will his journey impress his crush Cheryl?
While the movie is filled with breathtaking scenery, it has little else to recommend it. It’s not that funny, interesting or original (the James Thurber novel is more whimsical and the Danny Kaye musical — 1947 — is more clever). Ben Stiller’s first attempt at 
directing fails to direct himself. He underplays it just when he should be hamming it up. His character comes across as flat, dull and pointless. Shirley MacClaine and Catherine Hahn are fun as his mother and sister but are rarely seen.
And the use of egregious product placement within the plot itself — a certain pizza chain, a cinnamon bun — is as embarrassing as it is flagrant. (Was he that desperate for funding?) It’s not that the Secret Life of Walter Mitty is terrible. It’s totally watchable, especially stunning footage of Icelandic moonscapes. It’s just… disappointing.
The Secret Life of Walter Mitty opens on Christmas Day and The Visitor opens on Dec 30th for a three-day run at the TIFF Bell Lightbox. 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
60s, 70s and 80s. Movies Reviewed: Inside Llewyn Davis, American Hustle, Good Vibrations
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM, looking at high-brow and low-brow movies, indie, cult, foreign, festival, documentary, genre and mainstream films, helping you see movies with good taste, movies that taste good, and how to tell the difference.
New Year’s Day (coming soon!) is when you declare your resolutions and your goals. And sometimes, you find you’re overly ambitious. I’m looking at three great movies this week, all about men with ambitions they can’t always meet. They’re all loosely based on true stories and take place in the 1960s, 70s and 80s. I’m reviewing them chronologically. First a folk musician, then a con man, and then a promoter of punk.
Inside Llewyn Davis
Dir/Wri: Coen Brothers
It’s 1961. Llewyn’s a Welsh-Italian-American folk singer who performs at the Gaslight café in Greenwich Village (brilliantly played by actor and musician Oscar Isaac). He’s recorded his first solo album (his folk duo is no more) but it’s not doing well. He’s broke. He’s homeless. And it’s cold out — and he doesn’t even have a winter coat; just a corduroy jacket. With a guitar on his back and a runaway cat in his arms… he’s just blowin’ in the wind. He’s couch surfing between a Columbia prof’s apartment in the upper west side (that’s where the cat lives), and a married couple Jean and Jim’s place in the Village (that’s where his guitar lives). Jean and Jim (Carey Mulligan and Justin Timberlake) are a happy young couple, who also sing in a folk duet. Also at the Gaslight.
All is not well for poor Llewyn. His agent is crooked, his not-girlfriend girlfriend is pregnant, his dad is 
comatose, and a stranger in a cowboy hat has a hate-on. Llewyn keeps making the wrong decisions. But he refuses to sell out. He doesn’t want to wear a white turtleneck. He doesn’t want to sing in a trio. He’s on the verge of making it big… or packing it all in and joining the Merchant Marines. So as a last ditched effort, he hitches a ride out to Chicago with a mean and nasty blues singer (marvelously played by John Goodman) to get a famous folk promoter to sign him.
It sounds like a so-so story… but it’s not. This is a fantastic drama tracing a couple days in the life of this urban troubador. It’s loosely based on Dave Van Ronk’s story. (He was a pretty famous folksinger from New York that you may have heard of.) The movie’s ordinary, and yet extraordinary. It gradually reveals surprising secrets, even while it dangles red herrings. Watching the movie, you get tossed around, clueless, just like Llewyn Davis, until things gradually start to become clear. This movie captures the feeling of the era, before JFK’s assassination, between 50s conformity and 60s mass protest and counterculture. And about a third of the movie is wonderful music performed by the actors. I think it’s one of the the Coen Brothers’ best.
American Hustle
Dir: David O. Russell
Irv is a con man. He pulls off low-level jobs — art forgeries, bank fraud – in New York. Sydney is originally from Albuquerque, but she dresses like a Cosmo cover model. She creates a new self – an aristocratic Englishwoman. They meet at a party, fall in love, and become power-team of scammers. But when a con flops, Irv and Sydney (an uglified Christian Bale, lovely Amy Adams) find themselves working for the FBI. If they can bring the FBI four crooks, they get immunity. Richie (Bradley Cooper) the fed who catches them has big ambitions. He wants to run a con to catch crooked businessmen, politicians … the sky’s the limit! To pull it off, they need the bigwigs to accept a briefcase of cash from an agent dressed as a Sheikh from the Emirates.
