Of Walking In Ice by Werner Herzog

I hate to admit to being underwhelmed by anything Herzog, but Of Walking In Ice just didn’t do it for me.  In 1974, Herzog walks from Munich to Paris, presumably because he feels that if he does so, he can help keep alive esteemed German film critic Lotte Eisner, who has fallen ill in France.  In and of itself that’s great.  Plus the weather sucks.  That adds drama.  Along the way he keeps a journal.  It is a diaristic ramble, to be sure.   He breaks into houses along the way to sleep.  That’s kind of cool in a 70s way.  There are definitely some prime Herzogian philosophical nuggets, but for me, it was pretty darned unfocused.  What kept me going was the scant page count.  I know I will be hated and hunted down by the lovers of cinema for this review.  But I’ll take my chances.

Inherent Vice vs. Play It As It Lays

I’m on a 60s LA kick.  Just finished up Joan Didion’s Play It As It Lays and Thomas Pynchon’s Inherent Vice.  Ira Levin’s The Stepford Wives is on deck, which could serve as a nice capper to this run.

Play It As It Lays and Inherent Vice share a frayed vision of the 60s, but the similarities stop there.  Play It As It Lays is desperate, sad, and heartbreaking. It is steeped in melancholy.  If the 60s were supposed to be liberating and life affirming, the characters in this book never got the memo.  It’s a crashing dream.  We get snippets of the life of Maria.  Model turned actress turned Hollywood wife heading for a crack up.  All the booze, the drugs and loose morals do nothing but undermine her self-worth.  It’s a haunting book.  Play It As It Lays, written in 1970, seems ahead of its time in re-evaluating the 60s or certainly poking holes in the Eden-esque 60s mythology.

Inherent Vice, on the other hand, fully plays into that myth.  Free love and free drugs abound.  Surf music is on the radio, rock and roll is in the streets, and revolution is in the air.  But this is a crime novel, so not all is well.  A Cointelpro sting, a drug ring, and a bizarre real-estate scandal threaten the stoners’ surf paradise. However, Pynchon’s characters remain oblivious to the menace, having a rollicking good time.  They all are just too stoned to be too concerned.

Plopped down in 1969, months after the Manson murders, Inherent Vice is a hazy, drug-fueled noir.  It owes a huge debt to Raymond Chandler, but floats in a psychedelic fog. I loved it at times, but at other points the haze got a bit thick.  With an intensely convoluted plot, filled with oodles of characters, the narrative slip slides around in a cloud of pot smoke, oft times obscuring the narrative.  At some level that approach leaves you with some impressionistic scenes, but with so many plot turns to keep track of, confusion ensues.  Interestingly, I heard an interview with Paul Thomas Anderson, who adapted Inherent Vice for the screen last year.  I have yet to see the movie, but he talks about using Robert Altman’s 1973 adaptation of The Long Goodbye as a model for his film.  This completely informed my reading of Inherent Vice.  Altman’s take on Chandler is narratively challenged and heavy on vibe.  It’s elusive and hard to pin down.  I was never the hugest fan, but the mood of that film has stuck with me years after viewing.  Though I didn’t love Inherent Vice throughout, it actually has fueled my interest to take in the movie.  It seems ripe for the screen, a dizzying visual ride, prone to slipping in and out of the narrative fold.  I can get behind that.

On a side note, I haven’t read Pynchon since college.  I loved him then, but haven’t read any of the comeback novels.  I couldn’t help being struck by how wacky and goofy Inherent Vice was.  Great heaps of Carl Hiaasen craziness abound in these pages.  So my question is whether Hiaasen’s books are hugely influenced by early Pynchon or whether Pynchon has succumbed to influences by more modern writers?  And speaking of modern influences, there a bit of James Ellroy and bit of The Big Lebowski floating around in this Inherent stew.

The One I Love

The One I Love slipped in and out of the local theaters with little fanfare, and that’s a shame.  With a little more time, it could have caught some mild indie fire. Similar to Mark Duplass’ new and highly recommended tv show Togetherness, The One I Love features Duplass and co-star Elizabeth Moss as a young, struggling married couple.  The film opens with the two in therapy where it’s quickly evident that they are growing estranged from each other.  Their therapist, played by Ted Danson, insists they go on a weekend retreat. He’s got just the spot for them.  Duplass and Moss head off for some rest, relaxation, and reconciliation. They smoke some pot, they have some sex, and things are going well until things get weird.  

Mild spoiler alert to follow.  The idyllic start takes a sudden turn when the couple realizes that they are not alone.  Worse than being terrorized by strangers, the people they find inhabiting the cottage are idealized versions of themselves.  Whenever Duplass retreats to the guest house on the property he meets a kinder, more tolerant, more sexy version of his wife.  When Moss enters the guest house, she meets a more easy going, less cynical, less bitter version of her husband. She’s reunited with the man she fell in love with years earlier. Confronted by their doppelgangers, the couple runs, but then are sucked back to explore the possibilities.  Duplass wants nothing to do with this house of mirrors, but Moss, who is clearly more wounded by their disintegrating marriage, feels that regardless of the bizarre nature of this occurrence, it represents possibilities worth exploring.

The One I Love sets a great tone.  It’s got a bit of austere sci-fi creep, with hints of The Twilight Zone, Night Gallery, and late night 70s B Movies like Magic.  It also owes a debt to John Frankenheimer’s Seconds.  But there’s dark comedy floating about as well. Only one of them can experience a doppelganger at a time.  They have to hash out the ground rules for this trust exercise. It’s funny stuff.  Obviously insecurities arise. Sometimes they are played for comedy, other times for melancholy.

The One I Love is streaming on Netflix and worth 90 minutes of your time.

Red Army

I love hockey. I love documentary.  I was pretty excited to check out Red Army, a doc about the standout Soviet hockey teams of the 70s and 80s.  For a fairly small release, Red Army was receiving plenty of hype from a variety of mainstream sources, which further wetted my appetite.  

Growing up playing hockey in the 70s, the specter of the Red Army team was ever present.  They were the enemy.  Though they were the evil empire, there was no denying that they were awesome.  They kicked Canada’s butt.  And though the Americans beat them at Lake Placid, any one in the know realized that had that game been played ten more times, the Russians would have won them all.

Red Army is a pretty entertaining doc focusing on more than just the formation of the team.  It’s a glint into the Soviet political system and the industrial sports complex of the Cold War era.  If you came of age in that era, there was no question that sports were a battleground that often stood in for political battles.  Red Army acknowledges the Soviet necessity for fielding standout sporting teams to do battle on the international circuit. 

