January 9, 2012 by Ronn Ives, under Films, Films 2012.

Films I Saw in 2012

(New reviews are added each evening)

Watching Films is our way of fulfilling a deep-seated need

to nestle ’round the campfire listening to our Story Tellers.

This is when and where we express our fears of the Unknown,

debate the Mystical, and find support for our assumptions about

the Sunlit World.

CODES: “again” = I’ve seen it before, “WOTO” = We Own This One, “IMDB” = my opinions also found on The Internet Movie Data Base site

Below are the majority of the films I’ve seen to date this year. Those most recently viewed are placed at the top of each selected category.

Last updated: 2-5-12

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2012 MOVING PICTURES * NEVER enough time, SO many films ==================== =========================

1.
“FILMS THAT WILL CHANGE YOUR LIFE”

”Shooting War – World War II Combat Cameramen” (again, 2000): This is a documentary about the photographers of WWII. It is SO insightful, interesting, sad, brutal, and intense, I couldn’t stop thinking and talking about it for days. Over the last twelve years, I’ve collected more than 550 hours of WWII film footage and over 44,000 pages of books on the same subject. This documentary remains one of the most insightful studies, and, one of the most brutal. You will see the very last thing some cameramen saw through their viewfinders before they too were killed; you will watch people commit suicide who believed Americans would torture them; you will see living pieces of dying bodies; you will see people drop to the ground under the final slam of a bullet… you will see much of what real war is, unsanitized (unlike many other footage collections). These cameramen, most of whom did NOT carry a weapon, became the eyes of an astonished and often unbelieving world of people who could not imagine the horrors brought upon innocent non-combatants – civilians, women, children, the aged. These men, who carried cameras, many of whom gave their lives, are the ones who have NOT allowed history to be easily manipulated, exaggerated, underplayed, or denied. WOTO

“It’s a Wonderful Life” (again and again, 1946): It’s a great film and story, with wonderful acting, gorgeous black & white photography, important philosophies… it has everything. Jimmy Stewart was at his best. Donna Reed? What a girl-next-door-babe! Clarence the Angel? Perfectly innocent and effective. Bert & Ernie? I suppose they are a major realization for Sesame Street fans!! The children – fragile and pure. Sam Wainwright – the goofy, life-time friend, no matter how rich he became. Evil Mister Potter? The man we love to hate (hissss!), played by Lionel Barrymore (Drew’s grandfather). The rejected kid at the dance who opens the dance floor for George & Mary to fall in? Remember “Alfalfa” in “The Little Rascals”/”Our Gang”? That’s him! You KNOW what “Potter’s Field” is slang for, right? It’s the generic name given to graveyards for people who died alone, broke, and unclaimed. Uncle Billy? I relate to his memory problem, and I’ve always wished I had a CROW as a bird-pal. (THAT Crow was included in EVERY Capra film.) Violet? We ALL knew (or know) a Violet…the good hearted gal who relied too heavily on appearances. One of the prettiest photographic scenes is early in the film, when George and Mary are just leaving town in the taxi after their wedding – it’s raining, and they stop to look back at what appears to be a “run” on the Savings and Loan. As they peer out the back window of the taxi, THAT is pure beauty. Do I still get misty with a film that I’ve easily seen 50 times? YES. A number of times, including when Mr. Gower realizes that young George caught his prescription mistake; and when adult George comes home that night shattered – and he SNAPS. This film’s heart is in the RIGHT place SO often for MANY reasons. I’ve always shaken my head in amazement at people who see it as schmaltzy, sugary. Yes, it seems to have those moments, but they’re not clichés, they are kept to a minimum and are needed as RELIEF from the overwhelming amount of loss, frustration, fragility, anger, near & true violence, nasty characters, and shocking realizations. This is a ROUGH film. I see it as a TRUE spiritual journey along a frightening road. “It’s a Wonderful Life” by Frank Capra, and “Wings of Desire” by Wim Wenders, are my Top Two Films of All Time. WOTO IMDB

