this week in film and television

THE CONTENDERS 2014: FINDING VIVIAN MAIER

Vivian Maier

Documentary turns the camera on mysterious street photographer Vivian Maier (photo by Vivian Maier / courtesy of the Maloof Collection)

FINDING VIVIAN MAIER (John Maloof & Charlie Siskel, 2013)
MoMA Film, Museum of Modern Art
11 West 53rd St. between Fifth & Sixth Aves.
Tuesday, December 30, 7:30
Series runs through January 16
Tickets: $12, in person only, may be applied to museum admission within thirty days, same-day screenings free with museum admission, available at Film and Media Desk beginning at 9:30 am
212-708-9400
www.moma.org
www.findingvivianmaier.com

By their very nature, street photographers take pictures of anonymous individuals, capturing a moment in time in which viewers can fill in their own details. In the wonderful documentary Finding Vivian Maier, codirectors John Maloof and Charlie Siskel turn the lens around on a street photographer herself, attempting to fill in the details of the curious life and times of Vivian Maier, about whom very little was known. “I find the mystery of it more interesting than her work itself,” says one woman for whom Vivian Maier served as a nanny decades earlier. “I’d love to know more about this person, and I don’t think you can do that through her work.” In 2007, while looking for historical photos for a book on the Portage Park section of Chicago, Maloof purchased a box of negatives at an auction. Upon discovering that they were high-quality, museum-worthy photographs, he set off on a mission to learn more about the photographer. Playing detective — while also developing hundreds of rolls of film, with thousands more to go — Maloof meets with men and women who knew Maier as an oddball, hoarding nanny who went everywhere with her camera and shared little, if anything, about her personal life. “I’m the mystery woman,” Maier says in a color home movie. Her former employers and charges, including talk-show host Phil Donahue, debate her background, the spelling and pronunciation of her name, her accent, and how she might have felt about a documentary delving into her secretive life.

Street photographer Vivian Maier captured a unique view of the world in more than 100,000 pictures (Vivian Maier / courtesy of the Maloof Collection)

Street photographer Vivian Maier captured a unique view of the world in more than 100,000 pictures (photo by Vivian Maier / courtesy of the Maloof Collection)

Maloof also discusses Maier’s work with such major photographers as Joel Meyerowitz and Mary Ellen Mark. “Had she made herself known, she would have become a famous photographer. Something was wrong. . . . A piece of the puzzle is missing,” Mark says while comparing Maier’s work to such legends as Robert Frank, Lisette Model, Helen Levitt, and Diane Arbus. Maloof tries to complete what becomes an ever-more-fascinating puzzle in this extremely enjoyable documentary that gets very serious as he finds out more about the mystery woman who is now considered an important twentieth-century artist. Finding Vivian Maier also has an intriguing pedigree; codirector and producer Siskel (Religulous) is executive producer of Comedy Central’s Tosh.0, executive producer Jeff Garlin (I Want Someone to Eat Cheese With) is a comedian who played Larry David’s best friend and agent on Curb Your Enthusiasm, and Kickstarter contributor and interviewee Tim Roth (Reservoir Dogs, Lie to Me) is an Oscar-nominated actor who collects Maier’s work. Finding Vivian Maier, which has made the Academy Award shortlist for Best Documentary, is screening December 30 at 7:30 as part of MoMA’s annual series “The Contenders,” which consists of films the institution believes will stand the test of time; the series continues with such other 2014 works as Ava DuVernay’s Selma, Paul W. S. Anderson’s Pompeii, Dan Gilroy’s Nightcrawler, and Alejandro González Iňárritu’s Birdman (The Unexpected Virtue of Ignorance). And as an added bonus, you can see the exhibition “Vivian Maier: In Her Own Hands” through December 31 at the Howard Greenberg Gallery in the Fuller Building on East Fifty-Seventh St.

