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Archive for May, 2015

Behind The Scenes – San Andreas Without Special Effects

Sunday, May 31st, 2015

Click here, or above, to see some great “raw” footage from the disaster film San Andreas, courtesy of Sploid.

The tagline on this video is how “ridiculous” San Andreas looks without the finished special effects work, but I think that’s completely off the mark. Just a casual look at this video – with intensive under water work, harnesses pulling stunt performers into the air, gigantic crowd scenes, helicopter stunts and the like, demonstrates once again that movie making is brutally hard work – something that most people simply don’t understand.

You want to experience a really tough work environment? Then crew on a feature film. Every day, day after day, you have to get up, create complex set pieces, haul tons of equipment from place to place, deal with meal penalties, overtime, safety regulations which are more than necessary, all in the service of creating a series of images that will pass by fleetingly on the screen, and then be forgotten. With the typical crew for a film such as this in the hundreds simply during physical production, and a great deal of genuine risk involved, this is nothing to fool around with.

The movie “is what it is,” in one of my least favorite phrases – it’s a big budget disaster movie directed by Brad Peyton, whose other credits include the “aggressively unambitious” Journey 2: The Mysterious Island (2012), which I actually suffered through on Pay Per View in a hotel in California, appropriately enough – and the whole enterprise is designed to do precisely one thing: make money.

But despite that, there’s a considerable amount of craftsmanship that went into the final film, and this video will give you a glimpse of that. Really, it’s a remake of Mark Robson’s 1974 film Earthquake, and in every way an improvement on the original. The special effects are better, and while The Rock is certainly no Sir Laurence Olivier, he doesn’t pretend to be – he’s an action star, and proud of it.

It really isn’t so easy to shoot such an ambitious spectacle – try it sometime, and see for yourself.

Simon Denny – All You Need Is Data

Saturday, May 30th, 2015

Artist Simon Denny nails the darker side of the headlong rush to digital – the loss of humanity.

In his new show at MoMA PS1, which originally appeared in an earlier version Germany in 2012, artist Simon Denny critiques the culture of endless data, acquisition, and money as the ultimate value in an impressive installation entitled “The Innovator’s Dilemma,” based on the concept that “All You Need Is Data,” an obvious and ironic spin on the Beatles’ oft-repeated, if somewhat simplistic mantra, “All You Need Is Love.”

As the museum notes of the exhibition, “Denny’s work often refers to the psychology and abstract language of the new media economy, invoking ‘clouds’ of big data and the constant pressure to ‘update’ our lives. He typically finds the sources for his work within the materials, advertising, and packaging produced by technology and media companies, and often deploys graphic interfaces borrowed from commercial display to highlight connections between the utopian goals of the new media economy and those of historical modernism.”

Ken Johnson reviewed the show for The New York Times, observing that “in a recent column for The New York Times, the economist Paul Krugman argued that the benefits of the digital technology revolution of the past four decades have been greatly overestimated. The new technologies, he suggested, might be ‘more fun than fundamental.’ Worse, euphoric media chatter about how they’re changing the world for the better ‘acts as a distraction from more mundane issues,’ like putting people to work in usefully productive jobs.

In a similar vein, ‘The Innovator’s Dilemma,’ a hyperactive multimedia extravaganza by the Berlin-based artist Simon Denny at MoMA PS 1, takes down such irrational exuberance about technology and does it with sardonic verve. Along the way, it indirectly damns the high-end art market’s own inflationary mania. If Mr. Denny doesn’t get to the bottom of what’s causing the sociopathology infecting both industries, his show is certainly a rousing conversation starter . . .

To contemporary art followers, Mr. Denny’s strategies of satirical appropriation and parodic simulation might not appear particularly novel. Those who keep up with business journalism might find little of it especially newsworthy. Nevertheless, the combination of form and content makes for a persuasive protest against soulless capitalism.

In his catalog essay, Peter Eleey, PS 1’s chief curator and the show’s organizer, notes the obvious parallel of the tech industry’s drive to innovate to the contemporary art world’s hunger for the new and to today’s billionaire-inflated art market, with its proliferating fairs and private museums. It’s not an exact parallel: Old art may rise or fall in market value, but it usually doesn’t become worthless the way obsolete electronic devices do. But you get the idea.