“The Crucible” (again, 1996): This has been, is, and will continue to be one of the most powerful scripts and films of my life. Prepare for a slow, steadily increasing pitch of concocted insanity that builds in 17th century Salem Massachusetts, as a group of silly, flighty girls set the stage for their conniving parents to begin a “witch hunt”. The mass hysteria, greed, ulterior motives, threats, and power plays intensify until you – right along with the residents of Salem – cannot fathom or manage another moment of this delusion. Arthur Miller wrote this American Icon during the McCarthy “Commie hunts” of the early 50′s. There are GREAT sets and costuming. There is superb acting by Daniel Day-Lewis, Winona Ryder, Paul Scofield, Joan Allen, etc. I am awestruck by the power, intelligence, and soul of this TRUE MASTERPIECE. I do not use these words lightly. This film WILL change your life. WOTO

“The Bicycle Thief” (again, Italian, 1948): Set in contemporary Italy soon after WWII, this is the painful and very direct story of a family man out of work and his attempts to keep his wife and children fed and clothed. Directed by Vittorio De Sica (who also did another of my favorites, “Umberto D.”), this Italian Realist film uses simple camera movements, natural lighting, black and white imagery, and non-actors to tell a story of Existential pressures. It has social conscience, asks for change, and is honest in its descriptions of Life then and there. There are no super-heroes, huge action scenes, tantalizing sex romps, or gauzy romances. This sort of film paved the way for later directors I also admire, such as Werner Herzog. If you’re looking for escapist fare, go somewhere else. If you’re looking for a great film, go here. Try to find a RESTORED dvd version, as the older copies can be rough with difficult to read subtitles. WOTO

“Andersonville” (again, 1996): – This is an historical re-creation of our own, true American tragedy – a P.O.W. camp during the Civil War – and what THAT experience demanded of those interned. “Andersonville” is certainly an anti-war film and a true story, but it takes the time (168 minutes) to look within individuals for the complexity of dealing with horror… offering slivers of consolation when it can be found. Although there are a few tiny problems with continuity, and compromises with its night lighting, the sets, costuming, makeup, and acting are ASTOUNDING and heart-rending. This huge effort adds up to a major statement about the depths we humans can sink and heights we can reach when pushed far beyond that which our upbringings prepared us. Its elegant ending brought me to one of the tearful moments I experienced in with fine work. WOTO

“The Endurance” (again, 2000): Documentary. “In 1914, Sir Ernest Shackleton set sail on the Expedition with 27 men aboard, aiming to cross Antarctica. But when the vessel became stranded in frigid, deep waters (and crushing ice), the crew began a battle of the human spirit, testing the limits of endurance as they strove to overcome the debilitating setback.” Miraculously, they succeeded in capturing the experience in journals and on film. What is MOST profound about this story is what you learn from the mouths and diaries of survivors & their families, which leaves you gasping for air and feeling you can NEVER EVER AGAIN WHINE ABOUT A SINGLE THING in your cushy, little, safe, easy, pampered life. This is one of the most difficult, torturous trials of life of all time. These men were the toughest, bravest, most steadfast, determined humans to walk the Earth. It BOGGLES my mind to think of what they faced and what they did in their attempts to survive. Wow. See this! Get some perspective. Find yourself without words. WOTO IMDB