IDA

IDA

Ida (Agata Trzebuchowska) learns surprising things about her family from her aunt Wanda (Agata Kulesza) in IDA

IDA (Paweł Pawlikowski, 2013)
Cinema Village
22 East 12th St. between University Pl. & Fifth Ave.
212-924-3363
www.cinemavillage.com
www.musicboxfilms.com

Paweł Pawlikowski’s Ida is one of the most gorgeously photographed, beautifully told films of the young century. The international festival favorite and shortlisted Foreign Language Oscar contender is set in Poland in 1962, as eighteen-year-old novitiate Anna (Agata Trzebuchowska) is preparing to become a nun and dedicate her life to Christ. But the Mother Superior (Halina Skoczyńska) tells Anna, an orphan who was raised in the convent, that she actually has a living relative, an aunt whom she should visit before taking her vows. So Anna sets off by herself to see her aunt Wanda (Agata Kulesza), a drinking, smoking, sexually promiscuous, and deeply bitter woman who explains to Ida that her real name is Ida Lebenstein and that she is in fact Jewish — and then reveals what happened to her family. Soon Ida, Wanda, and hitchhiking jazz saxophonist Dawid Ogrodnik are on their way to discovering some unsettling truths about the past.

IDA

Lis (Dawid Ogrodnik) and Ida (Agata Trzebuchowska) discuss life and loss in beautifully photographed IDA

Polish-born writer-director Pawlikowski (Last Resort, My Summer of Love), who lived and worked in the UK for more than thirty years before moving back to his native country to make Ida, composes each shot of the black-and-white film as if it’s a classic European painting, with cinematographers Łukasz Żal and Ryszard Lenczewski’s camera remaining static for nearly every scene. Pawlikowski often frames shots keeping the characters off to the side or, most dramatically, at the bottom of the frame, like they are barely there as they try to find their way in life. (At these moments, the subtitles jump to the top of the screen so as not to block the characters’ expressions.) Kulesza (Róża) is exceptional as the emotionally unpredictable Wanda, who has buried herself so deep in secrets that she might not be able to dig herself out. And in her first film, Trzebuchowska — who was discovered in a Warsaw café by Polish director Małgorzata Szumowska — is absolutely mesmerizing, her headpiece hiding her hair and ears, leaving the audience to focus only on her stunning eyes and round face, filled with a calm mystery that shifts ever so subtly as she learns more and more about her family, and herself. It’s like she’s stepped right out of a Vermeer painting and into a world she never knew existed. The screenplay, written by Pawlikowski and theater and television writer Rebecca Lenkiewicz, keeps the dialogue to a minimum, allowing the stark visuals and superb acting to heighten the intensity. Ida is an exquisite film whose dazzling grace cannot be overstated.

THE INTERVIEW

THE INTERVIEW

James Franco and Seth Rogen share intimate moments throughout THE INTERVIEW

THE INTERVIEW (Seth Rogen & Evan Goldberg, 2014)
December 26-28, Film Society of Lincoln Center, Walter Reade Theater and Elinor Bunin Munroe Film Center, 144/165 West 65th St. between Eighth Ave. & Broadway, 212-875-5050
December 25-31, Cinema Village, 22 East 12th St. between University Pl. & Fifth Ave., 212-924-3363
www.theinterview-movie.com

