A COMPLETE UNKNOWN (2024)

Written by James Mangold and Jay Cocks



Directed by James Mangold



Where & When: Landmark Theatres Sunset, West Hollywood, CA. December 25, 2024 10:00 PM



Bob Dylan has been known as a rock and roll poet, a musical artist who was able to intuitively use the social and political upheaval that was beginning to happen at the time in the early 1960's and capture it into an momentous anthem. His thoughtful and uplifting words would go on to make a deep connection with his youthful peers. Beginning with his arrival to New York's Greenwich Village, rumpled, eccentric and essentially homeless, Dylan found inspiration all around him. And while many people didn't know what to make of this peculiar individual, they did realize he was an exceptionally, gifted talent. With "A Complete Unknown", James Mangold's riveting biopic, the film traces this brief period of Dylan making a powerful impact on folk music and how this crushing fame made him want to explore another musical avenue, much to the emphatic objections by folk purists.

The initial reason Dylan (Timothée Chalamet) had come to New York was to seek out his musical hero, Woody Guthrie (Scoot McNairy) who was suffering from a neurodegenerative disease and convalescing at a psychiatric hospital. After sneaking in to the hospital late one evening, Dylan finds Guthrie, no longer able to communicate verbally, and his good friend, Pete Seeger (Edward Norton). He performs a song he wrote that was inspired by Guthrie, making a deep impression on them. An intrigued Seeger, who was also a prominent musician of folk music and social activist, invites the young vagabond to stay with him and his family until he can get settled in the city.

Seeger has Dylan perform at open mics, introduces him to other musicians and industry figures which created a swirl of interest around the fledgling performer. Albert Grossman (Dan Fogler) leaps at the chance to manage Dylan and helped get him signed to Columbia, still one of the biggest record labels on the planet. For his self-titled debut album in 1962, the producer, John Hammond (David Alan Basche) insisted Dylan should record mostly covers of traditional folk and blues songs. This album only sold modestly but while on tour, audiences responded well to Dylan's original compositions, encouraging Hammond to allow him to record them for his follow-up album.

Mangold is well known as a proficiently versatile filmmaker, dabbling in various genres throughout his career and excelling at many of them. He has worked his magic on dramas ("Girl, Interrupted"), romantic-comedies ("Kate & Leopold"), comic-book adventures ("Logan") and action-thrillers ("Indiana Jones and the Dial of Destiny"). And while some where not major box-office hits, these films had been expertly crafted and efficiently stimulating. Mangold had made a musical bio previously, taking on the life of country music legend, Johnny Cash (played by Joaquin Phoenix) and his love affair with fellow performer, June Carter in "Walk The Line". This drama received five Academy Award nominations with Reese Witherspoon winning for Best Actress. Cash makes an appearance in "A Complete Unknown" (played here by Boyd Holbrook) who connects with Dylan first as a fan and later as a confidant.

The script by Mangold and Jay Cocks is not entirely successful in escaping the overly familiar beats of the Hollywood-styled biopic yet the solid direction and compelling, intimate performances help make this film a rewarding experience. Not surprisingly, music plays a strong part of "A Complete Unknown", effectively energizing the film with thrilling full-length performances of some of Dylan's greatest songs sung by Chalamet. The actor perfectly captures the essence of Dylan; a midwestern enigma who allowed people to only get so close to him, revealing as little about himself as possible and making up the rest. And while Chalamet's singing doesn't sound much like the musician, he does manage to find the emotional force of each song performed.

Dylan was consumed with getting each song just right, largely shutting out the world during his laser-focused, creative process. And while the world would benefit greatly by his passionate drive, the people who where closest to him would suffer the most by his lack of consideration. He first met Joan Baez (Monica Barbaro), a popular folk singer, following one of her performances. Having dismissed him after he clumsily flirted with her, Dylan captured her attention once seeing him on stage much like the rest of the audience. Baez would record some of his songs and these temperamental musical artists would begin an on-again, off-again affair, made more complicated because he was living with Sylvie Russo (Elle Fanning). Based on Dylan's real-life girlfriend, Suze Rotolo (who he had requested for this character's name to be changed), Russo was a New York born activist who influenced him on politics, art and music and ended up being on the cover with him on his second album, "The Freewheelin' Bob Dylan". But once she had to start sharing him with the world, Sylvie began to feel less important in their relationship and Dylan didn't do nearly enough to reassure her.

The real drama in the film occurs after Dylan achieves great fame a few years later, abandoning his casual look of jeans and work shirts and taking on a more upscale, leather-clad style of a rock & roller. He would begin to chafe under the never ending glare by an adoring public and took on wearing black sunglasses, day and night, using them as a shield against constant prying eyes. It was also during this time Dylan started experimenting musically with the electric guitar during the recording of his next album. Word spread to the committee of the Newport Folk Festival who grow concerned since Dylan is supposed to headline their next event and strongly opposed to anyone deviating from the theme.

I'll admit I have never been much of a fan of the music by Bob Dylan, not really connecting to any of his songs and finding his nasal singing voice to be grating. But "A Complete Unknown" has certainly opened my eyes to recognize and appreciate what Dylan brought to music and the culture, expanding the idea of what a pop song can achieve through reflective, artistic expression. His vocal abilities may have been limited yet he was able to communicate through his colorful lyrics in a way that was distinctive and original.

EMILIA PEREZ (2024)

Written & Directed by Jacques Audiard

Where & When: TIFF: Visa Screening Room at Princess of Wales Theatre, Toronto, Ontario Canada September 10, 2024 11:30 AM

Available to stream now on Netflix



The French filmmaker, Jacques Audiard began his career as a screenwriter, co-writing over ten feature films before moving behind the camera. His first feature, "Regarde les hommes tomber (See How They Fall)" in 1993 was well-received, earning the director three César Awards (France's Oscars) including for Best First Work. Audiard's subsequent features are bold and daring works that would go on to be critically acclaimed internationally and award-winning with him collecting eleven César Awards to date and winning the top prize of the Palme d'Or at the Cannes Film Festival in 2015. While most of his films would be contemporary and set in his native country, Audiard would recently become a cinematic world traveler, creating works further outside from his own experiences. First, there was "Dheepan" (which won the Palme d'Or) involving a Sri Lankan soldier during the country's civil war who creates a new identity in order to securely achieve political asylum in France. Then he ventured to America with his first English-language film, "The Sisters Brothers", a nineteenth century western about assassin-for-hire brothers in search of gold.

With his latest, "Emilia Pérez" (a Jury Prize winner at this year's Cannes), a story set in Mexico about a male drug-dealer who transitions into a female, Audiard continues to goes further into transcending our expectations of cinematic storytelling. An unconventional yet riveting melodrama that catches you by surprise, managing to be equally captivating and disturbing.

Our story begins with Rita Castro (Zoe Saldaña), a defense attorney in the middle of a murder trial uncomfortably defending someone she knows is guilty. After winning the case, she is approached with a mysterious proposition by an anonymous client. The client turns out to be Juan Del Monte, a notorious cartel kingpin known as "Manitas" (Karla Sofía Gascón) who wants her help arranging for him to have surgery to change his gender. Learning about his years of struggling with his gender identity, Rita agrees to this strange yet lucrative offer. After finding the right doctors to discreetly perform the operation, her final task is to move Del Monte's wife, Jessi (Selena Gomez) with their two children to Switzerland for their safety before she learns that her husband has "died".

A few years later, Rita runs into a woman at a dinner party in London who is also from Mexico. It is "Manitas" who has been reborn as "Emilia Pérez" (also played by Gascón) and is insisting on Rita's help once again. Desperately missing her family, Emilia wants Rita to bring Jessi back to Mexico City under the guise that she is her husband's distant cousin wanting to help her raise the children. Skeptical yet wanting to return to Mexico, Jessi agrees to this plan.

