this week in film and television

FOUR SEASONS LODGE

FOUR SEASONS LODGE (Andrew Jacobs, 2008)
Symphony Space
2537 Broadway at 95th St.
Sunday, January 24, 6:00
212-924-7771
www.symphonyspace.org
www.fourseasonsmovie.org

“Life is not easy for everyone,” Olga Bowman says about midway through Andrew Jacobs’s spectacular cinéma vérité documentary, FOUR SEASONS LODGE. “But life can be beautiful even when it’s not so easy.” For twenty-five summers, a group of Holocaust survivors, mostly Polish Jews, would meet at the Four Seasons Lodge in the Catskills, where they would talk, dance, argue, eat, hug, discuss their latest aches and pains, and primarily revel in life despite the horrific things they suffered through and witnessed at such concentration camps as Auschwitz and Bergen-Belsen. Jacobs discovered this heartwarming community while researching a series of articles for the New York Times; when he heard that the lodge was being sold and that the 2006 season might be the group’s last, he decided to make a movie about it. Seeking advice from the legendary Albert Maysles, Jacobs actually landed the master documentarian as his chief cameraman, giving FOUR SEASONS LODGE the feel of such classic Maysles brothers’ works as SALESMAN and GREY GARDENS.

Jacobs is like the proverbial fly on the wall, focusing on ten primary characters who don’t mind sharing their simple existence with the rest of the world. “I am full of life,” one woman says, and that is what the film is really about, even as this collection of extraordinary people are staring at their own mortality. They might have survived the camps, but as they reach into their eighties and nineties, they understand that death is near – but they refuse to let a little thing like that stop them from enjoying some lox and herring, schmaltzy music, bad jokes, and, most of all, each other. Audiences will fall in love with such couples as Hymie and Tosha Abramowitz (Hymie’s pronunciation of the word herring is worth the price of admission all by itself), Tobias Buchman and Lola Wenglin, and the endearing Olga Bowman and Genya Boyman, who are all charming in unique, unexpected ways. FOUR SEASONS LODGE is an extraordinary accomplishment, a subtle yet unforgettable experience that is one of the best films of the decade.

KUROSAWA: STRAY DOG

Takashi Shimura and Toshiro Mifune are on the hunt in Kurosawa detective story

Takashi Shimura and Toshiro Mifune are on the hunt in Kurosawa detective story

STRAY DOG (Akira Kurosawa, 1949)
Film Forum
209 West Houston St.
January 6-14
212-727-8110
www.filmforum.org

Akira Kurosawa’s thrilling police procedural, STRAY DOG, is one of the all-time-great film noirs. When newbie detective Murakami (Toshiro Mifune) gets his Colt lifted on a bus, he thinks he will be fired if he does not get it back. But as he searches for it, he discovers that it is being used in a series of robberies and murders that he feels responsible for. Teamed with seasoned veteran Sato (Takashi Shimura), Murakami risks his career — and his life — as he tries desperately to track down his gun before it is used again. Kurosawa makes audiences sweat as postwar Japan is in the midst of a heat wave, with Murakami, Sato, prostitute Harumi Namiki (Keiko Awaji), and others constantly mopping their brows, dripping wet. Inspired by the novels of Georges Simenon, STRAY DOG is a dark, intense drama shot in creepy black and white by Asakazu Nakai and featuring a jazzy soundtrack by Fumio Hayasaka that unfortunately grows melodramatic in a few key moments — and oh, if only that final scene had been left on the cutting-room floor. A new 35mm print of STRAY DOG kicks off Film Forum’s celebration of Kurosawa’s centennial, four weeks and twenty-nine films, including such outright classics as THRONE OF BLOOD, THE HIDDEN FORTRESS, RASHOMON, DERSU UZALA, SEVEN SAMURAI, and RAN as well as such lesser-known faves as IKIRU, DRUNKEN ANGEL, and SCANDAL. YOJIMBO and SANJURO make up a terrific double feature on February 3, while the extremely standard and boring SANSHIRO SUGATA films are screened together on January 18. Keep watching this space for more select reviews.

KUROSAWA FESTIVAL: SCANDAL

Toshirô Mifune and Yoshiko Yamaguchi battle the tabloids in Kurosawa melodram

Toshirô Mifune and Yoshiko Yamaguchi battle the tabloids in Kurosawa melodram

SCANDAL (Akira Kurosawa, 1950)
Film Forum
209 West Houston St.
Sunday, January 24, 3:10, 5:20, 7:30, 9:40
(Kurosawa Festival continues through February 18)
212-727-8110
www.filmforum.org