In any case, there’s a deeper level of insight that Mr. Denny doesn’t quite crystallize, which has to do less with new technology than with money and how money disrupts and corrupts non-monetary values. As the title character of Shakespeare’s Timon of Athens, on discovering buried gold, put it, ‘Thus much of this will make black white, foul fair/Wrong right, base noble, old young, coward valiant.’

What happens in a society and culture where money becomes the measure of all things and technological innovation becomes just a way to make more money faster?”

More is less, and more wants more – I’d add another quote from Psalm 39.6 in the King James Bible, “Surely every man walketh in a vain shew: surely they are disquieted in vain: he heapeth up riches, and knoweth not who shall gather them.”

I’d say that this more than applies here – what’s the point of this endless acquisition, numbering of word patterns, the endless roll out of time wasting video games, the non-stop proliferation of useless apps and devices that separate us more and more from each other, plunging us into a wilderness of supposed “tech innovation?”

I’m with Simon Denny – I’ve seen the future, and it doesn’t work – for humans.

Víctimas del pecado

Thursday, May 28th, 2015

Ninón Sevilla was one of the greatest stars of the Mexican cinema.

As Wikipedia notes, “Emelia Pérez Castellanos (born in Havana, Cuba 10 November 1921; died in Mexico City 1 January 2015), better known as Ninón Sevilla, was a Cuban born Mexican film actress and dancer who was active during the golden age of Mexican cinema. She was considered one of the greatest exponents of the Rumberas film in the 1940s and 1950s.

Sevilla was born and raised in Centro Habana, a popular section of Havana. As a youth, she thought about becoming a missionary nun, but after she started dancing with success in nightclubs and cabarets, she opted for a career in show business. She adopted her stage name in tribute to the legendary French courtesan Ninon de Lenclos and began to work in the chorus of the Cuban comedians Mimí Cal and Leopoldo Fernández, respectively known as ‘Nananina’ and ‘Tres Patines.’

Sevilla came to Mexico as part of a show starring the Argentinean singer Libertad Lamarque. Her number in the show was so successful that she was soon booked in other spectacles in Mexico City. While performing in the Teatro Lírico, producer Pedro Arturo Calderón saw Sevilla on stage and offered her a film contract. Her debut in cinema was in 1946 in Carita de Cielo with María Elena Marqués and Antonio Badú. From that moment, Sevilla became the exclusive star of Producciones Calderón, and although she had offers from Metro-Goldwyn-Mayer and Columbia Pictures, she turned them down, not being interested in working in Hollywood.

Although from the beginning Sevilla was marked by the eccentricity of her hairdos and gowns, it was director Alberto Gout who established her as one of the ultimate erotic figures of Mexican cinema, leading her in legendary films as Aventurera (1949), and Sensualidad (1950). Besides being directed by Gout also in Mujeres sacrificadas (1952) and Aventura en Río (1953), she also worked with Emilio ‘El Indio’ Fernández. who directed her in one of the best films of her career, the classic Víctimas del Pecado (1951).” When work in films dried up, Sevilla went straight into television, becoming a regular in telenovelas, and thus continued to work in the industry in one form or another from 1946 up until 2014 – the year before her death.

In the deliriously over-the-top Víctimas del pecado, she plays nightclub dancer Violeta, who impulsively rescues an abandoned infant who has literally been thrown in the trash by its mother, and raises the boy as her own, despite the machinations of two rival club owners, resorting to prostitution at one point simply to keep food on the table for herself and her informally adopted son. However, the boy’s father, the brutal Don Rodolfo (Tito Junco) does everything he can to destroy Violeta’s fragile existence, leading to a suitably violent conclusion.

Too long neglected by American audiences, the films of Emilio Fernández offer an authentic view into the demimonde of mid-20th century Mexico City. Those who remember him solely as an actor at the end of his career in films such as Sam Peckinpah’s The Wild Bunch are missing the work of an impassioned artist, whose bleak mise en scene makes even a film like Luis Buñuel’s brilliant Los Olvidados – both films were photographed by the gifted Gabriel Figueroa, another major figure in the Mexican cinema – seem restrained by comparison.