Irv is cautious. He doesn’t want to take it that high: respect your limits. When Richie tries to rope in the 
mob, Irv sees nothing but trouble. As Irv says, you can’t con a con. Well, Irv gets all palsy-walsy with a potential mark, a popular Jersey mayor named Carmine (Jeremy Renner). But to be friends with Carmine family he has to bring his real wife, Rosalyn, into the mix. Yes, Irv is married, and not to Sydney. And Rosalyn (Jennifer Lawrence, stealing every scene she’s in) is a bleach blonde homebody who talks like a gangster’s moll. She’s the fly in his ointment. Sydney, in retaliation, starts coming on to the vain (yet douche-y) FBI-man, Richie. Will they pull off the scams or go to jail? Will Irving choose Roz or Sydney? (And why are all the characters obsessed with their hair?)
This movie’s not deep, driven or meaningful – except, maybe, that we’re all vain and self-centred – but it does it so well. It’s funny, quirky and fast moving. I liked it a lot.
Good Vibrations
Dir: Lisa Barros D’Sa and Glenn Leyburn
It’s Belfast, Northern Ireland. The Troubles. Bombs are exploding, people beaten or killed by paramilitary groups. In the middle of all this is Terri Hooley (played by the terrific Richard Dormer). His friends once were anarchists, pacifists, feminists. Now they’re just Catholics or Protestants. But Terri opts out of sectarian conflict and opens a record store, Good Vibrations, right in the thick of it. And, against all expectations, this bearded, smiley and spontaneous leftist is suddenly drawn into the local punk scene. New York has its haircuts, he 
says, and London its trousers, but Belfast is the only place with a real reason for punk. As thousands are killed, he sets up a punk club in a strip bar and starts up a record label. But will anyone outside of the city ever hear them?
Interspersed with period BBC news footage, Good Vibrations is a fun biopic about one man’s attempt to reclaim a no-man’s land using punk rock.
Inside Llewyn Davis, American Hustle and Good Vibrations 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 interviews CODY CALAHAN about his new film ANTISOCIAL
This is Daniel Garber at the Movies for culturalmining,com and CIUT 89.5 FM.
Toronto — called Antisocial, which says things online are not normal at all.It envisions a world where a mysterious virus is spreading like wildfire across the planet, turning everyone into robo-zombies!
Antisocial follows a group of university students preparing for a New Year’s Eve bash right when the virus hits. Who will live and who will die? And can the virus be stopped?
Antisocial is now playing in Toronto and the film’s director, Cody Calahan, tells us more…
Movies within Movies. Films reviewed: The Pervert’s Guide to Ideology, The Wagner Files, Saving Mr Banks
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM, looking at high-brow and low-brow movies, indie, cult, foreign, festival, documentary, genre and mainstream films, helping you see movies with good taste, movies that taste good, and how to tell the difference.
There are movies… and then there are movies within movies. This week I’m looking at some juicy brain candy, films that cross or blur the barriers between movies and real life. There’s a documentary with a Marxist lecturer who steps into the movies he talks about; a dramatized documentary that answers Bugs Bunny’s question What’s Opera, Doc?, and a drama set in Disneyland… about trying to make a movie.
The Pervert’s Guide to Ideology
Dir: Sophie Fiennes
What does the shark in the movie Jaws have to do with totalitarianism*? Well, a lot, if you listen to Slavoj Zizek.
If you haven’t seen him before, Slavoj Zizek is a real hoot. He’s this huge bombastic, bearded Slovenian who likes to talk – a lot.
A Marxist, he approaches ideology in unusual ways: pop culture and totalitarianism; Lacanian philosophy and The Big Other; social class and sexuality. A typical topic: how come Beethoven’s Ode to Joy was a national anthem for everyone from the extreme right to the extreme left? From Nazis to Peruvian Maoists? He seems to make sense — even when it’s complete nonsense.
