this week in film and television

BIDDER 70

Tim DeChristopher fights the power in inspiring new documentary, BIDDER 70

BIDDER 70 (Beth Gage & George Gage, 2013)
Quad Cinema
34 West 13th St.
Opens Friday, May 17
212-255-2243
www.quadcinema.com
www.bidder70film.com

Can one person really make a difference? In Bidder 70, directors Beth and George Gage tell the inspiring story of Tim DeChristopher, who has followed in the footsteps of such peaceful, nonviolent protestors as Rosa Parks, the Reverend Dr. Martin Luther King Jr., and Mahatma Gandhi, although the humble West Virginia native wouldn’t dare put himself in such lofty company. In December 2008, DeChristopher attended a Utah Bureau of Land Management oil and gas lease auction without a real plan, knowing only that he had to do something to keep the pristine wilderness land out of the hands of corporate drillers; he ended up winning bids on more than twenty-two thousand acres for $1.7 million without any intention of actually paying, so he was arrested and charged with two felonies that could put him in prison for a long time. But he just couldn’t sit back and let the sale take place, and he’s willing to face the consequences. “It’s really hard for me to not think about climate change with anything that we’re doing,” the West Virginia native says in the film while relaxing in a vast, rocky landscape. “It’s this big weight that our generation is bearing on our shoulders, and it’s like something chasing us, that’s getting closer all the time. We’ve always been told that things are just beyond our control and that corporations have all the power, and we don’t often get to be reminded that we’re citizens of what was once the greatest democracy on the planet and that we’re human beings with the power to inspire others through our actions.” The Gages (American Outrage, Fire on the Mountain) follow the modest DeChristopher as he becomes a leader in the civil disobedience movement, cofounding Peaceful Uprising and preparing for a trial that continually gets postponed, perhaps for political reasons. Among the talking heads discussing and/or helping DeChristopher in his defense — he could end up being sentenced to twenty years in prison even though the government later declared the auction he attended to be illegal — are environmental activists Robert Redford and Bill McKibben, writer and conservationist Terry Tempest Williams, Nobel Peace Prize winner Dr. Terry Root, attorneys Ron Yengich and Patrick Shea, and NASA GISS director Dr. James Hansen. Can one person really make a difference? Bidder 70 provides the answer. The documentary opens May 17 at the Quad, with DeChristopher and Beth and George Gage participating in Q&As after the 7:10 screenings on Friday and Saturday and the Gages back for another Q&A on Monday night.

WAVERLY MIDNIGHTS — TERRY GILLIAM: THE IMAGINARIUM OF DOCTOR PARNASSUS

People get to make a deal with the devil in Terry Gilliam’s THE IMAGINARIUM OF DOCTOR PARNASSUS

THE IMAGINARIUM OF DOCTOR PARNASSUS (Terry Gilliam, 2009)
IFC Center
323 Sixth Ave. at West Third St.
Friday, May 17, and Saturday, May 18, 12:00 midnight
212-924-7771
www.ifccenter.com
www.sonyclassics.com

Longtime Monty Python animator Terry Gilliam is perhaps the most frustrating filmmaker of the last thirty years. A remarkable talent whose works are often mired in controversy, from going way overbudget to having to deal with severe illness and even death on his sets, Gilliam has made such pure gems as Time Bandits (1981), Brazil (1985), and The Fisher King (1991) as well as such disasters as Fear and Loathing in Las Vegas (1998), The Brothers Grimm (2005), and Tideland (2005). His last real success was Twelve Monkeys (1995), making it nearly fifteen years since he’s made a worthwhile movie. His 2009 adult fairy tale, The Imaginarium of Doctor Parnassus, is reminiscent of his 1988 film, The Adventures of Baron Munchausen, a somewhat underrated though hit-or-miss effort that reached lofty heights while flirting with utter ridiculousness. Cowritten by Gilliam and Charles McKeown (who also collaborated on Brazil and Munchausen), Parnassus is built around a Faustian plot in which a monk, Dr. Parnassus (Christopher Plummer), who thinks his sect controls the story of the world, makes a deal with Mr. Nick, the devil (Tom Waits), involving Parnassus’s daughter, Valentina (Lily Cole). Valentina is part of the doctor’s traveling sideshow, along with the trusted, all-knowing Percy (Verne Troyer) and assistant Anton (Andrew Garfield), who is in love with Valentina but is unable to express his desire. The ramshackle show offers people the chance to walk through a mirror into their own private fantasy — during which they will eventually face a decision regarding their own potential deal with the devil. When the oddball troupe discovers a man hanging by his neck under a bridge, they welcome the charming, handsome, deeply mysterious stranger (Heath Ledger) into their outfit, but he is hiding a secret that could tear everything apart. Parnassus is an up-and-down affair in which a captivating, beautiful scene will be followed by a baffling segment that borders on the incompetent, as if the filmmakers forgot to edit it properly or couldn’t afford more takes to improve it. Fortunately, the last half hour is thrilling, especially how Gilliam and McKeown rework the script to deal with Ledger’s death when several key scenes still needed to be shot. The Imaginarium of Doctor Parnassus is screening in a DCP projection at midnight on May 17 & 18 as part of the IFC Center Waverly Midnights series “Terry Gilliam,” which continues through July 20 with such other fine Gilliam fare as Time Bandits, Jabberwocky, and Brazil.