While happy to be reunited with her family, Emilia is confronted by her criminal past and that guilt leads to her beginning a non-profit to help identify the bodies of cartel victims, some she may have been directly responsible for their murders. One woman, Epifanía (Adriana Paz) is contacted by Emilia when the remains of her missing husband have been identified. But she's shocked when Epifanía is simply relieved that her abusive husband is actually dead. They begin a friendship which surprisingly turns romantic.

Did I mention that "Emilia Pérez" is also a musical? Audiard unexpectedly uses song (French composer, Clément Ducol and pop musician, Camille Dalmais co-wrote the music) and dance (Damien Jalet choreographed) to heighten the already compelling dramatic narrative. But unlike the recent comic-book sequel, "Joker: Folie à Deux" which added musical numbers to the dark drama that came across as a labored effect, the original songs here perfectly captures each character's anguished fears, secret pain and burning desires.

The Spanish-born Gascón came out as trans in 2018 after performing as an actor for many years in Mexico as Juan Carlos Gascón. Capturing the shrewd menace of "Manitas" while revealing a somewhat softer antagonist as Emilia, the actress convinces in this dual role, commanding the screen with a mesmerizing presence. It would seem she has used some of her own personal experiences into her performance, sharing with her character the challenges of transitioning in order to live authentically.

The veteran Saldaña, who has made her name with her Hollywood work in the sc-fi franchise films, "Avatar", "Star Trek" and "Guardians of the Galaxy", has an opportunity to reveal another side of herself as a performer. Starting off her career wanting to do ballet, she had to abandon this dream by not having the feet for this highly technical form of dance. But Saldaña would make her film debut as a ballet student in "Center Stage" back in 2000. She dazzles here, singing and dancing as a lawyer caught in a moral compromise between wanting to help make a better society and defending the criminal element.

Gomez might be better known as a pop singer but she began as a child actress finding fame on the Disney Channel and more recently has impressed with her comedic turn in the series, "Only Murder in the Building". Playing against type, Gomez is completely convincing as the pampered, bleach-blond mob wife who's grasping at whatever she can in order to survive. Along with Paz, these diverse actresses also shared a well-deserved prize for Best Actress at this year's Cannes Film Festival, working together seamlessly.

When Jessi starts up an affair with Gustavo (Édgar Ramírez), she wants to marry him and move away with the children. An enraged Emilia refuses to allow her to take them, leading to a violently explosive, bombastic finale. Operatic at it's core, "Emilia Pérez" is a visually striking fantasia rooted in a realistic milieu. The mix of genres may not always mesh together seamlessly throughout the film but Audiard has been a cinematic craftsman who desires to provoke and challenge, completely uninterested in easy convention. Wildly audacious and thrillingly entertaining, "Emilia Pérez" is absolutely one of my favorite films I've seen this year.

THE LITTLE MERMAID (2023)

Written by David Magee



Directed by Rob Marshall



Where & When: Regal LA Live 14, Los Angeles, CA. May 29, 2023 3:20 PM



When the animated feature film, "The Little Mermaid" arrived in theaters in 1989, the glory days of Walt Disney Studios was far behind them with many of their recent family-friendly, animated movies failing to generate much critical acclaim or inspire box-office excitement. With an engaging script by the directors, John Musker and Ron Clements and lively, original songs written by Alan Menken and Howard Ashman, "The Little Mermaid" went on to revitalize Disney animation, winning over critics and becoming a worldwide blockbuster. More popular hits followed and Disney Studios would once again become the dominate force in animated feature films.

The astonishing advancement of visual effects has given Disney the opportunity to reimagine their animated classics into live-action movies. The latest is the film that began the studio's renaissance with this remake of "The Little Mermaid". Rob Marshall, the director who brought the razzle-dazzle to the Oscar-winning adaptation of the Broadway musical, "Chicago", is the guide of this version, driving the film impressively with a magical visual style that thrillingly has us in a believable underwater world. And what made this musical feel even remarkably modern was the casting of the dynamic r&b vocalist, Halle Bailey as our beautiful mermaid, Ariel who is fascinated by the human world and ends up falling in love with a prince. Yet does this extravagant production do enough to make a twenty-first century "Little Mermaid" feel actually necessary?

If you're not familiar with the first film, here is a rundown of the story which has essentially remained the same. Ariel (Bailey) is the youngest of seven daughters of King Triton (Javier Bardem), the ruler of Atlantica where merpeople live under the sea. With Triton not wanting anything to do with humans due to one killing his wife, Ariel must keep secret her determined desire to see the surface world and the collection of human objects she has found from wrecked ships that have sunk to the bottom.

After overhearing the kind and thoughtful Eric (Jonah Hauer-King), the prince of a royal kingdom on a Caribbean island, Ariel becomes smitten and after saving his life when his ship crashes during a violent storm, she falls in love. When Triton discovers Ariel's involvement with a human, he becomes outraged, demanding that she never go near them again. And when his daughter refuses to make that promise, he destroys her collection of objects.

But appearing out of the murky depths is Ursula (Melissa McCarthy), the sea witch who is also Triton's sister and had been banished from the kingdom. Well aware of Ariel's dilemma, Ursula makes an offer; she will transform her into a human for three days and if she can receive a true love's kiss from her beloved in that time, she will be able to remain a surface dweller. However, if Ariel fails, she will return as a mermaid and belong to Ursula. The deal is agreed upon but Ariel will not be able to speak while she is human with her voice being held captive in a shell by the sea witch.

With Ariel's friends, Sebastian the crab (Daveed Diggs), a píntano named Flounder (Jacob Tremblay) and Scuttle (Awkwafina), a scatter-brained gannet, all banding together to make sure she succeeds in her quest after discovering that Ursula has cheated by not having Ariel remember she must be kissed.

There have been tweaks to the plot and a few of the songs of this "Little Mermaid". Lyrics have been slightly altered (with the help of Lin-Manuel Miranda, teaming with composer, Menken since original songwriter, Ashman passed away in 1991) and character motivations have been updated in an appeal to modern sensibilities. Still far removed from the much darker original 1837 Danish fairy tale by Hans Christian Andersen, this film feels more mature than the animated film, wanting to attract even more broadly to the entire family. But we have ended up with just a colorless yet tasteful remake, far too cautious and fearful in alienating fans of the hand-drawn version. The actions may be live yet there isn't much life to be found in this updated musical.

Bailey, who first found fame as part of a musical act with her sister, Chloe, is absolutely captivating in her first starring role. She perfectly embodies Ariel's sweet yet determined nature, willing to defy anything that stands in the way of what she desires. And not surprisingly, Bailey delivers potent, expressive vocals that beautifully enhance these classic songs. Less impressive is Hauer-King as our Prince Eric. Handsome in the expected princely way, with a cute dimple on just one cheek which surely helped get him cast, yet regrettably bland in the screen presence department. And while the actor can carry a tune, his singing, much like the new song by Miranda, "Wild Uncharted Waters" that Hauer-King performs, lacks vivid power to make it memorable. But there is a lovely chemistry between Bailey and Hauer-King making it easy to root for this inter-species couple. And McCarthy came in knowing the assignment, bringing a deliciously campy vibe to her Ursula. But she has also added dimension to the evil sea witch by making her more sympathetic, revealing a painful backstory to help explain the motivation behind her not-so-nice behavior.

I was charmed and entertained by this flesh and blood animated version of "The Little Mermaid" yet I'm still struggling to understand a real purpose for this film to have been made beyond the obvious motivation by Disney to find a new way to bring in a fresh infusion of cash from a beloved film in their library. Without any true inventive update to the plot and the lack of memorable, new music (with another of Miranda's contributions, "The Scuttlebutt" that has Scuttle and Sebastian rapping not really adding much), "The Little Mermaid" is more promotional product than motion picture, designed to inspire merchandising than a film that will delight viewers for generations.