Most of Sevilla and Fernández’s work has never reached English-speaking audiences, but a recent DVD transfer of excellent quality now makes this film available to a much wider audience. It’s just another example of an unjustly neglected film of real depth and power that has been overlooked by conventional cinema history, and definitely deserves re-evaluation. Once seen, never forgotten, Víctimas del pecado is a violent, sensual, almost surreal film that nevertheless remains firmly anchored in the world of the slums of Mexico City, where hope is in short supply, and violence – and the fates – are the ultimate arbiters of human affairs.

View the uncut Spanish language version, without English subtitles, by clicking here, or on the image above.

New Book: Cinema and Counter-History by Marcia Landy

Tuesday, May 26th, 2015

Marcia Landy has a brilliant new book on memory, history, and future of cinema.

As the book’s website notes, “Despite claims about the end of history and the death of cinema, visual media continue to contribute to our understanding of history and history-making. In this book, Marcia Landy argues that rethinking history and memory must take into account shifting conceptions of visual and aural technologies.

With the assistance of thinkers such as Gilles Deleuze and Félix Guattari, Cinema and Counter-History examines writings and films that challenge prevailing notions of history in order to explore the philosophic, aesthetic, and political stakes of activating the past. Marshaling evidence across European, African, and Asian cinema, Landy engages in a counter-historical project that calls into question the certainty of visual representations and unmoors notions of a history firmly anchored in truth.”

As scholar Dana Polan says of Cinema and Counter-History, “once again, Marcia Landy impressively, masterfully, combines her well-known talents for broad critical reflection for trenchant close reading of individual films to produce ground-breaking theorization of cinema’s powers to both make and remake historical meaning and to counter dominant cultural representations. A far-reaching study with major insights at every turn.”

To which I can only add that when I received this volume, I devoured it, and found it to be an amazing synthesis of cultural history and theoretically ambitious connections, which pulls in films from both the past and present, foreign and domestic, to create a rich tapestry of cinematic history. A dazzling piece of work, which lingers long in the mind after you put it down – astonishing in scope, breadth, and erudition. Clearly, Landy has been working on this volume for a long time, and the result is more than worth the wait.

Highly recommended – an elegant, ambitious, and audacious book.

Cannes – The Final Wrap Up

Sunday, May 24th, 2015

The winners and losers, from Neil Curry of CNN. Above, director Yared Zeleke and the cast of his film Lamb.

As Curry wrote, “comeback stars, the darlings of the festival, standing ovations and incessant booing: the Festival de Cannes has delivered entertainment on and off screen for an astounding 67 years. French filmmaker Jacques Audiard took home the Palme d’Or for Dheepan, a crime drama about a Sri Lankan Tamil warrior who flees to France. Silver — the Grand Prix award — went to Laszlo Nemes’ Son of Saul. And the award considered the third prize of the film festival, the Prix Du Jury, was won by Yorgos Lanthimos for The Lobster.

These were the top award winners, though they don’t tell the whole story of the festival. What are this year’s success stories and who is left longing for a better ending? Here’s a run through of the frontrunners and the fiascoes: The winners: – Carol – Todd Haynes’ movie about two American women in love during the 1950s was a huge hit with critics and set the benchmark for the festival early in the program. Regardless of its success at Cannes, critics here have been talking breathlessly about a raft of Academy Awards come Oscar time next year . . .

Two of the best-received movies during the Cannes fortnight weren’t even in the competition. Mad Max showed Marvel’s Avengers that you don’t need CGI (computer-generated imagery) and green screen to create a thrilling, jaw-dropping action film. And Pixar’s Pete Docter — whose Oscar-winning animated epic “Up” opened the 2009 Cannes festival — returned to even greater acclaim with Inside Out, a charming and hilarious depiction of a testing chapter in a young girl’s life seen through the emotions inside her mind.

Ethiopia’s first ever entry into the Cannes competition came courtesy of director Yared Zeleke. Lamb was an engaging tale of a young boy seeking enterprising ways to save his fleecy friend. But it lost out to Rams by Icelandic director Grimur Hakonarson, who took the top prize in the Uncertain Regard section with a tale of two elderly brothers whose 40-year dispute is reluctantly put on hold by a threat to their sheep farms.