CHINESE REALITIES/DOCUMENTARY VISIONS: OLD DOG

An old man (Lochey) would rather sell himself than his canine companion in Pema Tseden’s OLD DOG

OLD DOG (LAO GOU/KHYI RGAN) (Pema Tseden, 2011)
MoMA Film, Museum of Modern Art
11 West 53rd St. between Fifth & Sixth Aves.
May 15-20
Series runs through June 1
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
212-708-9400
www.moma.org

Pema Tseden’s Old Dog is a beautifully told, slowly paced meditation on Buddhism’s four Noble Truths — “Life means suffering”; The origin of suffering is attachment”; “The cessation of suffering is attainable”; and “There is a path to the cessation of suffering” — that ends with a shocking, manipulative finale that nearly destroys everything that came before it. In order to get a little money and to save the family’s sheep-herding dog from being stolen, Gonpo (Drolma Kyab) sells their Tibetan nomad mastiff to Lao Wang (Yanbum Gyal), a dealer who resells the prized breed to stores in China, where they’re used for protection. When Gonpa’s father (Lochey) finds out what his son has done, he goes back to Lao Wang and demands the return of the dog he’s taken care of for thirteen years. “I’d sell myself before the dog,” he tells his son. And so begins a gentle tale of parents and children, set in a modern-day Tibet that is ruled by China’s heavy hand. Gonpa’s father doesn’t understand why his son, a lazy man who rides around on a motorized bike and never seems to do much of anything, doesn’t yet have any children of his own, so he pays for Gonpa and his wife Rikso, (Tamdrin Tso), to go to the doctor to see what’s wrong. Meanwhile, the old man keeps a close watch on his dog, wary that Lao Wang will to try to steal it again. Writer-director Pema Tseden (The Silent Holy Stones, The Search) explores such themes as materialism, family, and attachment in a lovely little film that sadly is nearly ruined by its extreme final scene. Old Dog is screening at MoMA May 15-20 as part of “Chinese Realities/Documentary Visions,” with Tseden taking part in a discussion with Asia Society film curator La Frances Hui after the 8:00 show on May 16 and with Hui and Chris Berry following the 7:00 show on May 18. The series continues through June 1 with such other films as Zhang Yuan’s Mama, Zhang Yimou’s The Story of Qiu Ju, Jia Zhangke’s 24 City, and Ai Weiwei’s Disturbing the Peace.

THALIA DOCS — A FIERCE GREEN FIRE: THE BATTLE FOR A LIVING PLANET

Environmental activists and just plain folk fight the power in A FIERCE GREEN FIRE

A FIERCE GREEN FIRE: THE BATTLE FOR A LIVING PLANET (Mark Kitchell, 2012)
Symphony Space, Leonard Nimoy Thalia
2537 Broadway at 95th St.
Sunday, May 12 & 19, $14, 8:00
212-864-5400
www.symphonyspace.org
www.afiercegreenfire.com