Political machinations aside, at its core, Red Army showcases the trials and travails of the Red Army team members. Their training regimen was nuts. Players trained for 11 months out of the year, rarely spending time with their families.  As a result, the Soviets played like a well-oiled machine.  Each player was in complete sync with his line mates.  The highlights of the team on the ice in Red Army are astounding. The Red Army’s starting five were absolute wizards.  Their playmaking skills were a true thing of beauty.  I assure you that you won’t see hockey of that caliber on a Tuesday night tilt between the Panthers and Jets.  But their machine like dismantling of their opponents also turned them into communist automotons in the eyes of Western observers.  Red Army does a great job of humanizing the players.  

The documentary revolves around star defensemen Slava Fetisov, who would later go on to win a bunch of Stanley Cups for the mighty Red Wings.  Fetisov was the team leader and the first player who bristled at the authoritarian yoke of the team and head coach Viktor Tikhonov.  Fetisov’s desire to emigrate and jump ship to the NHL leads to punitive treatment from the team and the system that he lead to international glory. 

While we now take for granted the international flavor of the NHL, it’s easy to forget the resistance put up to Soviets playing in the NHL.  From the “their coming for our jobs stance” to the general distrust of commies in our midst, the transition of these Soviet stanouts to the NHL was incredibly difficult for the players and their families.  Not only were they isolated by language, culture, and style of play, but many NHLers didn’t want them here.  Fetisov, along with teammates Alexei Kasatonov, Igor Larionov, and Sergei Makarov were pioneers in bringing the Russian game to the U.S, but their transition was far from idyllic, often being viewed as foreign pariahs.

I definitely had a couple quibbles with the film.  The majority of the big picture cultural/political perspective comes from Western analysts. I found it odd that a film so intent on showing a Soviet perspective, left the bird’s eye view of the political perspective in the hands of Western critics.  I know the Western perspective of the Cold War.  I wanted an Eastern Bloc perspective.  Granted the players do shine some light on the matter and that’s when the film shines.  I loved the Red Army teammates talking about their first trip to Canada and being overwhelmed by all the shopping options and their excitement at buying lots of blue jeans.  More of this, please.

The other oddity in the film is how much of the film is dependent on Fetisov.  All the reviews I read prior to seeing the film talked about how Fetisov’s story was at the core of the film, but I had no idea how truly focused the film was on Fetisov.  I’m spitballing, but if I had to guess, Fetisov represents 60-70% of the interview time in the film.  I don’t know if I’ve ever seen a doc so heavily reliant on one interview subject.  Had the film been called The Fetisov Story, I guess I’d accept, but for a film covering a broader landscape it comes off a bit odd.  The film contains interviews with Fetisov’s defense partner Alexei Kasatonov, goalie great Vladislav Tretriak, and forward Vladimir Krutov.  But their interviews were worthy of fourth line grinder ice time. These guys were some of the greatest to ever play the game, but they weren’t allotted top line minutes in the interview column.  Nowhere to be found were star forwards Igor Larionov and Sergei Makarov.  I’m sure there was a reason no interviews were secured with those two amazing forwards, but given their prominence on the team and their successful NHL careers, their absence was felt.

But quibbles aside, Red Army is absolutely worth checking out.  

Movies: I Saw A Lot of Them in 2014

I saw a lot of movies this year, and I really liked a lot of them.  Maybe I'm going soft in my old age.  In any event, here's a list of my faves in a vague sort of order.

Birdman                              Innovative vision

Snowpiercer                        Visceral gut punch

Boyhood                              Indie brilliance

Interstellar                          Epic grandeur

Alan Partridge                     Classic comedy

Jodorowsky’s Dune             Mad passion

Selma                                 Longest standing ovation I’ve seen in a theater

Big Eyes                              A subtler, more mature Burton

Gone Girl                             Hollywood at its most satisfying

Mr. Turner                          I love Mike Leigh

Force Majeure                     Swedish ski trip from hell

Obvious Child                      Fun indie with a bit of bite

Mood Indigo                       Gondry creates a wondrous and frightening world

Regarding Susan Sontag     Words matter

The Punk Singer                 Punk goodness

Chef                                    Sweet Indiewood bordering on cloying

Citizen Four                        Required viewing

We Are The Best                 Punk cuteness

Grand Budapest                  Wes Andersony

The Imitation Game             A bloodless war movie for braniacs

Los Angeles Plays Itself       Not as great as the hype promised, but well worth it

Life Itself                             Not as great as the hype promised, but well worth it

Trip to Italy                          Satisfying yet wanting a little more

Galapagos Affair                   Satisfying yet wanting a little more

Magic In The Moonlight       Satisfying yet wanting a little more

Whiplash                             Good, except when it wasn’t

Godzilla                                I like Godzilla movies and I liked this one

Frank                                  Great at times, not great at times

Ida                                      Great at times, not great at times

Edge of Tomorrow               Blockbuster that entertained

Still wanting to see: Nightcrawler, Babadook, 20,000 Nights On Earth, Wild, PK, Finding Vivian Maier, Land Ho!

My Two Cents about Big Eyes

I loved Big Eyes.  Dare I say this is Tim Burton at his subtlest and most mature?  Big Eyes is a stunning, subtle period piece.  Burton could have easily gone way over the top and turned this into a kitsch fest.  But he restrained himself, and this is good. Big Eyes, will definitely have a broader appeal than something like Ed Wood.  Don’t get me wrong, I loved Ed Wood, but Burton’s approach to Big Eyes will draw a bigger audience to the Walter and Margaret Keane story. Walter Keane came to fame in the 60s as the painter of sad forlorn girls with giant eyes.  As it turns out, the paintings had been painted by his wife Margaret, and he was taking all the credit.  Scoundrel! If the goal of Big Eyes is to help shine a light on the wrongs suffered by Margaret Keane, then this more mass appeal approach is the way to go. I heartily approve.

That's Not Funny, That's Sick by Ellin Stein

Just finished barreling through That’s Not Funny, That’s Sick, a history of The National Lampoon.  All told, it’s a fascinating read.  The National Lampoon sprung out of the college humor magazine, The Harvard Lampoon. College humor mags had been kicking around since the 20s, but as the 60s rolled along they were primed to take advantage of the 60s cultural zeitgesit.  The college humor magazine was a great format to poke fun at changing societal values.  Magazines like The Lampoon were in a great position to take the piss out of both sides of the cultural divide.  Juvenile, puerile, but intellectual, The Harvard Lampoon and its ilk spoke to a younger, increasingly cynical, anti-authoritarian generation. Recognizing that their generation’s worldview was not being expressed by other magazines, a group of Lampoon graduates decided to take The Harvard Lampoon national.

