Tag Archives: film forum

DEMOCRATS

Douglas Mwonzora and Paul Mangwana try to find common ground when drafting Zimbabwe’s new constitution in DEMOCRATS (photo courtesy of Upfront Films)

DEMOCRATS (Camilla Nielsson, 2014)
Film Forum
209 West Houston St.
November 18 – December 2
212-727-8110
filmforum.org

Perhaps the most frightening aspect of Danish filmmaker Camilla Nielsson’s gripping thriller of a documentary, Democrats, is how unsurprising all of the revelations are, how we all have become inured to the pervasive power of the dictatorships that control so much of the world. Following the controversial 2008 reelection of Zimbabwe president Robert Mugabe, who had been in power since 1980, when the country officially gained its independence from the British-led Rhodesia, Mugabe’s ruling party, ZANU-PF (Zimbabwe African National Union – Patriotic Front), and election runner-up Morgan Tsvangirai’s opposition party, MDC-T (Movement for Democratic Change), agreed to form an inclusive coalition government and collaborate on a new constitution, to be drafted by COPAC, a committee co-chaired by former minister of information Paul Mangwana of ZANU-PF and human rights lawyer and parliament member Douglas Mwonzora of MDC-T. On the advice of Danish journalist Peter Tygesen, Nielsson requested access to the intense negotiations, and what she was given was an amazing, exclusive behind-the-scenes look into the process. Over the course of twelve shoots of between one and three weeks from 2010 to 2013, Nielsson alternately follows Mangwana and Mwonzora as they take their case to the people of Zimbabwe, traveling to rural communities and cities as their teams organize nearly six thousand town-hall-style meetings. Mangwana is a big, jolly fellow who believes Mugabe and his government are untouchable, that they will do anything and everything they can to maintain their leadership status. “Be seen as a man of peace. Even if you are not,” he brazenly says to the camera, adding, “The game of politics is pretending.” Meanwhile, Mwonzora, a much more deliberate man, explains, “We never imagined that a black man could suppress his own people.” As he makes his way across Zimbabwe, Mwonzora supports fighting back using pen and brains, not violence, imploring people to “tell us how much power we should have.” Amid claims of illegal busing and harassment by military veterans and the secret police on behalf of Mugabe, the entire constitution-making process is on the verge of falling apart, but the absurdity reaches a whole new level when the safety and freedom of Mangwana and Mwonzora are threatened.

Mangwana and Mwonzora find their own personal safety and freedom threatened in DEMOCRATS (photo courtesy of Upfront Films)

Nielsson (Good Morning Afghanistan, The Children of Darfur) and editor Jeppe Bødskov tell the eye-opening story like a fictional police procedural, with scenes beautifully shot by cinematographer Henrik Bohn Ipsen, underscored by composer Kristian Eidnes Andersen’s subtle score that keeps the tension mounting. Of course, Democrats is not a fictional police procedural but the very real tale of a young nation’s desperate attempt to end the suffocating rule of a military dictatorship determined to keep all of its power, despite its lip service in support of a new constitution. “Democracies in Africa . . . It’s a difficult proposition. Because always the opposition will want much more than what it deserves,” Mugabe is shown saying at the beginning of the film. But as Ernest Nyamukachi, Mwonzora’s personal assistant, says, “Everywhere you are you are afraid.” (Most of the dialogue is in English, with occasional forays into various Zimbabwe languages, sometimes within the same sentence.) In her director’s statement, Nielsson notes, “We in the West sometimes have a hard time understanding why it is so difficult to create a viable democracy in other parts of the world. The democratic values we ourselves accept in a democracy as a matter of course . . . are not taken for granted everywhere on the globe. Democrats is a sort of a primer, a form of basic research, into how difficult it is to create democracy.” What is happening in Zimbabwe might be extremely hard to swallow, but it makes for one hell of an important film. Named Best Documentary Feature at the 2015 Tribeca Film Festival, Democrats begins a two-week run at Film Forum on November 18, with Nielsson in person at the 7:10 show opening night.