You might think – how can I listen to this guy lecture for two hours straight? The way the movie works is he shows a clip from a film – say Reifenstahl’s Triumph of Will – and the next scene has him, in black and white, dressed in period uniform. He talks about a movie, and then he’s in the movie he’s talking about.
If you have an itch for some complex political chatter about pop-culture, The Pervert’s Guide to Ideology is the perfect place to find it.
(*In case you’re wondering about the shark in Spielberg’s Jaws… Zizek says it’s the Big Other, a way of reducing all of society’s fears and anxiety into a single entity. Fascism uses it to galvanize the population against a single feared “enemy”.)
Moving from the broad to the specific, here’s a new, experimental documentary about Wagner, called:
The Wagner Files
Dir: Ralf Pleger
Wagner! He’s the 19thcentury German composer best known for his symphonies and operas. You’ve heard the expression “It’s not over till the fat lady sings”? They’re talking about the valkyrie Brünnhilde from Wagner’s ring cycle.
But who was Wagner? Not what you might think. This doc digs up the skeletons in Wagner’s closet. He was born in Leipzig and became a composer famous across Europe. But it turns out his trips to Paris, Venice, Munich were partly so he could outrun his creditors! He was deeply in debt. Then there’s his friend Hans von Bulow, an aristocrat and musician. Wagner was sleeping with von Bulow’s wife, Cosima, a 
raven-haired beauty who was also Franz Liszt’s granddaughter. She gave birth to Wagner’s kids while still married to von Bulow. Scandal! Sounds almost like a soap opera.
Then Wagner befriended King Ludwig of Bavaria – a crazy gay king who built a castle inspired by a Wagner opera. They had a passionate – though non-sexual – affair, and he became Wagner and Cosima’s patron, showering them with money and paying for his four-part opera and the Bayreuth festival in Bavaria devoted to his work.
Then there’s his fetishes. Wagner covered himself with feminine things –rose-coloured silk and velvets. They found his dead body clothed in pink robes.
Wagner and Cosima also had a dark side. He wrote a virulent tract against Jewish musicians and composers, saying they were members of an “inferior race” ruining German culture. And later (after Wagner died) the widow Cosima became closely tied to Hitler and the Nazi party, a tarnish still associated with Wagner’s work.
The movie uses both experts — conductors, historians, writers – and actors who portray Cosima and Richard… but in 20thcentury settings: Cosima posing dramatically; Richard rolling around in his pink feather boas. Half drama, half doc, German dialogue, English narrator. This is a strange but endlessly fascinating movie.
Saving Mr Banks
Dir: John Lee Hancock
Mrs Travers (Emma Thompson) is an uptight, posh writer in her 60’s living in London, sipping tea and reading Gurdjieff.
She wrote Mary Poppins and Disney has been trying to buy the rights to it for decades. Finally, in 1961, she agrees to fly to LA to meet Walt Disney himself (Tom Hanks).
She is not impressed by America. She says it smells like chlorine and sweat. And she’s creeped-out when she finds her hotel room filled with stuffed, giant Mickey Mice. At the studio she objects to 
everything the writer and songwriters (the Sherman brothers, played by Jason Schwartzman and B.J. Novak) show her. Who are these penguins? She said no cartoons! Why is Mr Banks (the father) portrayed as mean? And the mother as uncaring?
But then her childhood is gradually revealed in a series of flashbacks. She’s actually not English at all. She grew up in the Australian outback. Her mom was depressed. Her dad (Colin Farrell) was an alcoholic bank manager who hated his job. He told her life is just an illusion. And then there’s the inspiration for Mary Poppins.
Can Walt discover what’s holding her back from making a movie? This is a cute, heavily nostalgic and somewhat moving biopic, about turning a book into a movie script. The songs are great and lots of fun. Emma Thompson is terrific as the hard-to-like Mrs Travers who gradually opens up. Totally believable. Tom Hanks role is less rounded, more superficial. Why? Think about it: a Walt Disney movie about their founder shot on the Disney backlot? It’s like a Vatican-made drama about the Pope. So the Disney scenes are restricted, but the Travers scenes allowed to blossom.