When two famous people are caught together at a hotel in the mountains, a scandal breaks out as a lurid gossip magazine prints their picture and makes up a sordid romance that is not true. With their reputations tainted, they consider suing the publication, but they run into problems with their ragtag lawyer, who has a bit of a gambling problem. Akira Kurosawa regular Toshirô Mifune stars as Ichiro Aoye, a well-known painter who likes smoking pipes and riding his flashy motorcycle. Yoshiko Yamaguchi is Miyaka Saijo, a timid pop singer who is terrified of the unwanted publicity. And Takashi Shimura is Hiruta, the struggling lawyer devoted to his young daughter, who is dying of TB. The first half of the movie is involving right from the roaring opening-titles sequence, with good characterization and an alluring story line. Unfortunately, the film bogs down in the second half, especially during the hard-to-believe courtroom scenes, the only ones of Kurosawa’s career. And the Christmas bit is tired and cliché-ridden, even if might have been unique at the time for a film made in postwar Japan. But Kurosawa’s attack on the media is still valid today, even if he did fill it with sappy melodrama.

DOCS ON THE SHORTLIST

Shortlisted Oscar doc will get under viewers' skin

Shortlisted Oscar doc will get under viewers’ skin

UNDER OUR SKIN (Andy Abrahams Wilson, 2009)
Tribeca Cinemas
54 Varick St. at Laight St.
Saturday, January 9, $10, 8:30 (series runs January 8-9)
212-941-2001
www.underourskin.com
www.tribecafilm.com/docseries

For everyone who thought Lyme disease was a minor little annoyance that is going away, Andy Abrahams Wilson is about to open your eyes. In UNDER OUR SKIN, the director-cinematographer details horrifying stories of men, women, and children stricken with the tic-borne illness who have often been misdiagnosed for years by doctors and health-care companies that believe their symptoms are all in their head — or that they are actually suffering from fibromyalgia, lupus, MS, or other diseases. Wilson, who refused to believe that his twin sister had contracted the potentially debilitating illness many years ago, speaks with people battling Lyme disease — which affects the neurological system, causing both physical and psychological problems — as well as family members dealing with difficult situations, doctors who are finding it harder to get funding to do research into the causes of the disease, and even one physician who seems to be on a personal mission to prove that most people who claim to have Lyme disease do not — and that they should not be covered by insurance companies. Unsurprisingly, as with so many health-related issues, it’s always best to follow the money, which Wilson does, uncovering some fascinating and infuriating information. UNDER OUR SKIN is a powerful, important film, one that will leave you scratching your head — in addition to other parts of your body.

The film will be screening at Tribeca Cinemas on January 9 at 8:30, followed by a Q&A with Wilson, Lyme disease sufferer Jacqueline Spar, and Dr. Jeffrey Morrison. The event is part of Docs on the Shortlist, a two-day series featuring six of the fifteen documentaries that have made it to the Oscar semifinals, to be whittled down to five official nominees announced on February 2. Also on the bill are Revecca Cammisa’s WHICH WAY HOME, which looks at immigration problems at the U.S.-Mexico border; Robert Kenner’s FOOD, INC., which examines some of the more frightening aspect of the food industry; Mark N. Hopkins’s LIVING IN EMERGENCY: STORIES OF DOCTORS WITHOUT BORDERS, which follows two volunteers as they try to help in Congo and Liberia; Bill Guttentag and Dan Sturman’s SOUNDTRACK FOR A REVOLUTION, which delves into the civil rights movement through music; and Louie Psihoyos’s THE COVE, which reveals a surprising side to dolphin training and activism in the 1960s. Each screening will be followed by a discussion with the director, producer, editor, and/or other participants.

WEEKEND CLASSICS: LA CRÈME DU CRIME

Julien Tavernier (Maurice Ronet) finds himself in a tight squeeze in French crime classic

Julien Tavernier (Maurice Ronet) finds himself in a tight squeeze in French crime classic

ASCENSEUR POUR L’ECHAFAUD (ELEVATOR TO THE GALLOWS) (Louis Malle, 1957)
IFC Center
323 Sixth Ave. at Third St.
January 8-10, 11:00 pm
212-924-7771
www.ifccenter.com/series/weekend-classics/la-creme-du-crime

Louis Malle’s first feature-length fiction film, following THE SILENT WORLD (made with Jacques Cousteau), is a classic French noir that comes with all the trimmings — and can now be seen in an excellent 35mm print with new subtitles. Jeanne Moreau stars as Florence Carala, who is married to ruthless business tycoon Simon (Jean Wall) but is carrying on an affair with Simon’s right-hand man, Julien Tavernier (Maurice Ronet). Julien plans the perfect murder — or so he thinks, until he has to go back to retrieve a crucial piece of evidence and gets trapped on the elevator. While he struggles to find a way out and Florence waits for him anxiously at a neighborhood bistro, young couple Louis (Georges Poujouly) and Veronique (Yori Bertin) take off in Julien’s convertible and get into some serious trouble of their own. Mistaken identity, cold-blooded killings, jealousy, and one of the greatest film scores ever — by Miles Davis, recorded in one overnight session — make ELEVATOR TO THE GALLOWS a splendid debut from one of the world’s finest filmmakers. The screening is part of the IFC Center’s twelve-film series of classic French crime thrillers, which continues on weekend nights at 11:00 through April 4; the upcoming lineup includes Jean-Luc Godard’s PIERROT LE FOU, Henri-Georges Clouzot’s QUAI DES ORFEVRES, and Jules Dassin’s RIFIFI, and that’s just January. Keep watching this space for more select reviews.