2. “ FILMS EASILY WORTH TWO HOURS OF YOUR LIFE “

“Christ Stopped at Eboli” (Italian, again, 1979): Directed by Francesco Rosi. This is an interesting, quiet film about being imprisoned in a place no one would willingly go – in this case, the poorest, least productive and educated, most diseased, remote regions of southern Italy. Set in Mussolini’s 1930’s Fascist environment, a political prisoner – an artist – urbane and educated – is banished to and must remain in such a place within his own country. Here, his former cosmopolitan life is of little use. He struggles with and learns from the local people who seldom have contact with the outside else except an occasional letter from relatives who escaped to America. “Christ Stopped at Eboli” is worth your consideration on numerous levels – photography, acting, dialog, scoring, subtlety, and political implications. My one constant problem with 70’s color films, especially Italian, is their quality of production. Perhaps it was the growing use of video tape recording. Plus, the dvd I viewed this time was a digitized copy of what I believe was a vhs copy of a vhs copy of the film, which had colors and lights and darks shifting, admirable but flawed translations, and an odd echo to some of the studio sound effects added later. IF there IS a restored version, make sure it is your choice. WOTO

“Half Nelson” (again, 2006): Starring a very effective Ryan Gosling, and talented young actress, Shareeka Epps. Gosling is a middle school teacher and a girl’s basketball coach. Epps is his student and a loner, even on his b-ball team. She seems to need him, and he responds by caring for her. Then she makes a discovery about her teacher – her favorite teacher – someone almost like a friend. She also has a mother who works double shifts as an EMT, and a “father” who is far from a good influence. She has what she has. THESE are the three adults in her life. THESE are the adults who matter in her life. Exactly WHO IS caught in this “half nelson” grip? This is a low-key, nicely scored, grittily photographed, slow-to-reveal, slow-to-change story full of set-backs, little insights, sadness, and glimmers of decency and hope. It is a very fulfilling experience. WOTO IMDB

“Devil’s Playground” (documentary, 2002): The title refers to the world OUTSIDE the Amish community – according to the Amish. This is a look at much of Amish culture / religion in America, but focuses on the youth – especially those age 16 and above who are allowed to visit or join “the world” beyond their community, and experience as much of the Devil’s Playground as they choose. This is the period (“Rumspringa”) in which they decide if they want to join the Amish church, and if so, make final preparations to forsake ALL outside life. As you can imagine, it is both frightening and exotic for all of them, with terrible, predictable, and interesting results.

“Tsotsi” (again, South African, 2005): Winner of the Academy Award for Best Foreign Film 2005, enter it knowing you’ll be slammed with stress… but don’t run away. “Tsotsi” is totally worth your effort. You will follow one teenager and his feral buddies, all existing (and nothing more) in the deepest squalor of shanty town Johannesburg, South Africa. These “children” are worse than vultures, and for them life has no meaning, no value. By pure, violent, chance, Tsotsi finds himself on a new road without a map. His careening along MAY or may NOT lead towards a flawed version of Redemption. I was absolutely riveted to this film, and amazed at the unique power offered by some of the scenes. The acting by all, and especially by the young lead Presley Chweneyagae, was all-consuming. I may put this film in my top category after another viewing or two. WOTO IMDB

“Eames – The Architect and The Painter” (again, 2011): This is a documentary, and a very good one. It describes the complex career of designers Charles and Ray Eames, the brilliance of their ideas and products, their roles in these collaborations, the power and notoriety they gained, and the seldom-mentioned dark clouds in their relationship. The film also contains LOTS of interviews with other designers who worked UNDER them. Yes, you’ll meet a shish kabob of valid egos with their points of view – all intelligent people. There is NO doubt that the Eames’ helped make Modernism a truly practical and reachable philosophy through their total involvement with Design, not mere decorating. Immersed in everything from materials and prototypes to production and marketing, they DEFINE a True Design team. See this and understand more.