WHITNEY HOUSTON: I WANNA DANCE WITH SOMEBODY (2022)

Written by Anthony McCarten



Directed by Kasi Lemmons



Where & When: AMC The Americana at Brand 18, Glendale, CA. January 1, 2023 12:00 PM



The bio-drama, "Whitney Houston: I Wanna Dance With Somebody", is the latest work that explores the story of one of the greatest voices in pop music history. But after two thoroughly researched documentaries and a television movie (directed by Houston's "Waiting to Exhale" co-star, Angela Bassett) in recent years, what more could we possibly learn about this strikingly beautiful singer from Newark, NJ whose life came to a tragic end in 2012 by a drug-induced, accidental drowning in a bathtub after seemingly overcoming years of substance abuse and trying to put her life and career back in order?

What makes this film slightly different is that Houston's estate and Clive Davis, the record executive who helped launch the singer's professional career, are both behind this production. This leads to "I Wanna Dance" offering small, intimate details about the singer that only a family could share and the private conversations and career advice that only Davis could recount. Yet Anthony McCarten, the writer behind several biopics including the Oscar-winning, "Bohemian Rhapsody" which examined Freddie Mercury and the rock band, Queen, has taken this information and crafted a screenplay that only provides a perfunctory narrative with thin characterizations and heavy-handed dialogue. However "I Wanna Dance With Somebody" does manage to break through with moments that thoroughly entertain, particularly when we see Houston in performance, reminding us of her extraordinary and accomplished gifts as a vocalist.

We first see a teenage Whitney Elizabeth Houston (played by Naomi Ackie throughout the film) singing a solo in the youth church choir with her mother, Cissy (Tamara Tunie) serving as music director, who looks on disapprovingly as her daughter shows off during a rehearsal. After many years in the music business, first with her family in the gospel singing group, the Drinkard Singers before forming the r&b act, Sweet Inspirations, who performed background vocals for nearly every popular artist in the 60's and '70's, and attempted a solo career that never took off, the elder Houston knows something about singing. She instructs Whitney to learn the melody of the song first and then she can later add her own vocal embellishments but her daughter dismisses the advice, already confident in her abilities to transform a song.

And her mother is well aware of her daughter's remarkable talent. Cissy still performs occasionally at a small New York nightclub with Whitney serving as a backup singer. When Clive Davis (Stanley Tucci) attends one of her performances, Cissy feigns that she has lost her voice, pushing her daughter out to open the show. Her rendition of "The Greatest Love of All" impresses the record executive and in quick order, signs Houston to a recording contract, arranges her first major live performance on "The Merv Griffin Show" (singing "Home" from the stage musical, "The Wiz") and works with her in song selection for her debut album.

The director Kasi Lemmons, who was behind one of my all-time favorite films, "Eve's Bayou", a thrilling, coming-of-age drama set in rural Louisiana, has the challenge of finding a fresh approach in telling Houston's story. The filmmaker is not entirely successful, never moving far beyond the streamlining of historical events and characters to push the plot along that has become standard in current biopics. But Lemmons is wise enough to know that what people really want is to hear Whitney sing and that's where this movie truly captivates, focusing on entire moments in Houston's musical highlights; her incredible version of "The Star-Spangled Banner" at Super Bowl XXV and the singer's breathtaking performance at the 1994 American Music Awards where she did a medley that featured "I Loves You, Porgy" from the opera, "Porgy and Bess", "And I Am Telling You I'm Not Going", the showstopper from the musical, "Dreamgirls" and "I Have Nothing" from the soundtrack of Houston's movie acting debut, "The Bodyguard".

Another advantage for "I Wanna Dance" is being able to use Houston's actual singing voice in the film, utilizing recordings and live performances that help elevate Ackie's turn as the singer. This is the first major lead role for the British actress (who had made appearances in several television series including "Master of None") and while she certainly doesn't resemble Houston, Ackie believably captures her luminous spirit and the complete joy she had when singing on stage. And she does an impressive job at lip-syncing to Houston's stunning vocals.

One of the major surprises is how "I Wanna Dance With Somebody" addresses quite frankly several of the rumors that surrounded Houston throughout her career. The most notable being the singer's relationship with her personal assistant, Robyn Crawford (played in the film by Nafessa Williams) and after years of denials from Houston, the film confirms that the two were actually intimate with their romance forced to end due to the pressure from several sources to protect the singer's rising career. And Bobby Brown (Ashton Sanders) is officially taken off the hook for claims of starting his wife's destructive path into drugs with the acknowledgment that Houston had begun taking illicit substances long before their marriage (although he did certainly help accelerate the problem).

Despite some commanding performances and dazzling recreations of highlights from Houston's storied oeuvre, "I Wanna Dance With Somebody" fails to live up to the greatness of this legendary artist, leaving us with a watchable film that just feels generic and negligible.

MOONAGE DAYDREAM (2022)

Directed by Brett Morgen



Where & When: TCL Chinese Theatres IMAX, September 18, 2022 12:20 PM



I still remember clearly the complete shock and disbelief I felt when I heard the news that David Bowie, the influential, enigmatic rock-star alien, had passed away in 2016. With his sensual, otherworldly essence, he gave the impression that he would simply exist forever. Bowie even released a complete new album, "Black Star" two days after he died. At only sixty-nine, the British performance artist, although best known for his innovative music also painted and acted on stage and screen, seemed to have his life tragically cut far too soon. As a musician, Bowie was a true chameleon, continuously shifting and expanding the possibilities of rock & roll. And using his lithe body as a colorful, exhilarating canvas, he helped alter the rigid ideology on gender norms and visual presentation.

Brett Morgen, the filmmaker who has created meditative non-fiction works that have largely focused on seminal figures in pop culture like Hollywood producer, Bob Evans; the still rocking, The Rolling Stones; primatologist, Jane Goodall and the late rock performer, Kurt Cobain, has set his sights on Bowie. "Moonage Daydream", a wildly kinetic mosaic of sound and vision, reflects on the creative life of the rock musician told in his own words, assembled through a series of interviews the artist had given throughout his lengthy career.

Broken up through the different eras of Bowie's intriguing artistic journey, we begin expectedly yet briefly with his early days as an androgynous, shaggy haired mod-rocker before morphing into the genderqueer space alien with a mullet of flaming red-hair, backed-up with his hard-rocking band, the Spiders from Mars. Following this first brush with massive stardom, Bowie shifted gears, not wanting to be defined by Ziggy Stardust, moving into Aladdin Sane with the now-iconic album cover image of the colorful lighting bolt across his face. After a few more albums, he abandoned glam-rock altogether, moving into the Thin White Duke phase and "plastic soul", his homage to American r&b and soul music. Trying to escape years of deep drug addiction in Los Angeles, Bowie heads to Europe, ending up in Germany. Clear-eyed and inspired, he begins to experiment with electronic, ambient sounds, creating a trio of albums later referred to as the "Berlin Trilogy".

With "Moonage Daydream", which is the title of the 1971 song that introduces us to Ziggy Stardust, Morgen has crafted a masterful work of art that poetically explores the roots of Bowie's considerable, wide-ranging artistry. Serving also as editor and utilizing a collision of expressionistic effects, he effectively has Bowie discuss many of his influences and motivations while visualizing his tremendous impact throughout using zippy fast-cuts of various media with the musician's work as a musician and actor. This is the first film about Bowie that has been authorized by his estate, allowing Morgen to use all of his music and have access to Bowie's extensive footage from his personal archives, much of it rarely seen before publicly. Tony Visconti, a musician and producer who had worked with Bowie since his second album in 1969, serves as the film's music producer, helping to put together previously unreleased live tracks with newly created remixed songs for the soundtrack .

Throughout each of his aesthetic and musical transformations, Bowie is revealed to be a true trendsetter and innovator, boldly expressing a queer, rebellious spirit by becoming the face of bisexual chic, wearing make-up and normalizing crossdressing at a time when the world was even less open to such provocative acts. Bowie realized early the power of using short-form film to create alluring imagery and enhance his musical vision, long before people began wanting their MTV in 1981. And he was a natural additional to the music channel which helped propel him into becoming a major pop music superstar with his worldwide smash album, "Let's Dance". Yet the intense pressure and high expectations of this type of fame made Bowie retreat back into his comfort zone of more esoteric musical stylings.