The most infamous film of 2014 was released in theaters on Christmas after all, following the embarrassing hacking of Sony’s servers and George Clooney and the president sharing their opinions about violent threats from North Korea over a movie — and a stupid movie, at that. But as it turns out, The Interview is stupid fun, even if it does lose its way amid the bizarre absurdity of its final scenes. James Franco — we’re sorry, but we still can’t get enough of him — stars as superbly sycophantic celebrity talk show host Dave Skylark, who just happens to be one of reclusive North Korean Supreme Leader Kim Jong-un’s (Randall Park) personal favorites. So Skylark’s best friend and producer, Aaron Rapoport (Rogen), sets up a live interview with Kim, agreeing to the leader’s rigidly controlled set of conditions delivered by his gorgeous security chief, Sook (Diana Bang). When the CIA hears about the interview, they send agent Lacey (Lizzy Caplan) to convince Skylark and Rapoport that they must assassinate Kim for the good of the world. But their best-laid plans go awry when Kim charms Skylark as they embark on a brief bromance that threatens the bromance that already exists between Dave and Aaron. Codirected by Rogen and Goldberg, whose collaborations have also included Superbad, Pineapple Express, This Is the End, and other hits and misses, and written by first-time screenwriter Dan Sterling (The Office, King of the Hill), The Interview is, for the most part, a very funny, extremely juvenile comedy that never misses a chance to make a butt joke. With a little bit of Stripes here, a splash of Spies Like Us there, it follows in the tradition of crazy lowbrow military comedies that eventually go off the deep end but contain more than their fair share of laugh-out-loud silliness. Franco and Rogen, who have been working together since the days of the great Freaks and Geeks, are so much fun to watch as a duo that things don’t completely fall apart even when the script lets them down. Oh, and meanwhile, Eminem comes out of the closet, Rob Lowe reveals a frightening secret, and other celebrities show up as themselves in this bromantic comedy that nearly started WWIII.

SEE IT BIG! ANIMATION: PAPRIKA

Satoshi Kon’s imaginative PAPRIKA

Satoshi Kon’s imaginative PAPRIKA is filled with fascinating, unusual characters

PAPRIKA (Satoshi Kon, 2006)
Museum of the Moving Image
35th Ave. at 36th St., Astoria
Saturday, December 27, and Sunday, December 28, free with museum admission, 6:00
718-777-6800
www.movingimage.us
www.sonyclassics.com/paprika

Based on the novel by Yasutaka Tsutsui, Paprika is an animated, futuristic sci-fi thriller in which reality and dreams merge in clever and confusing ways. The title character is a superhero psychotherapist who can enter people’s dreams by using cutting-edge technology known as the DC MINI, which was invented by Dr. Tokita, a huge man with a baby face and a tremendous appetite. When one of the prototypes is stolen, Paprika, whose alter ego is Dr. Atsuko Chiba of the Foundation for Psychiatric Research, sets out to find the thief, who is using the invaluable — and not fully tested and approved — equipment for seemingly evil purposes. Other central characters include Torataro Shima, the adorable old chief of the lab; the ruthless, wheelchair-bound foundation chairman, Seijiro Inui; Detective Konakawa, who develops a liking for Paprika; Dr. Osanai, a hunky researcher; and lab assistant Himuro, who has gone missing but can be seen in dreams. Adapted by Satoshi Kon, the director of Millennium Actress and Tokyo Godfathers who sadly died of cancer in 2010 at the age of forty-six, and featuring the voices of Megumi Hayashibara, Toru Emori, Katsunosuke Hori, Toru Furuya, and Akio Ohtsuka, Paprika is an entertaining, if at times hard to follow, anime with lots of cute characters and some very beautiful scenes. The film is screening December 27-28 at 6:00 as part of the Museum of the Moving Image’s “See It Big! Animation” series, which also includes Brad Bird’s Ratatouille December 26-28.