The losers: Gus Van Sant has long been a Cannes favorite, winning the Palme d’Or in 2003 with his film Elephant. But Cannes can make and break reputations and his latest film, Sea of Trees, was roundly panned by critics here — booed at the press screening and barracked in the reviews that followed [maybe it's because of all those car commercials].  The film features Matthew McConaughey and Ken Watanabe pontificating about life in a forest where people go to die. One particularly barbed commentator suggested the film was the worst ever to feature in the main competition . . .

[And then there was the "Flatgate" affair.] The media camped at Cannes had a field day with this scandal. The story was broken by Screen Daily, which reported that a number of women had been turned away from the movie Carol for wearing flat shoes instead of high heels. Documentary director Asif Kapadia (whose film Amy about the late singer Amy Winehouse was a big hit at the festival) revealed his wife had also been challenged about her footwear, but was eventually admitted . . .

A growing number of festivals, museums and visitor attractions are banning the selfie-stick, and Cannes entered the debate from the outset when Fremaux announced a campaign to discourage selfies on the red carpet, describing the practice as ‘grotesque.’ But his words fell on deaf ears as the stars ignored the advice and couldn’t resist the temptation to document their moment on the famous Cannes catwalk. On one night alone, there were more than 100 offenders.

While many critics lavished praise on Michael Fassbender and Marion Cotillard for their performances in Macbeth, the titular Scottish titan mumbled the Bard’s lines so much that English speakers complained they were forced to read the French subtitles to understand what he was saying. And Shakespeare took a hit in the opening credits, relegated to fourth place behind the film’s three screenwriters.”

Well, that was interesting – until next Spring, then!

Hrutar (Rams) Wins Un Certain Regard Prize at Cannes

Saturday, May 23rd, 2015

Hrutar (Rams) by Icelandic director Grimur Hakonarson was a surprise winner at Cannes.

As Michael Roddy reports for Reuters Canada, “An Icelandic movie about two sheepfarming brothers who have not spoken in 40 years but are brought together by an outbreak of a disease that threatens their flocks won the Un Certain Regard prize at the Cannes Film Festival on Saturday. Hrutar (Rams) by director Grimur Hakonarson took the top prize in the grouping of 19 films in the festival’s second most important competition. The films are chosen to display filmmaking techniques and trends in a variety of cultures and countries around the world. Jury president Isabella Rossellini said viewing the entries ‘was like taking a flight over the planet and seeing all the inhabitants and their emotions.’

Hakonarson said winning was a surprise, but he was delighted. ‘There are very good films in this program and very big directors,’ he said. ‘I didn’t expect this. I’m in heaven.’ The film is set in remote northern Iceland, among sheepfarmers whose livelihood is threatened by an outbreak of scrapie that is fatal to sheep and requires all their flocks to be put down, but the director thought it would strike a chord with anyone. ‘I think it’s a universal story, it’s a story about family conflicts, even though it’s an Icelandic film, it seems to touch the hearts of the audience, you know, but the film, it’s also entertaining, it’s also funny. It’s a mixture of drama and comedy and we seem to have, maybe, profited from that a little.’”

Congratulations! — now all the film needs is a US art house release, or at least, a DVD – or even VOD or streaming.

The Racket (1951) in Noir of the Week

Friday, May 22nd, 2015

Here’s a piece I wrote a while ago on the 1951 film The Racket for Noir of the Week.

“Who said I was an honest citizen? And what would it get me if I was?”

– Lizabeth Scott to Robert Mitchum in The Racket

Left to right above: Robert Ryan, John Cromwell, Lizabeth Scott and Robert Mitchum

As I wrote, “the traumatized figure of Robert Ryan as old-school rough and tough gangster Nick Scanlon towers over the wreckage of John Cromwell’s The Racket (1951), although the film has so many “punch up” scenes inserted after the completion of principal photography by director Nicholas Ray that it almost qualifies as a co-direction job. In addition, the actor/director Mel Ferrer, the film’s editor Sherman Todd, the film’s producer Edmund Grainger, and even director Tay Garnett (of The Postman Always Rings Twice) also took a hand in the proceedings, all under the overzealous and one might say hyper-controlling supervision of Howard Hughes, who at this point owned RKO Radio, the studio where this film was made, having acquired controlling interest in the company in 1948.