The Wagner Files — at the Carlton — The Pervert’s Guide to Ideology — at TIFF — and Saving Mr Banks 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
Philadelphia Freedom. Movies reviewed: Jingle Bell Rocks, Let the Fire Burn
Hi, this is Daniel Garber at the Movies forculturalmining.com and CIUT 89.5 FM, looking at high-brow and low-brow movies, indie, cult, foreign, festival, documentary, genre and mainstream films, helping you see movies with good taste, movies that taste good, and how to tell the difference.
I was in the US for American Thanksgiving. Had a wonderful visit to family and friends, beautiful places, lots to see and do. But you wouldn’t know it if you watched TV news on Black Friday. It’s an orgiastic frenzy of consumer excess slapped onto an otherwise sedate family weekend. All you could see on TV was the repeated image of two women at a Philadelphia Walmart tasing each other to get at a discount i-Pad. Just crazy.
But they segue nicely into my themes this week: Philadelphia and holiday excess. I’m looking at Canadian documentary about Christmas music. And an American doc about a firebomb dropped on a radical commune in Philadelphia.
Jingle Bell Rocks
Dir: Mitchel Kezin
Mitchel is obsessed with Christmas songs., Not the traditional carols or sing-alongs — Silent Night, Jingle Bells — but the many, possibly countless, record albums released over the past 60-70 years. He believes that, among all the treacle and dross they play constantly for a month and a half every year, there are gems to be discovered. So he goes to every flea market, ducks into every used record store he sees, on the off chance there’s an indie treasure waiting to be rediscovered.
It all started with a Nat King Cole song about a little kid pining for his absentee dad, who won’t be home for Chistmas. His own dad was never there and eventually his parents were divorced. Now he feels driven to recreate the sad feelings 
he remembers from a melancholy tune.
And he’s not alone. There’s a hip-hop producer, a radio DJ, and a rock star, each with their obsessive horde of old Xmas vinyl.
The movie spans decades, including everything from be-bop jazz (that’s Bob Dorough singing with the Miles Davis Quintet in the background) to soul – there’s a risqué song about a Backdoor Santa – to Vietnam protest songs, ordinary pop, 
counter-culture kitsch and hip hop, all the way to the nineties and beyond.
Stars include Flaming Lips, Run DMC, and John Waters, with the movie culminating in an amazing recording session with calypso legend Mighty Sparrow.
Not bad for a documentary. Jingle Bell Rocks is 90-minute look at an ordinary – if oddball – guy with a hording obsession. I can sympathize with the narrator’s plight, but never feel his drive. Anyway, it’s a light subject, not intrinsically exciting. But it’s saved by the music: great tunes.
Let the Fire Burn
Dir: Jason Osder
In the mid 1980s, Philadelphia — a city I love — experienced a terrifying event. A home was bombed, and many people were killed. You might think: terrorists? But the bomb was dropped on a row house from a helicopter… by the police! And as the fire grew, the fireman stood by to 
watch the flames engulf a city block.
How could this have happened? Some background.
Half a century after the civil rights movement, Philadelphia is still a de facto segregated city. It experienced decades of unrest and white flight to the exurbs. Much of this was related to the combative stance 
of the police force and City Hall, led, in the 1970s by Frank Rizzo.
A former police commissioner, Rizzo fought a personal battle against radical groups like the Black Panthers, displaying, at times, seemed more loyalty to his fellow police than toward the people of the city. He was known for his harsh treatment of black people, in general. Well, right in the middle of this was a small, black-to-nature group known as MOVE, headed by the self-named John Africa. They believed in such “radical” concepts as a vegan diet, the raw food movement, animal rights — a new religion that was anti-pesticide 
and anti-technology. The kids walked around naked and everyone shared the same last name. They also proselytized loudly in public, using a megaphone, not endearing themselves to their neighbours.