“Micmacs” (French, 2009): By the same director who did “Amelie” and “City of Lost Children”, Jean-Pierre Jeumet. The man has a vision, that’s for sure. Full of absolutely unique sets, costuming, scenarios, and character stories, “Micmacs” could be said to have its roots in “Snow White and the Seven Dwarfs” mixed with “Mission Impossible” mixed with “Mystery Men” and an appreciation for Tim Burton and steam punk… BUT unmistakably Jeumet. This is a comedic suspense crime drama running on revenge and overflowing with fantastically grimy detail… but always funny. Weird. WOTO

“In America” (again, 2002): This is a SUPERB drama about a young Irish couple who moves to America (Hell’s Kitchen N.Y.), to start over with their two young daughters. Is life difficult? Oh yes… but, life is perhaps more difficult because of their pasts than the present. We slowly learn more about each of these people – family and neighbors. Tender, sad, funny, painful, very painful, gentle, maddening, poetic, mystical… the story is one of understanding, forgiveness, and the circle of Life. ALL the actors (Paddy Considine, Samantha Morton, Djimon Hounsou), including the two young girls, are so GOOD that you don’t want the film – them – to go away. It is written, photographed, and acted in such a delicate, balanced way, that you are constantly seeing “reality” from both the children’s and the parent’s points of view. “In America” is a must-see. It is brilliant and powerful. I may put this one in my Top category. It’s almost there now. WOTO

“Frank Capra’s American Dream” (1997): This documentary takes a thorough look at Frank Capra’s life and career as a director. It’s the story of American opportunities. His life is reviewed from pre-film involvement to his death, with much of the time studying his films, their meanings, the sub-texts, and the cultural atmosphere in which they grew. I found this a fascinating film, well constructed, and full of insights. If you like even one Capra film, this entire document will interest you. If you think Capra films are “sappy” and you desperately NEED to cling to your belief, do NOT see this biography and critique. WOTO“Meet John Doe” (again, 1940): Before Frank Capra’s “It’s a Wonderful Life” there was “Meet John Doe”. Capra mortgaged his home to make this first independent film – gambling everything – while The Great Depression dragged on. Europe was at war. America was still undecided… and unattacked. Capra had things to say, and he said them. This story may lack some of the finesse of “…Wonderful Life,” but it’s a strong, socio/economic/political statement – not only about THAT era, but MOST times for MOST people in MOST places. Capra made uncommonly good films about common people who HAD to fight to overcome their obstacles. Gary Cooper improves with every moment of this story, finding his “zone” towards the end – as a brooding, doubting, disheartened but decent man. Barbara Stanwyck is on her game throughout. You’ll see many of Capra’s favorite character actors here, who joined him in film after film. If you like “…Wonderful Life”, this one will be of great interest to you. If you like the film version of “The Grapes of Wrath” (with Henry Fonda), you’ll probably feel this 1940 Capra effort was on equal footing. WOTO

“Higher Ground” (first viewing, 2011): Vera Farmiga isn’t merely beautiful, she’s a talented director and a great actress. Combined with the writer of both the book (“This Dark World”) and the screenplay, this film is a powerful yet understated look at ambivalence and doubt. Here the setting is organized religion, though many stages could be used for the subject. I knew immediately I wanted to OWN this work. It will do nothing but offer more rich insights each time I see it. The entire cast is talented; the sets and costuming fantastic in their commonness; the dialog perfectly natural and the counterpoint to Farmiga’s subtle acting; the photography honest, informative, unpretentious. This has it all. It is humane, philosophical, psychological, emotional, and intelligent. WOW.

“The Stranger” (again, 1946): Starring and directed by Orsen Welles, with Edward G. Robinson and Loretta Young. World War II had just ended. Did an American audience want to see a film about Nazis who might now be infiltrating Middle Town America, and the undercover agents trying to track them down? I can’t say, but this is a GOOD cat-n-mouse suspense Noir with weasley bad guys slipping in and out of the shadows, hard nosed good guys that never seem to go away, and trusting, luminous gals (Wow, that Loretta Young!). The photography is superb, the pacing good, the acting about what you’d expect for top stars in 1946 (Young is especially strong), with a story that couldn’t get more pertinent to that time. WOTO