HEART OF A DOG

Laurie Anderson meditates on life and death in intimately personal HEART OF A DOG

HEART OF A DOG (Laurie Anderson, 2015)
Film Forum
209 West Houston St.
October 21 – November 3
212-727-8110
www.filmforum.org
www.heartofadogfilm.com

Multimedia artist Laurie Anderson’s first full-length film in nearly thirty years, Heart of a Dog, is a deeply personal poetic meditation on death, yet it avoids being mournful and melancholy and is instead a wistful tribute to life. Anderson, who directed her concert film, Home of the Brave, in 1986, details the story of her beloved rat terrier, Lolabelle, as the “mall dog” ages, goes blind, and dies. Using clips from home movies, archival footage, animation, and re-creations, Anderson delves into the nature of time, memory, beauty, and the process of grieving, referencing Wittgenstein, Kierkegaard, and David Foster Wallace as she narrates the tale in her familiar dramatic voice. The film is also about communication and language, two of her favorite topics, which come to the fore when she describes going to the mountains in Northern California with Lolabelle. “The idea was to take a trip and spend some time with her and do a kind of experiment to see if I could learn to talk with her. Now, I’d heard that rat terriers could understand about five hundred words, and I wanted to see which ones they were.” The story takes a fascinating turn when Anderson recognizes that Lolabelle, who she identifies as a painter, a pianist, and a protector, understands that circling hawks are a threat to her, that the dog is prey to them, a direct reference to Americans’ fear in a post-9/11 world, where armed soldiers are everywhere to guard against terrorist attacks, especially from the sky. Anderson goes back to her past, talking about a horrific childhood accident that almost left her paralyzed and led her to realize “that most adults have no idea what they’re talking about.” She also discusses her awkward relationship with her mother, subversive software, her obsession with JFK, the Tibetan Book of the Dead, ghosts, dreams, and sadness, explaining that her Tibetan teacher, Mingyur Rinpoche, once told her that “you should try to learn how to feel sad without being sad,’” which, Anderson notes, “is actually really hard to do.”

Avoiding over-self-indulgence, Anderson tells this autobiographical “story about a story” with a diverse range of compelling imagery, from lovely scenes of snowy woods and birds in trees to scratched, distorted avante-garde footage and many scenes of rain, as if the camera is gently crying. The soundtrack, primarily Anderson on violin, is mostly elegiac, tinged with heartbreak as she philosophizes about life and death, though it is ultimately an uplifting experience. Anderson dedicates the film “to the magnificent spirit of my husband Lou Reed,” who makes a brief appearance as a doctor and is shown later on the beach, his bare feet in the sand; he also sings “Turning Time Around,” a song from his 2000 album, Ecstasy, over the closing credits, in which the punk godfather, who passed away in 2013 at the age of seventy-one, explains, “My time is your time when you’re in love / and time is what you never have enough of / You can’t see or hold it / It’s exactly like love.” Following its special screening at the New York Film Festival, Heart of a Dog is playing October 21 through November 3 at Film Forum, with Anderson, whose stunning immersive multimedia installation “Habeas Corpus” recently finished its short run at the Park Avenue Armory, present to talk about the film at select screenings on October 21, 23, 24, and 25.

THE FORBIDDEN ROOM

Roy Dupuis plays a heroic woodsman in Guy Maddin and Evan Johnsons unpredictably strange and wonderful homage to early cinema, THE FORBIDDEN ROOM

Roy Dupuis plays a heroic woodsman in Guy Maddin and Evan Johnson’s unpredictably strange and wonderful homage to lost early cinema, THE FORBIDDEN ROOM

THE FORBIDDEN ROOM (Guy Maddin & Evan Johnson, 2015)
Film Forum
209 West Houston St.
October 7-20
212-727-8110
filmforum.org
theforbiddenroom-film.com