My only real criticism about "Moonage Daydream" would be it's length. While I would be of the mindset that there could never be too much Bowie yet after a while during the one hundred and forty minute runtime, the film does begin to drag a bit and feel overextended largely due to the unstructured format. And I was also left to wonder about the complete exclusion to mention some of the many people, friends, family and colleagues, who contributed significantly to Bowie's success. Thinking this was a creative decision until I saw the segment dedicated to his romance to Iman, the Somali supermodel who is Bowie's widow and love of his life.

Yet is seems strange to completely omit any mention of Angela Bowie, his free-spirited, first wife who clearly had some influence over his early image and opened his mind to a broader, more alternative lifestyle. And she is the mother of his first child, Duncan, now a filmmaker, who went by "Zowie" for the first ten years of his life. The couple both acknowledged their relationship was highly tumultuous with Bowie later admitting that he had married her so she could work in Britain. But they were together for a decade so there might have been something that could have been said, if only briefly.

If you were looking for a documentary filled with warm remembrances by several talking heads, straightforward live performances or salacious details regarding Bowie's drug abuse and various romantic flings, then you will certainly be disappointed. Morgen was far more interested in creating an introspective, visually explosive experience. "Moonage Daydream" is a thrilling, experimental celebration of a true creative genius told in a mesmerizing, deconstructed way that I think the musician would have greatly appreciated.

ALINE (2022)

Written by Brigitte Buc and Valérie Lemercier




Directed by Valérie Lemercier




Where & When: Laemmle NoHo 7 theatres, North Hollywood, CA. April 18, 2022 4:20 PM




The last of fourteen children in a poor yet loving French-Canadian family in Quebec, Aline Dieu has a remarkable singing ability, first displayed at the wedding of one of her brothers at the age of five. With music playing an important part of the Dieu family and recognizing that the world should hear Aline's singing, her mother and brother write a song that will showcase the amazing talent of the now-twelve year old. They manage to get a recording of this song into the hands of a well-known music manager in Canada who is moved to tears by Aline's voice, promptly deciding to devote all of his energy into helping make this young girl a star.

If this story sounds oddly familiar, well, it's intended to. The French performer, Valérie Lemercier has co-written, directed and stars in "Aline", a loving, fictionalized tribute based on the life and career of the Canadian pop superstar, Céline Dion. And the fifty-eight year old Lemercier impressively plays Dieu from a five year old to middle-age with the aid of digital effects. The film is a meticulously designed fantasy that dives into the world of a real-life singer yet surprisingly lacks a bold, imaginative spirit.

With Guy-Claude Kamar (Sylvain Marcel) now managing Aline, he takes steps to mold the shy, awkward girl into an image closer to what is expected of an international pop star. He arranges to have her teeth straightened, transforms her with a fashion make-over and begin to have her learn English. But Aline's budding career almost comes to a grinding halt when she damages her vocal cords. Her options are surgery or to not speak at all for three months with Aline wisely deciding to remain silent.

And as her music career begins to rise, Aline finds herself falling in love with Kamar who is twenty-five years older than herself. While this couple initially kept their romance secret from the public, fearing that they would not be accepting, they couldn't keep this information from her family with Aline's mother, Sylvette (Danielle Fichaud), in particular, appalled by the idea. After finally announcing to the world that they are together, fans embraced the news of their relationship (and eventually Sylvette) which was followed by the singer and her manager getting married in a lavish wedding ceremony.

Valérie Lemercier may not be well-known on this side of the Atlantic but in her native France, she is a celebrated star. She made her film debut in Louis Malle's "Milou en mai (May Fools)" in 1990 and would go on win two César Awards for Best Supporting Actress (for "Les Visiteurs" and "Fauteuils d'orchestre") before receiving the Best Actress César for her performance in "Aline" last year. Lemercier began working behind the camera in 1997 and had a big hit with her third feature as a director, "Palais royal!", a 2005 comedy based loosely on the adultery scandal involving the British royals, Prince Charles and Princess Diana. Unlike that film, Lemercier handles her fact-based fictional character in "Aline" with a more delicate, respectful touch. The actress, with her expressive, pliant features, is captivating as she evolves from a small, shy child with a big voice to a powerful and confident superstar performer. As a filmmaker however, Lemercier is competent yet lacks a distinctive visual style that might have elevated this routine rags-to-riches musical love story.

There is no doubt that Lemercier is a big fan of Dion, honoring this musical icon in a unique way, but it's hard to understand what is the actual point of "Aline". The character at the center of this film is definitely not supposed to be Céline Dion. And "Aline" is not a parody. Yet Lemercier painstakingly recreates the major events in the singer's life, the clothing that she has worn and even performs several of the songs that Dion has made famous (with vocals provided by French singer, Victoria Sio who puts in the extra effort to sound like Dion). It just feels odd to do a pseudo-biography on a performer who is still very much alive and in the middle of her career that is not really intended to poke fun or offer critical evaluation. What might have made "Aline" even more intriguing is if Lemercier had played up the fantasy-comedy elements in this story even further instead of remaining so faithful to the real-life of Dion.

I can look back at "Dreamgirls" which was clearly based on the story of the Supremes yet was far enough removed from the actual hitmaking Motown girl-group (which included original songs that conveyed the emotions of these characters) that the similarities were never a real distraction. "Aline" is literally retelling Céline Dion's life story with only thinly veiled name changes and minor creative liberties to make it appear fictional. This musical-dramedy certainly has it's charms but since Lemercier had no intention to offend in any possible way, the narrative and characterizations are mostly too blandly generic to effectively thrill. I mean, if you're going to invent a movie about the life of one of the biggest pop singers on the planet, then the most shocking and scandalous event they experience should involve more than falling in love with a divorced, older man.

THE VELVET UNDERGROUND (2021)

Directed by Todd Haynes



Where & When: Nuart Theater, West Los Angeles, CA. October 20, 2021 5:10 PM

Available to stream now on AppleTV+  


While "The Velvet Underground" is being labeled as Todd Haynes' first documentary, this low-key yet appealing non-fiction film doesn't feel far removed from his previous narrative feature work. Utilizing a vivid, cinematic approach with split-screens filled with energized, montage images and little-seen archival footage from the Warhol Foundation, the filmmaker behind "Poison", "Far From Heaven" and "I'm Not There" realized that this avant-garde band deserved and required a non-fiction film that documented their story unconventionally.

And the Velvet Underground were definitely not a traditional rock band, experimenting with unusual pop structures while taking on subversive subject matter in their songs. Not surprisingly, this group was not appreciated during their time beginning in the late '60's, critically panned and largely ignored by the public. But time eventually allowed listeners to catch up to what the Velvet Underground were creating; merging a bold, offbeat artistic vision with rock music that would become highly influential, leading to the sounds of glam rock, new-wave and punk rock to emerge from their early accomplishments.

It began with the meeting of two disparate musicians; the New York born and raised, Lou Reed, a self-taught guitarist who loved rock and r&b and John Cale, a Welsh multi-instrumentalist who relocated to New York in 1963 to study classical music. They had each performed with varied musicians in style and skill (Reed performed with some short-lived garage bands and Cale worked with a few progressive composers including John Cage) before joining forces, realizing they had a shared taste for the offbeat and experimental.