Anyone interested in comedy and satire in print, TV, and movies will find many points of entry here.  As The Lampoon gained its footing as a satire and parody mag, it also began producing stage productions and comedy albums.  People getting their start in various Lampoon endeavors include SNL stalwarts, Chevy Chase, John Belushi and Dan Akyroyd, SCTV lynchpins Joe Flaherty and Harold Ramis, directors Ivan Reitman, John Landis, and Christopher Guest, to name but a few.

For me, the book was most interesting when discussing how The Lampoon fit into the broader comedy movements of the 60s and 70s. The Lampoon isn’t seen in a vacuum. That’s Not Funny, That’s Sick looks at how The Lampoon related to other magazines like Mad and The Realist, and to comedy troupes like Second City, The Committee, The Credibility Gap, The Firesign Theater, and Monty Python.  Likewise, as The Lampoon embarks on video projects, we see how they fit in with more political video pioneers like TVTV.  If anything, I would have loved to see an even broader view of the comedy landscape.

The book also takes a long look at the early years of SNL and the careers of Chase and Belushi, in particular.  These were great sections of the book, but part of me felt like it was a little bit of a cheat.  Granted, Chase, Belushi, and SNL writers Michael O’Donoghue and Anne Beatts came through The Lampoon, and Donoghue and Beatts were absolutely central in both the development of The Lampoon and early SNL, but the book seems to veer away from The Lampoon and capitalize on the notoriety of its more popular, younger rival in SNL for long periods of a time. 

That’s Not Funny, That’s Sick does have its rough patches.  It often wanders away into contributors’ non-Lampoon projects for stretches, and it could also be tighter. It doesn’t always find the right balance of Lampoon history and in-depth descriptions of particular articles and issues.   Regardless, it charts a progression of art, politics, and culture from the early 60s through the early 80s, and does so through the lens of comedy movements and satire, shining a unique perspective on those eras.

A Post In Which I Defend Dave Grohl and Sonic Highways

1.

Lots of backlash directed towards Dave Grohl’s Sonic Highways doc on HBO.  The complaints seem to be:  

a) The Foo Fighters suck. 

    b) Dave Grohl conflates his importance in rock history by placing himself next to   those more worthy of adoration (e.g. Paul McCartney, Joe Walsh, Rick Nielsen,  Buddy Guy).  

c) This documentary project is a nothing more than a cloying, self-serving attempt to sell records.

2. 

I can’t get behind the backlash.  

3.

Though I’m not a fan of the Foo Fighters, I actually have a lot of respect for Grohl.  This is a guy who seems genuinely humbled by the success he has had.  He seems to have a clear sense of where he’s from and who were seminal influences in his life.  He seems genuinely interested in shining a light on and paying his respects to those who paved the way for his success.

4.

What this means, is that you have a national show on HBO where a decent amount of time is spent talking about post-punk, hardcore, and the American underground scene of the mid-80s.  Why people from that scene feel a need to trash talk Grohl seems nothing short of bizarre.

5. 

I’ve only watched two episodes of the series so far, but the Chicago episode spends lots of time giving Steve Albini his props and showcasing the likes of Naked Raygun.  Let me say that again.  Naked Raygun!  Naked Raygun, a band that for all intents and purposes is a footnote in rock history, not only gets a ton of exposure on an HBO show, but they are afforded the same respect as blues legends like Buddy Guy and Muddy Waters.

6.

So, why are we made at Dave Grohl? Because he’s successful?  Because he’s taken a different path over the last 20 years than a bunch of crusty old punks who didn’t have his success?  Whatever.  I don’t have a beef.  He’s making a doc about rock history and he’s doing it from the perspective of someone my age, who has a similar set of musical touchstones.  These types of big historical rock docs have always had too much of a boomer perspective for my likes, and I’m excited to see such an undertaking crystallized through a punk rock lens.

7.

Is this doc just a fatuous sell-job for the new Foo Fighters record? Maybe.  But what do I care?  Selling records ain’t what it used to be. If this is Grohl’s way to stay relevant and move units, so be it.  Why get mad at an artists for trying a different approach to stay in the public eye.

8.

Like I said, I’ve only seen two episodes so far.  Will they all be decent?  Who knows.  But I hear he jams with Joe Walsh at some point.  I can’t wait.  Ya dig!

Citizen Four

I’ve been fascinated by the Edward Snowden case since it broke in 2013. Snowden revealed a bevvy of NSA documents, showing the government’s far-reaching surveillance abilities.  Particularly disconcerting was the government’s ability to access phone records and internet communications. Snowden became privy to NSA documents while working for the consulting firm of Booz Hamilton. Disturbed by what he perceived as a government overstepping its bounds, Snowden turned whistleblower.  

Citizen Four, directed by Laura Poitras, documents the days leading up to Snowden’s revelations and the aftermath.  Snowden was not interested in publishing the documents WikiLeaks-style for fear that he would reveal info that would jeopardize legitimate intelligent operations and individuals involved in such operations.  Instead, Snowden contacts Poitras, whose documentary work he respected, Salon’s Glenn Greenwald, and The Guardian’s Ewan MacAskill.  Working as a team, they decide the best way to release the information.

Snowden is not only cognizant of the havoc his revelations will unleash, but also understands the personal risks.  Not only will he be cut-off from friends and family, but he’ll face treason charges under the auspices of the Espionage Act.  The film opens with Snowden’s cat and mouse courting of Poitras.  We see and hear a series of email exchanges.  Dribs and drabs of heavily encrypted information flow between the two.  Poitras is sucked in and the team assembles in Hong Kong, where Snowden has taken refuge, aware that Hong Kong is unlikely to extradite Snowden once his allegations are revealed.

This section of the film is fascinating.  The film’s subjects are strangers, undertaking a damning project, rife with danger.  Watching the group strategizing is a fascinating process.  Once the documents are leaked, Snowden is forced underground and his journey takes him from Hong Kong to Moscow.  From this point on we rarely see Snowden, most of his communication now coming in the form of encrypted emails. Snowden’s disappearance certainly has a chilling effect.  He’s at the center of the storm, yet is effectively silenced by his precarious political standing.  He’s granted asylum in Moscow, but that asylum seems tenuous at best. 

The Snowden story is fascinating on many levels.  As digital citizens, I think it’s important that we are aware of who has access to our communications. I think it’s important that we understand our conversations are not private.  We live in a digital age where we live so much of our lives on-line. I have a middle schooler. My son and his friends will live their entire lives sharing information on-line.  Their digital footprint will be huge.  What will these intrusions on privacy mean to them?  

