The Hollywood Interview

DVD Playhouse--March 2012

2012-03-06T15:57:00.000-08:00

DVD PLAYHOUSE—MARCH 2012
By Allen Gardner

J. EDGAR (Warner Bros.) Director Clint Eastwood provides a rock-solid, albeit rather flat portrait of polarizing FBI Director J. Edgar Hoover, covering his life from late teens to his death. Leonardo DiCaprio does an impressive turn as Hoover, never crossing the line into caricature, and creating a Hoover that is all too human, making for an all the more unsettling look at absolute power run amuck. Where the film stumbles is the love story at its core: Hoover’s relationship with longtime aide Clyde Tolson (Armie Hammer). In the hands of an openly-gay director like Gus Van Sant, this could have been a heartbreaking, tender story of forbidden (unrequited?) love, but Eastwood seems to tiptoe around their romance, with far too much delicacy and deference. The film works well when recreating the famous crimes and investigations which Hoover made his name on (the Lindbergh kidnapping, for example) and also painstakingly recreates the past, putting the viewer in the thick of supremely atmospheric moments, the sort Eastwood has made his name on as a filmmaker. On the whole, this film is almost the definition of a mixed bag, but remains worth seeing for the parts that work beautifully. Also available on Blu-ray disc. Bonuses: Documentary, J. Edgar: The Most Powerful Man in the World. Widescreen. Dolby 5.1 surround.

WORLD ON A WIRE (Criterion) Rainer Werner Fassbinder made this gleefully paranoid, quite brilliant sci-fi tale for German television in 1973 as a miniseries. It not only holds up against any of the auteur’s celebrated theatrical releases, but is one of the prolific filmmaker’s most stunning works. Klaus Lowitsch plays a cybernetics engineer who uncovers a corporate conspiracy which, if allowed to go forward, will change the very nature of reality as experienced by the human race. Mammoth in scope and scale with a running time of 3 ½ hours, but also endlessly fascinating, inventive and hilarious, loaded with Fassbinder’s black humor that will bring forth laughter guaranteed to sting in your throat. Also available on Blu-ray disc. Bonuses: Documentary on film’s production; Interview with German film scholar Gerd Gemunden. Full screen. Dolby 1.0 mono.

TWO FROM VISCONTI (eOne) One of the fathers of the Italian Neo-Realist Movement, Luchino Visconti was a master at capturing the lives of everyday people in post-war Italy. Two of his earliest masterpieces have been lovingly restored: LA TERRA TREMA (1948) takes a look at the hardscrabble lives of fishermen in the Sicilian village of Aci Trezza, where they have been exploited for generations. When a young soldier returns from war, hardened by his experiences, he encourages his family to strike out on their own, with tragic results. BELLISSIMA (1951) stars Anna Magnani as a movie-obsessed stage mother who believes her beautiful young daughter is the key to her struggling family’s prosperity and crosses every moral line imaginably to get the girl a screen test. A shattering portrait of post-war ambition as well as an indictment of show biz itself. Both films are full screen, Dolby 1.0 mono.

BLADE OF KINGS (Well Go USA) A cruel empress (Qu Ying) who presides over a matriarchal society lives in fear of a prophecy that a boy shall rise up and take the throne, restoring the rights of men. To keep this from happening, sends out teams of assassins to kill any newborn that could fulfill this vision. Enter veteran warrior Crouching Tiger, Hidden Dragon (Donnie Yen), who is intent on overthrowing the empire after he does battle with the Lord of Armor (Jackie Chan). Great fun from start to finish, filmed with a truly epic scope. Also available on Blu-ray disc. Bonuses: Featurette; Trailer. Widescreen. Dolby and DTS-HD 5.1 surround.

VANYA ON 42nd STREET (Criterion) Louis Malle’s swan song as a filmmaker is a record of director Andre Gregory’s spare, private production of Chekov’s Uncle Vanya in a crumbling Manhattan theater. Featuring a stellar cast (Wallace Shawn, Julianne Moore, Brooke Smith and George Gaynes), the film is a tribute to Chekov’s genius as well as the creative process itself. Also available on Blu-ray disc. Bonuses: Documentary featuring interviews with cast and crew; Trailer. Widescreen. Dolby 2.0 stereo.

THE SON OF NO ONE (Anchor Bay) Set in the days following 9/11, Channing Tatum plays a second-generation NYPD officer who finds himself over his head when he’s assigned to re-open a homicide cold case which implicates his late father’s former partner (Al Pacino). Writer/director Ditto Montiel’s film is full of great ideas and potentially intriguing themes, but all that promise is lost in its sketchy execution which, at 90 minutes, feels noticeably scant. If the film had taken the same approach as, say Mystic River, which played out its themes perfectly with a nearly 2 ½ hour runtime, perhaps this would be a movie that had gone directly to big screens, instead of straight to video. As it is, the ideas, and the terrific cast (Juliette Binoche, Tracy Morgan, Katie Holmes, Ray Liotta, Jake Cherry) are all for naught. Also available on Blu-ray disc. Bonuses: Commentary by Montiel and exec producer/editor Jake Pushinsky; Deleted scenes. Widescreen. Dolby 5.1 surround.

ANATOMY OF A MURDER (Criterion) Otto Preminger’s groundbreaking courtroom drama was strong stuff in 1959, and remains potent today. James Stewart, in one of his best turns, stars as a small town Michigan lawyer defending a young army officer (Ben Gazzara) accused of murdering a man he believes raped his wife (Lee Remick). Landmark film in terms of its discussion of sex, but even more powerful in its examination of the power of language. Terrific cast also features George C. Scott, Arthur O’Connell, Eve Arden, Kathryn Grant, and real-life attorney Joseph C. Welch as the judge. Classic score by Duke Ellington. Also available on Blu-ray disc. Bonuses: Interview with Preminger biographer Foster Hirsch; Featurettes; Archival footage from the set; 1967 episode of William F. Buckley’s “Firing Line” featuring Preminger; Photo gallery; Trailer. Widescreen. Dolby and DTS-HD 5.1 surround.

MANDRILL (Magnolia) Dynamite action film from Chile about a self-made bounty hunter/angel of vengeance (talented marital artist Marko Zaror) whose sole mission is to avenge the murders of his parents. While on a mission, Mandrill makes the mistake of falling for his target’s daughter, who might lead him to, but make it difficult, to kill his parents’ assassins. Slam-bang, no-frills action from start to finish, taking a worthy page from the tough thrillers of the late ‘60s/early ‘70s. Also available on Blu-ray disc. Bonuses: Featurettes; Trailer. Widescreen. Dolby and DTS-HD 5.1 surround.

I MELT WITH YOU (Magnolia) Four college buddies (Thomas Jane, Jeremy Piven, Rob Lowe, Christian McKay) meet up for a weekend reunion of debauchery, reminiscing, and the fulfillment of a late-adolescent oath with the darkest implications. Director/co-writer Mark Pellington (who penned the script with Glenn Porter) have fashioned one of the best Generation X films yet, with the four characters each embodying an archetype of the era. Only in the film’s final act do things unravel, particularly when the criminally-underused Carla Gugino appears, miscast as a local sheriff. Overall quite powerful, extremely sobering and well worth seeing, with the four leads delivering some of the finest work of their careers. Also available on Blu-ray disc. Bonuses: Commentary by cast and crew; Deleted scenes; Featurettes; Interviews with cast members; Photo and poster galleries; Trailers. Widescreen. Dolby and DTS-HD 5.1 surround.

MOZART’S SISTER (Music Box Films) Lush period piece details the life of Maria Anna “Nannerl” Mozart, older sister to Wolfgang Amadeus, who was a musical prodigy in her own right, and trained under the strict guidance of her father (Marc Barbe). As Nannerl slowly gives the spotlight over to her younger brother, she realizes the limitations imposed by the times on her gender, and uses her friendship with the children of Louis XV to challenge the morays of the day. Fine performances, beautifully shot, and a worthy companion piece to Milos Forman’s multi-Oscar-winning Amadeus. Widescreen. Dolby 5.1 surround.

THE REBOUND (20th Century Fox) Catherine Zeta-Jones stars as a wife who leaves her cheating husband and moves herself and the kids to the Big Apple for a New Life. When she needs a babysitter, she turns to handsome, and much younger, barista Aram (Justin Bartha). Before you can say “May/December,” the sparks start to fly. Predictable in the extreme, but also very well-executed across the board. Zeta-Jones and Bartha have terrific chemistry and writer/director Bart Freundlich delivers the rom-com goods in spades. Bonuses: Featurettes. Widescreen. Dolby and DTS-HD 5.1 surround.

THE CATECHISM CATACLYSM (IFC Films) Father Billy (Steve Little), an eccentric young priest, is forced to take a sabbatical after getting caught telling inappropriate parables to his flock. After tracking down an old high school buddy (Robert Longstreet), the two go on a canoe trip that goes horribly awry. Not much plot to speak of, but works quite well as a vehicle for Little to go off in (what seems like) inspired fits of improvisation. Not for every taste, but for those who like their humor left of center, this won’t disappoint. Bonuses: Commentary by Little, Longstreet, director Todd Rohal; Short film; Outtakes; Trailers. Widescreen. Dolby 5.1 surround.

THE MYTH OF THE AMERICAN SLEEPOVER (IFC Films) Earnest “last night of summer” period teen drama about kids in a cloistered Michigan suburb navigating the delicate boundary between adolescence and adulthood. A cast of unknowns (mostly) shine in editor-turned-writer/director David Robert Mitchell’s story that feels quite authentic, but equally much ado about nothing for those of us who navigated those waters long ago. Sure to hit home with teens and twenty-somethings, however. Bonuses: Trailer. Widescreen. Dolby 5.1 surround.

WAR OF THE ARROWS (Well Go USA) The highest-grossing epic in the history of Korean cinema, this eye-popping period piece is set in the 17th century, telling the story of two siblings, children of a loyal solider, wrongly executed for crimes he didn’t commit. After being raised by a family friend, the brother and sister vow revenge and go on to lead a brutal invasion against the king, in what became known as “the second Manchu invasion of Korea.” Stunning period detail and battle scenes are just a couple reasons to spend an evening with this magnificent piece of pure cinema. Also available on Blu-ray disc. Widescreen. Dolby and DTS-HD 5.1 surround.

MARTHA MARCY MAY MARLENE (20th Century Fox) A young woman (Elizabeth Olsen), searching for an identity, joins a cult led by a charismatic drifter (John Hawkes, excellent) whose seemingly-benign nature hides a darker side. After breaking ties with the group, the woman moves in with her older sister (Sarah Paulson) and brother-in-law (Hugh Dancy), only to find the traumatic events from her past playing havoc with her present life. Olsen, in her feature debut, is a major talent and carries the film well, appearing in virtually every scene. The film itself, in spite of many powerful moments, never completely gels and feels almost unfinished after a less-than-satisfactory denouement. Still worth seeing for some terrific performances. Also available on Blu-ray disc. Bonuses: Featurettes; Music video by Hawkes. Widescreen. Dolby and DTS-HD 5.1 surround.

LETTER NEVER SENT (Criterion) Mikhail Kalatoznov, the renowned director of I Am Cuba, helmed this 1959 under-seen masterpiece that was rescued and restored by Francis Coppola in 1995. Four members of a geological expedition are stranded in the bleak, unforgiving Siberian wilderness during a hunt for priceless diamonds. The dialogue is minimal, as are the characterizations (which was intentional) in this grand man vs. nature tale that contains some of the most striking and startling images ever put to film, courtesy Kalatoznov’s frequent collaborator Sergei Urusevsky. Beautifully restored, and a must-see for all true cinefiles. Also available on Blu-ray disc. Bonuses: Booklet with essay by film scholar Dina Iordanova. Full screen. Dolby 1.0 mono.

LONDON RIVER (Cinema Libre Studio) Brenda Blethyn stars as a woman from the country who journeys to London on the day of the July 7th 2005 terrorist attacks. When she fails to hear from her daughter after the bombings, she fears the worst and prophetically keeps crossing paths with a West African Muslim man (Sotigui Kouyate) who has come from France to find his missing son. Stirring, powerful drama of opposites attracting and the dissolution of cultural clashes during times of crisis. Widescreen. Dolby 2.0 mono.

MELANCHOLIA (Sony) Lars Von Trier’s latest brain twister stars Kirsten Dunst as a newlywed who finds her joyous occasion overshadowed by old family tensions and resentments, along with the fact that a planet called Melancholia is heading on a collision course for Earth. Like all Von Trier’s films, this is a visually-arresting, albeit overly metaphorical exercise that feels like a beautifully-made graduate student thesis. The all-star cast (Dunst, Alexander Skarsgard, Charlotte Rampling, Charlotte Gainsbourg, John Hurt, Kiefer Sutherland) all have stellar moments, but how you respond to the film will depend on how you have digested Von Trier’s material in the past. Fans are sure to come away pleased, while those that aren’t are in for an interminable experience. Also available on Blu-ray disc. Bonuses: Featurettes; Trailers. Widescreen. Dolby and DTS-HD 5.1 surround.

ROADIE (Magnolia) Jimmy (Ron Eldard) has been a long-time roadie for legendary rockers Blue Oyster Cult, but finds himself fired by the band. Returning home to Queens with his tail between his legs, he visits his ailing mother and reconnects with some old high school buddies. Co-writer/director Michael Cuesta, who scored a big indie hit with L.I.E. a decade ago, revisits similar territory here, exploring the lives of disaffected suburbanites for whom the American dream has remained elusive. Full of honest, darkly humorous moments, but also wildly uneven, with an equal number of scenes that fall flat. Game cast includes Jill Hennessy, Bobby Cannavale and vet Lois Smith. Bonuses: Featurette; Photo gallery. Also available on Blu-ray disc. Widescreen. Dolby and DTS-HD 5.1 surround.

A LONELY PLACE TO DIE (IFC Films) A group of climbers in the Scottish Highlands stumble across a little Serbian girl, the victim of kidnappers, who are close by. When they try to spirit the girl to safety, they quickly find themselves targeted not only by the villains who snatched the girl, but by a team of crack mercenaries hired by the girl’s father to bring her home and dispatch anyone who gets in the way. Pulse-pounding tension from start to finish marks this fine thriller, a no-frills, low-tech breath of fresh air. Fine Turns from Melissa George, Ed Speelers, Sean Harris, Karel Roden and Alec Newman. Also available on Blu-ray disc. Bonuses: Trailer. Widescreen. Dolby and DTS-HD 5.1 surround.

HOUSE OF PLEASURES (IFC Films) Stirring tale set in a 19th century French bordello, focusing on the intimate camaraderie between the working girls who keep the house running, all of whom are kept in virtual slavery by their iron-handed madam. Both a strong personal drama as well as a political allegory, the film recalls some of the best work of French masters such as Louis Malle. Bonuses: Featurettes; Trailer. Widescreen. Dolby 5.1 surround.

BLU BAYOU

Criterion leads the pack this month with the BD release of Martin Scorsese’s controversial THE LAST TEMPTATION OF CHIRST. Willem Dafoe stars in the titular role as an all-too-human interpretation of Jesus, portrayed as a radical, uncompromising thinker who was tempted by lust, power, and even an urge to lose his faith. Stirring adaptation of Nikos Kazantzakis’ novel features some of Scorsese’s best work behind the camera, as well as stellar turns from Barbara Hershey, Harvey Keitel, Harry Dean Stanton, and David Bowie as Pontius Pilate. Bonuses include: Commentary by Scorsese, Dafoe, writers Paul Schrader and Jay Cocks; Photo galleries; Location production footage shot by Scorsese; Interview with composer Peter Gabriel. Widescreen. DTS-HD 5.1 surround.