A lot of documentaries wear their hearts on their sleeves, pushing a specific agenda, but as far as agenda go, A Fierce Green Fire: The Battle for a Living Planet has a pretty good one. Directed by Mark Kitchell (Berkeley in the Sixties), the film serves not only as a history of the environmental movement around the world but also demonstrates how one person can indeed make a difference. But the hundred-minute documentary does itself no favors by using several narrators who are certain to infuriate conservative Republicans and naysayers, ensuring that the film is most likely going to preach only to the converted and not spread its vital message to a more mainstream audience. A Fierce Green Fire is divided into five thematic sections, narrated by Robert Redford, Ashley Judd, Van Jones, Isabel Allende, and Meryl Streep, respectively. Using archival footage and new interviews, Kitchell examines David Brower and the Sierra Club’s fight to prevent a dam project in the Grand Canyon; Lois Gibbs’s struggle to prove the alarming health problems at Love Canal; Paul Watson, Sea Shepherd, and Greenpeace’s mission to save the whales; Chico Mendes’s bravery trying to protect the Amazon rainforest; and the continuing controversy over climate change as seen through the work of such activist organizations as Paul Hawken’s Blessed Unrest. Inspired by Philip Shabecoff’s 1993 book, the film features such talking heads as Whole Earth Catalog publisher Stewart Brand, Earth Day organizer Doug Scott, NRDC founder John Adams, former Sierra Club leader Carl Pope, environmental justice advocate Robert Bullard, Greenpeace cofounder Rex Weyler, WWF conservation biologist Thomas Lovejoy, and legendary naturalist Bill McKibben in addition to Gibbs, Hawken, and Watson. While it’s fascinating to learn that the environmental movement really took off once NASA broadcast images of the earth taken from space, revealing the beautiful fragility of the planet, much of the documentary is told in a fairly stagnant manner, more like an expanded news report than a theatrical film. Still, it shares some intriguing insights and, in celebrating a group of individuals from around the world who fought the power (and sometimes even won), goes a long way in showing that every little step matters. A Fierce Green Fire: is screening May 12 & 19 at 8:00 as part of the ongoing Symphony Space series Thalia Docs.

THALIA DOCS — HAPPY PEOPLE: A YEAR IN THE TAIGA

HAPPY PEOPLE explores the fascinating world of Siberian hunters living in virtual solitude year-round

HAPPY PEOPLE: A YEAR IN THE TAIGA (Dmitry Vasyukov & Werner Herzog, 2010)
Symphony Space, Leonard Nimoy Thalia
2537 Broadway at 95th St.
Sunday, May 12 & 19, 6:00
212-864-5400
www.symphonyspace.org
www.musicboxfilms.com

In just the last few years, master German filmmaker Werner Herzog has ventured deep into space for Wild Blue Yonder, explored the mysteries of Antarctica in Encounters at the End of the World, went spelunking through a prehistoric French cave in the 3D Cave of Forgotten Dreams, and visited an inmate on Death Row in Texas in Into the Abyss. In Happy People: A Year in the Taiga, Herzog and codirector Dmitry Vasyukov follow Russian fur trapper Gennady Soloviev and others as they set their traps and capture their prey, living a solitary existence away from friends and family, but that is exactly how they like it. They do things the old-fashioned way, using the tools and methods of their fathers and their fathers before that, getting by with their hands, their ingenuity, and their brute strength, along with the help of their ever-faithful dogs. Soloviev, who first came to Siberia under the communist regime, decided to stay, doing his part to support the local economy while continuing the Muzhik traditions. He speaks openly and honestly about his daily existence, getting emotional when talking about the bonds he forms with his dogs, and one in particular. The footage was shot several years ago by Vasyukov, and Herzog came upon it quite accidentally, seeing it when paying a surprise visit to a friend. He got in touch with Vasyukov, who allowed Herzog to edit the footage, add a musical score by Klaus Badelt, and write his own English-language narration, which he delivers with great admiration, often getting philosophical about what is being shown onscreen. Unfortunately, the film does not have quite the visual vibrancy of Herzog’s original films, usually shot by cinematographer Peter Zeitlinger, and Herzog’s words lack the personal touch that has made such works as Grizzly Man and My Best Fiend, among many others, so magical. Still, Happy People is a fascinating look at a little-known group of men who live a very different kind of life in the twenty-first century. “You don’t need to pity us; we are proud,” Soloviev told Vasyukov upon learning that Herzog wanted to repurpose the footage. Happy People in no way pities these men, instead celebrating their adherence to the old ways and honoring their intimate connections to nature. Happy People is screening May 12 & 19 at 6:00 at Symphony Space as part of the Sunday series Thalia Docs.

THE GREAT GATSBY

Nick (Tobey Maguire), Jay (Leonardo DiCaprio), Daisy (Carey Mulligan), and Tom (Joel Edgerton) are caught up in matters of the heart in THE GREAT GATSBY

THE GREAT GATSBY (Baz Luhrmann, 2013)
Opens Friday, May 10
www.thegreatgatsby.warnerbros.com