FISH TANK

Mia (Katie Jarvis) hopes there's more to life in FISH TANK

Mia (Katie Jarvis) hopes there's more to life in FISH TANK


FISH TANK (Andrea Arnold, 2009)

BAMcinematek
30 Lafayette Ave. between Ashland Pl. & St. Felix St.
Thursday, January 7, 7:00
718-636-4100
www.fishtankmovie.com
www.bam.org

Writer-director Andrea Arnold follows up her brilliant, harrowing feature debut, 2006’s RED ROAD, with the brilliant, highly perceptive, and emotionally gripping FISH TANK. Katie Jarvis, a seventeen-year-old discovered by Arnold while the girl was arguing with her boyfriend on a train station platform, had never acted before and was not a dancer, but Arnold cast her in the lead role of Mia, a fifteen-year-old troubled kid who dreams of becoming a professional hip-hop dancer as her only way out of her drab life. A loner quick to curse and fight, Mia lives with her mother, Joanne (Kierston Wareing), who loves to drink and party, and her little sister, Tyler (Rebecca Griffiths making her acting debut as well). When her mother starts dating Connor (Michael Fassbender), Mia soon turns to him for help and advice, but their relationship threatens to grow much too close and far too dangerous. Arnold shot the film in chronological order, giving each actor only parts of the script at a time, so virtually every scene of FISH TANK feels fresh and genuine, with natural, believable actions and reactions. While Wareing and Fassbender (HUNGER and 300) are excellent, the film belongs to the remarkable Jarvis, who will break your heart over and over again. BAMcinematek will be hosting an advance screening of FISH TANK on January 7 at 7:00, followed by a Q&A with director Arnold and star Fassbender. The film, which won the Jury Prize at Cannes, opens at the IFC Center and Lincoln Plaza on January 15.

NEWFILMMAKERS: WINTER FESTIVAL 2010

8behindwheel

8 BEHIND THE WHEEL (Trace Burroughs, 2009)

Anthology Film Archives
32 Second Ave. at Second St.
January 5, $6, 6:00
212-505-5181
www.newfilmmakers.com
www.anthologyfilmarchives.org

Abstract impressionist artist, animator, and filmmaker Trace Burroughs wrote, directed, and stars in 8 BEHIND THE WHEEL, which is screening on January 5 at 9:00 as part of the NewFilmmakers Winter Festival 2010 at Anthology Film Archives (January 2-6). Burroughs’s appropriately claustrophobic film gets inside the minds of eight drivers as they make their way through the cold, cruel world, either speaking out loud or having their thoughts broadcast to the audience in voice-over narration. Coming from all walks of life, the drivers talk or think to themselves — some reciting their lines a lot better than others — about pizza, weddings, chocolate, sex, drugs, violence, and other topics, but how real are these thoughts, and will they culminate in action? Burroughs (ENDLESS ORGY FOR THE GODDESS OF PERVERSION) mixes up camera shots with different angles so the visuals do not get too boring, adding a jazzy soundtrack and good use of color, especially in interstitials while going from driver to driver, giving audiences the feeling of being behind the wheel themselves, speeding down a barren highway. Also on the January 5 bill are documentaries about the space program, including Kevin Stirling’s ninety-minute MOON BEAT, along with four shorts.

The second annual NewFilmmakers Winter Festival consists of nightly programs of several shorts paired with at least one feature-length film, either narrative or documentary. On Sunday night, Clara Xing’s STAND UP, set in northern China, follows Arin Yoon’s fifty-minute doc AMERICANISM, about education in South Korea, Lin Hsin-Chin’s short WIND AND THE ROCK, and others. On January 4, the main presentation, Benjamin Pollack’s Twilight Zone-esque DARK ROOM THEATER, anchors an evening that also includes Eric Sazer’s A PORTRAIT OF DISCOMFITURE, John Goras’s GHOST TANK, and Garret Anton Harkawik’s CONTEMPT OF LIFE. On January 6, Thomas Hofbauer’s IN THE COMPANY OF STRANGERS closes out the festival following shorts that take place in the subway and Geoffray Barbier’s PARDON US FOR LIVING BUT THE GRAVEYARD IS FULL, which looks at the career of the Fleshtones.