Palisades Tartan releases THE TRIAD TRILOGY, Hong Kong director Johnnie To’s stylistic organized crime tales, comprised of ELECTION, where competing Triad clans vie for the position of chairman; TRIAD ELECTION follows the trials and tribulations of a rising Triad Lieutenant who wants to go clean, but must work with the government to clean up corruption before he’s allowed to go straight; TRIAD UNDERWORLD tells the story of a mob boss who, on the eve of his son’s birth, learns that an assassin will kill him in the next 12 hours. Refusing to leave his son’s side, he readies himself for what may be his last stand. All three films are filled with dazzling gunfights, fistfights and cinematic pyrotechnics that have become both To’s signature, and that of Hong Kong cinema. Dynamite! Widescreen. DTS-HD 5.1 surround.

Blue Underground releases the infamous giallo, STRIP NUDE FOR YOUR KILLER, an as-promised gleeful sleazefest about a motorcycle helmet-wearing killer who is systematically bumping off people involved in the death of a Milanese fashion model who succumbed to a back alley abortion. Giallo queen Edwige Fenech stars as the gorgeous model who launches her own investigation into the murders. Lots of stripping, lots of nudity and lots of killing fill this celebration of political incorrectness. Sure to please fans of the genre. Bonuses: Interviews with cast and crew; Trailers; Poster and still gallery. Widescreen. DTS-HD 2.0 mono.

DON’T TOUCH THAT DIAL!

PBS leads the charge this month with a host of titles: AMERICA GOES TO WAR is a two-disc look at WW II, loaded with rare newsreels, propaganda documentaries, cartoons and humor. A unique look at an often-covered period in history.
RACCOON NATION takes a look at how the small beasts roost in cities, particularly in Toronto, known as “the raccoon capital of the world.” Watch as scientists track a family of raccoons for six months in and around the city, and get an amazing lesson in animal sociology. Also available on Blu-ray disc.
FORTRESS OF THE BEARS takes a look at southwestern Alaska’s Admiralty Island, which supports the largest population of brown bears in the world. Filmmakers follow the struggle of one mother bear’s effort to raise three cubs amidst climate change. Beautifully shot. Also available on Blu-ray disc.
CLINTON is a stirring, 4 hour documentary about Bill Clinton’s life and legacy before, during and after his presidency. Warts-and-all portrait pulls no punches in detailing the president’s shortcomings as both a politician and a man, but also gives an in-depth look into the monumental achievements of Clinton himself and his administration during his two terms in office. Hilary Clinton is given much screen time, as well. Narrated by Campbell Scott. Also available on Blu-ray disc.
FAR FROM THE MADDING CROWD is a Masterpiece Theater adaptation of Thomas Hardy’s novel about headstrong heroine Bathsheba Everdene (Paloma Baeza) who draws the amorous attentions of two wildly different suitors: the unassuming Mr. Boldwood (Nigel Terry) and dashing soldier Frank Troy (Jonathan Firth). Nicely captures the period and filled with fine turns from an impeccable cast.
THE INTERRUPTERS was helmed by Oscar-winning director Steve James (Hoop Dreams) and bestselling author Alex Kotlowitz, taking an unflinching look at the violence that plagues our inner cities. Three people: Ameena, Eddie and Cobe are followed by cameras over the course of a year, documenting their struggles to stay on the straight and narrow and avoid violence at all costs. Sobering and downright depressing at times, but also completely riveting. Also available on Blu-ray disc.
BILLY THE KID tells the oft-mistold tale of William Bonney, aka Billy the Kid, who cut a swath of violence in the old west as one of the era’s most notorious outlaws and killers. Perhaps the first anti-hero of pop culture, Bonney’s story is far more complex than most novels, movies and television shows have portrayed.
THE LONG WALK OF NELSON MANDELA takes an in-depth look at the iconic South African leader and statesman, from his early years to his 27 years in prison, to his figurative resurrection as the leader of the new, post-Apartheid South Africa. Loaded with archival footage, interviews with friends and confidantes, and memorable conversations with the man himself.
THE AMISH examines the legacy and beliefs of the 500 year-old insular religious community, beginning with the infamous 2006 massacre in an Amish schoolhouse by a gunman who then took his own life, only to be forgiven by the community’s leaders hours later. Fascinating look into a rarely-seen subculture that shines light on previously unknown territory. Also available on Blu-ray disc.
LINCOLN’S SECRET WEAPON takes a look at the Union warship USS Monitor, the first iron-clad military seafaring vessel, which also boasted a revolving gun turret and submerged hull, helping to ensure the Union’s victory in the Civil War. Today the Monitor sits in a watery grave, where it sank after less than a year of active duty, off North Carolina’s Cape Hatteras. Watch as an elite team of Navy divers scours the wreck for artifacts of American and Naval history, and much more.
MYSTERY OF A MASTERPIECE examines the forensics of fine art, as a Renaissance era portrait thought to have been painted by Leonardo da Vinci is examined by experts to determine if it is both authentic of its period, as well as of its assumed artist. Spellbinding and quite suspenseful!
KANGAROO MOB tackles the subject of kangaroo migration into some of Australia’s most populous cities, which is becoming worse annually after a 15 year drought. Filmmakers follow alpha ‘roo Black Spot and his mate Madge, along with their two young joeys, as they try to make it in the big city. Kids especially are sure to get a kick out of this one. Also available on Blu-ray disc. All of the above are widescreen, Dolby 2.0 stereo and 5.1 surround.
History/A&E releases HISTORY OF THE WORLD IN TWO HOURS is a landmark television special that cuts 13.7 billion years of history down to just two hours, and does so quite beautifully. Find out why your original ancestor is an exploding star, how your handheld device holds a Stone Age secret, and why your fast-paced modern lifestyle originated from seeds planted over 10,000 years ago. Amazing, rapid-fire view of history, unlike anything you’ve seen before. Widescreen. Dolby 2.0 stereo.
TITANIC: THE COMPLETE STORY is a two-disc set featuring three feature-length programs about the ill-fated luxury liner: “Death of a Dream” looks at the origins and ultimate fate of the largest ship ever built. “The Legend Lives On” tells the story of the watery fates of the 1500 passengers who went down with the Titanic into the Atlantic’s icy waters, as well as the deep sea expedition to find the ship’s wreckage years later. “Titanic’s Achilles Heel” follows the elite divers who explore the theory that Titanic may have had a fatal design flaw. Widescreen. Dolby 2.0 stereo.

DOCUMENTARY DAYS

Cinema Libre Studios releases NO SUBTITLES NECESSARY: LASZLO & VILMOS an intimate look at the friendship between legendary cinematographers Laszlo Kovacs and Vilmos Zsigmond, who escaped Hungary together during the revolution of 1956 and went on to photograph some of the most renowned films of the 1960s and ‘70s, including Easy Rider, Deliverance, McCabe &Mrs. Miller, Five Easy Pieces, and many more. Loaded with film clips and interviews with the Easy Riders and Raging Bulls generation’s biggest names: Dennis Hopper, Peter Fonda, Robert Altman, Karen Black, Bob Rafelson, Peter Bogdanovich and others. Terrific fun and quite touching. Bonuses: Featurettes, including a tribute to Dennis Hopper, master classes with Black and Rafelson and a bonus interview with Bogdanovich. Widescreen. Dolby 2.0 surround.
A SECOND KNOCK AT THE DOOR offers a rare glimpse into the lives of military families dealing with the loss of loved ones to friendly fire. Through interviews and investigative reports, the film explores key incidents that forces families of the fallen to seek out the truth of what happened after the military attempted to cover up the truth. Powerful stuff, with both sides of the story explored with equal objectivity. Bonuses: Featurettes; Interviews with filmmakers. Widescreen. Dolby 2.0 mono.
SHADOW OF AFGHANISTAN 1959-2012 is an epic look inside Afghanistan through the eyes of an Afghan warrior, independent filmmakers and a small group of independent journalists. This is not the country or the war you see covered on the evening news, and covers the country’s tragic, violent history from its attempted westernization during the 1950s and ‘60s, to the Soviet Occupation of the 1980s, to the death of Osama Bin Laden. Not for the faint of heart, but an important document which should be viewed by all who are truly interested in “why we fight.” Bonuses: Featurettes; Music video; Deleted scene. Full screen. Dolby 2.0 mono.

Criterion releases Chris Hegedus and D.A. Pennebaker’s THE WAR ROOM, a fly-on-the-wall study of the 1992 presidential campaign of Bill Clinton. Granted behind closed doors access to virtually all of the campaign’s vital moments, the film made stars out of two young political consultants: James Carville and George Stephanopoulos. Fascinating mixture of kinetic energy and history unfolding before our eyes, another documentary classic from Pennebaker, who previously helmed 1967’s Bob Dylan: Don’t Look Back. Also available on Blu-ray disc. Bonuses: Sequel from 2008 Return of the War Room; Featurettes; Panel discussion featuring Carville, Vernon Jordan, journalist Ron Brownstein and Bill Clinton; Interview with strategist Stanley Greenberg. Full screen. Dolby 2.0 surround.

DINOSAUR JR. LIVE AT 9:30 CLUB (MVD) Dave Markey helmed this record of an intimate concert given by Dinosaur Jr. for six fans, who also filmed the proceedings. Features some of the band’s biggest hits, including “Freak Scene,” “Let it Ride,” “Pond Song,” and more. Also available on Blu-ray disc. Bonuses: Interview with Henry Rollins; Interviews with the fans; Featurettes; Bonus live footage. Widescreen. Dolby and DTS-HD surround.

NEW YORK GIANTS SUPER BOWL XLVI CHAMPIONS (Vivendi) offers a vivid look at the dark horse Super Bowl champs’ amazing comeback to take the Vince Lombardi Trophy back to New York. Loaded with game highlights, interviews with players, coaches and the fans who helped make it all possible. A must-have for all die hard Giants’ fans! Also available on Blu-ray disc. Bonuses: Featurettes. Widescreen. Dolby 5.1 surround.

FELIPE ESPARZA: THEY’RE NOT GONNA LAUGH AT YOU (eOne) Very funny record of stand-up comic Felipe Esparza’s one-hour debut special, where he takes us through diverse topics such as Latin stereotypes, illegal immigrants in Minnesota, and the battle of the sexes. Very funny stuff! Widescreen. Dolby 2.0 stereo.

THE PHANTOM OF THE OPERA AT THE ROYAL ALBERT HALL (Universal) In celebration of the 25th anniversary of Andrew Lloyd Weber’s classic musical, Cameron Mackintosh produced a unique, spectacular staging, the likes of which had never been seen before. One of the best-filmed records of a stage production ever produced, with cinematic quality from the first frame to the final fade out. You almost feel like you’re in the Albert Hall, sixth row center, watching the spectacular proceedings! Also available on Blu-ray disc. Widescreen. Dolby and DTS-HD 5.1 surround.

FROM STRAIGHT TO BIZARRE: ZAPPA, CAPTAIN BEEFHEART, ALICE COOPER AND LA’S LUNATIC FRINGE (Sexy Beast) Fascinating look at the late ‘60s progressive rock scene in Los Angeles, which was headlines by some acts that would become legends (Frank Zappa, Alice Cooper, Tim Buckley, Captain Beefheart) and some amazing bands that came and went with the wind (the all-girl GTOs, acapella gospel collective The Persuasions, and more. Amazing archival footage, beautifully restored audio and video, along with more recent interviews with the players, the groupies and the fans, shed light on this amazing moment in pop culture. Full screen. Dolby 2.0 stereo.

FOR THE YOUNG ‘UNS

JUSTICE LEAGUE DOOM (Warner Bros.) Top-drawer animated effort finds Batman at odds with the Justice League, purportedly composed of the world’s greatest super hero crime fighters, but suspected by the Dark Knight of harboring darker ambitions of a Fascist nature. When the JL’s top secret files are compromised by a rising group of super villains the JL embarks on a collision course that will test the very fabric of its alliance with the people they’re supposed to be protecting. Smart, very dark drama/adventure is sure to please both parents and sophisticated kids, but do take the PG-13 rating seriously, please. Fine voice work from Kevin Conroy, Tim Daly, and Nathan Fillion. Bonuses: Preview of DC’s next animated movie, Superman vs. the Elite. Widescreen. Dolby 5.1 surround.

WALLACE & GROMIT’S WORLD OF INVENTION (Lionsgate) Six-part series with beloved characters Wallace and Gromit introducing profiles of real-life groundbreaking inventions and innovations and the people who made them possible. Terrific blend of entertainment and education that should fascinate kids and parents alike. Also available on Blu-ray disc. Bonuses: Featurettes. Widescreen. Dolby and DTS-HD 5.1 surround.

Vivendi releases NEVERLAND, an eye-popping, made for TV prequel to Peter Pan where we follow Peter (Charlie Rowe) and his gang of misfits as they are mysteriously transported to a magical world of pirates, magical tree spirits, and the budding villain who will one day grow into Captain Hook. Great fun, with a cast that includes Rhys Ifans, Anna Friel, Bob Hoskins and the voice of Keira Knightley. Also available on Blu-ray disc. Bonuses: Commentary by writer/director Nick Willing; Featurettes. Widescreen. Dolby and DTS-HD 5.1 surround.

Scholastic/New Video releases STELLALUNA, based on the beloved children’s book about a young fruit bat who finds friendship, love and acceptance in the most unexpected places. Attractive animation and sweet-natured story should appeal to very small children, although older ones will find it a bit simplistic. Bonuses: Sing-along; Read-along feature. Full screen. Dolby 5.1 surround.
THE VALENTINE’S COLLECTION features five Valentine’s Day-themed stories based on award-winning children’s stories: “One Zillion Valentines,” “A Letter to Amy,” “Wilfred Gordon McDonald Partridge,” “Will I Have a Friend,” and “Goggles!” Good fun for preschoolers. Bonuses: Read-along feature. Full screen. Dolby 2.0 mono.
Paramount/Nickelodeon release DANCE TO THE MUSIC, offering over two hours of music-filled episodes from Nickelodeon’s most beloved series, including Dora the Explorer, Go Diego Go, and Wonder Pets. Bonuses: Sing-along music videos. Full screen. Dolby 2.0 stereo.
20th Century Fox releases three titles in the LITTLE ANGELS series, executive produced by actress Roma Downey. The three titles: LITTLE ANGELS 123’s, ANIMALS and ABC’s are faith-based educational stories designed for pre-school aged children. Bonuses: Featurettes; Music videos; Downloadable activity sheets. Full screen. Dolby 2.0 stereo.

PBS Kids releases WORD GIRL: THE RISE OF MISS POWER, an animated, educational super hero tale starring Word Girl and her sidekick Captain Huggy Face who fight the good fight against bad vocabulary in a collection of two stories, including the aforementioned title, as well as “A World Without Wondergirl.” Good for preschoolers and early grade schoolers. Bonuses: Interactive games; Video shorts; Coloring pages. Widescreen. Dolby 2.0 stereo.
ARTHUR’S TRAVEL ADVENTURES features eight “Arthur” adventures, based on the best-selling book series by Marc Brown, starring the world’s most famous aardvark. The stories are: “D.W. Goes to Washington,” “Arthur Goes to Camp,” “Arthur’s Family Vacation,” “Grandpa Dave’s Old Country Farm,” and “The Shore Thing.” Fun for the whole family! Bonuses: Downloadable coloring pages. Full screen. Dolby 2.0 stereo.
Two titles in the PEEP AND THE BIG WIDE WORLD series are released: BRINGING SPRING and FINDERS, KEEPERS, both following a newly-hatched chicken named Peep and his friends Chirp and Quack on their daily adventures. Eight stories on each disc, aimed at preschoolers. Narrated by Joan Cusack. Winner of the Emmy for Outstanding Children’s Animated Program. Full screen. Dolby 2.0 stereo.