Guy Maddin and Evan Johnson’s The Forbidden Room is a deliriously mesmerizing epic tone poem, a crafty, complex avant-garde ode to cinema as memory, and memory as cinema. An homage to the lost films of the silent era, it is the illegitimate child of Bill Morrison and David Lynch, of Jack Smith and Kenneth Anger, of D. W. Griffith and Josef von Sternberg. The impossible-to-describe narrative jumps from genre to genre, from submarine thriller to Western adventure to murder yarn, from romantic melodrama and crime story to war movie and horror tale, complete with cannibals, vampires, poisoned leotards, “valcano” eruptions, caged lunatics, butt obsession, squid theft, explosive jelly, a fantastical mustache, and skeletal insurance defrauders. Intertitles that often fade away too soon to decipher help propel the plot, contain lines from John Ashbery and the Bible, and blast out such words as “Deliverer of Doom,” “Diablesa!” and “Trapped!” Text in intricate fonts announces each new character and actor, including Maddin regular Louis Negin as the Sacrifice Organizer, Slimane Dazi as shed-sleeper and pillow-hugger Baron Pappenheim, Lewis Furey as the Skull-Faced Man, and Roy Dupuis as a “mysterious woodsman” determined to rescue captured amnesiac Margot (Clara Furey) from the evil clutches of the Red Wolves. Also involved in the bizarre festivities are Udo Kier, Geraldine Chaplin, Mathieu Amalric, Charlotte Rampling, and Maria de Medeiros.

Although shot digitally, the film explores photographic emulsion and time-ravaged nitrate while treating celluloid as an art object unto itself, looking like Maddin (Tales from the Gimli Hospital, My Winnipeg) and Johnson stomped on, burned, tore up, and put back together the nonexistent physical filmstrip. Thus, major kudos are also due Maddin’s longtime editor, John Gurdebeke, and music composers Galen Johnson, Jason Staczek, and Maddin himself for keeping it all moving forward so beautifully. The film was photographed by Benjamin Kasulke and Stéphanie Anne Weber Biron in alternating scenes of black-and-white, lurid, muted color, and sepia tones that offer constant surprises. The Forbidden Room might be about the magic of the movies, but it is also about myth and ritual, dreams and fantasy as it explores storytelling as psychodrama. Oh, and it’s also about taking baths, as Marv (Negin) so eagerly explains throughout the film. But most of all, The Forbidden Room is great fun, a truly unpredictable and original work of art that is a treat for cinephiles and moviegoers everywhere. Following its recent screenings at the New York Film Festival, The Forbidden Room is opening theatrically on October 7 at Film Forum, with Maddin present on October 12 for a Q&A after the 7:00 show (moderated by Jonathan Marlow) and to introduce the 9:30 show.

VITTORIO DE SICA: MARRIAGE ITALIAN STYLE

Sophia Loren and Marcello Mastroianni star as lovers in a rather tempestuous relationship in MARRIAGE ITALIAN STYLE

MARRIAGE ITALIAN STYLE (Vittorio De Sica, 1965)
Film Forum
209 West Houston St.
Sunday, September 20, and Monday, September 21
212-727-8110
filmforum.org