They recruited Sterling Morrison to play guitar and Angus MacLise on drums, performing together under a variety of different band names before settling on "The Velvet Underground". On the eve of their first paying gig, MacLise quit the band, feeling like they were selling out, and was replaced by Maureen "Moe" Tucker. The Velvet Underground began to draw attention in the local music scene around the city, leading the pop artist, Andy Warhol to become intrigued. He viewed this band as a perfect accompaniment to the unorthodox art he was creating, becoming their manager and producer, although his involvement in the creation of their music was clearly minimal. What Warhol did contribute was getting the Underground signed to a record label, designing their debut album cover art and suggesting that Christa Päffgen, known as Nico, join this band. And while the former German model may not have possessed the best voice for singing, she did have a commanding presence and more than willing to work hard in achieving the desired emotion in the music.

As a young queer man trying to find his way, Haynes found comfort and solidarity in the rebellious music of David Bowie, Roxy Music, the New York Dolls before discovering the Velvet Underground while in college, realizing that this band's singular sound had clearly influenced many of these performers that had followed them. The filmmaker would go on to make "Velvet Goldmine" in 1998, a fictionalized look at the glam rock scene in the 1970's featuring a thinly veiled character based on "Ziggy Stardust"-era Bowie and using details from the lives of Iggy Pop and Lou Reed.

Now with an opportunity to examine the Velvet Underground's legacy, Haynes decided to avoid having music scholars, critics or fans interviewed to discuss the band in the film, using only people who were there to share their thoughts and experiences. That includes the now seventy-nine year old Cale and seventy-seven Tucker; Reed's sister, Merrill Reed Weiner; Mary Woronov, an actress who was a part of Warhol's entourage and Jackson Browne, the musician that was romantically linked to Nico and played on her debut solo album. Morrison (who died at fifty-three in 1995) and Reed (who passed away in 2013 at seventy-one) make appearances through footage of previous interviews.

Despite the inventive visual flourishes and electrifying music, the film rarely matches the same intensity, remaining strangely lo-fi and static. And once the film reaches the Warhol connection and the striking Nico joins the band, "The Velvet Underground" settles in to a more traditional documentary. Yet the film does succeed in capturing the moments of what made the Velvet Underground such a groundbreaking and essential rock band. 

With "The Velvet Underground", Haynes has crafted an entertaining and informative documentary that generates long overdue attention to a musical group that was far ahead of it's time. The director wanted to share what had drawn him to their esoteric music, with an ultimate goal to inspire a new generation to seek out this unsung band.

THE PROM (2020)

Written by Bob Martin and Chad Beguelin



Directed by Ryan Murphy



Available to stream now on Netflix



Actors have famously used their fame as clout to bring attention to serious and important causes, believing that their endorsement will help make this matter take on greater significance to a large number of people. One example was an incident in 2010 involving a teenage girl who wanted to take her girlfriend to their senior prom in Mississippi but where denied by school board. The girls pushed back and the board decided to cancel the prom instead of allowing them to attend. A lawsuit was filed and a Federal Court found the couple's First Amendment rights had been violated. However, the judge did not force the school to reinstate the prom. Some celebrities heard this story and jumped in to sponsor a fund-raiser so that the girls could attend an inclusive prom event.

This was the inspiration for the stage musical, "The Prom", created in 2016 by Bob Martin, Matthew Sklar and Chad Beguelin which would end up on Broadway two years later, winning critical praise and award recognition. Ryan Murphy, who almost single-handedly reinvigorated television by inventively bringing progressive stories and marginalized characters to the small screen, returns to feature films to direct a version of the musical with a cast of impressive major stars on board to spice up the production. But Murphy has taken a relatively small scale story and pumped it up in to a colossal explosion of overbearing sights, unremarkable sounds and gaudy colors. It is a politically-minded, musical spectacle that demands you pay attention yet in an obnoxious, "look at me! look at me!" sort of way.

During opening night on Broadway of the new musical, "Eleanor!: The Eleanor Roosevelt Story", stars, Dee Dee Allen (Meryl Streep), a two-time Tony Award winner and Barry Glickman (James Corden) are waiting for the reviews to come in for the play. With a rave from a critic in New Jersey, the team is convinced they have a winner on their hands and begin to celebrate. However, the review from the New York Times is ugly and brutal, effectively killing the show.

Depressed and wallowing in self-pity, Dee Dee and Barry drown their sorrows at a local bar where Julliard graduate, Trent Oliver (Andrew Rannells) works only between theater jobs which has been few and far between of late. Joining in to commiserate with them is Angie Dickinson (Nicole Kidman), a long-time chorus girl who has just quit her job in "Chicago", frustrated by never getting a chance to play one of the leads. They decide to find a cause that will make them appear to be caring people and deliver them plenty of much-needed publicity. Angie finds the perfect case happening in a small town in Indiana, leading them to quickly head out to save the day.

Emma Nolan (Jo Ellen Pellman) is at the center of the dilemma at her high school. As an open lesbian, the teen wants to bring her female date to the prom but the head of the school PTA, Mrs. Greene (Kerry Washington) announces she will cancel the dance instead of allowing that to happen. The only one on Emma's side is the principal, Mr. Hawkins (Keegan-Michael Key) yet he's unable to stop the board about the prom.

Our four stage actors burst into the PTA meeting, outraged by the decision and demand justice for the lesbians. No one in town really knows what to make of these frivolous, self-involved performers but they won't leave. The actors befriend Emma, determined to help her so that will help them in their goal of getting some great press. Meanwhile, there is a little sexual tension simmering between Principal Hawkins (who is a big fan of the actress) and Dee Dee. And Emma's date is secretly the popular cheerleader, Alyssa (Ariana DeBose), the daughter of Mrs. Greene, who had decided to use the prom to publicly come out of the closet.

The major problem with "The Prom" is that it's not nearly as much fun as it thinks it is. You can see all the effort put in to this whirling, hyper-colored fantasia yet the payoff is minor and extremely disappointing, It's clear Murphy had difficulty figuring out how to merge the lives of wacky, over-the-top, self-indulgent theater actors with the more somber political statements involving inclusivity and tolerance. And the film suffers under the weight of trying to make the story bigger and louder than it really needed to be.

The staging of the musical numbers are hampered by poor blocking and odd location settings. The dance sequences are far too slick and robotic to make any impact. The key to any successful musical, obviously, are the songs. And while the songs in "The Prom" (with music by Matthew Sklar and lyrics from Chad Beguelin) certainly moves our story forward, they felt only serviceable, leaving no lasting memory beyond the film. It doesn't help that many of the actors deliver these tunes loudly, without much subtilty or emotional investment.

It's no real surprise that Ms Streep is the best thing here. Looking an awful lot like a bedazzled Shirley MacLaine, it's always fun watching La Streep mugging while kicking up her heels and belting out a song. Ms Kidman is another one breaking out of her dramatic comfort zone and joyfully delivering her big solo number, "Zazz", full of jazz hands and Fosse-styled dance moves. They are clearly enjoying themselves yet we are left only mildly satisfied. I was less offended by Mr. Corden's performance than by the fact that he always seemed like he was delivering a performance. The popular late-night television host never for a moment comes across convincingly as a narcissistic gay actor. You can actually see him at times struggling to figure out how big he should go. And I'm gonna repeat what I've heard a few people say which is Mr. Cordon was in a role that seemed tailor-made for Nathan Lane who could have brought an effortless charm and outrageousness that was sadly lacking here.

"The Prom" seemed like a movie that would be right up my alley, featuring an inventive director, a positive story involving love and tolerance and a cast of some of my favorite actors singing and dancing. I really, really wanted to find comfort and enjoyment from this timely musical yet all I was left feeling was numb and brutalized.