Hughes could never leave a project alone after it was finished shooting, in some cases scrapping whole elements of a film’s plot after principal photography. William Cameron Menzies’ delirious noir The Whip Hand comes immediately to mind; the film originally was about a plot devised by Adolf Hitler (Bobby Watson) to fatally poison America’s water supply, but after the film wrapped, Hughes decided that the villains should be Communists, who were suddenly much more trendy, and large segments of the film were reshot, at considerable added expense.

In the case of The Racket, the film was based on a silent film from 1928, also produced by Howard Hughes, and directed by a youthful Lewis Milestone, which was based in turn on a Broadway play by Bartlett Cormack, and starred Thomas Meighan, Louis Wolheim and Marie Prevost. Interestingly, the Broadway play version starred Edward G. Robinson, and, as an actor, a young John Cromwell, the director of the 1951 version, and the stage production subsequently toured throughout the country, winding up in Los Angeles, where Robinson was discovered by Warner Bros. and thrust into a series of gangster films that made him a star.

For many years, the 1928 version of The Racket was considered a “lost film,” but a print was finally located by Dr. Hart Wegner of the University of Nevada Las Vegas Film Department, and restored by Jeffrey Masino, with a new music track by Robert Israel. In 2004, the film was screened on Turner Classic Movies for the first time, but has yet to make it on to DVD; the 1928 version is certainly more coherent than the 1951 version, but the later version also has its merits – in a bizarre sort of way.

Chief among the pluses for the 1951 version are Robert Ryan, at his psychotic, raging best as outmoded gangster Nick Scanlon; Robert Mitchum somnolently strolling through his role as Captain Thomas McQuigg, an honest police captain in a city that has gone completely corrupt; the always dependable Lizabeth Scott as Irene Hayes, a nightclub singer who is predictably mixed up in the rackets; William Talman, surprisingly cast against type – he usually played murderers, thugs, and psychotic killers – as eager-beaver Officer Bob Johnson; Ray Collins as the exquisitely corrupt District Attorney Mortimer X. Welch; and last but far from least, William Conrad as Detective Sergeant Turk, another corrupt cop, who says almost nothing throughout the entire film but always seems to be hanging around the edges of the frame, chewing gum, and effectively stealing scenes from anyone who tries to upstage him.

Nor is this all; a gallery of pug-uglies, stoolies and other assorted noir characters round out the dramatis personae, from Walter Sande as a reliable sidekick cop to Mitchum’s Captain McQuigg, Les Tremayne as Harry Craig, head of the Crime Commission, the smooth heavy Don Porter as R.G. Connolly, front man for the never-seen “Old Man” who runs the entire corrupt enterprise, and noir regulars Harry Lauter, Don Dillaway, Howland Chamberlain, Tito Vuolo, Herb Vigran, Richard Reeves, Iris Adrian, Don Beddoe and others too numerous to mention. RKO had a heavy pool of talent to draw from in 1950s Hollywood, and even if these actors weren’t stars, they were solid professionals who could be counted on to show up on time, know their lines, and get through their scenes efficiently and with absolute conviction, even if the film’s script sometimes crumbled beneath them.”

That’s just an excerpt; read the entire article by clicking here, or on the image above.

Fantasia of Color in Early Cinema

Friday, May 22nd, 2015

Just as I finish up my book on black and white, Amsterdam University Press comes out with this fabulous book on early color filmmaking.

Fantasia of Color in Early Cinema by Giovanni Fossati, Tom Gunning, Joshua Yumibe and Jonathan Roson is a stunning look at early hand colored and dyed cinema, from the turn of the 19th to 20 the centuries, which collects in one volume an enormous number of gorgeous, hand colored images. As the press material for book notes, “we normally think of early film as being black and white, but the first color cinematography appeared as early as the first decade of the twentieth century. In this visually stunning book, the editors present a treasure trove of early color film images from the archives of EYE Film Institute Netherlands, bringing to life their rich hues and forgotten splendor.