From Cell to Screen: The Story of Mumia Abu-Jamal, Long Distance Revolutionary

2012-03-02T11:20:00.000-08:00

Mumia Abu-Jamal

By Alex Simon

"Wrapped in the sweet, false escape of dreams, I hear the unmistakable sounds of meat being beaten by blackjack, of bootfalls, yells, curses; and it merges into the mind's movie-making machine, evoking distant memories of some of the Philadelphia Police Department's greatest hits--on me. "Get off that man, you fat, greasy, racist, redneck pig bitch muthafucka!" My tired eyes snap open; the cracks, thuds, "oofs!" come in all too clear. Damn. No dream. Another dawn, another beating on B-Block, another shackled inmate at Pennsylvania's Huntingdon prison pummeled into the concrete by a squadron of guards." -Mumia Abu-Jamal "B-Block Days & Nightmares"

Stephen Vittoria is that rare commodity in Hollywood today: a filmmaker with a conscience. To be more precise, a filmmaker with a strong political conscience. After making two feature films, Black and White (aka Lou, Pat & Joe D., 1987) and Hollywood Boulevard (1996), as well as three feature documentaries: Save Your Life--The Life and Holistic Times of Dr. Richard Schulze (1998), Keeper of the Flame (2005) and the award-winning art house hit One Bright Shining Moment: The Forgotten Summer of George McGovern (2005), a portrait of the South Dakota senator who tried to unseat Richard Nixon from the White House in 1972.

For his latest exploration into America's socio-political landscape, Vittoria joins forces with radio producer Noelle Hanrahan to bring Long Distance Revolutionary: A Journey with Mumia Abu-Jamal to the screen. Born Wesley Cook in Philadelphia, Abu-Jamal made his name as a tireless writer and journalist during the racially-charged 1970s that often portrayed the City of Brotherly Love as anything but. With his intense coverage of the M.O.V.E. organization, a black empowerment group whose ongoing battle with the police and city hall came to a fiery end in 1985, Abu-Jamal become a constant thorn in the side of the city's powerful establishment. Things came to a sudden head for Abu-Jamal himself on the evening of December 9, 1981 when he was accused of murdering a Philadelphia police officer. He received a death sentence the following year, and has been on Pennsylvania's death row until early this year, when his death sentence was commuted to a life sentence in December, 2011. Abu-Jamal's case remains one of the most controversial and heatedly debated in American legal history, with participants on both sides either protesting his innocence in the murder of Officer Daniel Faulkner or his absolute guilt with equal passion and more often, great vehemence.

Abu-Jamal's exile behind prison bars did anything but silence him, but caused his voice to become more widespread as a result of his incarceration, which is how Noelle Hanrahan originally met the man whom she now considers a close friend. In 1992 while producing Pacifica Radio's award winning national coverage of the first execution in California in twenty-five years (Robert Alton Harris), Ms. Hanrahan discovered Mumia Abu-Jamal's work. Although a national reporter for NPR prior to incarceration, Abu-Jamal had not recorded for broadcast since his arrest in 1981. In July of 1992 Hanrahan traveled to Pennsylvania's Huntingdon State Prison and death row to record Mumia Abu-Jamal's first recordings in more than a decade. Once again, his voice reached a national audience.

The film features appearances from a disparate group of Mumia supporters, including Dr. Cornel West, Alice Walker, Angela Davis, Rubin Hurricane Carter, Tariq Ali, Ruby Dee, Dick Gregory, Peter Coyote, Giancarlo Esposito, M-1, and Amy Goodman. Eddie Vedder sings "Society." Long Distance Revolutionary is produced by Katyana Farzanrad, Noelle Hanrahan, and Stephen Vittoria and is
written, directed, and edited by Stephen Vittoria.

Stephen Vittoria and Noelle Hanrahan sat down to discuss Long Distance Revolutionary, which is headed for major film festivals this spring.

How was this film brought to life?

Stephen Vittoria: You wake up in the morning and you realize that the insanity of Manifest Destiny is still alive and well, complete with the slaughter and economic rape courtesy of The Empire. So as a storyteller, you look for an antidote and for me that antidote was the literary work of Mumia Abu-Jamal. As a filmmaker , you feel the need to search for some sanity that might counterbalance some of the murder and mayhem. And the irony of it is here's a political prisoner who is writing, creating amazing pieces of political literature and revolutionary work from a dark, dank hole on death row. In the film, the celebrated activist Dick Gregory talks about how years from now, historians are going to talk about how Mumia was, in fact, the voice of America, because up until now, the voice of America has been a fraud, a fraud to its own myths of liberty, of justice and of freedom. For me, Mumia is the great equalizer to the gibberish emanating out of Washington. That was the essence of the film for me. And the more I tunneled into his work, his writing and his life, the more of a joy it was to make this film. In many ways, Mumia's writing and revolutionary thought reminds us of a 20th and 21st century Frederick Douglass.

Stephen Vittoria

Prior to becoming aware of Mumia, was there a person, or group of people, whom you believed to be the "voice of America" who turned out to be false prophets?

SV: You mean besides the pantheon of so-called American heroes? It was always such a negative search, I never found anyone I gravitated toward or turned me on enough. As a teenager and because of the murder spree in Southeast Asia, George McGovern turned me on a lot, which is part of the reason I made a film about him and wanted to challenge the prevailing thought that he was a loser, which he most certainly was not. But McGovern later in my life didn't have the gravitas as a revolutionary thinker and revolutionary person, which is what this corrupt system needs to turn it around, instead of the same milquetoast bullshit we've been getting for years, especially from the alleged liberals of this country. Phil Ochs wrote a song years ago called "Love Me, I'm a Liberal," which sums that all up for me.

Remember what Phil said on his infamous "Gold Suit Tour" in '72: "What the country needs right now is a combination of Elvis Presley and Che Guevara"?

SV: (laughs) And I think Mumia might be just that.

Do you see Mumia's background being a major factor in terms of why he's on death row, as opposed to writing for The New York Times, or serving in the senate? Did the fact that he was born poor and black with his amazing intellect doom him in a sense?

Noelle Hanrahan: What kept Mumia Abu-Jamal from having a wider public stage in contemporary America was . He would not, and could not, stray from the truth. We demonstrate many times in this movie the American media did not want to hear this alternative take on American society. Mumia was doggedly determined to tell his own story. He just told the truth, whether he was interviewing Jimmy Carter, members of congress, or local officials. It cost him a lot in terms of losing jobs before he went to prison and after he went to prison, his material was so good, it was chosen by NPR to be featured regularly as a national commentator. Bob Dole got up on the senate floor and told NPR that if they ever considered doing something like that again, he'd go after their funding.

SV: In fact, in the film, historian Tariq Ali says that "they have moved heaven and earth to silence Mumia in this country." It's one reason he's much more well-known overseas, especially in Europe, than he is here.

NH: Whenever Mumia reaches a mainstream media source in this country, be it Vanity Fair, "20/20," HBO, NPR, even when we reached Pacifica Radio, they lost something like 2/3 of their stations after they broadcast Mumia's commentaries. So Mumia really hits a nerve. He spoke about and exposed, first-hand, the rise of this incarceration nation, this culture of incarcerating more people than any other western nation right now. That one in forty-seven Americans will do time in their lifetime. That there are more black men in prison than there were during slavery. That's what Mumia was saying from death row, for National Public Radio and what the mainstream did not want to hear.

Before he was arrested, Mumia was already being extremely inflammatory from the POV of the establishment, in terms of the material he covered. What were some of the issues he tackled as a member of the media that scared people so much?

NH: Here's a perfect example: Mumia was in the audience at a press conference, and asked Jimmy Carter some very straightforward questions about Three Mile Island and other things. Mumia's news director came up to him and was furious. A few moments later, they're riding down in the elevator with President Carter, who turned to Mumia and said "Young man, you asked some very intelligent and probing questions. Thank you." They got off the elevator, and the news director turned to Mumia and said "The president just saved your job." Another example, Mumia wanted to do a story about gentrification, about areas where black families still couldn't buy homes in an area of Philadelphia. He couldn't get the editor to do the story. He was just pushing the boundaries they didn't want covered.

SV: He also conducted some great interviews with people like Bob Marley, Dr. J., various theater groups and music acts...covered the Phillies winning the World Series in 1980. He did a lot of mainstream things. In '79, the Pope came to Philly, and Mumia along with other staffers at the NPR affiliate did a story on the visit that won them an Armstrong Award from Columbia University as one of the best pieces of the year.

NH: Yeah, they went to a black barbershop in Philadelphia and talked to the people about what the Pope's visit meant to them.

SV: I think his coverage of MOVE were the stories that caused him the most grief with the mainstream media in Philly, who as journalist Linn Washington says in our film "were lapdogs then as they are now."

Much like the Black Panthers, MOVE was portrayed in the mainstream media as a group dim-witted, Cro-Magnon thugs bent on the violent overthrow of white America, when in fact they were high-functioning intellectuals who had some very lofty, and humanistic, goals and ambitions. They just wanted to be left alone.

SV: I think that's the case and I think the Philadelphia media, who were in bed with (former mayor and police commissioner) Frank Rizzo and his administration in '78 and later on with (former mayor) Wilson Goode in '85. And Mumia was a thorn in the establishment's side... they didn't want anyone giving a voice to this so-called radical organization. But who's more radical? A back to nature group of citizens or a city government that decides to bomb and exterminate their own people - as the Philadelphia Police Department did in 1985 along with the help of the FBI. And Mumia was crucified by the local media for simply covering the other side. To me, that's not inflammatory or radical. That's just good, solid journalism.

Noelle Hanrahan

Things came to a head for Mumia one night in December of 1981. Can we talk about what the record says happened, then what he and his defenders say happened?

NH: I think every murder is really complicated. It's really hard to ever determine what really happened. What we do know happened is that Mumia was shot along with a Philadelphia police officer, who was killed. We know that the police immediately grabbed Mumia and started framing him for the murder. I think it was clear from the record, both the current record and the original investigation, that there are serious questions about how the police handled Mumia, the crime scene and the witnesses. There are many contradictions that still haven't been addressed. Even though it's thirty years later, the courts and the Philadelphia courts and the D.A. have been very quick to stop any efforts for Mumia obtaining new evidence for an appeal. The judge who presided over the original case, Albert Sabo, was overheard by a courtroom clerk saying that he "wanted to help them fry the nigger." So this is the kind of situation Mumia faced. He went to trial within six months. He was sentenced to death over the July fourth weekend. They were holding the jury and told them they needed to come back with a verdict or they'd be sequestered for the entire weekend. So there are many, many questions as to whether he received a fair trial.

Since being incarcerated, he's almost developed a new voice.

SV: I think many people believe he found his voice after he was incarcerated. But if you look into the history of his life, the real history of his life, you'll find that his voice started to resonate long before he was ever incarcerated in 1982. When he was fourteen, fifteen years old, he became a writer for the Black Panther Party, left high school, travelled the country and was writing very serious pieces for the Black Panther newspaper. He absorbed a crash course in journalism from some very important mentors and before long he was contributing to a paper that was selling 250,000 copies per week, around the world, while he was still a teenager. So his voice, back in the late '60s and early '70s, wasn't really that different from his analysis today, except of course for his prose which is obviously more sophisticated now that he's in his late fifties.

SV: There are probably people out there who will say "Who the hell cares about hearing voices from behind prison walls?" I'd argue that we have an entire nation behind prison walls right now. From 1776-1992, the United States incarcerated one million people. From '92 to 2000, the U.S. incarcerated another million people. We literally have a nation behind bars - Mumia calls it the "prisonhouse of nations," and he's been this important voice exposing what the government is trying to pull off.

NH: And you can't say that what happens on the inside doesn't affect the outside. California spends more on incarceration than it does on its schools. It has a direct public policy impact. Whether it's a way to control voting rolls, because convicted felons can't vote in most states, whether it's the controlling of the unpaid labor force, whether it's a stop-gap valve for issues to do with employment, I'm not sure what all the economic reasons are behind it, but the mainstream media has not stepped up to address this crisis.

NH: We just recorded an amazing interview with Mumia this morning. He has been taken off death row, and put into the general population for a life sentence because his death sentence was overturned. He wrote a letter back to the death row inmates, talking to them in a really personal way, about how he missed them and how in their light and humanity, they were more than just "death row." He encouraged them to open their minds, and to study and to learn and to acknowledge that enough people have turned their lives around inside through education. Mumia, for example, is conversational in Spanish and German and fluent in French. He also taught himself to read music. He's got a five-octave range.

SV: When we talk about him finding his voice, from 1992 until now, the man has written and published seven critically-acclaimed books from death row. He has broadcasted more than two thousand essays from inside his cell, solitary confinement. He is handed a telephone, and from a hand-written pad of paper, usually in one take, he reads his essays. For years, he was only allowed to use the inside of a ballpoint pen, because the prison authorities were afraid he could use the hard plastic shell as a weapon.

NH: And all of his books were written by hand, except his last one, when he was finally allowed to have a plastic typewriter.

There's an old saying that there are no guilty men in prison. Everyone maintains their innocence. For many people, all they're going to see when they look at Mumia is a man who was lawfully convicted in a court of law for one of the most heinous crimes on the books: the murder of a police officer. What do you say to those people?

NH: The American justice system has an incredible ability to convict the innocent. That's been exposed in detail over the past several years, most particularly in Illinois, when a journalism class, I believe from Northwestern University, investigated the cases of all the inmates on a state prison's death row, and based on their findings, fully half of those convictions were exonerated. That, plus the DNA projects, The Innocence Project, have shown that innocence issues are a huge structural problem in many states. I also wonder at some level if the American public is paying enough attention. Are they recognizing what's happening to themselves, even? The structure of the American criminal justice system is criminalgenic: it creates crime. There are things that people believe about the Constitution that are just not true. 90% of all crimes are pled, not taken to trial. That kind of pressure on the system, isn't about the weighing of justice, it's about creating a culture of incarceration.

Again, is it a matter of social class and race more than anything?

NH: I think so. I can find as many criminals and sociopaths on the campus of Stanford University as I can on a street corner in Philadelphia. There are only certain people who go to prison. You have to be a certain class and a certain type. And you get a gold card to get out if you have connections. I think at every moment, the color of your skin and your social class can determine if you finish high school and go to college, or whether or not you go to prison. At this point, in our culture, to have an expectation that one out of three young black men will end up in prison is obscene. I can't live in a culture like that unless I can do what I do, which is broadcast Mumia's voice and create an anecdote to this dream state that the rest of the country seems to be in.

On the flip side, there have been many cases of real animals being let out of jail on a technicality and then go out to commit more heinous crimes. So what would you say to a person like Bob Dole, who is always going to support the system, and for whom the system has always worked, unlike someone from Mumia's background, in arguing that sometimes the system makes mistakes.

NH: What I would say to Bob Dole is that he had a major role in defining American culture by being in the senate, that you need to look at the result of policing policies, that we have become a culture that is extraordinarily violent, that at the same time has a huge prison population, which at the same time is cutting funds for education. This is what Bob Dole should look at, as well as study cultures with less violence, more interest in free medical health care, education and less of an incarceration nation. That, I think, is what our national political leadership should aspire to. For some reason, this one is seriously broken, and he was the head of the whole thing for a long time as Majority Leader.

SV: If ever there was a case with a lot of gray area surrounding what actually went down, it was this case. One of the reasons I structured the narrative the way I did was because I didn't want to make Long Distance Revolutionary about Mumia's case. I wanted to make it about this man's life as a writer, as a public intellectual, and most importantly as a revolutionary. Until he has another chance to make his case in open court on a level playing field, there's really no point in talking about it in the context of a film. It's just too volatile and polarizing. It's kind of like if you make a film about the Israeli/Palestinian conflict, you're just going to have people on opposite sides of the fence hurling rocks at each other. Who the hell wants to watch that?

NH: The case, in many ways, obscures what Mumia is about and why he is such a lightning rod, and the really interesting things he's doing, who he really is.

SV: And it's that very thing which really interested me as a filmmaker. As far as his case goes, I wasn't there. I've heard both sides. The case is completely all over the place. The only thing we really know about the case, what really happened on December 9, 1981 is that this myth of American justice was nowhere to be found. That's the one thing I think we do know. We may not know exactly how the events transpired, but moments after this flashpoint, after Mumia was shot and clinging to his own life, he was beaten senseless by two or three Philadelphia cops, including a Captain. It was an utter and complete sham that the system, which people watch on fairytales like "Law & Order," they think this really exists. It's a con game summed up by the old adage "law is politics by other means." And that's why our film focuses so keenly on Mumia Abu-Jamal as a journalist, writer and revolutionary, because that's the heart of who he is.