UNBROKEN

UNBROKEN

Louie Zamperini (Jack O’Connell) gets ready to run for his life in UNBROKEN

UNBROKEN (Angelina Jolie, 2014)
Opens Thursday, December 25
www.unbrokenfilm.com

Unbroken, Angelina Jolie’s second film as director (following In the Land of Blood and Honey), attempts to set itself apart from other real-life dramas right from the start; while other movies claim to be “based on a true story” or “inspired by actual events,” Unbroken boldly, and very clearly, declares itself to be “a true story.” The old-fashioned WWII movie tells the story of Louis “Louie” Zamperini, a troubled kid (first C. J. Valleroy, then Jack O’Connell) who drinks, smokes, and gets in trouble with the law until his life turns around when his brother, Pete (first John D’Leo, then Alex Russell), helps train him to become an Olympic runner. But duty calls, and Louie enlists in the air force. His plane is shot down over the Pacific Ocean, leaving him, Russell “Phil” Phillips (Anna Karenina’s Domhnall Gleeson), and Francis “Mac” McNamara (American Horror Story’s Finn Wittrock) adrift on a pair of life rafts, surrounded by sharks. Later, Zamperini is captured and taken to a POW camp run by the sadistic Mutsuhiro “the Bird” Watanabe (Japanese rock star Miyavi), who decides to make the Olympian his personal punching bag, brutalizing him every chance he gets, daring him to give up, but Zamperini isn’t about to give him the satisfaction.

UNBROKEN

Louie Zamperini (Jack O’Connell) goes through hell and back in Angelina Jolie’s WWII drama

A gripping, if overly straightforward, good vs. evil story, Unbroken is based on Laura Hillenbrand’s 2010 book, Unbroken: A World War II Story of Survival, Resilience, and Redemption, and both Hillenbrand and Zamperini, who died earlier this year at the age of ninety-seven, served as consultants on the film. The screenplay, which leaves little room for nuance, was written by Joel and Ethan Coen, along with William Nicholson (Shadowlands, Sarafina!) and Richard LaGravenese (The Fisher King, Beautiful Creatures). English actor O’Connell (Starred Up, This Is England) gives a courageous, physically harrowing performance as Zamperini, while the baby-faced Miyavi is frightening in his movie debut. Their relationship recalls elements of such films as The Hill, Papillon, The Deer Hunter, and even The Bridge on the River Kwai, although Jolie ultimately relies too much on the hero vs. villain black-and-white aspects of the story. There also might be unintended reactions to Unbroken, especially coming on the heels of the Senate’s recent release of the CIA Torture Report; while the film is a distinctly American tale of the indomitability of the human spirit and the sheer will to survive against all odds, it deals with the controversial issue of wartime torture, and near the end of the film, the man sitting next to us muttered that what the Bird did to Zamperini was much worse than anything the U.S. has ever done to any of its enemies.

CHUCK JONES MATINEES: FOR SCENT-MENTAL REASONS AND OTHER CARTOONS

Love, among other things, is in the air in Chuck Jones classic FOR SCENT-IMENTAL REASONS

Love, among other things, is in the air in Chuck Jones classic FOR SCENT-IMENTAL REASONS

Museum of the Moving Image
35th Ave. at 36th St., Astoria
Friday, December 26, and December 29 – January 2, free with museum admission, 1:00
718-777-6800
www.movingimage.us

The Museum of the Moving Image’s celebration of all things Chuck Jones continues with a matinee of eight more of his classic Warner Bros. cartoons, held in conjunction with the endlessly fun exhibit “What’s Up, Doc? The Animation Art of Chuck Jones.” The festivities begin with 1946’s Hair-Raising Hare, in which Bugs Bunny thinks that monsters must lead such interesting lives. In 1949’s For Scent-imental Reasons, Pepè Le Pew thinks he has found true love. Daffy heads into the future and battles Marvin the Martian in 1953’s Duck Dodgers in the 24 1/2th Century. Daydreaming eight-year-old Ralph Phillips is introduced in 1954’s From A to Z-Z-Z-Z. Witch Hazel has some dastardly plans for Halloween trick-or-treaters in 1956’s Broom-Stick Bunny. Daffy and Bugs fight over a vast treasure in 1957’s Ali Baba Bunny. Daffy attempts to steal from the poor and give to the rich in 1958’s Robin Hood Daffy. And Wile E. Coyote (as Batman!) and the Delicius-Delicius Road Runner go at it yet again in 1956’s Gee Whiz-z-z. The exhibit runs through January 19; the matinees continue with “Baton Bunny and Other Cartoons” on January 4, “The Rabbit of Seville and Other Cartoons” January 10-11, and “Duck Amuck and Other Cartoons” January 17-18.