“Bob Roberts” (again, 1992): This is a wonderfully sarcastic and dark mockumentary of a political campaign in Pennsylvania, between the arch-conservative, faux-Dylanesque newcomer Bob Roberts (Tim Robbins), and the tired, seen-it-all incumbent, Senator Paiste (Gore Vidal). Also cast are Allen Rickman, Helen Hunt, Susan Sarandon, Jack Black, John Cusack, and many other talents that make this a totally satisfying, snide look at politics, spin-meisters, and event coverage. I was especially impressed with Giancarlo Esposito as the very intense Left wing investigator conspiratorialist. In an ironic, possibly accidental manner, the film’s attempts to skewer the Right (well deserved) make it equally easy to analyze the Left for the same thematic flaws such as greed, power, hypocrisy, media manipulation, spotlight hunger, etc.. WOTO

“Racing with the Moon” (again, 1984): Richard Benjamin directed Sean Penn, Nicolas Cage, Elizabeth McGovern (all still in their teens?!) (and in minor roles: Crispen Glover, Carol Kane, Michael Madsen, and Dana Carvey)… in this “showcase” film, where lots of talent got a major boost. Set in 1942 in a small seaside village, and only weeks before two best friends ship out to the Marines and the fury of WWII, we share intimate, funny, pathetic, sad, frightening, and ambivalent moments with flawed but decent people we come to believe we know and deep down just have to like. This is a bittersweet story – not sugary nor hopeless. It’s rich with mixed emotions and that confusing, frozen summer between children and adults. Scoring is appropriate and nicely demure, photography is somewhat contrived in spots, but that was 1980’s. The “truth” of the simple story, sets, décor, costumes, dialog and the talented actors are why you will appreciate “Racing with the Moon”. Think of it as a unique film with relationships to “Stand by Me” and “Summer of ‘42”. WOTO IMDB

“The Nutty Professor” (again, 1963): Jerry Lewis was funny…and then he went out of fashion and was no longer funny. The world changed right under him. I’ve never been a big fan of his, but one film stands far above the rest, and THIS is the one. In case you’ve seen only the Eddie Murphy take-off, do DO NOT think one replaces the other. They do NOT. ALL films are “period pieces” – since they cannot escape the era from which they were born – but “The Nutty Professor” captures not only the best of Lewis’ sense of humor, but, by pure chance, a time soon doomed. Begun in late 1962, and completed in early/mid 1963, “The Nutty Professor” arrived during the last few moments of what I consider the “1950′s”. Within a couple of months of its release, our President would be assassinated – and America would change SO dramatically, we continue to feel it today. (And, by the next year, the Beatles would arrive.) The 1960′s began. So, this film of Jerry Lewis’, depicting an isolated, cloistered nerd of a professor; properly dressed conservative students; and, a greasy-headed cigarette-sucking Hugh Hefner rat-pack style sexist, were images that died alongside John F. Kennedy. This is a FUNNY film, I laugh a lot, and stare even more at the astoundingly cute Stella Stevens, but underlying the characterizations come a queasy feeling – which, by my personal experiences, were relatively accurate – and deserve little nostalgia. WOTO

“Winter’s Bone” (again, 2010): With a very talented cast of actors, strong scoring, great photography, sensitive audio, sets that may have not been sets, costuming and makeup that is dead-on perfect, and… well, you know how something can feel so real that you can’t imagine someone created it? This is everything in “Winter’s Bone”. Set in the far-back country of Appalachia amongst people who have never been nowheres and figure they’s all family somehow or another, this is an evenly paced, ever-intensifying story of poverty, desperation, and trying to hang onto it because that’s all you got. Jennifer Lawrence, John Hawkes, Dale Dickey, and others star. This film rightly won the “Grand Jury Prize” at Sundance Film Festival. WOTO