Baz Luhrmann’s sumptuous version of The Great Gatsby is a dazzling reimagining of F. Scott Fitzgerald’s 1925 novel of old and new money and the American dream. The Australian director and his wife, costume and production designer extraordinaire Catherine Martin, have turned the classic tale into a lush spectacle without losing focus on the main story of life and love during the Roaring Twenties. Leonardo DiCaprio, who played the male lead in Lurhmann’s contemporary take on Romeo + Juliet, is superb as Jay Gatsby, the mystery man previously portrayed by Warner Baxter in 1926, Alan Ladd in 1949, Robert Redford in 1974, and Toby Stephens in 2000, adding a compelling level of vulnerability to the character. Gatsby has built a magnificent palace for himself on Long Island, hosting wild parties that he doesn’t care about; all he truly wants is Daisy (Carey Mulligan), a former love who has married successful businessman Tom Buchanan (Joel Edgerton) and lives in a mansion right across the bay. The villainous Tom is having an affair with the lower-class Myrtle Wilson (Isla Fisher), whose unaware husband, George (Jason Clarke), runs a gas station and garage in the Valley of Ashes. Although a loner, Gatsby befriends his neighbor, Nick Carraway (Tobey Maguire), a young, innocent bond trader who rents a modest home at the base of Gatsby’s enormous estate and whose cousin just happens to be Daisy. As Carraway is sucked into this glamorous, debauched society, which also includes wild and elegant golf champion Jordan Baker (Elizabeth Debicki), he is forced to reexamine his own hopes and dreams as he tries to find his place in the world.

Baz Luhrmann throws one helluva party in his reimagining of THE GREAT GATSBY

Luhrmann and cowriter Craig Pearce have framed the tale by putting Carraway, the narrator of the book and film, in a sanitarium, where a doctor (Jack Thompson) convinces him that writing down what happened with Gatsby will help him overcome his alcoholism and depression; the device, which is not part of the novel, is based on Fitzgerald’s own time spent in a sanitarium. Luhrmann and Pearce, who did extensive research for the project, also include elements from Fitzgerald’s Trimalchio, the first draft of The Great Gatsby, which will certainly anger purists. Purists are also likely to be furious at the soundtrack, which features songs by Jay Z (one of the film’s producers), his wife, Beyoncé, André 3000, will.i.am, Lana Del Rey, Gotye, and the xx alongside Jazz Age re-creations by the Bryan Ferry Orchestra of Beyoncé’s “Crazy in Love” and Roxy Music’s “Love Is the Drug.” But this is not your high school English teacher’s Gatsby; instead, it’s F. Scott Fitzgerald for the twenty-first century, not meant to be seen through the billboard spectacles of oculist Dr. T. J. Eckleburg but through 3-D glasses that invite viewers into the oh-so-fashionable goings-on in eye-popping ways. “Is all this made entirely from your own imagination?” Daisy asks Gatsby at one point. In this case, it’s made from the minds of two wildly inventive men, Luhrmann and Fitzgerald, who together throw one helluva party.

Nominated for two Academy Awards: Best Costume Design (Catherine Martin), Best Production Design (Catherine Martin and Beverley Dunn)

BOOED AT CANNES: THE MOTHER AND THE WHORE

Jean-Pierre Léaud is a busy boy in THE MOTHER AND THE WHORE

THE MOTHER AND THE WHORE (Jean Eustache, 1973)
BAMcinématek, BAM Rose Cinemas
30 Lafayette Ave. between Ashland Pl. & St. Felix St.
Sunday, May 12, 2:30 & 7:00
Series runs May 8-23
718-636-4100
www.bam.org

Jean-Pierre Léaud gives a bravura performance in Jean Eustache’s New Wave classic about love and sex in Paris following the May 1968 cultural revolution. Léaud stars as Alexandre, a jobless, dour flaneur who rambles on endlessly about politics, cinema, music, literature, sex, women’s lib, and lemonade while living with current lover Marie (Bernadette Lafont), obsessing over former lover Gilberte (Isabelle Weingarten), and starting an affair with new lover Veronika (Françoise Lebrun), a quiet nurse with a rather open sexual nature. The film’s three-and-a-half-hour length will actually fly by as you become immersed in the complex characters, the fascinating dialogue, and the excellent acting. Much of the film consists of long takes in which Alexandre shares his warped view of life and art in small, enclosed spaces, the static camera focusing either on him or his companion. Someone at BAM has a wicked sense of humor, as The Mother and the Whore is screening on Mother’s Day at 2:30 & 7:00 as part of the BAMcinématek series “Booed at Cannes,” consisting of films that did not exactly thrill the Cannes glitterati but have gone on to gain their own unique reputations, including Maurice Pialat’s Under the Sun of Satan, Michelangelo Antonioni’s L’eclisse, David Lynch’s Wild at Heart, and David Cronenberg’s Crash.