THE SHOP AROUND THE CORNER

THE SHOP AROUND THE CORNER

Klara Novak (Margaret Sullavan) and Alfred Kralik (James Stewart) have little time for each other in Ernst Lubitsch’s THE SHOP AROUND THE CORNER

THE SHOP AROUND THE CORNER (Ernst Lubitsch, 1940)
Film Forum
209 West Houston St.
December 25-31
212-727-8110
www.filmforum.org

Jimmy Stewart’s most famous Christmas movie might be It’s a Wonderful Life, but that doesn’t mean it’s his best. That distinction belongs to the 1940 Ernst Lubitsch black-and-white romantic comedy The Shop Around the Corner, which is having a special holiday run December 25-31 at Film Forum. Stewart stars as Alfred Kralik, a serious-minded longtime clerk at the Budapest gift shop Matuschek & Co., serving as the right-hand man to owner Hugo Matuschek (The Wizard of Oz’s Frank Morgan), who relies on his star employee’s honesty and expertise. Also working at the store is Pirovitch (Felix Bressart), a timid family man who hides every time Mr. Matuschek asks for an opinion; the shy Flora Kaczek (Sara Haden); the brash, ambitious delivery boy Pepi Katona (William Tracy); and the self-involved would-be bon vivant Ferencz Vadas (Joseph Schildkraut). When Klara Novak (Margaret Sullavan) shows up looking for a job, Kralik tries to quickly dismiss her, but she ends up charming Mr. Matuschek and getting hired. She and Kralik, her direct superior, bicker constantly, each one hoping that a romantic pen pal will make their dreary lives much brighter, especially as Christmas approaches. But little do they know the love letters that they are so carefully crafting are actually to each other, their secretive literary relationship a far cry from their actual daily one.

THE SHOP AROUND THE CORNER

Mr. Matuschek (Frank Morgan) and Pirovitch (Felix Bressart) prepare for Christmas in THE SHOP AROUND THE CORNER

The Shop Around the Corner is based on Miklós László’s 1937 play, Parfumerie, and it very much has a claustrophobic feel, as events occur primarily in the small store. Stewart and Sullavan channel some of that Cary Grant / Irene Dunne magic as they go about their private and professional business, even if they don’t even make attempts at Hungarian accents. (Neither does Morgan, who gives one of his finest performances.) “There might be a lot we don’t know about each other. You know, people seldom go to the trouble of scratching the surface of things to find the inner truth,” Mr. Kralik says to Miss Novak, who replies, “Well, I really wouldn’t care to scratch your surface, Mr. Kralik, because I know exactly what I’d find. Instead of a heart, a handbag. Instead of a soul, a suitcase. And instead of an intellect, a cigarette lighter . . . which doesn’t work.” The central object in the shop is a cigarette box that plays the Eastern European folk song “Ochi Tchornya” every time it is opened; while Mr. Kralik thinks that smokers will tire of hearing the same tune over and over, Miss Novak convinces a customer that it is a candy box and that the repetition of the song will turn her away from opening the box again and again to eat more; meanwhile, Mr. Matuschek just wants to sell the darn things, delineating the three characters’ approach to life in general. Written by Samson Raphaelson, who adapted other plays and novels for Lubitsch, including The Smiling Lieutenant, Trouble in Paradise, and Heaven Can Wait, The Shop Around the Corner is a sweetly innocent film with just the right amount of edginess, a fun frolic through human nature and love, a fanciful confection set in the rococo interior of a shop selling little luxuries in a now-lost Hungary between the world wars. The story was also turned into the 1949 musical In the Good Old Summertime with Van Johnson and Judy Garland (Johnson also appeared in a 1945 radio version with Phyllis Thaxter) and Nora Ephron’s popular 1998 romantic comedy You’ve Got Mail, starring Tom Hanks and Meg Ryan, the latter playing a woman who runs a New York City bookstore called the Shop Around the Corner. (On New Year’s Eve, Film Forum will be pouring free champagne for the 7:00 and 9:15 shows.)