Marcello Mastroianni and Sophia Loren have a blast playing off their reputations in Vittorio De Sica’s Oscar-nominated romantic farce, Marriage Italian Style. The colorful 1964 film is a kind of follow-up to Pietro Germi’s 1961 comedy, Divorce Italian Style, which earned Mastroianni an Oscar nomination for Best Actor. In Marriage, which is based on Eduardo De Filippo’s 1946 play, Filumena Marturano, Mastroianni stars as Domenico Soriano, a well-to-do businessman who takes an instant liking to seventeen-year-old prostitute Filumena (an Oscar-nominated Loren) in a Naples brothel during a WWII air raid. Their relationship secretly blossoms, but when Filumena grows tired of being hidden by Domenico, treated more like a maid than a lover, she decides to take matters into her own hands, with more than a few surprises. Mastroianni is exceptional as the smooth-talking, dapper, and elegant Domenico, who can’t keep away from beautiful young women, while Loren, who previously worked with De Sica in The Gold of Naples and Two Women, winning an Oscar for Best Actress in the latter, is at her fiery best as the hot-blooded hooker trying to raise her station in life. Produced by Carlo Ponti during the brief annulment period in his marriage to Loren, the film, which is told partly in flashback, also features Tecla Scarano as Domenico’s maid, Rosalia, and Aldo Puglisi as Domenico’s right-hand man, Alfredo, who takes quite a shine to Filumena. Armando Trovajoli’s lush, romantic score adds wonderful irony to the comic proceedings. And just wait till you see Loren in that mind-blowing black lingerie. Marriage Italian Style is screening September 20 & 21 as part of Film Forum’s twenty-four-day retrospective of elegant actor-director De Sica, one of the great Italian neorealists; the series continues through October 8 with such other seminal works as Bicycle Thieves, Miracle in Milan, Umberto D., General Della Rovere, Shoeshine, Two Women, and The Earrings of Madame De . . .

BUNNY LAKE IS MISSING

Stephen (Keir Dullea) tries to comfort his sister, Ann (Carol Lynley), in BUNNY LAKE IS MISSING

BUNNY LAKE IS MISSING (Otto Preminger, 1965)
Film Forum
209 West Houston St.
Sunday, September 20, $7, 5:30
212-727-8110
filmforum.org

“I had heard all the rumors about Preminger, but I felt he wouldn’t do that to me. I was wrong, oh so wrong,” Keir Dullea told Foster Hirsch in the 2007 biography Otto Preminger: The Man Who Would Be King, referring to the making of the 1965 psychological noir thriller Bunny Lake Is Missing and Otto Preminger’s notorious treatment of actors. “I was playing a crazy character and the director was driving me crazy. . . . About halfway through the shoot, I began to wonder, Who do you have to f&ck to get off this picture?” On September 20, Dullea and Hirsch will be at Film Forum for a one-time-only screening of the fiftieth anniversary 4K digital restoration of Bunny Lake, which will be introduced by Dullea (2001: A Space Odyssey, David and Lisa) and followed by a Q&A with the actor, moderated by Hirsch. In the intensely creepy film, loosely based on the novel by Merriam Modell (under the pseudonym Evelyn Piper), Carol Lynley stars as Ann Lake, a young woman who has just moved to London from New York. She drops off her daughter, Bunny, for her first day of school, but when she returns later to pick her up, there is no evidence that the girl was ever there. When Superintendent Newhouse (Laurence Olivier) and his right-hand man, Sergeant Andrews (Clive Revill), begin investigating the case, they are soon wondering whether Bunny really exists, more than hinting that she might be a figment of Ann’s imagination.

Television veteran Lynley, who seemed on the verge of stardom after appearing in such films as Return to Peyton Place, Bunny Lake Is Missing, Shock Treatment, and The Poseidon Adventure but never quite reached that next level, gives one of her best performances as Ann, a tortured woman who is determined to stop her world from unraveling around her. Dullea is a model of efficiency as the cold, direct Stephen, a character invented by Preminger and screenwriters John and Penelope Mortimer. Shot in black-and-white by Denys N. Coop on location in London, the film also features cameos by longtime English actors Martita Hunt, Anna Massey, and Finlay Currie as well as the rock group the Zombies and Noël Coward, who plays Ann’s very kooky landlord, Horatio Wilson. Saul Bass’s titles, in which a hand tears paper as if the story is being ripped from the headlines, set the tense mood right from the start. The ending offers some neat twists but is far too abrupt. “No actor ever peaked with him. How could you?” Dullea added to Hirsch about Preminger (Laura, Stalag 17). “The subtlety that I felt I was able to give to my work in 2001, because Stanley Kubrick created a safe atmosphere where actors were not afraid to be foolish or wrong, was missing on Otto’s set. I don’t hate him; it’s too long ago. But the experience was the most unpleasant I ever had.” It should be quite fascinating to hear more from Dullea and Hirsch at Film Forum on September 20.