What's the genesis of the film's title?

Dr. Cornel West came up with the title while we were filming his interview, so I have to give Brother West props for that. But "Long Distance Revolutionary" refers to a man who in the 1960s, not only cut his teeth and nurtured himself on the revolution that was taking place in the streets, but wholeheartedly believed in all its tenets. Flash- forward to over forty years later and he has never stopped believing, never stopped moving that revolution forward. Let me read you something that Mumia wrote recently. He's talking about the revolutionary movement of the 1960s, be it black or white, but he's talking now to the Occupy movement: "Nor could they imagine you, in their age-leavened arrogance. They thought their generation, the sixties, were the real rebels, even as they are blind to the betrayals that have marked them as enemies to the very thing they fought for as youths."

Is that the main thing you're trying to accomplish with this film, to get Mumia's voice heard on a larger scale?

SV: That and for people to understand for the last thirty years, there has been this myth heaped upon the public about this "deranged cop killer." Glenn Beck called him a "Communist cop killer." This film, not unlike the McGovern film in many ways, goes to great lengths to offer an alternative history of the facts, as if the great Howard Zinn was helping us out along the way... and in the final analysis I think Long Distance Revolutionary does that by not focusing so much on the case itself, but by focusing on the amazing achievements of this man, and his voice, from death row.

Ben Gazzara: 1930-2012 and Remembering Cassavetes

2012-02-03T18:29:00.000-08:00

We're sad to report that actor Ben Gazzara has succumbed to pancreatic cancer at age 81. Over Gazzara's nearly-sixty year career, his greatest screen moments occurred in collaboration with close friend John Cassavetes, along with actors Peter Falk, Seymour Cassel, and Cassavetes' wife Gena Rowlands. With Falk's passing last year and now with Gazzara's, it seems an opportune time to revisit a 2004 chat I had for Venice Magazine with the surviving members of the Cassavetes "company" that coincided with Criterion's release of their "John Cassavetes: Five Films" collection. Cassel was the only member not present during the conversations, which took place in the home that John and Gena shared from 1962 until his death, and which served as a location for many of their films together.

REMEMBERING CASSAVETES:
The Legacy of America’s Most Important Indie Film Pioneer Is Preserved in the Criterion Collection’s New Release John Cassavetes: Five Films
By
Alex Simon

John Cassavetes, while primarily known to most of the public as a veteran character actor, left behind his greatest artistic legacy as an independent filmmaker with a unique voice and vision. This legacy was a small one unfortunately, with John writing and directing only 11 films before his untimely death in 1989 at age 59. The Criterion Collection, regarded by cineastes the world over as the Rolls-Royce of DVD labels, has meticulously restored and released five of John’s most renowned films in a new box set entitled John Cassavetes: Five Films, which was released September 21.

The five films: Shadows (1959), Faces (1968), A Woman Under the Influence (1974), The Killing of a Chinese Bookie (1976), and Opening Night (1977) all illustrate John’s unique capacity for capturing human behavior at its most honest and vulnerable moments. Also featured is Charles Kiselyak’s documentary A Constant Forge, a comprehensive look at Cassavetes’ life, art and career, featuring dozens of candid interviews with John’s friends, family members and colleagues.

Three of John’s closest collaborators: Peter Falk, Ben Gazzara, and his widow/muse Gena Rowlands, sat down with Venice recently to reflect on John’s legacy. Here’s what transpired:

Ben Gazzara was born August 28, 1930 in New York City, the son of Sicilian immigrants. After studies at The Actor’s Studio, Gazzara made a name for himself on Broadway in the original productions of Cat On a Hot Tin Roof and A Hatful of Rain in 1955. Otto Preminger’s Anatomy of a Murder made him a bona fide star in 1959, with his powerful portrayal of a rape suspect on trial.

Gazzara’s first collaboration with John Cassavetes was the 1970 drama Husbands (available on DVD from Sony), in which he co-starred with Cassavetes and Peter Falk in the story of a trio of friends who decide to mourn the death of the fourth member of their group (played by Gena Rowlands' brother, David) with an extended wake that takes them overseas on a wild binge in London. Gazzara followed this with his seminal role in The Killing of a Chinese Bookie, playing Cosmo Vitelli, an L.A. strip club owner in debt to the mob. He also appeared in Cassavetes’ Opening Night the following year.

Gazzara, Falk and Cassavetes remained close friends after the experience of filming Husbands, and formed a tight-knit group much like their characters in that film. Here are some of Mr. Gazzara’s memories and reflections about his time spent with John:

When did you and John first meet?

Ben Gazzara: We were young actors in New York together. We were friendly, would say ‘hi’ to each other, but we were also rivals, up for the same parts and things, so we never became friends at that point. I was doing this TV series here in LA years later called "Run For Your Life," and he was doing a couple pilots over at Universal. I asked him “If they both sell, which show are you going to do?” He said “Neither of them. I don’t worry about that stuff. I’m not doing it for the money. I’m doing it for the raw stock and a hand-held camera, because I’m going to shoot a picture up at my house.” And of course, that was Faces. So, time goes on, and I’m finished with the series, and I saw very little of John, and I’m leaving the studio the day I finished shooting the 86th episode, the final show of my series, and John is driving off the lot. He says “Ben, did Marty (Baum, their agent) tell you?” I said “No, tell me what?” “We’re gonna do a picture together!?” I said “Oh, okay.” I thought, ‘bullshit!’ because you hear that all the time, as an actor. Sure enough, a week later, we go to the old Hamburger Hamlet on the strip, and he tells me I’m going to be the star of Husbands, more or less. He said “I’m going to Europe to shoot this gangster picture (Machine Gun McCain, 1968). I think I can get the money from this Italian producer.” So I said, ‘okay, sure,’ still not quite believing him. I had to go to Czechoslovakia to do a war picture with George Segal and Robert Vaughn (The Bridge at Remagen, 1969), then the day the Russians moved in, that day in August, I get a call from John: “Ben, don’t get killed! I got the money! I got the money to make the picture!” So I went to London, and we started rehearsing Husbands. That was 1968. And for me, it was like getting out of jail. As a young actor, I was in on the creation of projects. My first plays in New York were written around improvisation, which is what I love. Being on the TV series, sure I was making a lot of money, but I was playing the same guy in the same fuckin’ predictable situations. But here, I was free, able to let it go.

Peter Falk, Ben Gazzara and John Cassavetes: Husbands.

Tell us more about the experience of doing Husbands.

Well, John and I became dear, dear friends. We did a couple films together after that and we would’ve done more.

What was the process like, working with John?

A lot of people had the misconception that John improvised his films, which wasn’t true. We rehearsed for two or three weeks before we shot. Occasionally a scene would be completely improvised, but only occasionally. The rehearsal was in order to give the impression of it happening for the first time, and also for the purpose of rewriting. John loved to rewrite on his feet. He’d just tear things apart, and try six, seven different ways of doing things. So by the time you got on the floor, with the camera present, you were pretty secure with where you were. John’s films were made through his actors. He loved being surprised during rehearsals and wanted you find things within yourself that would even surprise you. He wasn’t afraid of taking any trip you wanted to take. The only thing John hated was if you didn’t try, if you didn’t “put it up,” as he used to say. “Put it up!” So I felt right at home, because that way of working was my idea of joy: where everything is open and everything is possible and nobody can do wrong. There is no wrong. It might not be right, but it ain’t wrong.

Emotionally, John’s films can be very tough to watch. Did they take a toll on you as an actor?

Only when they were drawing to an end. It was always very tough to say goodbye to the experience, especially on Husbands, because there was a lot going on there. It was about friendship. We became friends, and who knew if we were ever going to see each other again, because most films are “I’ll call ya, I’ll call ya, I’ll call ya,” and nobody ever calls anybody. But John was the glue that really kept my friendship with Peter together. Since John died, Peter and I see each other very infrequently. But when John was alive, we all used to see each other constantly.

He also did that cameo in your film Capone (1975), playing the gangster Johnny Torrio.

Yeah, he did that as a favor, he was so sweet. He walked on the set, did the scene, went back to his office on the lot! For no money! He didn’t get paid for that.

There are many filmmakers now, particularly on the independent scene, who have been highly influenced by John’s work. He’s left a lasting legacy.

I know, isn’t that interesting? When he was making these films, he couldn’t get a dime to make them. And now, every kid in film school is talking about his work. That was the thing about John, a lot of guys could get beaten down by rejection, but ‘no’ didn’t exist for him.

“That which does not kill you makes you stronger.”

That’s right! The major studios didn’t want to do it, fine. He put up his own money. “I’ll do it!” The people at the studios just didn’t get it, didn’t get the stories, didn’t get the characters.

John wasn’t afraid to have characters that weren’t necessarily likeable. Your character in Husbands, for example, was a real son of a bitch on many levels, but you still cared about the guy!

I know. Well, he was scared, and he was ignorant. John loved that. He used to say “I love ignorance.” What he meant was, the ignorant are ingenuous, but they would vent with such a strong belief. John used to say, I don’t know if he was serious or not, that he was going to make Husbands II, and the opening would be on the Grand Canal in Venice. I would be with a new, young wife, he and Peter would pull up and we’d all meet on motor boats. Wouldn’t that have been a great opening?

Yeah. They probably would’ve been there for a dental convention, right?

(laughs) Yeah, that’s right!

Let’s talk about Cosmo Vitelli, a great character.

In his heart, in his gut, although he’s an unsophisticated man, he’s really an artist. He lives in his art, his art being this cockamamie strip show he puts on at this seedy fuckin’ joint he owns. That’s his life. And when these gangsters come to take that away, it’s thing he cares about the most. To the point of, in one of my favorite scenes, when he’s on his way to do the hit and could possibly get killed doing it, he stops to call to see how the show is going! To me, that film was a metaphor for John’s life: the never-ending battle against those nuisances who try to keep you from doing your work. (pause) Do you think Cosmo died in the end?

Yeah, absolutely. I think he sat down in front of his club and bled to death, but like a good captain, he stayed with his ship, and in that sense, he won the battle.

Yeah. And you know something, John and I never talked about that, about whether Cosmo died or not. I never asked him and he never asked me.

But it doesn’t really matter because ultimately, that’s not what the film is about.

Right.

Gena Rowlands and Gazzara in Opening Night.

Let’s talk about Opening Night.

Again, we have a film about the theater. John’s theater life was very limited. He was the stage manager for a play called The Fifth Season, but I don’t think he ever acted on Broadway. But, obviously his love of the theater and memories of the theater were present here, because it’s a remarkable film. Not only is it about the theater, but it’s about aging. It’s about doing good work and what you have to call on in order to do good work. The work was the thing that was most important to John.

Was it all downhill working with other directors after you had been directed by John?

I wouldn’t say “downhill,” but it was certainly different. It such a rare and unique experience being in on the creation of an event. It’s rare to find a director with the lack of ego to do that.

Gena Rowlands has rightfully earned her title as “The First Lady of American Film” with a career that has spanned more than 40 years on the stage and screen. The Wisconsin native first encountered her future husband John Cassavetes when the young actor visited her backstage after a Broadway performance. Following their marriage in 1954, both pursued very separate careers as actors, not working together as actress and director until Cassavetes’ landmark 1968 hit Faces. John and Gena would collaborate five more times in this arena: Minnie & Moskowitz (1971, available on Anchor Bay Home Video), A Woman Under the Influence (1974) which garnered Gena her first Oscar nomination as Best Actress, Opening Night (1977), the cult sensation Gloria (1980, Columbia-TriStar Home Video) which earned Gena her second Best Actress nomination, and Love Streams (1984, not yet available on U.S. home video). The Cassavetes-Rowlands partnership arguably was the most fruitful of its type in American film history, giving birth to a body of work that continues to resonate with audiences and filmmakers the world over.

Gena sat down with Venice recently in the house she and John shared for nearly 30 years (and where much of Faces and Love Streams was shot) to reflect on his legacy.

How does it feel now that Criterion has finally given these great films the treatment they deserve?

Gena Rowlands: I’m delighted. They do such quality work that I’m really very happy, because the last DVD release that was done (on Pioneer Home Video) were not of good quality. I really appreciate that Criterion made the effort to do it right.

Do you think this will expose the work you both did to a new generation of viewers?

I hope so. I just would feel terrible if John and his pictures were forgotten. But, it’s been a long time, you know. A lot of young people who are studying film now weren’t even alive when the films were first released. I’m hoping that they will now be accessible enough that those people will be exposed to them.

Gena and John, circa 1960.

Ben made a very interesting comment: he said the first time he worked with John, he felt as though he’d been set free, because it was the first time he’d been able to collaborate with a filmmaker on the creation of a character.

I think that’s very true for all of us. There was such freedom. The way other pictures are set up, there isn’t quite that freedom. They’re set up in a much more businesslike way. For example, most films are shot out of sequence, usually scheduled according to cost. John would always shoot his films in sequence with the script, and that made such a big difference for the actors. You never felt as though someone was about to come down on you when you were working with John. He would never let you stop yourself during a scene. Oftentimes a plane will go overhead during a shot, and the actor will just stop, because he or she knows that they’re going to cut. John insisted that you keep going always, until he said “cut.” What happened was that you kept your concentration and pretty soon, you didn’t hear the plane, or the fire engine, or whatever it was. It was a very valuable way of working. He did so many things that were unique. His use of body mikes for sound were great because you didn’t have to hit any marks, you could just go more or less where you wanted. And the lighting was such also that you could move quite freely. He lit in a very flat way that was more natural. You didn’t get to have a good light or a bad light, and most actors know what that means. We all had to work in the same light.

What strikes me about all of John’s work is that it’s like jazz: when you listen to jazz, you have to let it wash over you and take you on that ride, like an ocean wave. And after getting carried away by John’s work, you really feel like you’ve been inside his head. There’s not many filmmakers you can say that about, even the best ones.

John always said “Don’t give interviews about what I was thinking, or what I was doing. If anybody wants to know me, let them look at my work. That’s it.”

Guess there’s not much more to say after that, is there?

(laughs) No.

Peter Falk first achieved notice on the big screen in Murder Inc.(1960), playing notorious mob killer Abe “Kid Twist” Reles, garnering a Best Supporting Actor nomination for his chilling turn. It was the small screen, however, that gave him his signature role, as the intrepid Los Angeles Police Detective Columbo, whom he first played in a 1968 TV movie, "Prescription for Murder," and has continued to portray up to the present day.

Falk did his best work as an actor, however, in his two collaborations with John Cassavetes. First, in Husbands, and then in A Woman Under the Influence, playing Gena Rowlands’ beleaguered spouse. Falk and Cassavetes remained close friends after Husbands (along with Ben Gazzara), and the actor sat down with Venice recently to share some of his memories of that friendship, and of their collaborations.

I said to both Ben and Gena that John’s films were like jazz.

Peter Falk: That’s very interesting, because Elaine May once said that the difference between ad-libbing and improvisation is that when jazz musicians improvise, they do so off a pre-existing theme. So if you are ad-libbing, and you’re just throwing out words that aren’t in the script, you’re not improvising off any kind of theme. So true improvisation has to do with improvising off something that exists. And that’s the difference between boring, realistic ad-libbing, which is spontaneous, but it has no shape. It has no form. But real improvisation, the kind you see in Cassavetes films, is related to a pre-existing theme.

How did you first meet John?

I was at a Laker game. It was during halftime and I was walking down the aisle to get a hot dog or something, and we bumped into one another. We recognized each other, and it turned out that he went to high school with Alice, my first wife. He remembered Alice vividly, and it turned out she remembered him vividly as well. Four or five years later we did Husbands and that’s when we became pals.

Peter Falk, Ben Gazzara and John Cassavetes in Husbands.

How did he come to you with Husbands?

(long pause) I don’t know if I should tell this story or not. (pause) I think I’m gonna save it for the book! (laughs)

Fair enough. Tell us about working with John.