The police accused them of being an armed terrorist group and raided their home. In the melee a cop was killed, but it was never determined where the shot came from. (The police were caught on video brutally attacking an unarmed Delbert Africa.) Nine members of MOVE were convicted of third-degree murder and jailed.
Seven years later, in an apparent act of revenge for the policeman’s death, they dropped two fire bombs – supplied by the FBI — on the urban commune and stood by, as 11 people, including five small children, 
died. Afterwards, the city’s Mayor, W. Wilson Goode, called for an investigation.
This excellent movie tells the story in an unusual way. The documentary is composed entirely of period news footage, TV interviews, and, most of all, the recorded testimony of the inquiry. There’s no narrator, only voices from that time, preserved on tape. Police and survivors of the bombing all testify why they did what they did and bring light to what was happening that tragic day. (Some police were appalled by what happened and did what they could to rescue people, while others clearly supported it.) Especially poignant is the testimony of a little boy, Birdie Africa, who clears up many of the false claims and misconceptions about what went on. This is a stunning movie and an excellent oral history.
Jingle Bell Rocks (Hot Docs) and Let the Fire Burn (TIFF Bell Lightbox) both 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 .
Older Women. Movies Reviewed: Philomena and If I Were You
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM, looking at high-brow and low-brow movies, indie, cult, foreign, festival, documentary, genre and mainstream films, helping you see movies with good taste, movies that taste good, and how to tell the difference.
This week the Toronto Film Critics Association awarded the 2013 Scotiabank Jay Scott Prize for an emerging artist to Matt Johnson, who made the fantastic movie The Dirties. Congratulations – great choice, great new filmmaker. Matt Johnson directed, produced and starred in that comedy/horror meta-movie I reviewed earlier this fall. This is could be the beginning of something big.
They say male movie stars can keep working until they die, but women stop being stars at age 35. It’s hard for older women to find lead roles in movies. Even Oscar winners. But they do exist. This week I’m looking at two movies starring award-winning, older actresses. There’s a British drama about a woman who wants to fill in a gap from her past; and an American comedy/drama about a woman who wants to undo a romantic triangle.
Philomena
Dir: Stephen Frears
Martin (Steve Coogan) is a former high-power party politico who suffers a fall from grace. He finds himself back in his previous profession: journalism. Reluctantly at first, he ends up pursuing a story about a retired, working-class woman named Philomena. Philomena (Judy Dench) was young, unmarried and pregnant when she was sent to live in a nunnery. She loved her infant son. So, one day, she was shocked and horrified to see her little boy driven away, before her very eyes, by a rich couple! She wanted to keep him, but she never saw him again. He was gone, adopted.
Now, many years later, Philomena wants a chance to see him before she dies. The nuns claim to have lost all her records in a fire. So Martin decides to write about Philomena’s story and to help 
her find her long lost son. So off they fly to America. Philomena is suspicious. Maybe he’s just using her to sell his story. Martin, on the other hand, is maddened by her quirky opinions and constantly-changing decisions: I want to go home… Let’s stay for another week… Gradually, Martin’s heart softens as he and Philomena get to know and trust each other better.
Will they locate the adult son? And if they do, will he want to meet his biological mother? Will he even remember her? And, finally, will the convent ever explain why they did what they did?
This movie is a real tear-jerker. Based on a true story, it’s a very touching mother and son drama, with a few unexpected shocks and surprises. And there are at least two scenes that make the audience bawl. On the other hand, it’s quite sexless and sterile – not just the nuns. There’s no romance and no passion. Just anger at injustice, a sad longing for the past, righting wrongs, and a mother’s love for her child. Even though I could feel the movie deliberately tugging at my heart strings, it didn’t matter, since they did it so well.
Judy Dench’s character is rich and expertly played, while the always- funny Steve Coogan is a perfect foil. Well-directed by Steven Frears (My Beautiful Launderette, The Queen) with an excellent script, co-written by Coogan.
If I Were You
Wri/Dir: Joan Carr-Wiggin
Madelyn (Marcia Gay-Harden) is happily married and a successful professional. But when she accidentally spies her husband, Paul, eating a romantic dinner with a beautiful young woman — when he said he was working late — everything falls apart. Is he cheating on her? Is their whole relationship based on a lie?