MY VIEWING DIARY: PART TEN

"Cats" (2019)

"Cats", Andrew Lloyd Webber's 1981 stage production based on the collection of poems by T.S. Eliot, is one of the most popular and successful musicals of all time, raking in a staggering 3.5 billion dollars worldwide. The long-awaited film adaption has been made by Tom Hooper, the Oscar-winning director of "The King's Speech" and another stage-to-screen adaption of an equally popular musical, "Les Misérables", with the results being a garish, clunky and odd spectacle, devoid of any of the elements that made this enduring musical so beloved by so many people. Much like the stage show, there isn't an actual clear plot here but the outline involves a young white cat named Victoria (played by Royal Ballet dancer, Francesca Hayward making her film debut) being dumped on to the cold, London streets by her owner in the middle of the night. This is when she meets the "Jellicles", homeless cats living on these mean streets, lead by Munkustrap (Robbie Fairchild), who introduces her to their world where cats will compete for a chance to go to the Heaviside Layer, a wonderous place where they will be granted a new life. But Macavity (Idris Elba), a mysterious and treacherous cat, kidnaps the potential contestants in order for him to be selected by default.

"Cats" races through at a breakneck pace, never giving us an opportunity to consider what we have watched (since the script doesn't help) or even catch our breath before moving on to the next number. But one of the biggest problems with this movie was the decision to rely on CGI to create the cats, fusing the actors digitally with a life-like cat appearance that is equally disturbing and distracting. Another visual distraction is that the cats are not to scale to the apparent real world they are supposed to inhabit, appearing much smaller than an actual cat which throws you further off balance. We have some well-known stage (James Corden, Ian McKellen, Judi Dench) and music (Jason Derulo, Taylor Swift) performers trying their best to bring life to these beloved feline characters yet they seem overwhelmed by this manic production, unable to make much of an impression. And I definitely could have done without seeing Rebel Wilson as the domestic tabby cat, Jennyanydots, singing and dancing with a chrous line of roaches.

"Cats" is really best known for one song and that's "Memory", a melancholy ballad that has been covered an estimated six hundred times by a wide assortment of artists. Oscar-winner, Jennifer Hudson plays Grizabella, the faded glamour cat who performs this classic number (strangely as a duet with Victoria), delivering an unsettling version that simply tries too hard to move you, losing much of the emotional power of this song. Say what you will about the merits of the stage musical but it has continuously, since it's debut, brought joy and thrills to millions of fans across the globe. But this "Cats" simply dulls your senses, never managing to spark any memorable or magical moments.



"Le Samouraï" (1967)

The first teaming of Jean-Pierre Melville, a filmmaker who is considered the spiritual father of the French New Wave, and the mysterious allure of actor, Alain Delon was in "Le Samouraï", an exceptional crime-drama from 1967 that has remained a highly influential cinematic work. Delon plays Jef Costello, an icy assassin-for-hire who has been given an assignment. He methodically creates an alibi with his lover, Jane (Nathalie Delon, the actor's then-wife) before he will begin the job. Costello's target is the owner of a nightclub but after completing his mission, he is seen leaving by a number of people at the club including the band's piano player, Valérie (Cathy Rosier) who locks eyes with him. Costello is one of several suspects rounded up by the investigating officer (François Périer). Most of the witnesses are unsure if he is the actual murderer but Valérie mysteriously insists he is not. Despite this, the officer is convinced Costello is the culprit and has him followed and his apartment bugged. This investigation causes another major problem for Costello as his employers believe he has become a liability and now has to be handled.

Melville's love of Hollywood film noir is on full display here with his screenplay masterfully delivering all the action and suspense you would expect from the genre yet seen through a Gallic lens. With minimum dialogue and stark atmosphere, the director has taken us in to a world that is filled with muted emotions and stylishly self-conscious. One of the greatest faces in cinema, Delon uses his to express his character's inner turmoil by utilizing only minimal movement and cold, penetrating eyes. With his world closing in on him, Costello remains expressionless and calculating, never allowing anyone to see him sweat. "Le Samouraï" doesn't offer much that hasn't been seen before but this neo-noir thriller is presented in a chilly, captivating style that is unsettling yet endlessly fascinating.



"Bunny Lake Is Missing" (1965)

"Bunny Lake Is Missing" is a largely forgotten feature film from director, Otto Preminger and for good reason. It is a great looking yet muddled psychological thriller that doesn't feature enough logical thrills. Arriving from America to London, Ann Lake (Carol Lynley) drops her young daughter, Bunny off for her first day at nursery school. With the teacher nowhere around and needing to get back home for the movers, Ann leaves her daughter with the school's cook (Lucie Mannheim). But when she return later to pick up Bunny, the child is nowhere to be found, was never seen by her teacher and the cook has walked out on her job. Distraught and terrified, Ann calls her brother, Steven (Keir Dullea who would later be known for his career-defining role in "2001: A Space Odyssey"), who moved to England with her, and they search the entire school before contacting the police. Scotland Yard Inspector Newhouse (Laurence Olivier) arrives on the scene and laboriously begins his investigation. He finds that none of Bunny's possessions are in the house and the name of Ann's imaginary childhood friend was "Bunny". So it's not long before Newhouse begins to question Ann's sanity.

Preminger, the notoriously difficult filmmaker behind such classics as "The Man with the Golden Arm", "Anatomy of a Murder", "Carmen Jones" and "Laura", did not like the original ending of the book which the film is based by Merriam Modell. This forced screenwriters, John and Penelope Mortimer to rewrite the script many times until he was satisfied. And while "Bunny Lake Is Missing" does begin promising, full of intrigue and dread, the conclusion of this mystery is implausibly deranged. The performances by leads Lynley and Dullea are distractingly overwrought, dragging the film down to B-movie level. But the rest of the cast are solid, notably Olivier although we are unable to shake the feeling that he is here only for the paycheck. And adding to the odd nature of the film, we have Noël Coward, the English writer known for his acid wit, briefly appearing as Ann's peculiar landlord and the rock band, the Zombies (whose biggest hit is the 1964 pop song, "She's Not There" which sadly does not appear here) simply performing on a television broadcast while the characters are in a bar. "Bunny Lake Is Missing" was not particularly embraced by audiences or critics when it was initially released. But it has been reevaluated by some modern viewers who have found a greater appreciation for the film. I am not one of them.

COMING SOON

The critically-acclaimed Broadway musical, "The Prom" is getting the Hollywood treatment by way of Ryan Murphy and Netflix. The powerhouse television and film producer has managed to lure such glittering stars as James Corden, Keegan-Michael Key, Andrew Rannells, Kerry Washington, Nicole Kidman and Meryl Streep to sing and dance for the movie version in which he also directs. "The Prom" tells the story of four New York stage actors whose careers are on the decline and hear about a high school student in a conservative Indiana town not being allowed to take her girlfriend to the prom. Realizing this could help bring them great publicity, the actors head to Indiana to save the day. However, these self-absorbed performers wind up actually causing more harm than good for these high-school lovers. "The Prom" looks like it could be a lot of fun which is something we are in desperate need right now.

"The Prom" is due in select U.S. theaters in November and Netflix on December 11, 2020

MY VIEWING DIARY: PART NINE

"Lenny" (1974)

Since he spent most of his career as a dancer and highly inventive choreographer for the stage, Bob Fosse did not have much of an opportunity to leave behind an extensive body of work once he decided to focus on film making. A driven workaholic combined with an unhealthy lifestyle, Fosse died of a heart attack by the age of sixty. 

He was an incredibly gifted director yet would only make five feature films; the movie adaptation of the stage musical-comedy, "Sweet Charity" (Fosse's film debut which he had also directed and choreographed the original Broadway show); "Cabaret", another adaptation of a Broadway musical which would win eight Academy Awards (including Best Director for Fosse); "All That Jazz", the semi-autobiographical musical-drama that was nominated for nine Oscars and won four; "Star 80", a fact-based drama on the tragic murder of Playboy playmate, Dorothy Stratten and "Lenny" which was the only film by Fosse I had not yet seen. 