I guess there are all kinds of memories, and when you get to be seven-six, a lot of them slip away. Some of them with John have slipped away. But John himself, knowing him, spending time with him, will never slip away. He was, with one possible exception, the most fertile man I ever met. He was extraordinary. In the thing I wrote for the memorial to John, I said he was very shrewd about money. He knew it was worthless. It only had one purpose: to buy a piece of film, or rent a stage, and to try and capture life as he knew it. And that aspect of John is something I’ll always remember. He totally had something in mind other than fame or money. He was possessed with the need to try and capture life as he felt and saw it. I’ve never met anyone who’s the equal of him for that.

I think you worked with him more than any other actor, both as actor and director, and as co-stars, including an episode of "Columbo."

Yes, the thing people don’t know about that, is one day I called him up to discuss a scene in that episode, in the back of my mind thinking that if I got him talking about it, maybe he’d rewrite it. And you know what, he rewrote the whole fuckin’ thing on the phone! Took him about six minutes. He didn’t think he was rewriting it, he just started talking about it, and I scribbled it down! (laughs) So he never directed an episode of the show, which apparently a lot of people think he did, but he did do some writing for it.

Let’s talk about your character in Husbands. He was a really interesting guy. I think my favorite scene in the movie, is your scene with “The Countess.”

“Take your hand off my hand!” (laughs) I always want to correct the popular assumption that John’s reputation for having improvisation in his films is exaggerated. It is exaggerated, if you look for example at that fantastic scene in A Woman Under the Influence when Gena breaks down, if you think all that dialogue was made up on the spot, you’re crazy! As much as being an actor, director and filmmaker, John was a writer. If he’d lived prior to the invention of the camera, he would’ve written plays and gotten a bunch of actors together and had his own reparatory company to act his plays. But the scene with the Countess was, in fact, improvised. John saw this woman, and I don’t know what transpired and what it is that captured his imagination about her, but I know that scene was never on paper and never scheduled for that day, but he came up to me and said we were doing it. And that’s how that scene came about! (laughs)

What are your recollections of the shoot?

Most of them revolve around my confusion and anxiety at working the way we did. I knew this Cassavetes guy was really interesting and really onto something, but on the other hand, I didn’t know what the fuck he was saying! (laughs) I couldn’t follow him when he talked. I didn’t understand my character, didn’t know who he was or what he was doing. And I kept telling him, “Benny’s got the best fuckin’ part! Every scene is about Benny’s character while we’re outside lying around somewhere!” (laughs) He kept saying “Just wait til we get to London, just wait. Your part’s gonna cook!” “I don’t wanna fuckin’ wait 'til we get to London! I wanna cook now!” (laughs) But, as always, John was right. We got to London, and my guy cooked.

Falk and Gena Rowlands in A Woman Under the Influence.

Let’s talk about A Woman Under the Influence. You could almost call it the first feminist movie, and it arrived right when the women’s movement was taking shape. Your character was very interesting because he was basically a good guy, but a guy from the old school who didn’t understand the new rules of the situation he was in.

Yeah, from Nick’s point of view he absolutely loved her, but there’s no question that she was a little wacky. But at the same time, that craziness is something that appeals to him, in his own way. But again, in Nick’s defense, she did have a screw loose! (laughs) I always felt the film was a love story.

And it’s regarded by many people as John’s best film.

Yeah, I just read an article by John Sayles, where he talks about how seeing A Woman Under the Influence made him realize he wanted to be a filmmaker. And he went onto say that he knows a lot of filmmakers whose lives were changed when they saw their first Cassavetes picture. (reads from the article) “It’s not a Technicolor dream or a cartoon with live actors. It was recognizable human behavior.” I think if you spoke to a lot of filmmakers they would say the same thing.

What do you think is John’s greatest legacy?

I think his greatest legacy is when somebody who is possessed by some kind of an artistic need to either dance or to write or to make a movie, independent of fame or money, but because that’s in them, because God put it in their bellies, and they’ve gotta do it. His legacy is, if you remain true, and if you’re willing to make a fool of yourself in the name of your obsession, it’s worth it. It will happen. And he did that. That to me is a legacy for guys who are endowed with that kind of gift. They can look to John and say “He did, so I can do it.”