One of the central concerns at the core of the case is whether we should be willing to give up some of our civil liberties for increased safety against terrorism. The film certainly addresses this, but if I had a complaint about the movie, it’s that due to the film’s vérité nature, Citizen Four is sometimes hard to read.  Clearly Poitras, along with Snowden, believe that the government’s surveillance and obfuscation of justice is detrimental to free speech, and that has far-reaching, negative implications.  That critique was clear to me, but I don’t know if that critique will hit home to those who might be skeptical to this line of thinking.  

Any filmmaker that takes on a controversial subject should be aware that their film has skeptics. Presumably you want to win over those skeptics, get them to change their opinions on a hot-button issue. Otherwise, you’re just preaching to the converted. Many people watching this doc are probably anti-Snowden, anti-whistleblower, and fear terrorist attacks to the point that they would be willing to give up a certain level of privacy to prevent future attacks.  I’m not sure Citizen Four’s approach is enough to get them to change their opinions.  I return to my middle-schooler.  He’s not doing anything treasonous on-line.  Why should he care if the government has access to his email?  What are they going to find out?  That he’s mad at his math teacher?  I walked into Citizen Four thinking that this film would need to be required viewing for any young person navigating today’s digital landscape.  But I’m not sure that your average teen would be able to fully understand the socio-political critique. I wanted Citizen Four to have the impact of An Inconvenient Truth.  Direct and chilling.  Citizen Four doesn’t quite deliver in that way.  That’s not how it’s designed, but I wish it had been.

Still, it’s a must see.

Birdman, Leviathan, The Big Screen

1.

There’s nothing like seeing an amazing moving.  Nothing like sitting in a dark theater, immersed into another world.  Images, sounds and words, pushing you farther and farther back in your seat.  Or pulling you to the front of your seat.  Someone’s visions burning bright. Seeing that brilliance unfold before you.

2.

On the other hand, there’s nothing more frustrating than seeing some mediocre piece of crap.  How many people did it take to make that?

3.

Last week I saw two great films.  Two in one week, that’s pretty good.  Renews your faith in the cinema.

4.

Birdman.  Brilliant.  The Writing. The Camerawork. The Acting. The Score.  A drum score!!!! Wow. Who would have thought of that?  The acting! Everyone is talking about Michael Keaton.  He’s great.  Deserving of all the praise. But how about Edward Norton? Steals the show. The camerawork is insane.  It’s no gimmick.  It creates a dizzying universe, a world spiraling out of control.  Camerawork that throws caution to the wind, necessitates fearless performances from the actors.   A universe where editing won’t save you or hide subpar moments.  The writing.  I was letting out the occasional belly laugh…while the rest of the audience remained silent.  So many great lines.  One of the best films ever about artistic ambition and artistic insecurity.  Mamet-esque. Altman-esque. PT Andersen-esque. Gilliam-esque.

5.

I worry about a world without theaters.  A world where we only see movies on our tvs and our devices.  Some movies need a big screen, better allowing you to sink deep into the images.  On the small screen it’s too easy to get distracted, especially if the movie is slow or challenging.  In the theater, you’re not going anywhere.  You’re not checking your phone. You’re not logging onto IMDB to see who that bit player is, or what the running time of the movie is, or what the reviewers are saying.  You’re in the theater. You have no choice but to surrender. 

6. 

Which bring me to Leviathan.  A doc.  On a fishing boat. Poetic. Experimental. Vérité. No interviews.  Nary a word.  Just beautiful visuals. Abstract visuals. Very long shots. Very, very long shots. Long shots that are hard to read.  Water on the lens. Distorting the images.  Lots of sound.  An industrial score. A mechanical score.  Cold. Menacing.  Brutality on the sea.  A critique? A reflection of life as it is?  However you interpret it, I found it fascinating. Energetic. Daring.  Would I have lasted through the first shot, had I been watching it on tv, at home?  I’m not sure. But in the darkened theater, on the big screen, I was mesmerized.

Crab Monsters, Teenage Cavemen, And Candy Stripe Nurses: Roger Corman: King of the B Movie by Chris Nashawaty

Roger Corman is a legend of the cinema.  Corman started his career in the early 50s and is still active today.  Along the way he has managed to direct and produce hundreds of films, rarely losing a dime on any of them.  They were cheapies, they were B movies, they were exploitation, they were direct-to-video.  Monster movies, biker movies, and women-in-prison movies were just some of the genres Corman dabbled in during his heyday. The films had great names (A Bucket of Blood, She Gods of Shark Reef, Naked Angels), they had eye-popping posters, and the films always had great tag lines: “Their bodies were caged, but not their desires. They would do anything for a man—or to him,” boldly declares the poster from The Big Doll House starring Pam Grier.  

Crab Monsters, Teenage Cavemen, And Candy Stripe Nurses: Roger Corman: King of the B Movie is an oral history of the Corman universe.  It’s a fun peek into the world of shoestring production, told by those who lived to tell the tale. 

Corman’s longevity was a result of having a finger on the pulse of what would sell, as well as his ability to expertly navigate the changing landscape of cinema.  He knew how to produce B movie fodder for double bills and drive-ins in the 50s.  He saw a market for biker films and psychedelic films during the rise of the counter culture in the 60s.  Once Hollywood started making his kind of sci-fi and monster movies, but with huge budgets  (Star Wars, Jaws), he knew he had to reposition himself.  He became one of the first producers to take advantage of the nascent VHS market, making straight-to-video exploitation in the 80s.  He also got in on the ground floor, selling films to cable providers in the early stages of that market. Most recently he has been working directly with cable networks like Syfy looking for low-budget, genre-specific productions.  Piranhaconda, anyone?

However, Corman’s biggest contribution to cinema may be what is referred to as the “University of Corman” or “The Roger Corman School of Filmmaking”.  Corman had a keen eye for evaluating, or perhaps exploiting, talent. He routinely gave young film students an opportunity to write, direct, and act in feature length films.  In the 50s and 60s, the Hollywood system was hard to crack unless you had connections. If you were willing to work hard, work smart, and work cheap, Corman was willing to work with you, and he opened his studio doors to a bevy of passionate young folks wanting to break into the film biz. Luminaries who cut their teeth on Corman productions include Francis Ford Coppola, Peter Bogdonovich, Martin Scorcesse, James Cameron, Penelope Spheeris, Ron Howard, John Sayles, Jonathan Demme, Jack Nicholson, and Robert Towne to name just a few.

Crab Monsters weaves together the stories of all of these major players and then some.  It’s a loving tribute from Hollywood hot shots who openly admit that they owe much of their success to the opportunities that Corman gave them, and from how much they learned under Corman’s tutelage.  Also touching was the general consensus that once these youngsters got a couple of productions under their belt, Corman actually encouraged them to leave and head on to better projects with bigger budgets.  Corman was under no illusion about the kind of work he was making. That said, what makes so many of the Corman productions rise above base levels of exploitation is that those making the films were giving it their all, because they knew the value of the opportunity they were being given. 