This stylish bio-pic examines the life and career of Lenny Bruce, a New York comedian in the 1960's who would challenge the obscenity laws on what could be said on stage, ultimately paying a high price for his defiance. Dustin Hoffman (in one of his greatest screen performances) play Bruce, a Jewish comic who struggles trying to do the standard comedy routine. He falls hard for a stripper named Honey Harlow (Valerie Perrine, who won the Best Actress Award at the 1975 Cannes Film Festival), who he calls his "Shiksa goddess" and they marry quickly. After the couple moves to Los Angeles, Bruce begins to riff on stage invovling subjects that are not usually discussed in public with language that some considered highly inappropriate. And while he would achieve great success and popularity, Bruce would be arrested frequently for charges of obscenity. This was also when he and his wife would become severely addicted to drugs, causing them to suffer marital issues and additional legal problems.

What makes "Lenny" particularly intriguing was how Fosse assembled the film, shooting in exquisite black & white (with cinematography by Bruce Surtees) and using a non-linear story structure which was not commonly done at the time, particularly with American films. "Lenny" only highlights key moments in the chaotic life and controversial routines of the comedian, not giving us a complete picture of his importance as a historical figure. This film does reveal that while his motivations may have been self-serving and short-sighted at the time, Bruce's legal challenges for his First Amendment rights would help open the door for all performers to express themselves uncensored without fear of criminal indictment.

"The Opposite Sex" (1956)

"The Opposite Sex" is based on Clare Boothe Luce's 1936 play, "The Women" which was adapted in to a delightfully camp comedy in 1939. But this inert remake isn't much fun, having awkwardly been turned in to a musical set in the world of the theater and the physical presence of men is featured prominently throughout the film. With their attempt to open up the story, the director, David Miller and writing team of Fay and Michael Kanin has made a conventional 1950's Metrocolor rom-com with the significant altering of the structure and tone of the story not helping matters. 

The casting also leaves a lot to be desired with bland MGM musical star, June Allyson playing Kay Hilliard, a former popular nightclub performer who gave it all up for love, marriage and family. But when Kay's frenemy, Sylvia Fowler (Dolores Gray) hears the gossip that Kay's husband, Steven (Leslie Nielsen), a producer of an upcoming Broadway musical, is having an affair with a dancer in the show, Crystal Allen (Joan Collins, struggling with a wobbly American accent), she can't wait to spread this dirt. It's not long before this news reaches Kay and while she still loves her husband, sadly heads off to Reno to end her marriage. During her stay at a ranch for divorcees run by the butch, Lucy (Charlotte Greenwood), Kay befriends fellow soon-to-be-single-again gals, Gloria Dell (Ann Miller) and the Countess Lavaliere (Agnes Moorehead), avoids a clumsy seduction by the ranch hand, Buck (Jeff Richards) and has to deal with Sylvia who arrives to end her own marriage. And when Kay discovers that Crystal is being unfaithful to Steven, she decides to try and win her ex-husband back. 

That this "contemporary" version (which also features Ann Sheridan and Joan Blondell) manages to feel even more dated today than the original eighty-one year old film is actually quite a feat. And although the musical numbers fit organically in to the show-business setting, these lame songs and garish production fail to ignite any magical sparks.

"Lady of Burlesque" (1943)

"Lady of Burlesque" is a silly, musical-comedy-mystery caper about some strippers who are being strangled to death while on the job with their own g-strings. Based on the aptly titled book, "The G-String Murders", allegedly written by the world-famous strip-tease artist, Gypsy Rose Lee whose colorful life would be the basis of the classic stage musical (and later movie), "Gypsy". The only reason to even consider watching this low-budget hooey is for the dazzling star presence of Barbara Stanwyck. The actress gives her all singing, dancing and displaying her expert comedy chops but it is all sadly wasted here. 

Stanwyck plays Dixie Daisy, a new attraction at the Old Opera, a New York burlesque theater on 42nd Street. The crowd loves her and she also captures the attention of Biff Brannigan (Michael O'Shea), a comedian at the club. Daisy, who has found that comedians are better with jokes than romance, is not interested. During a raid of the theater, someone tries to strangle Dixie but she escapes her attacker. However, another dancer, Lolita La Verne (Victoria Faust) is not so lucky, ending up dead with her undergarment wrapped around her neck. After another performer has been murdered, we have plenty of possible suspects yet there never seems to be much of an urgent concern to capture the killer. Even though someone that they all work with is, um, killing their fellow co-workers and the bodies are piling up in the theater yet the show continues to go on. 

"Lady of Burlesque" is set in a world where scantily-clad ladies seductively remove what little items of clothing they have on. Yet there isn't much skin to be seen here. That is because the Hays Code was in full effect, making sure nothing objectionable ever made it on to the the big screen. So William A. Wellman (the director behind the first Oscar winner for Best Picture, "Wings" and the first version of "A Star Is Born" in 1937) winds up having to rely on uninspired musical numbers and routine comedy skits to move the story along. As the film aims for wanting to be viewed as titilating, harmless fun, "Lady of Burlesque" is actually unsettling and a little ghoulish. Oh, and forget about the mystery. This is one of those who-dun-it where there are never any actual clues dropped and everything is explained with a lengthy conversation at the end.

COMING SOON

While we still don't really have theaters back up and running and the summer movie season seems to be pretty much a bust, we can at least look towards the future. One movie that I had been looking forward in seeing as soon as it was announced was the bio-pic on the legendary Queen of Soul, Aretha Franklin who passed away in 2018.

And after a forty-four second preview had been dropped last December, we are given a slightly longer peek at "Respect" which stars Academy-Award winner, Jennifer Hudson who had been hand selected by the Queen herself following some less likely suggestions to play her (uh, Halle Berry?). This project has long been in development and it is finally ready to hit the big screen in December.

Directed by Liesl Tommy (the Tony Award winning theater director making his feature-film debut), the movie covers the life of Franklin from her childhood as the daughter of the Rev. C. L. Franklin (played by Forest Whitaker) to her achieving worldwide acclaim and success as one of the greatest voices in popular music. And the supporting cast is impressive with six-time Tony winner, Audra McDonald playing Franklin's mother, Barbara Siggers Franklin; another Tony winner, Heather Headley as gospel artist, Clara Ward who was a great inspiration for Franklin; Marlon Wayans as Ted White, Franklin's first husband and manager; Marc Maron as Jerry Wexler, the producer who helped turn Franklin's fledgling career around and Mary J. Blige as jazz vocalist, Dinah Washington who was another idol to Franklin.

"Respect" is due in U.S. theaters on  December 25, 2020   August 13, 2021

MY VIEWING DIARY: PART FOUR

"Stormy Weather" (1943)

Two of the earliest and most significant Hollywood films to feature an all-African-American cast were both released in 1943. One was Vincente Minnelli's musical, "Cabin in the Sky" and the other was "Stormy Weather" from director, Andrew Stone. This glossy musical is held together by a story very loosely based on the life of tap dancer, Bill "Bojangles" Robinson, who spent years performing on the stage and screen, most notably with Shirley Temple in several movies. 

He plays Bill Williamson, a talented aspiring dancer returning home after serving in WW I. At a New York nightclub, he falls for the beautiful singer, Selina Rogers (Lena Horne) and they begin a romance but their lives as performers create obstacles in their relationship. 

There's no need to dwell on the obvious racism and stereotypes that can be found throughout the film (with it thankfully being minor) and let's focus on how "Stormy Weather" was an excellent showcase for African-American talent of the day. There's jazz bandleader, Cab Calloway, blues vocalist, Ada Brown; choreographer, Katherine Dunham and her dance troupe who perform with Horne on the title song number; Fats Waller singing "Ain't Misbehavin'" and the astounding footwork of the Nicholas Brothers. This wonderful musical was so good that I watched it twice. Robinson was sixty-five and in poor health when he shot this movie but you would never know it as he moves on screen with his reliable skill and grace. As this would be his first starring role and final feature film, "Stormy Weather" serves as a tribute to the long career of this legendary entertainer.

 

"The Scarlet Empress" (1934)

"The Scarlet Empress" was the sixth of the seven cinematic collaboration between director, Josef von Sternberg and actress, Marlene Dietrich which is their take on the story of the 18th Century Russian Empress, Catherine the Great. 