DVD Playhouse--February 2012

2012-02-01T17:59:00.000-08:00

DVD PLAYHOUSE—FEBRUARY 2012
By Allen Gardner

TO KILL A MOCKINGBIRD 50th ANNIVERSARY EDITION (Universal) Robert Mulligan’s film of Harper Lee’s landmark novel pits a liberal-minded lawyer (Gregory Peck) against a small Southern town’s racism when defending a black man (Brock Peters) on trumped-up rape charges. One of the 1960s’ first landmark films, a truly stirring human drama that hits all the right notes and isn’t dated a bit. Robert Duvall makes his screen debut (sans dialogue) as the enigmatic Boo Radley. DVD and Blu-ray double edition. Bonuses: Two feature-length documentaries: Fearful Symmetry and A Conversation with Gregory Peck; Featurettes; Excerpts and film clips from Gregory Peck’s Oscar acceptance speech and AFI Lifetime Achievement Award; Commentary by Mulligan and producer Alan J. Pakula; Trailer. Widescreen. Dolby and DTS 2.0 mono.
OUTRAGE: WAY OF THE YAKUZA (Magnolia) After a brief hiatus from his signature oeuvre of Japanese gangster flicks, auteur/star Beat Takeshi Kitano returns to form with this full-blooded, full-throttle, double-barreled crime drama about rival Yakuza clans battling for power in contemporary Japan. Carnage galore splatters the screen, along with Kitano’s deadpan humor, to create a forceful, if unexceptional shoot ‘em up. Fans will not be disappointed. Also available on Blu-ray disc. Bonuses: Featurettes; Documentary; Trailers. Widescreen. Dolby and DTS-HD 5.1 surround.
THERE BE DRAGONS (20th Century Fox) Director Roland Joffe, once at the top of his game with films like The Killing Fields and The Mission, misfires with this historical drama about a present-day journalist (Dougray Scott)’s exploration into the life and times of Josemaria Escrivia (Charlie Cox), the founder of Opus Dei during the Spanish Civil War. Stilted drama from start to finish is gorgeously shot, but lacking in any immediacy. Film didn’t get a theatrical release in the U.S., and for good reason. Wes Bentley, Geraldine Chaplin and Olga Kurylenko co-star. Also available on Blu-ray disc. Bonuses: Featurette; Deleted scenes. Widescreen. Dolby and DTS-HD 5.1 surround.
REAL STEEL (DreamWorks/Touchstone) Hugh Jackman stars in this tale of the not-so-distant future as Charlie Kenton, a washed-up ex-boxer who now “manages” robot fighters, as fights between humans are now outlawed. Attempting to reconnect with his estranged son (Dakota Goyo), the two hit the road with a battered ‘bot whom they whip back into shape, determined to make him world champ. Extremely well-done, but also formulaic to the n’th degree. Sure to please the under-12 crowd, but most adults will find themselves cheering in spite of predicting the paint-by-numbers story. Jackman oozes movie star charisma in every frame. Evangeline Lily provides an attractive love interest, and Kevin Durand a suitably slimy villain. Also available on Blu-ray disc. Bonuses: Deleted and extended scenes; Featurettes; Bloopers; Commentary by director Shawn Levy. Widescreen. Dolby 5.1 and DTS-HD 7.1 surround.
THE WHISTLEBLOWER (20th Century Fox) Rachel Weisz stars in this true story of a U.N. peacekeeper in post-war Bosnia who uncovers a human trafficking operation, the roots of which leads straight to her own colleagues and higher-ups. Solid, if unremarkable drama is buoyed greatly by its cast, which also includes David Strathairn, Monica Bellucci and Vanessa Redgrave. Also available on Blu-ray disc. Bonuses: Featurette. Widescreen. Dolby and DTS-HD 5.1 surround.
TOKYO DRIFTER (Criterion) Seijun Suzuki’s 1966 gangster drama is a classic of Asian cinema pastiche. A reformed killer attempts to go straight, but is thwarted at every turn when his former comrades call him back to Tokyo to help battle a rival gang. Eye-popping color, stylized violence and pure cinematic genius make this one of the best films of the genre. Often compared to the divergent works of Russ Meyer, Samuel Fuller and Nagisa Oshima! Cineastes are sure to love this orgy of excess. Also available on Blu-ray disc. Bonuses: Interviews with Suzuki and crew members; Trailer. Widescreen. Dolby 1.0 mono.
BRANDED TO KILL (Criterion) Seijun Suzuki’s follow-up to Tokyo Drifter got him promptly fired by the studio’s bosses. This hilariously twisted story of a Yakuza assassin (Japanese film icon Joe Shishido, whose cheeks were surgically enhanced with bulbous implants) with a penchant for sniffing steamed rice and botches the job of his life, making him a target himself. Almost indescribable blend of ‘60s pop art, B-movie aesthetic and cinematic genius. Also available on Blu-ray disc. Bonuses: Interviews with Suzuki and crew; Interview with Shishido; Trailer. Widescreen. Dolby 1.0 mono.
CONTAGION (Warner Bros.) Steven Soderbergh’s tale of a global pandemic and how it spreads is suspenseful and sobering, but ultimately forgettable, in spite of a who’s-who cast that brings it to life. Matt Damon, Gwyneth Paltrow, Kate Winslet, Laurence Fishburne, Jude Law, Marion Cottilard and Bryan Cranston are but a few of the A-listers who fight for life as a deadly virus tears through the world’s population. A less-predictable script would have helped immeasurably. Still worth a look in spite of its flaws. Also available on Blu-ray disc. Bonuses: Featurettes. Widescreen. Dolby and DTS-HD 5.1 surround.
BRIGHTON ROCK (IFC Films) Graham Greene’s post-war classic is re-set in 1965 Brighton, telling the story of small time (and dim-witted) hood Pinkie (Sam Riley) who attempts to claw his way up the rickety ladder of organized crime in Britain’s sleaziest seaside town. After a simple girl (Andrea Riseborough) witnesses Pinkie commit a gangland execution, Pinkie attempts to seduce the girl and outwit the town boss (Andy Serkis) with grim results. John Hurt and Helen Mirren also star in director Rowan Joffe’s great-looking period piece that holds up beautifully next to the 1947 original, although we miss Richard Attenborough’s Pinkie! Bonuses: Featurettes; Trailer. Widescreen. Dolby 5.1 surround.
1911 (Well Go USA) Jackie Chan stars in this stirring epic that tells the true story of China at the turn of the 20th century, when it was split into warring factions of military force and peasant citizens who are starving and want better lives. Chan plays a former soldier who has returned from Japan, where he studied modern warfare and feels obligated to lead his fellow citizens in a rebellion to a better life. Eye-popping battle scenes and set pieces make this a worthy companion to some of the greatest historical epics ever produced. Not to be missed. Also available on Blu-ray disc. Bonuses: Deleted scenes; Featurettes; Trailers. Widescreen. Dolby and DTS-HD 5.1 surround.
HIGHER GROUND (Sony) Vera Farmiga directed and stars in this adaptation of Carolyn S. Briggs’ autobiographical memoir about a woman whose experience with extreme Christianity begins to fray as she starts to question the values of the sect to which she and her family belong. Strong performances from a terrific cast (including Farmiga’s younger sister Taissa Farmiga playing her character as a teen) can’t raise this tepid tale above movie-of-the-week status. Some strong moments, but overall it’s one to skip. Also available on Blu-ray disc. Bonuses: Deleted scenes; Commentary by Farmiga, cast members; Featurettes. Widescreen. Dolby and DTS-HD 5.1 surround.
THE GUARD (Sony) Brendan Gleeson stars as a bent Irish cop who stumbles onto a cache of drugs at a bloody crime scene, which he proceeds to procure for himself. When an intrepid FBI agent (Don Cheadle) arrives on the scene, Gleeson must try to cover his tracks while “aiding” the agent in his investigation, as well as staying one step ahead of the ruthless gangsters who want their drugs back. Blackest of black comedies written and directed by John Michael McDonagh is mostly successful, but will elicit smiles more than guffaws. Also available on Blu-ray disc. Bonuses: Outtakes; Deleted and extended scenes; Short film; Commentary by McDonagh, Cheadle, Gleeson and cast; Trailers; Featurettes. Widescreen. Dolby and DTS-HD 5.1 surround.
BLACKTHORN (Sony) Sam Shepard plays legendary outlaw Butch Cassidy in this tale of “what if?” that hypothesizes Cassidy survived that final shootout in Bolivia that climaxed Butch Cassidy and the Sundance Kid and remained in the country under an alias, with plans to return to the States and his family. These plans are thrown into disarray when a young outlaw (Eduardo Noriega) foolishly tries to rob Cassidy, setting a series of events in motion that carry the rest of this elegiac, albeit far-fetched story to its conclusion. Gorgeously shot on location, and featuring fine support from Stephen Rea and the lovely Dominique McElligott, Blackthorn is a thoroughly watchable journey that you will soon forget. Also available on Blu-ray disc. Bonuses; Deleted scenes; Featurettes; Short films; Trailer. Widescreen. Dolby and DTS-HD 5.1 surround.
COLD SWEAT (Dark Sky Films) Fun, inventive horror film about a young hero who finds his girlfriend has been kidnapped by a group of aging political radicals armed with a cache of equally-aged dynamite and nitro, providing them security as they conduct illicit experiments on unwitting subjects. Balls-out, unhinged and old-school in every respect, Cold Sweat is an homage to the best no-frills horror films of the ‘70s, in addition to having a very unique voice all its own. Enthusiasts of the genre are sure to be pleased. Bonuses: Commentary by director Adrian Garcia Bogliano; Deleted/extended scenes; Featurettes; Easter eggs; Poster gallery; Trailers, teasers, TV and radio spots. Widescreen. Dolby 5.1 surround,
HAPPY, HAPPY (Magnolia) Frustrated housewife Kaja finds her husband is more interested in going hunting with his pals than making love to her. Settling into complacence, Kaja finds her resolve renewed when a seemingly perfect couple move in next door and open an entirely new world to her. Cringe-inducing comedy of manners (and otherwise) is chock full of awkwardness, anger and longing. Winner of a Jury Prize at Sundance and Norway’s entry as the Best Foreign Film of 2011. Also available on Blu-ray disc. Bonuses: Trailer. Widescreen. Dolby and DTS-HD 5.1 surround.
LA JETEE/SANS SOLEIL (Criterion) French filmmaker Chris Marker seemed to create a new cinematic language in 1963 with his 27 minute short La Jetee, a black & white sci-fi tale dealing with time travel, true love and political assassination told entirely with still photos and a single narrator. Hugely influential to this day, most notably as the primary inspiration for Terry Gilliam’s 12 Monkeys, although the original is far superior. Sans Soleil, made in 1983, is a documentary (sort of) journey to Japan and Africa and has more in common with La Jetee than initially meets the eye. Bonuses: Interviews with Jean-Pierre Gorin; Video piece by Marker on filmmaker and artist Chris Drake; Featurettes; Short films by Marker. Also available on Blu-ray disc. Widescreen. Dolby 1.0 mono.
THE BIG YEAR (20th Century Fox) Three amateur bird watchers (Steve Martin, Owen Wilson, Jack Black) in different phases of life come together to watch their feathered friends’ migration across the country over the course of a calendar year. Those expecting big yucks from this trifecta of broad comedy are sure to be disappointed by this genial, but low-key offering that’s almost sleepy in its glacial pace and comedic sensibility. The three leads are serviceable, but almost seem to cancel each other out in every scene they share. Lovely Rosamund Pike comes off best as Wilson’s frustrated wife. A real oddity, not without its good points, but it sure could have used more. Also available on Blu-ray disc. Bonuses: Theatrical and extended cut; Featurettes; Trailers. Widescreen. Dolby and DTS-HD 5.1 surround.
UNDOCUMENTED (IFC Films) An amateur filmmaker (Scott Mechlowitz) and his crew decide to chronicle the plight of illegal immigrants who cross the U.S. border from Mexico. When they make the journey, they find themselves captures by a group of right wing fanatics who are determined to carry out their own brand of vigilante justice. Tough, uncompromising horror film offers a blend of unflinching violence, pointed social commentary and black humor that makes it a first cousin to Kevin Smith’s excellent Red State. Bonuses: Commentary by cast and crew; Alternate opening; Teaser and trailer. Widescreen. Dolby 5.1 surround.
WHAT DO YOU SAY TO A NAKED LADY? (MGM/Fox) TV icon Allen Funt, who became a household staple with his long-running series “Candid Camera,” took his hidden lens antics to another level with this film, shot in 1969 and released in ’70, in which unsuspecting people are put in a variety of embarrassing situations with people in states of undress. Rated X upon its initial release, this is a fascinating time capsule and social document about changing manners and morays when the U.S. was at the peak of its social upheaval. Fascinating, hilarious and still provocative forty years later! Widescreen. Dolby 1.0 mono.
A SMALL TOWN IN TEXAS (MGM/Fox) Timothy Bottoms stars as a numbskull twenty-something who is released from a prison stint for marijuana possession, and returns to his tiny hamlet to retrieve his girlfriend (Susan George) and their small town, unwittingly discovering that she has taken up with the very cop (Bo Hopkins) who arrested him. B-movie auteur Jack Starrett helmed this melodrama, which is really an excuse for a series of car chases and crashes, de rigeur for this kind of fare in 1976. Film is just OK, due largely to Bottoms’ character being so unlikable and the lack of chemistry between him and George. Hopkins is terrific, as always. Widescreen. Dolby 1.0 mono.
OPPOSING FORCE aka HELL CAMP (MGM/Fox) A military experiment designed to simulate POW torture conditions goes horribly awry when the commanding officer (Anthony Zerbe) starts taking the simulation seriously, focusing his attention on a comely female soldier (Lisa Eichorn) in particular. God-awful micro-budget exercise wastes a fine cast (Tom Skerritt, Eichorn, Zerbe, Richard Roundtree), although the sight of lovely Eichorn in the buff is sure to stir some interest in male viewers. Widescreen. Dolby 2.0 mono.
SOMETHING WILD (MGM/Fox) Carroll Baker stars as a young woman who is raped after moving out on her own, who finds what might be redemption with a kind-hearted mechanic (Ralph Meeker). Tough piece of social realism from 1961 was quite frank for its time and only suffers from feeling overly earnest at points today. Meeker and Baker are both excellent, as are Jean Stapleton, Mildred Dunnock and Clifton James in early turns. Co-written and directed by Baker’s then-husband Jack Garfein. Widescreen. Dolby 1.0 mono.
GETTING IT RIGHT (MGM/Fox) Randal Kleiser directed this adaptation of Elizabeth Jane Howard’s novel about a 31 year-old virgin (Jesse Birdsall) who suddenly finds himself pursued by three very attractive women, each offering a very different relationship and future in the process. Endearing comedy of manners features a terrific cast of British legends, including Helena Bonham Carter, Peter Cook, John Gielgud, Jane Horrocks and Lynn Redgrave. Widescreen. Dolby 2.0 mono.
THE MANCHU EAGLE MURDER CAPER MYSTERY (MGM/Fox) Utterly bizarre little camp outing from 1975 where a trailer park denizen (Gabriel Dell), who moonlights as a private eye, attempts to solve the murder by bow and arrow of a local milkman, who was also a philanderer and animal fetishist. Sound strange? It only gets weirder…Truly an artifact of its time, this must have generated some big guffaws between bong hits back in the day. Today, it lives on as a supremely curious oddity, which some may find a hidden gem. Also stars Will Geer, Anjanette Comer, Joyce Van Patten, Vincent Gardenia and Barbara Harris. Widescreen. Dolby 2.0 mono.
THE BED SITTING ROOM (MGM/Fox) After making three seminal films of the sixties: A Hard Day’s Night, Help! and Petulia, director Richard Lester directed this adaptation of Spike Milligan and John Antrobus’ satirical play about varied denizens of post-nuclear London. Series of comic sketches are held together by a remarkable cast, including Peter Cook, Dudley Moore, Rita Tushingham, and Ralph Richardson among others. Terrific production design by Assheton Gorton and cinematography by David Watkin, give this film a terrific, dystopian look. Very funny, underrated film won’t be to all tastes, but fans of the absurd should find it a treat. Widescreen. Dolby 2.0 mono.
BELLE DE JOUR (Criterion) Catherine Deneuve became an indelible sexual and cinematic icon in Luis Bunuel’s deft satire about a bored Parisian housewife who moonlights as a prostitute in an upscale brothel. Surreal, erotic and bitingly funny, one of the sixties’ greatest films, and certainly Bunuel’s finest hour behind the camera. Fine support from Jean Sorel, Macha Meril, Michel Piccoli and Francisco Rabal. Also available on Blu-ray disc. Bonuses: Commentary by author Michael Wood; Featurettes; Interview with screenwriter Jean-Claude Carriere; Archival interviews with Carrier and Deneuve; Trailers. Widescreen. Dolby 1.0 mono.
THE COAST GUARD (Palisades Tartan) Dynamite action epic from Korea tells the story of Private Kang (Jang Dong-kun) who monitors a stretch of Korean coast lined with barbed wire, cutting of the south from their sworn enemies in the north. When he accidentally shoots a couple he mistakes for spies, he is hailed as a hero, but finds his sanity slipping as he realizes his mistake. Tough and uncompromising, more evidence of the great work that Korean filmmakers have been producing over the last decade. Also available on Blu-ray disc. Bonuses: Commentary by filmmakers; Featurettes and interviews; Music video; Photo gallery; Trailers. Widescreen. Dolby and DTS-HD 5.1 surround.
TEXAS KILLING FIELDS (Anchor Bay) Two detectives (Sam Worthington and Jeffrey Dean Morgan) track a vicious serial killer who dumps his victims’ bodies in a boggy marshland nicknamed “the killing fields” by locals. Written and directed by Ami Canaan Mann (daughter of producer Michael Mann), the film features some great action set pieces, but also suffers from A.D.D. in its lack of focus. A superb cast (Jessica Chastain, Chloe Grace Moretz, Sheryl Lee, Stephen Graham) is scattered amongst this scattershot production, but even they can’t seem to give it the glue it needs. Too bad, as there is a great movie lost in the mess. Also available on Blu-ray disc. Bonuses: Commentary by Mann and writer Donald F. Ferrarone. Widescreen. Dolby 5.1 and TrueHD 7.1 surround.
DEAD HOOKER IN A TRUNK (IFC Films) Initially produced as a fake trailer for Robert Rodriguez’s Grindhouse Festival, this micro-budget effort from Canadian sisters Jen and Sylvia Soska is a tongue-in-cheek homage to the grimiest of grindhouse fare. Homages to filmmakers like Rodriguez and Quentin Tarantino abound in this tale of four friends who, in the course of a normal day, find a dead hooker in the trunk of their car. Don’t think too hard as you watch, just enjoy the gleeful mayhem. Bonuses: Deleted and alternate scenes; Featurettes; Trailer. Widescreen. Dolby 5.1 surround.
THE MOMENT OF TRUTH (Criterion) Director Francesco Rosi’s neo-realist drama from 1965 takes a first-person POV of a bullfighter (played by real toreador Miguel Mateo)’s rise and fall in and out of the ring. You can practically smell the blood, sweat and tears as Rosi’s camera plunges you into the visceral world (and peasant struggles under the iron thumb of Spain’s Gen. Francisco Franco) of the bullfighter known as Miguelin. A true masterpiece. Also available on Blu-ray disc. Bonuses: Interview with Rosi from 2004. Widescreen. Dolby 1.0 mono.
GODZILLA (Criterion) The granddaddy of all sci-fi monster movies, this effort from Japan’s venerable Toho Studios . A giant lizard, the product of nuclear radiation and able to melt cityscapes with his radioactive breath, terrorizes post-war Tokyo and its denizens. Made by director Ishiro Honda in 1954, just nine years after two atomic bombs were dropped on Japanese soil, the original version of Godzilla is a sobering picture indeed, full of dark, melancholy subtext that is mostly missing from the Americanized 1956 release, featuring new footage starring Raymond Burr (both versions are included here). Watch both for a fascinating lesson in history and cultural sociology. Also available on Blu-ray disc. Bonuses: Commentary by film historian David Kalat; Interviews with surviving cast and crew members; Featurettes; Illustrated audio essay; Trailers. Widescreen. Dolby 1.0 mono.
OCEAN HEAVEN (Well Go USA) Jet Li stars in this tale of an aquarium worker who leads a contended life with his adult autistic son. When Li learns that he suffers from a terminal illness, his character must embark on a quest that will insure his son will be cared for after his death. Rare non-action/martial arts role for Li proves that he holds his own very well as a straight dramatic actor in this touching drama. Bonuses: Featurette; Trailers. Widescreen. Dolby and DTS-HD 5.1 surround.
YAKUZA WEAPON (Well Go USA) This insane, over-the-top, crank it up to 11 action thriller can be summed up by summarizing one scene in which a long-suffering girlfriend asks our hero “Don’t you ever die?” Film bears greater resemblance to a video game than actual cinema, with a micro-thin plot to match, but fans of this type of A.D.D./H.D. genre should find themselves pleased. Others, beware…Also available on Blu-ray disc. Bonuses: Featurettes; Deleted scenes; Trailers. Widescreen. Dolby and DTS-HD 5.1 surround.
A VERY HAROLD & KUMAR CHRISTMAS (Warner Bros.) Everyone’s favorite stoner duo (John Cho and Kal Penn) return in the third (and hopefully not final) chapter of their pot-fueled shenanigans, in which the pals have a scant few hours to replace the beautiful Christmas tree supplied by Harold’s fearsome father-in-law (Danny Trejo, hilarious) , which they burn down with their holiday weed stash. The following frenetic odyssey would make Homer’s head explode in the best possible way as the boys encounter the most hallucinatory holiday images in recent memory. Neil Patrick Harris reprises his role as…Neil Patrick Harris. Great fun. Also available on Blu-ray disc. Bonuses: R-rated and unrated extended cut; Featurettes; Deleted scenes; Trailers. Widescreen. Dolby and DTS-HD 5.1 surround.
AGE OF HEROES (eOne) Sean Bean stars in this WW II action pic about a group of newly-formed commandoes who parachute into occupied Norway to steal radar technology vital to the Allies, with the Third Reich’s notorious Alpine Division standing in their way. Dead on arrival from start-to-finish, what should have been a rousing, Alistair MacLean-style blood and thunder adventure is instead a stilted waste of two hours. Even Bean’s formidable charisma can’t save this one. Also available on Blu-ray disc. Bonuses: Featurettes; Bloopers; Deleted scenes. Widescreen. Dolby and DTS-HD 5.1 surround.
THE SCARLET WORM (Unearthed Films/MVD) A hired gun named Print (Aaron Stielstra) is contracted to kill a sadistic brothel owner (Dan van Husen) who performs sadistic abortions on his girls, and must train his latest protégée at the same time. Micro-budgeted but skillfully-made film pays homage to the grit and violence of Sam Peckinpah and the elegiac westerns of Anthony Mann. A must-see for western fans, particularly of the revisionist variety. Bonuses: Commentary by cast and crew; Featurettes; Trailers. Widescreen. Dolby 2.0 mono.
IN TIME (20th Century Fox) Writer/director Andrew Niccol, a modern auteur of sorts whose intelligent sci-fi efforts have included The Truman Show, Gattaca and S1m0ne, offers this latest tale of a future society where the monetary system has been replaced with time, as opposed to hard currency. Justin Timberlake stars as a lad from the wrong side of the tracks who suddenly finds himself bequeathed with a century of extra life when a he saves the life of a “wealthy” man, and is summarily hunted down by various forces who want the extra time for themselves. Intriguing premise is brimming with cleverness throughout, and loaded with subtext referring to contemporary issues. All that’s missing is a coherent story to hold all the great ideas together. Timberlake is fine, as are Cillian Murphy, Amanda Seyfried, Olivia Wilde and “Mad Men” star Vincent Kartheiser. One nice touch Niccol uses is shooting the entire film on found locations in and around L.A. and Century City, giving the film an authentic feel. Also available on Blu-ray disc. Bonuses: Deleted/extended scenes; Featurettes. Widescreen. Dolby and DTS-HD 5.1 surround.
THREE OUTLAW SAMURAI (Criterion) Director Hideo Gosha’s debut film is a classic of the chanbara (sword-fighting) genre. An origin-story offshoot of a popular television series of the same name, this 1964 release tells the story of a wandering, world-weary samurai (Tetsuro Tamba) who gets mixed up in the bloody business of two fellow ronin hired to execute a group of bandits that have kidnapped the daughter of a corrupt magistrate. Thrilling action sequences and expert direction. Also available on Blu-ray disc. Bonuses: Trailer. Widescreen. Dolby 1.0 mono.
TINY FURNITURE (Criterion) Director Lena Dunham’s tale, in which she also stars, of a 24 year-old film school grad who returns to her Greenwich Village home where her mother and sister live, and tries to figure out her future. This darling of the indie film scene made a big splash upon its 2010 release and your opinion of it will depend on your tolerance of, and relation to, the Mumblecore/Slacker subculture. Yours truly wanted to claw his eyes out after spending twenty minutes with these aimless hipster douchebags. Then again, watch and judge for yourself…Also available on Blu-ray disc. Bonuses: Interview with Dunham; Interview with writer/director Paul Schrader; Creative Nonfiction, Dunham’s first film; Four shorts by Dunham; Trailer. Widescreen. Dolby and DTS-HD 5.1 surround.

BLU BAYOU

MGM/Fox leads the pack this month with a slew of classic arriving on Blu. First, are two Woody Allen classics: ANNIE HALL is Allen’s Oscar-winning tale of true love between two neurotics (Allen and Diane Keaton) who can’t keep their romance alive between two coasts and their own deep-seeded narcissism. One of the greatest comic love stories ever filmed, winner of four Oscars, including Best Picture of 1977. Fine support from Tony Roberts, Paul Simon and watch for Sigourney Weaver in long shot at the film’s end. Nearly in the same league is Allen’s 1979 MANHATTAN, in which Allen’s tortured neurotic writer must choose between unconditional love with a precocious teenager (Mariel Hemingway) and a nasty harridan (Keaton). Gorgeously shot by Gordon Willis in black & white, scored with the evocative music of George Gershwin. Terrific supporting cast includes Michael Murphy, Meryl Streep, and Anne Byrne. There are scant bonus features on these discs, save for theatrical trailers, but seeing these classics in Hi-Def for the first time is bonus enough. Both are widescreen, DTS-HD 2.0 mono.
Billy Wilder’s THE APARTMENT won five 1960 Oscars, including Best Picture. Jack Lemmon stars C.C. Baxter, a corporate flunky whose only means of rising up the ladder is to lend his apartment out to his superiors for extra-marital flings. When the president of the company (Fred MacMurray) unceremoniously dumps his mistress (Shirley MacLaine), Baxter finds himself falling hard for her, and questioning his own lifestyle. One of the greatest satires ever made, beautifully shot, with great support from Ray Walston and Edie Adams. Bonuses: Commentary from film historian and producer Bruce Block; Featurettes; Trailer. Widescreen. DTS-HD 2.0 mono.