Carefully selecting and reproducing frames from movies made before World War I, Fossati, Gunning, Rosen, and Yumibe share the images here in a full range of tones and colors. Accompanying essays discuss the history of early film and the technical processes that filmmakers employed to capture these fascinating images, while other contributions explore preservation techniques and describe the visual delights that early film has offered audiences, then and now. Featuring more than 300 color illustrations for readers to examine and enjoy, Fantasia of Color in Early Cinema will engage scholars and other readers of all ages and backgrounds.”

Early reviews have been rhapsodic, with Martin Scorsese declaring that “‘I could gaze at the images in this book for hours. They are as fascinating as illuminated manuscripts or magic lantern slides,” and artist Tony Oursler commenting “in the endless rewrite of art history the moving image seems indefinably futuristic. Fantasia of Color in Early Cinema makes the case for the importance of these mind-blowing masterpieces. These stunningly chromatic film stills link technology and the human touch while revealing one of film’s best kept secrets. Traditional painting and sculpture relies on reflected light while projected light opens a wildly new path of experimentation. Here we see, for the very first time, images made at the speed of light.”

You can see more images from book by clicking here, or on the image above.

Archie Panjabi as 007

Tuesday, May 19th, 2015

Am I the only one whole thinks that the 007 franchise needs a major overhaul?

Archie Panjabi, criminally underused on the television series The Good Wifeshe has now left the series – would be a great choice for the 007 character, and move it away from the thuggishness of Daniel Craig, even if Skyfall, the latest Bond installment, did make more than a billion dollars worldwide. But it was such a dreary film – isn’t it time we got over the attitudes of the 1960s and moved into the 21st century with an action star who could give the role a whole new dimension?

As Mike Hale said of Panjabi’s character, Kalinda Sharma, in The Good Wife, “just like Bogie — and just like Bacall: that’s the secret of Kalinda Sharma. She’s a mash-up of film noir archetypes (and gender roles), both gumshoe and femme fatale, tough broad and heartbroken sap. Panjabi takes a genre cliché — the combination of hard shell and tender interior — and redeems it by maintaining a constant but perfectly poised intensity, one whose tight control only emphasizes its operatic force.”

Apparently, she’s in line to play a “Bond girl” in the next 007 film – but why not the leading role instead?

He’d Like To Buy The World a Coke

Monday, May 18th, 2015

In the end, Don Draper co-copted the counterculture of the 1960s and early 1970s to sell soda pop.

I’ve read a number of Mad Men finale recaps this morning, but this one, from Quartz, by Zachary M. Seward, seems the most perceptive by far. As Seward writes, “In the end, Don Draper bought the world a Coke. Mad Men’s final scene was perhaps the most iconic commercial ever to air in the United States: the 1971 ‘Hilltop’ ad for Coca-Cola.

The implication, though it’s hardly clear from the sequence of events at the end, is that Don’s wayward journey across the country, a reckoning and rebirth of his soul, ultimately leads back to New York, where he conjures the commercial. In real life, ‘Hilltop’ was created by a McCann-Erickson creative director, just like Don. But none of that is shown on screen.

Instead, we leave Don meditating at a retreat in California that resembles Esalen. ‘The new day brings new hope,’ their spiritual leader says. ‘The lives we led, the lives we’ve yet to lead. A new day, new ideas, a new you.’ Don and the rest of the group respond with ommm, and then it cuts to the ad.”

But not before a small bell goes off inside Don’s head – just a little “ping” – and he sees that he can turn this whole nightmare of a series ending to his advantage. Why not use this “rebirth” to sell something – as he always done, starting with himself? For the rest of the characters, a variety of endings, which I’ll let you read about here, but for Don, it’s simple – everything is a commodity.

Once an ad man, always an ad man. Not a bad way to end the series.

About the Author

Headshot of Wheeler Winston Dixon Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. All comments by Dixon on this blog are his own opinions.

In The National News

Wheeler Winston Dixon has been quoted by Fast Company, The New Yorker, The New York Times, the BBC, CNN, The Christian Science Monitor, US News and World Report, The Boston Globe, Entertainment Weekly, The Los Angeles Times, NPR, The PBS Newshour, USA Today and other national media outlets on digital cinema, film and related topics - see the UNL newsroom at http://news.unl.edu/news-releases/1/ for more details.

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