Flustered and confused, she finds herself following the young woman home. But rather than confronting her, she ends up saving her life. And so they meet. The Spanish beauty Lucy (Leonor Watling) admits that her lover Paul is still married and 
hasn’t left his boring old wife, and Madelyn, in turn, confesses that she caught her husband – she calls him “Fred” – cheating on her with some “bimbo”. They decide to follow each other’s advice on how to rescue their respective relationships. But only Madelyn knows that Fred and Paul are the same man. Can she fool Lucy into leaving her husband?
To distract her, Madelyn encourages the aspiring actress to pursue other goals. She takes Lucy to an audition for a play, King Lear, but somehow ends up cast alongside her. Will Madelyn succeed in her scheme? Or will her web of secrecy come unraveled? And are and her husband still in love?
If I Were You is a cute comedy/ drama. It has some very funny sequences full of unexpected twists — it’s sort of a screwball comedy, with the main character juggling hidden identities and secrets. And the opening scenes – from one to the next to the next — are brilliant. But later on, the movie seems loaded down with clichés and groaners. You have to wonder why so much screentime is devoted to the theatrical sub-plot. That’s not what the movie’s about. Most of all, this movie is a vehicle for the lead actress, Marcia Gay Harden. She’s at the centre of every single scene, and all other characters exist only to react to her (they love, hate, fear or admire her). To like the movie, you have to like Marcia Gay Harden. I do like her, so I enjoyed this film. It’s clever, cute and worth seeing.
Philomena and If I Were You both 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 Swedish director Gabriela Pichler about her new film EAT SLEEP DIE (Äta Sova Dö)
Gabriela Pichler. Foto: Claudio Bresciani
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Raša (Nermina Lukač) is a young Swedish woman, a Muslim born in Montenegro. She lives with her Dad in a small town near Gothenburg and works in a produce-packing factory. She’s a damned good employee — the type who can tell the exact weight of a handful of lettuce.
Bette Davis, The Hard Way. Movies reviewed: Jezebel, What Ever Happened to Baby Jane, All About Eve
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM, looking at high-brow and low-brow movies, indie, cult, foreign, festival, documentary, genre and mainstream films, helping you see movies with good taste, movies that taste good, and how to tell the difference.
I see hundreds of movies a year, and I think I have a pretty good grasp of current cinema. But what do I know about old Hollywood? Next to nothing. So when I heard that TIFF was running a retrospective of a famous star through December, I thought I’d finally take a look at what all the fuss is about. I had always avoided these movies, so this really is the first time I’m watching her movies.
That actress is Bette Davis, and they’re playing a selection of her films in a series called The Hard Way. She’s unusual looking — huge round eyes, a narrow nose, not conventionally beautiful but quite distinctive, especially her voice. I’m starting to understand her fame. She plays strong – often tyrannical – women, but ones who don’t necessarily end up getting what they want. She conveys her meaning with a grand gesture, a cruel slap or a dismissive flick of her fingers.
This week I’m looking at three of her movies, one from each stage of her long career. First, from her days as a huge star in the late 1930s, a romantic drama set in the Old South; in her comeback in the early 1950s, in an amazing drama set amidst Broadway theatre; and, with her second comeback, a dramatic horror movie set in Hollywood in the early 1960s.
Jezebel (1938)
Dir: William Wyler
It’s antebellum New Orleans, a land of strange customs. Chivalry prevails: a gentleman can be challenged to a duel at dawn merely for besmirching a woman’s name. But, at the same time, half the people there are enslaved to the other half. In the middle of this world is Julie (Bette Davis), a strong-willed southern belle living on a halcyon plantation. She loves one man only, a businessman named Pres Dillard (Henry Fonda). But she also loves her freedom: riding horses and asserting her own opinions, damn the rest. But she commits a social faux pas at the ball by appearing in a red dress, not the requisite white one. What a Jezebel! The audacity! The horror! Pres heads up north without asking her hand in marriage.