Three of Alfred Hitchcock’s early classics arrive on BD: NOTORIOUS stars Cary Grant as an American intelligence agents who recruits a woman (Ingrid Bergman) to infiltrate a Nazi spy ring in Rio, led by an oily playboy (Claude Rains, brilliant). One of Hitchcock’s best, and one of the screen’s great romantic pairings. Bonuses: Commentary with USC film professors Rick Jewell and Drew Casper; Isolated Music and Effects Track; 1948 Radio Play Starring Joseph Cotten and Ingrid Bergman; Featurettes; Hitchcock Audio Interviews; Restoration Comparison; Original Theatrical Trailer. REBECCA is an adaptation of Daphne Du Maurier’s classic novel, starring Laurence Olivier as widower Maxim de Winter, who brings his shy, young bride (Joan Fontaine) home to his imposing estate, Manderley. But the new Mrs. de Winter finds her married life dominated by the sinister, almost spectral influence of Maxim’s late wife: the brilliant, ravishingly beautiful Rebecca, who, she suspects, still rules both Manderley and Maxim from beyond the grave. Bonuses: Commentary with Film Critic Richard Schickel; Isolated Music and Effects Track; Featurettes; Screen Tests; Radio Plays; Hitchcock Audio Interviews; Original Theatrical Trailer. SPELLBOUND again stars Bergman, here playing a brilliant, but repressed psychiatrist who finds herself falling for a fellow doctor (Gregory Peck). When she realizes that her new beau is actually an amnesiac imposter, and possibly a cold-blooded killer, she attempts to unlock the dark secrets of his mind. Another masterpiece, featuring a brief color sequence that is still breathtaking. Bonuses: Commentary with Author and Film Professor Thomas Schatz & Film Professor Charles Ramirez Berg; Featurettes; 1948 Radio Play; Hitchcock Audio Interview; Original Theatrical Trailer. All are full screen, DTS-HD 1.0 mono.

SID & NANCY is director Alex Cox’s bleak and brutal tale of the doomed love affair between Sex Pistols bassist Sid Vicious (Gary Oldman, in his star-making turn) and junkie groupie Nancy Spungen (Chloe Webb, brilliant as one of the most repellent characters in film history). Both a flawless portrait of late ‘70s Britain the punk era and a riveting portrait of self-destruction, one of the 1980s’ best films. Beautifully-shot by Roger Deakins. Bonuses: Featurettes; Trailer Widescreen. DTS-HD 5.1 surround.

Blue Underground releases two new classic horror titles. BABA YAGA is a surrealistic, erotic oddity from director Corrado Farina from 1973, based on the adult comic book Valentia, by Guido Crepax. Carroll Baker stars as a mysterious sorceress who casts a spell over a young fashion photographer (Isabelle De Funes) and draws Milan’s most beautiful models into a nightmarish world. Exploitative to be sure, but also done with artful skill, not to mention the scantily-clad presence of Europe’s most beautiful models of the day. Bonuses: Interviews with Farnia; Featurettes; Deleted and censored scenes; Trailer; Poster and still gallery; Comic book to film comparison. Widescreen. DTS-HD 2.0 mono. NIGHT TRAIN MURDERS is a rip-off, of sorts, of Wes Craven’s Last House on the Left (itself a rip-off of Ingmar Bergman’s The Virgin Spring), in which two young girls (Irene Miracle and Marina Berti) are savaged on a train by two thugs, acting under the behest of a depraved society woman (the grossly underrated Macha Meril). Not a good movie by any means, but beautifully filmed and quite atmospheric at times, thanks to Gabor Pogany’s (Two Women) moody cinematography. Bonuses: Interview with co-writer/director Aldo Lado; Trailers and radio spots; Poster and still gallery. Widescreen. DTS-HD 2.0 mono.

Criterion releases a BD edition of Steven Soderbergh’s Oscar-winning TRAFFIC, from 2000. Less a remake as a reimagining of the British mini-series “Traffik,” which shows how the drug trade proliferates in North America by following four disparate, yet interconnected, storylines: the life of a newly-appointed federal drug czar (Michael Douglas), a West Coast kingpin’s wife (Catherine Zeta Jones), a key informant (Clifton Collins, Jr.) and a Mexican police officer (Benicio Del Toro) with a crisis of conscience. Absolutely riveting from start to finish. Soderbergh’s finest hour as a filmmaker yet. Bonuses: Three audio commentaries from cast and crew; 25 deleted scenes with optional commentary; Featurettes; Trailers and TV spots. Widescreen. DTS-HD 5.1 surround.

Cinema Libre Studio releases Jean-Jacques Beineix’s THE MOON IN THE GUTTER, starring Gerard Depardieu and Nastassja Kinski as lovers caught up in a web of deceit and self-destruction after the rape and suicide of Depardieu’s sister. Moody, erotic and esoteric in the extreme, the film was excoriated by critics upon its release in 1984, but has come to be viewed, correctly, as an unheralded work by a major director. The color palate really pops in Blu! Bonuses: “Mr. Michel’s Dog,” Beineix’s first film; Interview with Beineix; Photo gallery. Widescreen. Dolby 2.0 stereo.

Disney releases their 1992 hit THE ROCKETEER in a 20th anniversary edition. Bill Campbell stars in director Joe Johnston’s tale of a test pilot in pre-WW II L.A. who discovers a top secret jet pack, then finds himself on the run with his best gal (Jennifer Connelly) from a host of villainous scum, led by movie star and Nazi spy Timothy Dalton. Great fun, and beautifully pays homage to the Saturday morning serials of the ‘30s and ‘40s that were the precursor to television. Widescreen. DTS-HD 5.1 surround.

Touchstone releases two Robin Williams hits from the 1980s: GOOD MORNING, VIETNAM features Williams under the guidance of Barry Levinson as a left-of-center disc jockey in wartime Saigon who finds his first amendment rights being quashed by the military brass, particularly after he begins reporting less-than-flattering facts about the American effort in the war. Terrific period soundtrack just enhances the proceedings. Nice support from Forest Whittaker, J.T. Walsh, Bruno Kirby. Bonuses: Featurettes; Raw monologues; Trailer and teaser. DEAD POETS SOCIETY allowed Williams to venture into more dramatic territory under the watchful eye of director Peter Weir. Another period piece, this time set in a 1950s East Coast prep school, with Williams as an unconventional English instructor who encourages his young charges to break from the crowd and think for themselves. Terrific young cast of stars-to-be includes Ethan Hawke, Robert Sean Leonard, Josh Charles, Melora Walters and Alexandra Powers. Bonuses: Interviews with cast and crew; Raw takes; Featurettes; Commentary by Weir, cinematographer John Seale, screenwriter Tom Schulman; Trailer. Widescreen. DTS-HD 5.1 surround.

DON’T TOUCH THAT DIAL!

20th Century Fox unleashes FUTURAMA VOLUME 6 is a two-disc set of the wild and zany animated series’ sixth season, the brainchild of “The Simpsons” creator Matt Groening. This season deals with disparate subjects from time travel, to self-replication, covert missions, alien eggs and lots of robot roughhousing. Great fun and highly inventive. Also available on Blu-ray disc. Bonuses: Commentary by cast and crew; Featurettes; Deleted scenes. Widescreen. Dolby and DTS-HD 5.1 surround.
ARCHER: THE COMPLETE SEASON TWO features more bawdy animated antics from the world’s most debonair, elusive and utterly inept superspy—a sort of “special needs” James Bond, if you will. Watch as Archer and his much smarter, much badder-ass cohorts from ISIS battle evildoers the world over, with hilarious results. Also available on Blu-ray disc. Bonuses: Featurettes. Widescreen. Dolby and DTS-HD 5.1 surround.

IFC releases PORTLANDIA: SEASON ONE, the hilarious satire starring Fred Armisen and Carrie Brownstein about annoying hipsters populating Portland, OR. Sketch-based show has one hilarious black out segment after the next, from feminist book stores, to militant bike messengers, to organic farmers; no target is too sacred for the barbed brilliance of “Portlandia.” Also available on Blu-ray disc. Bonuses: Blooper reel; Extended and deleted scenes; Season two preview; Featurettes; Commentary by Armisen, Brownstein and Jonathan Krisel. Widescreen. Dolby 5.1 surround.
THE INCREASINGLY POOR DECISIONS OF TODD MARGARET: SERIES ONE stars David Cross as an office temp who lies his way into becoming UK sales director for an energy drink company based in North Korea, despite not knowing the first thing about England, or sales. Hilarious comedy of errors is a perfect vehicle for the earnest, deadpan humor that Cross specializes in. Co-starring Blake Harrison and Sharon Horgan. Bonuses: Commentary by cast and crew; Extended version of premiere episode; Featurettes; Bloopers; Deleted scenes. Widescreen. Dolby 5.1 surround.

History Channel/A&E releases STORAGE WARS: VOLUME TWO, follows the continuing adventures of fast-talking auctioneers Dan and Laura Dotson and the loyal bidders that frequent their storage unit sales. Improbable entertainment concept is actually very addictive, thanks in large part to the show’s canny, fly-on-the-wall study of human nature, particularly the emotion of greed. Full screen. Dolby 2.0 stereo.
FROZEN WORLD: THE STORY OF THE ICE AGE is a collection of four television specials that examines a different aspect of the Ice Age: “Clash of the Cavemen” looks at the Neanderthals versus the Cro-Magnons, “Volcanic Winter” goes back 75,000 years to trace the impact of a volcanic eruption, “Journey to 10,000 BC tells the true story of life on earth during the first environmental crisis known to man, and “Mega Freeze” looks at if an Ice Age could happen again. Full screen. Dolby 2.0 stereo.
ANCIENT ALIENS: SEASON THREE is a four-disc set exploring the Ancient Astronaut Theory that our planet may have been visited, and experimented upon, by otherworldly visitors millions of years ago. Each episode delves into fantastic theories bolstered by science fact and evidence that will likely shock the most jaded viewer. Full screen. Dolby 2.0 stereo.
WWII IN 3D offers the war’s most dramatic moments remastered in hi-def on Blu-ray that were captured in 3D with stereographs and then put away in secret archives and attics, until now! Stunning collection of color 3D photos includes Allied reconnaissance photos, images of the rise and fall of Nazi Germany, and images of occupied France. Also featured is a 3D color film shot by the Nazis in 1943. Amazing stuff, particularly for WWII aficionados. Full screen. Dolby 5.1 surround.
KING ARTHUR AND MEDIEVAL BRITAIN is a two-disc set featuring five episodes dealing with the Arthurian legend: “Quest for King Arthur,” “King Arthur: His Life and Legends,” “Ancient Mysteries: Camelot,” “Knights and Armor,” and “Quest for the Holy Grail.” Sumptuously photographed and a must-see for King Arthur fans. Full screen. Dolby 2.0 stereo.
ELUSIVE JUSTICE: THE SEARCH FOR NAZI WAR CRIMINALS takes a look at the worldwide hunt, spearheaded by Israeli Intelligence, to track down some of the Nazi party’s most powerful members, who fled Europe, finding refuge primarily in Latin America, and how these elusive criminals were hunted down one-by-one and (mostly) brought to justice. Narrated by Candice Bergen. Widescreen. Dolby 2.0 stereo.
DOWNTON ABBEY: SEASON 2 The hits from across the Pond that has taken the colonies by storm returns for a second season, with WW II in full swing with the denizens of grand manor house Downton Abbey each affected differently by the storm sweeping across Europe. The intertwined lives of the Crawley family and their servants make up the drama of this magnificent series, the finest portrait of the British class system since the hit “Upstairs, Downstairs” from the 1970s (and to which this show is most often compared). Dame Maggie Smith, Hugh Bonneville and Elizabeth McGovern head the fine cast, which also features fine work from Maria Doyle Kennedy, Iain Glen and Zoe Boyle. Also available on Blu-ray disc. Bonuses: Featurettes. Widescreen. Dolby 2.0 stereo.
AMERICAN IN PRIMETIME takes an in-depth look at television’s creative process, from the archetypical characters that have populated the airwaves from the early days of the 1950s to the present, featuring interviews with some of the biggest names in the biz, including Norman Lear, David Chase, Shonda Rimes, Bryan Cranston, Alec Baldwin, Felicity Huffman, Mike Judge. Judd Apatow and David Simon. Also available on Blu-ray disc. Widescreen. Dolby 2.0 stereo.
ICEMAN MURDER MYSTERY is a “Nova” special that takes a look at a primitive human, over 5,000 years old, whose mummified corpse was pulled from a glacier in the Italian Alps two decades ago. After a careful examination, it was determined that “Otzi the Iceman” was, in fact, murdered. Fascinating look at the coldest of cold cases and how scientists use modern forensic techniques to solve a prehistoric mystery. Widescreen. Dolby 2.0 stereo.
UNDERGROUND RAILROAD: THE WILLIAM STILL STORY tells the story of the Underground Railroad’s unheralded hero, who helped hundreds of slaves escape into Canada, all of which is backed up with data from the meticulous records Still kept during his time running the Philadelphia “station” of the railroad. Fascinating documentary about a true American hero. Widescreen. Dolby 2.0 stereo.

DOCUMENTARY DAYS

Criterion/Eclipse releases THREE POPULAR FILMS BY JEAN-PIERRE GORIN, one of the seminal figures of the French New Wave, known for his collaborations with Jean-Luc Godard and the Dziga Vertov Group went onto make a name for himself as the helmer of three unconventional documentaries produced between 1980 and 1992. POTO AND CABENGO examines twin sisters born to a working class couple whose unique communication style was thought to have been a private language, and one of the first recorded examples of the “twin speak” phenomenon. ROUTINE PLEASURES takes a look at model train enthusiasts and the work of critic and painter Manny Farber. MY CRASY LIFE blends scripted drama and documentary realism in this study of Samoan street gangs who roam the mean streets of Long Beach, CA. Gorin seems quite intent on making strong sociological statements in his work, particularly in regards to social class and its very real (albeit largely unacknowledged) presence in American life. That said, some of his voice-over narration, particularly in Poto, becomes grating and at times downright contemptuous of his subjects. Once you get past this bump, however, all three films are unique and ultimately rewarding works. All are full screen, Dolby 1.0 mono.

Magnolia releases LIMELIGHT, from the makers of the hit doc Cocaine Cowboys, about the rise and fall of New York’s greatest nightclub empire and the man who ran them—Peter Gatien. Plays like a documentary version of Goodfellas or “The Sopranos” with tales of mob hits, double-crosses and illegal activity on a grand scale. As riveting and dramatic as any fictional crime tale, just dynamite. Bonuses: Deleted scenes; Trailer. Widescreen. Dolby 5.1 surround.

Lionsgate releases PROJECT NIM, from the Oscar-winning team that made Man on Wire, this time examining the life of a chimpanzee named Nim who became the focus of a landmark experiment in the 1970s when he was taken out of his natural primate habitat and raised like a human child. Unflinching and unsentimental look at nature vs. nurture and all the gray areas in between. Bonuses: Commentary by director James Marsh; Featurettes; Trailer. Widescreen. Dolby 5.1 surround.

Cinema Libre Studio releases ETHOS: A TIME FOR CHANGE, a sobering doc hosted by Woody Harrelson that lifts the lid on a host of systemic issues that would seem to almost guarantee failure in every aspect of our lives: from environment, to our democracy, to personal liberty. Interviews with some of the greatest progressive thinkers of the day, including Noam Chomsky, Chalmers Johnson, Michael Moore and Howard Zinn. Full screen. Dolby 2.0 mono.

THE FORGOTTEN BOMB: THE TRUE STORY OF NUCLEAR WEAPONS takes a globe-trotting look at the various perspectives on nuclear weapons, and the impact they have had since the first atomic bomb was dropped on Japan in 1945. Featuring interviews with former U.S. Secretary of State George Schultz, authors Gar Alperovitz and Jonathan Schell, Japanese bomb survivors and many others, the film is a powerful exploration about preconceptions of nuclear weapons and their history. Full screen. Dolby 2.0 mono.

VSC releases COLIN QUINN: LONG STORY SHORT, a record of the verbose comic (best known as the former anchor of “SNL”’s “Weekend Update”)’s Broadway show, directed by none other than Jerry Seinfeld. From his impersonation of Caesar as the original Mafioso to his complaints about ancient Greece and Antigone giving way to Costco and Snooki, Quinn shows himself to be at his satirical best with this gem. Bonuses: Commentary by Quinn and Seinfeld; Featurettes. Widescreen. Dolby 2.0 stereo.