Though Corman’s films were exploitation and gratuitously breast heavy, Corman opened the doors for women as well.  Says Gale Anne Hurd (producer Aliens, The Terminator, Walking Dead), “At the time, he was the only person in Hollywood who would ask a woman coming in for a job as an executive assistant, ‘Ultimately, what kind of career path do you want to take?’ I didn’t think there was a career path! It hadn’t occurred to me.  And I said, ‘Roger, I’d like follow in your footsteps and be a producer.’ And he said, ‘Tremendous!’”  Many of the women and men interviewed for Crab Monsters attest to the fact that the number of women on Corman productions from directors to writers to producers to crew exceeded what was happening elsewhere in the Hollywood system.

Also of interest is that in the 70s Corman started distributing European art house fare in America.  Fellini, Kurosawa and Bergman made it to the theaters courtesy of Corman’s support.  Corman liked the films, and the ever savvy businessman in him realized that there was money to be made.

Crab Monsters is beautifully laid out with hundreds of pages of photos, posters and graphic goodies befitting Corman’s oeuvre.  Needless to say, the book is filled with fantastic anecdotes.  Death Race 2000 is one of my favorite Corman productions.  Sylvester Stallone tells a great story about straying from the script and inserting his own dialogue into Death Race, confident that he could get away with it because he knew the production was too cheap to do second takes. Stallone then credits that experience with building up his confidence to write the Rocky script.  

Corman, too, was willing to improvise in his own way.  Alan Arkush (director of Rock ‘N’ Roll High School) relates a great anecdote about Cockfighter.  The film was one of the few Corman bombs.  The opening weekend was a disaster, but Corman was undaunted.  Says Arkush, “We were on the phone with Roger and he’s saying, ‘You know the scene where Warren Oates leans back and closes his eyes? Cut in some naked nurses and some car crashes like he’s dreaming of that.’ We thought he was kidding.” Corman was not.

Ron Howard does a great job summing up Corman’s low-budget but loving ways. “I was fighting with Roger at one point on Grand Theft Auto, trying to get a few more extras in our climactic demolition-derby scene in the stands.  Everyone was supposed to be rioting.  And he wouldn’t give me more than forty-five extras.  The grandstand was supposed to seat a thousand people.  And we talked about cheating the angles.  But I kept begging for more.  And finally he just put his hand on my shoulder in a very paternal sort of way and smiled and said, ‘Ron, I’m not going to give you any more extras. But know this: If you do a good job for me on this picture, you’ll never have to work for me again.’” 

And that’s why you’ve got to love Roger Corman.

Frank

Rarely do you hear me complain about a movie being strange, but make no mistake, Lenny Abrahamson’s Frank is a strange one.  And I’m not sure the film is better off for its strangeness. Apparently Frank is very loosely based on the Frank Sidebottom character developed by British comedian Chris Sievey.  I knew none of that going in, so my apologies if my lack of knowledge affected my reading of the film.  But hey, a film has to stand on it’s own.

Frank starts off brilliantly.  A struggling songwriter, John, tries desperately to wring songs out of his environment.  He fails, albeit in an endearing way.  He’s young, marginally talented, and he’s yearning to find his voice and find meaning in the world around him. It’s sweet. It’s funny.  It’s inspiring.  He’s a young soul searching for his people. By chance he gets an opportunity to fill in on keyboard for a traveling band Soronprfbs. They’re a bizarre, angsty, experimental noise troupe lead by a guy named Frank who dons an oversized puppet like mask.   Jon impresses and is asked to join.  It’s a dream come true.

Frank, played by Michael Fassbender, is an odd duck.  He never takes his masks off, and lurking beneath is a man with a history of mental illness.  But he’s a musical genius and a guru to the members of Soronprfbs.  He hears sounds others don’t. He finds art and music in everything.  He’s inspired by straws, by homemade instruments, by field recordings, by loose strands of upholstery. Frank is a winning film when it explores creativity, championing outsiders who find art in unexpected places.  Also, at the comedy level, the dysfunctional band dynamic is played for laughs, and it works.  It’s a great rock film at the outset.

But then the tone changes and the film’s message gets pretty muddled.  The band holes up in a remote cabin working on their masterpiece.  It seems heavily based on Captain Beefheart’s Trout Mask Replica sessions.  Frank is a tyrant, the band is isolated, starving, and Frank browbeats them into a mad perfection.  The film turns dour, never regaining its comedic lust for life or inspired look at the world of creativity.  It’s an abrupt change, it’s unexpected, and for my likes feels a bit out of control.  From this point on, it was hard for me to grasp what the movie was going for.  The film’s first act sets you up for an exploration into the creative process and then takes a right turn and looses its footing.  There are still elements of humor, but they fall a little flat amidst the increasingly paranoid mood in the room.  

The film definitely comments on a lot of topics germane to the artistic set.  Frank is commenting on the quest for fame and about those hitching a ride on the coattails of more talented folk. The film has something to say about artistic ego and about social media messing with our expectations. But I’m not entirely sure what the film is saying about any of it. 

It’s all too bad, because for 30 minutes I loved this film.  There’s good stuff going on throughout, but I just wish the film had sustained its energy for the duration.  

Carsick: John Waters Hitchikes Across America

Nobody symbolizes the American Dream better than John Waters.  I’m sure I’ve said that before, but every time he makes a new movie, publishes a new book, or heads out on a new tour, I think it bears repeating.  Waters has managed to turn his perverse obsessions into semi-fame and semi-fortune.  At the time it would have been unimaginable that the guy who made Desperate Living or Female Trouble would ever sniff mainstream success. Waters has managed this feat without ever compromising or “selling out”.  In fact he seems to be getting more randy with age.  From his last film, A Dirty Shame, to his previous book Role Models, to his latest book Carsick, the tawdry tales keep getting more graphic.

The conceit of Carsick is pretty great.  Waters decides to hitchhike from Baltimore to San Francisco and document the proceedings in a book.  Carsick is divided into 3 parts; a novella where the idealized version of his trip plays out, a novella where his nightmare trip unfolds, and the final version based on what really happened.

The two novellas are pure Waters.  The novellas’ chapters recount each fictitious ride he receives along the way, and they play out like classic scenes from his movies.  In his “good ride” novella, Waters partakes in a bank robbery, becomes a sideshow freak at a hipster carnival filled with malfunctioning rides, reconnects with Edith Massey, and has a sexual encounter while in the passenger seat of a car in a demolition derby.  At 66 years of age, Waters still revels in shedding light on the weirdest subcultures and fetishes.  At one point he gets a ride from an “alternative librarian” distributing obscure genres of literature such as “womb raiders”.  “Are you familiar with that genre?” the librarian asks.  Waters replies, “You mean women who tell their husbands they’re pregnant when they’re not and then follow real pregnant ones, kill them, cut out their babies and take them home claiming they’ve just given birth.”  Carsick is a real joyride, let me tell you.