Sophia Frederica (Dietrich), a young Princess of Prussia, is sent off to Moscow in an arranged marriage to the Grand Duke, Peter (Sam Jaffe), the nephew of Elizabeth (Louise Dresser), the Empress of Russia. When Sophia asks her escort, Count Alexei (John Lodge) what the Duke is like, she is assured that he's handsome and wise. However, when she arrives, Peter is far from this description with even the Empress referring to her nephew as a dimwit. And Sophia has to deal with the overbearing Elizabeth who forces her to change her name to "Catherine" and demands that she produce a male heir immediately. But since the Duke will not share her bed, this proves a bit challenging. Alexei pursues Catherine relentlessly and she largely resists while being very attracted to him. After the disturbing discovery that she's not been the only one in the Royal court he's been romancing, Catherine finds comfort in the arms of a random Lieutenant and months later, a heir to the throne is produced. 

While this drama is hardly historically accurate, "The Scarlet Empress" should be enjoyed for it's grand visual spectacle and the captivating performance by Dietrich who convincingly takes Catherine from a naive teenage girl to confident seductress. The only clunker here is Ms Dresser's portrayal of Empress Elizabeth, coming across more like some insufferable owner of a rundown saloon than a royal subject.

"Sweet Bird of Youth" (1962)

I don't understand why Hollywood had insisted on trying to make movies out of the provocative and controversial plays of Tennessee Williams. While the theme of homosexuality may have been tolerated (within reason) on the stage at the time, the movie industry was still under strict control by the Production Code and the original intentions of the work by this gay playwright would never make it on to the screen. 

Richard Brooks had previously directed a 1959 film adaption of Williams' play, "Cat on a Hot Tin Roof" (which starred two of the most stunning people to ever appear before the movie cameras; Paul Newman and Elizabeth Taylor, both at the height of their beauty) and while it was a box-office smash, the story was altered considerably. Brooks would return to direct another big-screen adaption of a Williams play, "Sweet Bird of Youth" in 1962 with this film also falling victim to some serious revisions. Mr. Newman appears here as Chance Wayne, a handsome aspiring actor who has latched on to an older film star, Alexandra Del Lago (Geraldine Page), a difficult woman and raging alcoholic. He has returned to his small hometown of St. Cloud, FL. with a passed-out Del Lago in her fancy car to reconnect with the love he had left behind, Heavenly (Shirley Knight). But her father, Tom "Boss" Finley (Ed Begley, who won an Oscar for this role), a loathsome political heavyweight in the town, is determined to make sure that this couple are not reunited with the help of his equally despicable son, Tom, Jr. (Rip Torn). 

Considering how much had to be changed from the play with even a hopeful ending tacked on, this "Sweet Bird of Youth" remains an entertaining, Southern-fried melodrama with some outstanding performances. Mr. Newman, full of swagger and burning sensuality, holds his own against the exuberant Ms Page with her epic scene-devouring and magnificently untamed hair.

MY VIEWING DIARY: PART THREE

"Smithereens" (1982)

Gritty, raw and very low-budget, "Smithereens" is the feature film debut of Susan Seidelman who takes us on a darkly comedic journey through the '80's punk rock and nu-wave scene in a grungy New York City that does not exist anymore. 

After leaving behind a dull life in New Jersey, Wren (Susan Berman) has come to New York with dreams of becoming a rock star. But with more ambition than talent, she spends most of her time on the hustle, scamming and using people in order to try and get somewhere. Wren aligns herself with two very different men; Paul (Brad Rijn), a clean-cut, nice guy from Montana living in his van in the middle of the East Village (!) with plans to head on to New Hampshire and Eric (musician, Richard Hell), a former member of a punk band, Smithereens trying to get to LA to restart his music career. While plotting to tag along with an aloof Eric to Los Angeles, Wren runs back to a smitten Paul whenever it's convenient to help fill her needs. 

With "Smithereens" (which was the first American indie to be selected for competition at the Cannes Film Festival), Ms Seidelman displays a vibrant energy and confident film-making style here which she would put to even greater use (along with more funds) in her follow-up feature, "Desperately Seeking Susan". 

As for Wren, I'm not sure what to make of her. The aggressive self-delusion might seem somewhat charming at first but by the time we reached the end of our time with her, Wren's obnoxious behavior only left me feeling annoyed and exhausted. Also be on the lookout for a brief appearance by a young Chris Noth (later to be better known as "Mr. Big" on "Sex and the City") as a cross-dressing prostitute.



"The Passion of Joan of Arc (La Passion de Jeanne d'Arc)" (1928)

"The Passion of Joan of Arc", a French production that was one of the first films to ever tell the story of The Maid of Orléans during the Hundred Years' War between France and England, is a beautifully rendered work of cinema made even more impressive due to the profound drama and emotion that is captured completely without sound. This was accomplished by the masterful vision of the director, Carl Theodor Dreyer, inventive camerawork by Rudolph Maté and Renée Jeanne Falconetti (a stage actress in her only major screen appearance) who delivers one of the greatest performances ever captured on film. 

Based upon the ancient transcripts of her trial, Joan (Falconetti) has been captured, imprisoned and forced to be judged before French clergymen who are loyal to the English. Insisting that she was delivered a message from God to drive the English out of France, the clerical judges relentlessly try to get Joan to recant her declaration. Only after severe, mental torture and underhanded deception does the teenage girl finally break down, agreeing to sign a document renouncing her claims. Yet fearing that she has betrayed her God and faith, Joan insists on retracting her confession which ultimately leads to her execution. 

After the French premiere of "The Passion" in 1928, the film was cut due to pressure by the Archbishop of Paris and government censors. Fires would later destroy the master negative and the second version negative but a copy of the original film was found at a Norwegian mental institution in 1981. I saw a Criterion Collection restoration version which was crisp and absolutely stunning. If you only see one silent film (but you really shouldn't), I would highly recommend "The Passion of Joan of Arc" for it's magnificent visual artistry and Mlle. Falconetti (with deeply felt anguish and despair shown on her face in tight close-up throughout the film) for her astonishing performance.



"A Matter of Time" (1976)

I had wondered why "A Matter of Time", the final film from director, Vincente Minnelli, the grand master behind some of Hollywood's greatest musicals, comedies and melodramas like "An American in Paris", "The Band Wagon", "The Bad and The Beautiful" and "Gigi", had not received more attention over the years especially since it features the inspired pairing of Oscar-winners, Ingrid Bergman and the director's daughter, Liza Minnelli. But after finally seeing the film, I now understand completely why this dramatic musical-fantasy has been long forgotten. Mr. Minnelli had attempted to infuse "A Matter of Time" with his legendary visual style but the film is dragged down by an incoherent story and muddy camerawork. 

Nina (Minnelli), a small-town country girl, comes to the big city of Rome following the advice from her cousin (Tina Aumont). She helps Nina get a job with her as a chambermaid at a one-time glamorous but now run-down hotel. One of the residents of the hotel is the eccentric Countessa Sanziani (Bergman), once an alluring muse and temptress but now has fallen on hard times due to aging and failing mental health. Nina and the Countessa develop a close bond, guiding and helping each other as we watch the young girl gloriously blossom, while the older woman sadly fades. 

There isn't much to recommend here beyond seeing Bergman deliver another captivating performance and the opportunities to hear Minnelli sing including the popular Gershwin tune, "Do It Again" which she does with a jazz band in the ballroom of a Venetian palazzo. And to be fair, the problems with "A Matter of Time" are not entirely the director's fault. Mr. Minnelli had turned in a three-hour version but since he did not have final cut, the project was taken away from him with almost half the film trimmed away. The French actor, Charles Boyer (who co-starred with Bergman in 1944's "Gaslight") makes his final screen appearance as the estranged husband of the Countessa while Bergman's daughter, Isabella Rossellini appears briefly near the end to make her film debut.