Vivendi releases GREATEST SUPER BOWL MOMENTS featuring all the highlights from Super Bowls I-XLV on one DVD. Relive Joe Namath’s vanquishing of Baltimore, Lynn Swann’s levitating leap, Marcus Allen’s run to daylight, the late-game heroics of Tom Brady and the rise of the 2010 Super Bowl Champion Green Bay Packers. Bonuses: Featurettes. Widescreen. Dolby 2.0 mono.
TWO MINUTES TO GLORY is a compilation of the greatest end-of-game comebacks in the history of the NFL. Relive the drama on the sidelines with the players, coaches and fans and see that sometimes two minutes is all it takes. Bonuses: Featurettes. Widescreen. Dolby 2.0 mono.

MVD releases X: THE UNHEARD MUSIC, a terrific examination of the L.A.-based punk pioneers and their influence on a generation of music lovers and musicians, examining the American punk movement during the Regan era. Correctly hailed as “The Last Waltz of punk music documentaries,” by the Boston Globe, this silver anniversary edition of the landmark documentary has been beautifully remastered in HD and features interviews with band members John Doe, Exene Cervenka, Billy Zoom and DJ Bonebrake. Full screen. Dolby 5.1 surround.
Universal/Focus World releases BOMBAY BEACH, an examination of the decline of the Salton Sea, a California tourist hotspot during the 1950s era of American optimism, which became a victim of environmental decline and now stands mostly abandoned. Director Alma Ha’rel takes a look at Bombay Beach, a place where the American dream has faded, but where the dreams of those who have stayed are alive and well. Dreamlike and quite visionary in its presentation, buoyed by a soundtrack from Bob Dylan and Beirut. Bonuses: Select scene commentary; Deleted scenes; Featurettes. Widescreen. Dolby 5.1 surround.

RESURRECT DEAD: THE MYSTERY OF THE TOYNBEE TILES is director Jon Foy’s look at the hundreds of cryptic tiled messages that have been appearing on major city streets for over three decades in the U.S. and South America. Seen through the eyes of Justin Duerr, who has made it his life’s work to crack the mystery of these strange messages, film comes up with stunning hypotheses, and possibly answers, to what it all means. A real brain-twister and a compelling true-life mystery. Bonuses: Commentary by Foy; Tile gallery with commentary; Additional footage; Deleted scenes. Widescreen. Dolby 2.0 mono.

FOR THE WEE ONES

Shout Factory releases UNDERDOG: COMPLETE COLLECTOR’S EDITION, a 9-disc deluxe boxed set featuring all three seasons of the 1964-66 hit animated series about the intrepid canine superhero, his ongoing battle with arch-nemeses Simon Bar Sinister and Riff Raff, and his best gal, TV reporter Sweet Polly Purebred. Great fun abounds in this trip down memory lane, with an abundance of very sophisticated humor between the lines that was obviously made with adults in mind. Also features all the original shorts featured on the original shows, including “Go Go Gophers,” “Klondike Kat,” and “Commander McBragg.” Bonuses: Bonus cartoons; Featurettes; Commentary by series creators, voice actors, producers and animation historian Mark Arnold. Full screen. Dolby 2.0 mono.

Disney releases on onslaught of recent hits onto 3D Blu-ray combo packs (3D Blu-ray, Blu-ray, DVD and digital copies) that are also loaded with bonus features. The titles are: CARS 2, John Lasseter and Pixar’s follow-up to the original smash that finds Lightning McQueen (Luke Wilson) and tow truck Mater (Larry the Cable Guy) taking to the road to compete in the first World Grand Prix. Michael Caine is a hoot voicing a super suave British spymobile. PIRATES OF THE CARIBBEAN ON STRANGER TIDES adds another chapter to the ongoing saga of Captain Jack Sparrow (Johnny Depp) in a series that, quite frankly, jumped the cinematic shark after part II. Penelope Cruz adds nice scenery with Geoffrey Rush and Ian McShane chewing the scenery with aplomb. TIM BURTON’S A NIGHTMARE BEFORE CHRISTMAS is the eye-popping animated fable from one of the most unique minds in modern cinema. Relive the story of Pumpkin King Jack Skellington as he tries to spread the message of Christmas, unwittingly putting Santa Claus in danger as he does so. Family classic really pops in BD and 3D! TRON LEGACY takes place twenty years after the original, with Jeff Bridges reprising his role of Flynn, the world’s greatest video game designer, whose son must rescue his father from cyber-oblivion. Some nice eye candy, but we prefer the original (not to mention missing Cindy Morgan). THE LION KING retains its title as one of Disney’s greatest creations, the timeless epic tale of lion cub Simba who cannot wait to assume his mantle as King of the Beasts. Terrific animation is punctuated by the memorable, Oscar-winning score that still endures. BOLT tells the story of the biggest canine star in Hollywood. When he’s accidentally shipped to New York City, separated from his beloved co-star and owner, Penny, Bolt must find a way home. Lots of zany humor and heartfelt moments. GNOMEO & JULIET puts a spin on the William Shakespeare classic and sets the tale of star-crossed lovers in the world of garden gnomes. Funny, inventive and bolstered by a score from Sir Elton John. TANGLED presents a new twist on the Rapunzel fairy tale. Produced originally in 3D, the film features some of the format’s best usage since James Cameron reinvented it with Avatar. Finally, Disney’s classic BEAUTY AND THE BEAST arrives in splendid form, looking absolutely breathtaking in BD and even raises the bar slightly more in 3D. A must-have in every serious cinefile’s collection. Bonuses on all include: Deleted and alternate scenes; Music videos; Featurettes; Games; Sing-along mode; Bloopers and outtakes; Trailers, TV and radio spots. Widescreen. DTS-HD 7.1 and 5.1 surround, Dolby 5.1 surround.
Lionsgate releases SCOUT & FRIENDS NUMBER LAND a fun and informative way for the little ones to learn their numbers and counting skills in another release from LeapFrog learning. Bonuses: Sing-alongs; Curriculum commentary for parents; Music video. Full screen. Dolby 2.0 mono.

Warner Bros. releases two new Sesame Street titles: ELMO’S WORLD: FAVORITE THINGS! featuring Elmo and pals in lessons involving vocabulary, counting and friendship. IRON MONSTER AND SESAME HEROES features superhero-themed adventures starring the Sesame Street gang, where they teach math, problem solving and social skills. Great fun for kids and parents alike! Bonuses: Extra episodes. Full screen. Dolby 2.0 mono.

Scholastic/New Video releases WHY MOSQUITOES BUZZ IN PEOPLE’S EARS…AND MORE AFRICAN FOLK TALES, featuring five stories, from the title tale to “Hot Hippo,” “Not So Fast Songololo,” “The Village of Round and Square Houses,” and “Who’s in Rabbit’s House?” Narrated by James Earl Jones. Bonuses: Read-alongs. Full screen. Dolby 2.0 mono.
Paramount/Nickelodeon release SPONGEBOB’S FROZEN FACE-OFF, featuring seven winter-themed tales starring SpongeBob Squarepants and friends: “Frozen Face-Off,” “Accidents Will Happen,” “The Other Party,” “Drive-Thru,” “The Hot Shot,” “A Friendly Game,” and “Sentimental Game.” Bonuses: Extra episodes. Full screen. Dolby 2.0 stereo. DORA’S EASTER ADVENTURE features Dora the Explorer in an Easter-themed tale where she and Boots wait for a visit from the Easter Bunny and the egg hunt to end all egg hunts! Bonuses: Extra episodes. Full screen. Dolby 2.0 stereo.

SEX AND THE SYMPHONY with Tenor Mario Frangoulis

2012-01-31T18:03:00.000-08:00

By Slavica Monczka, Courtesy of Seductively French (www.SeductivelyFrench.com)

One look at operatic tenor Mario Frangoulis and it will be made perfectly clear to you why he has been referred to as the Sex and the Symphony of concert halls. However, there is so much more to Frangoulis than what meets the eye. First and foremost is his divine voice that has brought him to international stardom. With all this global fame, Frangoulis has also been a whole-hearted contributor to various charities around the world. Handsome, gifted, and compassionate, Frangoulis shares with me some of his passions and experiences. So if you haven’t fallen in love with him at first site (like myself), learn more from my interview with him.

“I loved to loose myself in neighboring areas, climbing trees and spending a lot of time on the rooftops, where I could ‘see the world’ and sing about it,” describes Frangoulis of his childhood in Greece. Raised by his aunt and uncle since the age of four, Frangoulis was exposed to classical music and encouraged to pursue his talents as, “they were the ones who took me to music school at the age of six, which was when I started taking violin lessons.”

Frangoulis has come a long way since that little fiddler on the roof. His talent, education and training has skyrocketed him to performances and experiences a starving artist could only dream of. Fluent in five languages, Frangoulis has performed in Les Miserables in London’s West End, The Phantom of the Opera after an invitation by Sir Andrew Lloyd himself, and trained with acclaimed tenor Alfred Kraus. In recent years, Frangoulis has collaborated with Vanessa Williams, Lara Fabian, Vittorio Grigolo, Placido Domingo, Jose Carreras, and pianist Jim Brickman just to name a few.

Frangoulis with Placido Domingo

“The real ‘calling’ happened when I was sixteen when I decided to be an actor and went to audition at the Guildhall School of Music and Drama in London,” Frangoulis recalls. “Acting is my favorite as it allows me to be all the different things I want to be,” and explaining how he loves the challenges of the metamorphosis of the roles that he plays. “The stage acts like a ‘catharsis,’ the washing out of your soul,” elaborates Frangoulis. “It is where you go to feel vulnerable and to expose yourself to hundreds, maybe thousands, of people. You learn more about yourself being on stage than being at the psychologist.” Much like an actual opera performance, romanticized and dramatic, Frangoulis states, “the stage, the lights, the audience help you ‘transform’ and elevate to another level of understanding of life itself.”

Frangoulis speaks with so much affection; I ask what is it that inspires him in life? “Talent inspires me, when I see it in others, it makes me ‘grow’ myself and makes me feel stronger and even more ambitious to succeed.” The hardworking humanitarian says “it is a great mission in my life to help others in need especially when those groups of people are children,” discloses Frangoulis, “they have a special place in my heart.” Involved in numerous charities, “the ones closest to me are the WCCCI (World Centers of Compassion for Children International) who create Cities of Peace and gives a home to children, and also the Horatio Alger Association of Distinguished Americans who provide need based scholarships.”

God-given talent may be what Frangoulis was born with (and good looks, if I haven’t already mentioned that once or twice), but it is not the end all, be all for Frangoulis. “It’s a good feeling to know that you have touched people’s lives. It makes you feel like your work is worthwhile. I would like people to remember me for my art, my music, and most of all have something to say for me as a human being. In many ways, that’s more important than anything else.”

Frangoulis now resides partially between New York and Athens, Greece. His latest album, Beautiful Things, released last December by Sony International, “gives a great message of love and hope to everyone ansense of understanding of the beauty that surrounds us,” describes Frangoulis. “We have to be able to recognize beauty no matter what the circumstances, whether we are going though difficult times or not.”

First stop on the tour schedule this year for Frangoulis and all of his “beautiful things,” will be Moscow, Russia. “It’s always a pleasure to perform in Russia because the level of artistry is very high and there are many Russian people I can call friends.” The admiration is mutual between Frangoulis and his Russian comrades explaining, “for two of my most important cds, Music of the Night (with the Novaya Opera and chorus conducted by Maestro Samoilov) and Passione – A Tribute to Mario Lanza (with the legendary Balalaika Orchestra ‘Ossipov’ and the exceptional Maestro Ponkin), I chose to work with Russian orchestras because of their high level of musicianship and dedication to their music.”

No need to journey far for you all here in the US as Frangoulis will soon be performing at several concert halls nationwide. Fall in love with Frangoulis and all the Beautiful Things he shares.

“You have to express the hopes of your soul, and that’s what my music is about. That is the number one thing I do. It’s simply about what it means to be human.” –Mario Frangoulis

www.MarioFrangoulis.com
www.wccci.org
www.horatioalger.com

From Coast to Coast: Ryan O'Nan Brings THE BROOKLYN BROTHERS to the Santa Barbara Film Festival

2012-01-28T19:56:00.000-08:00

by Terry Keefe

As Sundance draws to a close this week, the Santa Barbara International Film Festival revs up its annual star-studded event, which includes the U.S. premiere of The Brooklyn Brothers Beat the Best, one of the surprise hits of the most recent Toronto Film Festival. Brooklyn Brothers was written and directed by Ryan O’Nan, who also stars in the film and who has been having what could be modestly described as a “breakout year.” O’Nan composed much of the music for Brooklyn Brothers, which centers around a fictional two-man band comprised of O’Nan and Michael Weston (“Six Feet Under”). At Toronto, Rhino Records fell under the spell of the tunes so much that they offered the pair a recording contract, under the fictional Brooklyn Brothers moniker. O’Nan has also just completed starring roles in Freelancers, opposite Robert De Niro and Forest Whitaker; The Frozen Ground, with Nicolas Cage and John Cusack; and The Iceman, which O’Nan is currently shooting in Louisiana with Michael Shannon, James Franco, and Winona Ryder.

O’Nan himself spent a number of years as a struggling musician, after which he opted to focus on acting, so he clearly had more than a little autobiographical material to draw from in creating his role of Alex in Brooklyn Brothers. A broken-down guitar player, Alex only starts to find his groove again when he embarks on an impromptu tour with Weston’s Jim, who specializes in playing children’s musical instruments, such as the plastic ones manufactured by Fischer-Price.

Ryan O'Nan and Michael Weston in BROOKLYN BROTHERS.

“I really wanted the story to be about two guys who are the opposite halves of what make up an artist,” elaborates O’Nan on how he structured the two lead characters. “One half has a certain amount of talent, but also has a lot of self-doubt. The other half is completely fearless and pushes relentlessly into the unknown, despite whatever factors kind of come up against him. And I split that into two people and made them the Brooklyn Brothers. They’re lost without each other, basically.”

A character in the film describes the sound of the Brooklyn Brothers as “The Shins meets Sesame Street,” and their use of the children’s instruments also serves as an apt metaphor for the career struggles of O’Nan’s Jim. “This is a story about a guy who’s learning what it means to be a man, and kind of leave the land of childhood,” says O’Nan. “And the question is, ‘Can he bring his childhood dreams into his adult life?’ The actual instruments he uses to do that are these children’s instruments.” O’Nan and Weston just cut the Brooklyn Brothers album for Rhino this past month in Los Angeles, although an actual recording contract wasn’t one of O’Nan’s goals when he started shooting Brooklyn Brothers. “It’s a dream come true that we actually got signed as a band, but totally unexpected. I stopped playing music as a career a long time ago, and focused on the medium of film, but it’s totally come back around in a beautiful way,” he explains.

Ryan O'Nan in THE RED ROBIN. Photo by Meg Urbani.

O’Nan most recently wrapped the lead role in The Red Robin, where he plays the adopted adult son of a famed, dying psychiatrist, portrayed by Judd Hirsch (“Damages, “Taxi”), who did some mysterious work for the U.S. government during the Cold War. At an impromptu family reunion, O’Nan’s character makes the accusation that his father adopted his large family for the purposes of dark mental experimentation. Explains O’Nan about what attracted him to the Michael Z. Wechsler-directed psychological thriller, “I’m the oldest of five kids and we went through a lot together. I’m fascinated by the idea of siblings and how they come together, how they survive together, and that’s what the story was about. And, I’ve also been a huge fan of Judd Hirsch since I was a kid. Working with him was such an amazing experience.”

As to whether he can attribute his myriad successes of the past year to anything in particular, O’Nan replies, “You know what? My biggest philosophy is that the harder you work, the luckier you get, and I’ve tried to live my entire life by that philosophy. I just love making things. I’m incredibly lucky to be in this industry, where you’re constantly meeting new people, and you’re getting to work with people who you respect. I just feel so, so lucky. I really do.”

The Brooklyn Brothers Beat the Best screens at the Santa Barbara International Film Festival on January 27th at 2 PM; January 29th at 4:30 PM, and February 2 at 1 PM. More information on the Santa Barbara International Film Festival can be found at www.sbiff.org.