“You Don’t Know Jack – the Life and Times of Jack Kevorkian” (2010): Doctor Death. Murderer. Human Rights. The Mercy Machine. Dr. Kevorkian. Assisted suicide. I went into this film with three biases: 1) I always thought Kevorkian was right, but; 2) I thought he was THE worst person to represent him(self) to the public and courts; and 3) I knew Al Pacino would be GREAT. I saw nothing to change my mind on any of those points. Directed by Barry Levinson, also starring Brenda Vaccaro, John Goodman, Susan Sarandon, and Danny Huston, and with Pacino as good as he was in “Serpico”, this was a totally rich, occasionally funny (!), but mainly very serious and often sad look the suffering of people and one man who tried to find a solution. This is a totally significant experience. WOTO

3.
“Hey, relax and ride the sofa”

“Dressed to Kill” (British, 1946): Adapted from a Sir Arthur Conan Doyle book, this is another witty, above average whodunit starring Basil Rathbone and Nigel Bruce – in where else but foggy London, with a slinky femme fatale and missing printing plates for the British five pound note! Intrigue! Murder! Cat and Mouse moves!! That’s all I need to say. WOTO

“Witness” (again, 1985): Sure, there are all the action/drama clichés, along with the patented Harrison Ford Pair-O-Facial Expressions. Of course there’s a beautiful woman who gets naked, and bad guys with all kinds of guns. Given this, don’t expect a truly unique experience, and yet, the SETTING – in an Amish community – DOES separate it enough from other films with otherwise same components. Directed by Peter Weir. Kelley Lynch, Lucas Haas, and if you watch closely, other eventual stars are in this entertaining story. Just for fun, watch for a very young Viggo Mortensen. Watch Kelly (the Amish love interest) Lynch’s makeup do flip-flops: if it’s a scene about the Amish, no make up; if it’s a scene about romance or sex, make up! The Amish must be a bunch of hypocrites! The scoring is, as my wife put it, “overbearing”. It has that Eighties electronic sound, and is used in nearly identical fashion whether it is a pastoral, violent, thoughtful, or sexual scenario. One size fits all. Maurice Jarre did the score. He’s usually better than that. Danny Glover plays an evil man. That’s a nice switch. There are continuity problems, which are always fun to score when the film gets boring or predictable. There are a few extremely memorable scenes. WOTO

“Public Enemies” (2009): This is a fairly accurate recreation of the criminal life of John Dillinger. Set in 1920’s and 30’s mid-America during the Great Depression, we watch Dillinger – one of the last surviving “romantic” bank robber / killers play cat-n-mouse with J. Edgar Hoover, Melvin Purvis, and the newly forming F.B.I.. Toss in the Love Interest, of course. Fine. Should be plenty. Johnny Depp, Christian Bale (!), Marion Cotillard (!), Billy Crudup, Stephen Dorff, Giovanni Ribisi… what could go wrong? Well, very little, but… despite some great actors, Michael Mann did not extract their best; despite great sets, Michael Mann had continuity flaws (including the Classic “instant-ON” tube radio); despite wonderful photography (but a very poor special effect), fine scoring, effective costuming, etc., Michael Mann’s effort left me… not cold, but cool. Everything added up to about a 75% effort. Something was always missing, that last, most important level: depth, soul, connectedness, fully expressed insight. Missing. You leave the film feeling “dramatized” but empty. “Bonnie and Clyde” gets closer to the goal. See that one (again). WOTO

“The Debt” (2010): Solid acting, strong and complex plot, dramatic scoring, good photography, sets and lighting… hey… what’s not to like? Helen Mirren, Jessica Chastain, Sam Worthington, Ciaran Hinds, and Tom Wilkinson bring the story to a highly believable level. But, if you know just a little about Israel’s policies and shadowy death squads that hunt escaped Nazis (to this day), you’d have to roll your eyes at the procedures used (in the plot) to successfully kidnap, maintain (!), and safely move an enemy until courtroom justice can be fairly administered. Huh uh. That’s way too much trouble. Slip in, kill, slip out, never mention it. Enemy: dead. Next one on the list…