The brilliance of Carsick is that if you listed the characters he meets in the “good ride” version of his trip alongside the miscreants he meets in the “bad ride” version of the trip, you’d be hard pressed to figure out which people belonged to which novella.  Everybody seems like a renegade from a Pink Flamingos universe.  In the nightmare novella, his past literally comes back to haunt him. In one case, a killer he has made fun of in Shock Value is back from the dead, picking him up for a ride, and out to seek her revenge. It’s fun to watch Waters’ discomfort as he tangles with some of these fantastic creations.  

Waters’ actual hitchhiking experience is a far cry from either of his novellas.  The drama and tension revolve around mundane hitchhiking concerns.  Will he get a ride?  Will it stop raining? Will he have to sleep in the bushes?  Will he ever get out of Kansas? Waters seems humbled by the experience and comes across as grateful for every ride he receives.  Sometimes he’s recognized and sometimes he’s not, but he is actually coming into contact with big parts of America that he has never dared step foot in.  He shops at a Walmart, dines at Ruby Tuesday’s, and meets people he would otherwise never come into contact with.  It may not be as dramatic as the offerings in his novella, but dare I say, it’s sweet. 

Now, Voyager by Olive Higgins Prouty

I can’t get enough of the Femmes Fatales book series on Feminist Press.  They’ve been reissuing classic noir novels from female writers.  I’ve started with the books that were adapted into films.  In A Lonely Place was haunting.  Bunny Lake Is Missing was dripping with gas light paranoia.  In many respects Olive Higgins Prouty’s Now, Voyager is a departure from those first two titles.  It’s not really a noir at all, but a classic 40s romance.  The book follows Charlotte Vale, a spinster aunt who embarks on a European cruise after a stint in a sanitarium where she was recovering from a nervous breakdown.  Courtesy of her caring sister-in-law, Charlotte has a new wardrobe and a new hairdo. Over the course of the cruise she starts to regain her lost-confidence, in large part due to her dalliance with the henpecked JD Durrance. There’s honesty to their blossoming romance.  Durrance has also suffered from a breakdown in his recent past and his married life is a shambles.  Now, Voyager’s strength comes from watching our two leads crawl from the wreckage of their lives, trying to find a place for themselves amidst a world that hasn’t been kind to them.  To be sure, Now, Voyager has some dark underpinnings. Their romance seems doomed due to Durrance’s marital status, and the threat of emotional relapse gives the novel a sense of disquiet, particularly once the cruise ends and each must return to their formerly lonely lives.  The first half of the book is a carefree escapade that gives way to the book’s second half and it’s more mundane realities.  It wasn’t part of my summer plan, but, hey, I just read a summer romance novel!

The Remains Of The Day by Kazuo Ishiguro

Having just read a couple of pot-boilers and more modern pop-cultural novels, I was hankering for something with more of a classic feel and reached for Kazuo Ishiguro’s The Remains of the Day.  I loved the subtle, teen sci-fi direction of Never Let Me Go, and was intrigued by Remains.  The novel is set in the 50s, the era when England’s great houses are coming to a close.  The book follows the manor’s head butler, Mr. Stevens, as he takes a road trip through the English countryside. Over the course of the trip he reflects back on his life of service to his employer, Lord Darlington.  Though at times a little slow, Remains of the Day manages to have an impact. Mr. Stevens is a fascinating case study of a life measured by one’s service to another.  Steven’s has placed a premium on his unwavering service to Lord Darlington and the running of the manor. As the book unfolds however, it becomes evident that his Lord ended up on the wrong side of history during WWII, with a dubious political track record.  Though Stevens can be proud of his life and the way he carried himself, his life increasingly looks a bit of a sham for his slavish dedication and apologies for a Lord who has not held up his part of the social contract.   Moreover, it’s clear Steven’s has made many personal and emotional sacrifices to maintain his standing as a top butler.  Given his Lord’s shaming fall from grace, coupled by the collapse of the whole manor system, there’s no way to avoid feeling a tinge of melancholy for Stevens and the life he lead.

I imagine this is a must read for anyone enamored with Downton Abbey.  I must admit that my reading of The Remains of the Day was informed by Downton, which sadly, informs the majority of my knowledge on that slice of English history.  

The Monuments Men

I approached The Monuments Men with a bit of trepidation.  I’m not the hugest fan of George Clooney, the director.  I love the politics of his films.  I love the intentions of his films, yet I don’t love the films.  To me they’ve come across as a bit preachy without the cinematic chops.

That said, I looked forward to a war movie about art and the importance of art in society an culture.  What’s not to like about that premise?  Ultimately, The Monuments Men experience was an odd one.  Am I glad I saw the movie?  I guess I am.  The story, about an international troop of artists and art scholars trying to save European classics from the hands of the Nazis was not a story I was familiar with.  I learned a lot.  But the movie?  Oy, what a mess. 

It was a movie that could not figure out what it wanted to be.  The tone and tenor of the piece was all over the map.  A plucky, feel-good 50s war movie? A witty, rapacious comedy a la MASH?  An emotional, Spielbergian drama?   It was a real mish-mash of styles that sadly never found its footing.

The editing was equally sloppy. There was lots of narrative confusion. In the big picture, characters are spread out over Europe on certain missions, yet they continually rendezvous and meet up.  As a viewer there’s no sense of timeline.  Did those missions take days, weeks?  Why do they reconvene only to spread back out again?  Was there a purpose to the rendezvous other than to have all the stars back together again?   And many individual scenes also seemed devoid of finesse, leaving potentially dramatic scenes flat and uninspired. I don’t want to hand out any spoilers, but one particular scene that was poorly handled was a scene in which a main character dies.  I’ll only say that there was basic narrative confusion as to the set up of the death, the circumstances of the death, and ultimately no drama to the death. 

The film was devoid of tension, which is just not acceptable for a war movie.  There should have been tension.  The Nazi occupation of France, the Nazi retreat and their scorched earth policy, the brewing showdown between the Americans and the Russian, death on the battlefield.   All those plot points are broached in the movie, but none seemed particularly urgent.  

A frustrating film to be sure.  At the end of the day, I felt like I often do when I see well-intentioned docs that aren’t well put together.  I’m glad I saw it, but I just wish there was more art in the filmmaking. 