He returns a few years later a changed man. Julie – struck by melancholy — is sure he’s 
come back for her. But has he? When the plot turns, she sets in motion a series of intricate revenge plots among her friends, schemes that could lead to death. This is all done in the midst of a plague of yellow fever among the swamps, a symbol of the putrefaction of the entire pre-war south. Will Julie change her ways and feel regret? And will Pres ever love her again, or at least respect her?
This movie is an interesting look at another era, but it was so removed from now that it was hard for me to sympathize. A red dress? Honour? Chivalry? Jezebel is not a pro-slavery movie; it shows the pre-Civil-War south as a decadent, outdated culture on the verge of collapse. But how can you take a movie like this seriously after seeing Twelve Years a Slave, one that takes place during the same time period, but about the people who were really oppressed? Still (not a spoiler), the closing scenes in Jezebel do provide a suitably dramatic conclusion to this epic drama.
What Ever Happened to Baby Jane (1962)
Dir: Robert Aldrich
Baby Jane Hudson is a tap-dancing child star of vaudeville, known for her blonde bologna curls and frilly white dresses. Her father flogs life-sized Baby Jane dolls at every performance. Her plain sister Blanche depends on her income. But with the dawn of the talkies, Blanche’s Hollywood star rises even while Jane’s falls. But when Blanche is crippled after a deliberate car crash, Jane becomes her nursemaid out of guilt.
Now, it’s the early 1960s, and they still live in the same rat-infested old Hollywood mansion. The adult Jane (Bette Davis) still has her blonde curls, but she’s an old woman now with inches of white pancake makeup slapped on her cheeks, and grotesque black eyeliner and misshapen lipstick. Blanche (Joan Crawford), in a wheelchair, is isolated in a room upstairs and can’t come down. They exist in a sort of a truce. But when Blanche’s old movies are revived on TV, Jane is overcome by jealousy and anger. She should be famous. She should have a comeback, not her sister. She becomes increasingly unhinged, flashing from 10-year-old girl to her hideous and cruel self. Can Blanche escape this hell-hole of Hollywood torture and decay? Two aging cinematic icons playing themselves, battle it out to the end.
And the final scene is just amazing.
Whatever Happened to Baby Jane, though a schlocky, much-imitated horror movie, did work as a comeback for Bette Davis, who carved out a new career as the queen of fear.
All About Eve (1950)
Dir: Joseph L Mankiewicz.
Margo (Bette Davis) is a great broadway actress at the peak of her career. Eve (Ann Baxter) is a superfan. She shows up at every single performance in a trenchcoat and a crumpled Tilley hat. When they actually meet, Eve’s earnest story of love and loss entrances Margo and all her friends with her freshness, innocence and sincerity. Margo gives her a room in her home and Eve becomes a combination maid, confidant and personal assistant. But Margo gradually becomes suspicious when she sees Eve studiously imitating her every move. She’s not worshipping her… she’s trying to become her! Margo’s friends dismiss her fears as an aging actress’s egotitistic paranoia.
Soon Eve becomes Margo’s actual understudy and, due to some manipulation by Margo’s friends, Eve wows the critics, especially the all-powerful and all-knowing theatre critic Addison Dewitt (George Sanders).
Is Eve the ingénue she pretends to be — or an ambitious psychopath? All About Eve won a slew of Academy Awards, and, far from feeling dated, it really is a masterpiece, showing the pettiness, deception, artifice and manipulation in the dog-eat-dog world of theatre, and by extension, Hollywood. Perfect script, fantastic acting, flawless direction.
All About Eve, What Ever Happened to Baby Jane and Jezebel are part of TIFF’s program The Hard Way: the Films of Bette Davis, curated by James Quandt. Go to tiff.net for listings. Also opening today is Empire of Dirt a Canadian drama about three generations of stubborn, first nations women, who are thrown together for the first time.
This is Daniel Garber at the Movies, each Friday morning on CIUT 89.5 FM and on my website,culturalmining.com
Daniel Garber talks to Destin Cretton about his new film Short Term 12
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
moving, informative and surprising. And one that seems very real.
culturalmining.com 
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