“Scarlet Street” (again, 1945): Depending upon how you feel about Film Noir, you’ll either enjoy this one a lot, or want to put it in the category below. Imagine Edward G. Robinson as a meek, mild, hen-pecked husband. Difficult to do? It was for me… for the first few minutes… and then his ability to create this character makes you forget his gangster roles. Imagine Dan Duyrea as a sleaze ball. Yes, he does a good job of THAT. And finally, what about Joan Bennett as a VERY hot, beautiful, manipulative Noir broad? No problem there. None. “Scarlet Street” is directed by Fritz Lang, who was my initial reason for seeing this film. As it turned out, the story – albeit a tad longer than necessary? – is a dandy. We have dark revenge, twisted irony, plot surprises, moral lessons, more darkness, and blinding, harsh glare all in the same steamy story. WOTO

“Topper Returns” (1941): This is a wacky farce whodunit starring Roland Young, Joan Blondell, “Rochester”, MM mm Carole Landis, and a couple of very cool cars. The plot drags in spots and could’ve used someone with sharp scissors to trim it down, but it’s still fun. WOTO

“Beaufort” (Israeli, 2007): Oscar-nominated, a film about men in war… and yet it’s in THIS mediocre category of mine? ‘Fraid so. The film is divided into two emotional rivers – each draining strength off the other. One: a reasonable look at a brotherhood of men caught in the bleak world of war – hours and days of mind-numbing boredom with occasional moments of absolute terror and devastation. The other: a major desire to retell a recent (1999-2000) Israeli story to Israelis, with the built-in assumption the audience will be affected by not just what they see in the film, but what they know from the real and personal experiences. Had THIS aspect been downplayed or kept absent, we’d have a better film along the line of (but not equal to) “Das Boot” and other claustrophobic, wall-climbing battle stories. However, as it is, we – an international audience – are presented with a default one-sided story (you never even SEE an “enemy” soldier) missing a wiser look the broader understandings undistracted by the specifics which will not matter to the LARGER, “outside” audience.

“Vicky Cristina Barcelona” (2008): Last night, my wife and I watched Woody Allen’s latest (?) film – improperly billed as a comedy. It’s not funny. Nor is it much of a drama. It’s just sort of hangs there in the middle. I viewed a group of people flounder along and fail to find resolutions for those things they claimed were banes of their existences. After it was over, my wife said “Well, that was a one-time view”. I tend to agree. Nothing was bad, nothing was especially good (interesting), and nothing seemed to be learned or put into action by any of these characters. I need to ponder it more, but I suspect I’ve already learned enough about this condition from people I’ve known in real life. One way or another, I at least want to LEARN from an experience. WOTO

4.

Not Quite So-sofa but not quite Crap

“The Russians are Coming, the Russians are Coming” (1965): After a somewhat mysterious opener, the film takes off as a decent farcical comedy (with Carl Reiner, Eva Marie Saint, Alan Arkin, Brian Keith, Theodore Bikel and Jonathan Winters) but slowly morphs into an unabashed and obvious socially conscious drama. Prepare to be slapped in the face with a mid-60’s “The Youth of the World is Our Only Hope” message. I like this film for two reasons: the better comedic moments, and, its being a true Period piece implying our struggle out of the Cold War and into the Peace Movement…for all its naiveté. WOTO

“Howl” (2010): Using only audio records and transcripts of Allen Ginsberg and others, this is a highly “artistic” look at his creation and publishing of the poem “Howl”, and its ensuing court battle against censorship. It is, in other words, a star-filled documentary of sorts, but filled with animation purporting to “illustrate” passages of the poem. And there is the problem. The animation is colorful, active, and flashy – demanding – which steals audience energy and focus from the Art it was obligated to support. My wife ended up closing her eyes so she could focus on the content of the words. I watched, but knew I was viewing animation made by an artist who did NOT (?) understand his/her role as an illustrator, and attempted to use “Howl” as an opportunity to prove THEIR own worth. If any artist wants to show their personal best, they create their own work. They do not ride on the famous backs of others and cast a shadow upon their clients.