Blue Is The Warmest Color/Ender's Game

Took in a double bill of the much hyped, Palme D’Or winning Blue is the Warmest Color and the adaptation blockbuster Ender’s Game yesterday.  Couldn’t pick two more polar opposite films if I tried.  I was on the fence about Blue.  Parts of it I loved.  Parts of it were problematic.  Ender’s Game, I thought, was outright sucky.  Seeing them back to back was an interesting study in contrasts, Blue was quiet, thoughtful, and European, giving the audience plenty of time to study the characters and think about their inner lives.  Ender’s Game  was awash with a heavy-handed score, intent on telling the audience what to think.

Proceed with caution: Minor spoilers ahead!

Let’s start with Blue.  The film’s lead, Adele, is a high school student whose friends are obsessed with boys, sex, and dating.  From the outset, it becomes clear that Adele fancies girls.  I love the way the film captures that awkwardness of budding sexuality.  Adele swings wildly from cockiness to insecurity.  It has a natural feel in that regard.  She is a riveting character in the early goings.  She comes across as someone fully engaged with the world.  She’s bursting with enthusiasm for literature, philosophy, music. She attends political rallies.  She chides a fellow classmate for not reading books.  She does have insecurities, but those stem from her confused feelings about her sexuality. The only part of her life where she treads cautiously, revolve around sex.  She can’t fully be who she wants to be amongst her boy-crazy, narrow-minded girlfriends.  This is a person, who presumably will blossom when she meets the right mentor.  And meet the right mentor she does.  Emma is an art-school college student with a shock of blue hair.  They fall deeply in love.  They have lots of hot sex and then the film skips ahead several years. For me, that’s where the problems arise in the film.  Once we skip ahead a couple of years, Adele is no longer the girl we met at the film’s open.  Instead of being fully realized, she’s become a shell of her former self.  She lives only to please her hotshot artist girlfriend.  She has no life outside their relationship.  She lives to cook, clean, and entertain for Emma and her friends.  She can’t converse with Emma’s friends, because she knows nothing about art.  I just don’t buy this transformation from vital youth to dependent lover.  Yes people change and relationships can do screwy things to people, and yes Adele fell in love with an older woman, but Adele was ready to take off.  She’s set up as someone ready to fully embrace the world.  She meets the right person, and then she backslides into a stereotypical school girl in love.  It was a puzzling transformation for me.   And when the relationship goes south, she turns into a blubbering mess, producing mounds and mounds of snot.  As the film skips further ahead in time, the relationship has been over 3 years, and Adele is still pining away and blubbering for Emma.  Her life is an empty void without the love of her life.  I just didn’t buy it.  It bugged me. 

Were there things I liked about the movie? Absolutely.  I loved the early goings.  The navigation of youthful feelings.  The quiet, contemplative European styling’s of the film.  I love that the film discusses art, literature, and philosophy. And I love that the director presumes his audience will understand and embrace these topics. I loved the scenes of Adele feeling awkward around Emma’s friends. I thought those scenes expertly captured being around those who one can’t relate to.  But for such a controversial film, I was a little disappointed by the somewhat conservative and stereotypical turn the movie takes when delving into the world of relationships.

As for Ender’s Game, I just plowed through the Orson Scott Card book to get ready for the movie.  The problem with Ender’s Game is one that plagues many adaptations.  It simply moves too fast, trying to cram too much plot into a 2 hour time frame.  The result is a lack of character development.  The book expertly tracks Ender’s state-of-mind, his slow realization at how he’s being used and manipulated, and how he comes to terms with his fate.  The movie blasts through the subtleties as the movie blitzkriegs from major plot point to plot point.  Also, one of the main tropes of the book focuses on how those in command, especially Colonel Graff (played by Harrison Ford), continually isolate Ender, leaving him to fend for himself.  While the movie hints at that, too often Graff and associates come across as paternal, nurturing, and working with Ender.  That’s a big shift and one I didn’t like.  The book drips with Ender’s isolation and the resultant frustration and internal conflict Ender experiences.  His friends are hard-won and don’t materialize right away.  In the movie he finds his posse quickly and they have an all-for-one and one-for-all mentality right from the start.

So there ya have it.  Short, oversimplified, with much less angst and isolation than the book.  I was pretty bored.  But still, who doesn’t love sitting in a movie theater for 5 hours over the course of the day.

Lucking Out by James Wolcott

I'm a sucker for reading about NYC in the 70s.  It's an endlessly fascinating era.  The dirt, the crime, the art, and the culture have an amazing allure.   That fascination drew me to James Wolcott's memoir, Lucking Out.  Wolcott cut his teeth in the art and culture world of New York City in the 70s.  He got a break from Norman Mailer, wrote for the Village Voice, was part of Pauline Kael’s inner circle, and was on the ground floor of the CBGB universe.  Wolcott also turns his attention to the sleazoid universe of Times Square before falling in love with the ballet. 

The book is most exciting as Wolcott recounts his time with Kael, going to press screenings of countless seminal films from the 70s.  His view into Kael’s universe is worth the price of admission for the book alone.  But from that point forward, Lucking Out covers material already covered in greater depth in other NY 70s memoirs/scene overviews.  If you’ve already read Please Kill Me, Just Kids, Love Goes To Buildings On Fire, Tales of Time Square, The Other Hollywood, then you are already pretty familiar with the material covered here.  Maybe I'm hitting my saturation point with hearing about this era.

At a personal level, I've definitely reached my saturation point on the glorification of Patti Smith.  Don't get me wrong, I love Patti Smith.  I love her book.  I love her music.  I love what she stands for.  But I don’t need to hear anyone else deify her in print.  I'm over it.

As far as Lucking Out goes, not a bad read, but not a mind-blower.  

RIP 4 Star Video. The Rise and Fall of San Francisco Video Stores

Must say that I’m really bummed about the closing of 4 Star Video in Bernal Heights.  It’s been my video store since moving to the Excelsior 10 years ago.  I’ve held off on entering the Netflix world, in part to support my buddy Ken Fad Shelf, who purchased the store 5 years back, but also because I like video stores.  I like browsing the aisles, bumping into films I hadn’t come to rent.  I like hanging out with the people who hang out in video stores or are crazy enough to own them.  That’s part of being a film junkie.  

In a way, it’s odd that the demise of 4 Star is the store closure that hits the hardest.  Maybe that’s because it’s the one that I frequent now, and whose closure will force me to go to Netflix or a similar rental solution.  Maybe it’s because it’s the store my son has grown up in.  Last month my 11 year old browsed the shelves and pulled three films that we could watch that night—Powaqqatsi, The Phillip Glass documentary, or Broadway Danny Rose.  The choice was mine.  He loves hanging out in video stores, record stores, and bookstores.  I’m glad he’s had the chance to have those experiences, because in all likelihood, there’s a short window left to be moved by those activities.

It’s funny I’m even bemoaning the downfall of the video store.  I was pretty skeptical during the infancy of these stores.  It wasn’t like you could go find the films of Richard Kern or John Waters in video stores.  But then I moved to San Francisco in 1987 and the video stores here were eye opening.

I’m proud to have been one of the first members at Naked Eye, Wild Wild Video, Leather Tongue, Dirty Tongue, and Lost Weekend.  My membership card numbered less than #100 in all those spots.  Naked Eye was my first love.  A mind-bending selection with all the American Underground titles you could want.  All the Russ Meyer movies, Beth and Scott B shorts, and a huge stock of Target Videos.  Me and my friends watched them all.  Of course back then in the group-housing scenario, you all shared a card. Even people you didn’t live with shared your card.  For a good couple of months, every time I went in, Steve, who ran the joint was always harassing me to return Ken Russell’s The Devils, a title my ex-roommate had checked out and never returned.  I never even saw the movie…and still haven’t to this day! 

Wild Wild Video was another great one.  It started over by The Kabuki in Lower Pac Heights, a very bizarre place for a store featuring every psychotronic movie you could shake a stick at.   I don’t even think they carried anything but psychotronic videos.  Talk about a specialty store doomed to close!  Owners Mary and Prax, were great to chat with.  They eventually relocated to SOMA and eventually moved on to other pursuits.

The Valencia corridor came alive in the 90s.  Leather Tongue was first in the door.  Lisa who ran the joint was awesome in a crazy 90s way. You felt like a deviant just walking into that store.  In fact, she ran out of space for her porn titles, necessitating her to open a second store called Dirty Tongue…just for her dirty movies!

Lost Weekend opened a short time later and may end up as the last store standing.  Dave, Kristy and Adam are still carrying the torch.  I was over one of their apartments shortly before they opened.  They had started amassing their collection, and titles lined their apartment walls.  Lost Weekend was/is a true labor of love and passion, and, as a result, has the best selection of all.  The store is curated by film buffs who love it all and know how to put it together and display it.  I can still go in there and chew the fat with whoever is at the counter and always come away with titles I wasn’t expecting to grab.  

In all likelihood it too has an expiration date, but maybe being on Valencia will help stave off the inevitable.  I’ll go there to rent some titles, but certainly not as frequently as 4 Star.  It’s just too far away.  It used to be 1 block from my house, now it’s not so conveniently located, and, alas, I think Netflix is in my future.

I’m sure I’ll love Netflix.  I’ll love the immediacy and the instant access.  I'll love not having to make an additional trip to return a video and being charged a late fee. But I know Netflix is not going to stream or even have every oddball title I want, and I guarantee it won’t have the same flavor of wandering down Valencia Street, popping into a store filled with friends and debating the merits of The Cinema of Transgression vs. Mumblecore.

Note: Please don’t give me grief for not mentioning Le Video.  I know it’s great.  It’s just I’ve never lived on that side of town.

Source Code and Blank City

Super fun double bill at the movies yesterday.

It’s summer. And as at teacher, that means some spare time and lazy summer afternoons. What better reason to start seeing a lot of movies. I started it with a foray downtown for Source Code, which is surprisingly still showing in one theater in town and followed it up with No Wave doc Blank City.

Source Code

I was a big fan of the Kubrick-esque solitude of Moon and was interested in Duncan Jones’ follow up. Got to say I dug it in a big way. Several years back I talked about a new generation of intelligent sci-fi films emerging out of Hollywood, and Source Code fits that bill. Jake Gyllenhaal plays a soldier on a mission, traveling to an alternate time-line to change future events. I will say there are some questionable moments from a logic perspective, but Jones does a great job constructing a foreboding universe. For all the apocalyptic trappings of his mission, the film is really about Gyllenhaal’s isolation and his personal journey of trying to find trustworthy characters in a landscape he has little control over. As with Moon, Jones wears his influences on his sleeve. Hitchcockian suspense, Kubrickian solitude, Johnny Got His Gun creepiness, with a little Run Lola Run thrown into the mix. But, as with Moon he makes it feel fresh and exciting and brings enough of his own ideas into the mix to make it all hum.

Blank City

Absolutely loved Blank City, Celine Danhier’s documentary on NYC No Wave filmmaking and the Cinema of Transgression. Set against the backdrop of a dangerous, decaying, and bankrupt NYC, No Wave filmmakers like Amos Poe, Eric Mitchell, Scott and Beth B, Charlie Ahearn, Jim Jarmusch, Steve Buscemi, and others set about making films that owe equal debt to punk rock nihilism, French New Wave filmmaking, Warhol/Morrissey Factory fair like Trash and Heat, as well as the lo-rent mania of John Waters. Mostly shot on super 8, the films are no budget, no frills, featuring no real actors, let loose on the streets of NYC and lower east side apartments. The films often have a loose hold on narrative at best. In reality many of these films are barely watchable in their entirety, but still have an impact as we see a group of artists trying to make sense of their universe on the margins. Blank City does a great job interviewing many of the folks at the center of the storm and does a fantastic job of culling great clips that capture the sense of urgency, desperation, and fearlessness that fuel these films. I’m reminded of a collection of super 8 films from Berlin released on a dvd called Berlin Super 80. The films themselves are not so interesting, but as a collection the films paint such a stark and distinctive picture of the time, the place, and the people. You’re left with a better impression of that era than any narrative film looking back at that era could provide. Blank City and the films of the No Wave operate in a similar sphere.

Also, by watching how this film scene grows and changes, the film does a great job looking at the development of NYC from it’s bankrupt state of menace in the mid-70s to the bustling, monied universe of the late Regan era. This is a nice bit of filmmaking, to tell the story of NYC through the story and the experience of these filmmakers.

The film also does a nice job looking at the crossover between the NYC art scenes at the time. Fine Art, CBGBs, Max’s, No Wave music, and the birth of hip hop all come into play as the players from these scenes cross over. I never realized that Wild Style, in fact, came out of the No Wave film scene. And finally, the No Wave films ultimately pave the way for the more abrasive Cinema of Transgression, populated by the likes of Nick Zedd, Richard Kern, and Lydia Lunch, a scene that I’m certainly more familiar with.

The film is going to want to make you seek out some of these films. It’s a mixed bag to be certain, and the shorter films tend to be more palatable. I certainly am a big fan of the Scott & Beth B shorts. Regardless, any fan of outsider movements, NYC, America in the 70s or punk ought to love this film.

Trailer for Blank City here.