THE BLACK PANTHERS: THE VANGUARD OF THE REVOLUTION

Documentary looks at the history and legacy of the Black Panther movement

THE BLACK PANTHERS: THE VANGUARD OF THE REVOLUTION (Stanley Nelson, 2015)
Film Forum
209 West Houston St.
September 2-15
212-727-8110
filmforum.org
theblackpanthers.com

At the beginning of The Black Panthers: The Vanguard of the Revolution, Black Panther Ericka Huggins says, “We know the party we were in, and not the entire thing. We were making history, and it wasn’t nice and clean.” Documentarian Stanley Nelson spent seven years making the revelatory film, which details the rise and fall of a group of radical militant African American men and women who decided to fight back against the white establishment and show that black lives matter, almost half a century ago, and no, it isn’t all nice and clean. Nelson (Freedom Riders, The Murder of Emmett Till) combines powerful, rarely seen archival footage with new interviews of the people who were involved in this revolution, which was more complicated than it is often given credit for. The film is sharply one-sided; although a handful of former police officers and FBI agents state their case, their views are given short shrift. “The Panthers were a criminal organization, were violent, and they wanted to kill cops. That’s all I needed to know,” says Ron McCarthy of the LAPD. But Nelson primarily speaks with many surviving members of the party, including Kathleen Cleaver, Elaine Brown, Emory Douglas, Elbert “Big Man” Howard, Jamal Joseph, Flores Forbes, in addition to historians and journalists who put it all in perspective.

Radical, militant organization fights for black rights as it attempts to stage a revolution

Radical militant organization takes on the establishment in the 1960s and ’70s

Nelson and editor Aljernon Tunsil (Jesse Owens, The Abolitionists) weave together a compelling, and surprising, portrait of the organization, delving into the stories behind such critical personalities as Huey P. Newton, Eldridge Cleaver, David Hilliard, Fred Hampton, and Bobby Seale. The film examines police raids, media coverage, FBI infiltration, trials, and the Panther infighting that ultimately led to their downfall. Perhaps the most frightening images in the film, however, involve the Panthers’ interaction with the police, particularly when coming out of a building with their hands up and their shirts off, trying to prove to the primarily white officers that they are unarmed so they don’t get shot in cold blood. It’s a vivid reminder of some of what’s still happening today around the country while serving as a fascinating companion piece to F. Gary Gray’s Straight Outta Compton; in fact, Nelson employs a potent, funky soundtrack by Tom Phillips along with period songs by Billy Paul, the Chi-Lites, Eugene Blacknell and the New Breed, and Fred Wesley & the J.B.’s. “It is essential to me as a filmmaker to try and give the viewer a sense of what it has meant to be black in America and consider this within our contemporary context,” Nelson explains in his director’s statement. “The legacy of the Black Panther Party had a lasting impact on the way black people think and see ourselves, and it is important that we look at and understand that.” The Black Panthers: The Vanguard of the Revolution does just that, shedding new light on a misunderstood, troubled, and dangerous organization whose legacy can still be felt today. Film Forum is hosting more than a dozen special panel discussions during the film’s run there (September 2-16), with several appearances by Nelson as well as such Black Panthers as Forbes, Joseph, Omar Barbour, Claudia Williams, and Charles “Cappy” Pinderhughes along with journalist Jamilah Lemiux, writer Rita Williams-Garcia, Panther attorney Gerald Lefcourt, and others.

RIFIFI

Jo le Suédois (Carl Möhner) and Tony le Stephanois (Jean Servais) plan a big-time heist in Jules Dassin masterpiece

RIFIFI (DU RIFIFI CHEZ LES HOMMES) (Jules Dassin, 1955)
Film Forum
209 West Houston St.
September 2-8
212-727-8110
filmforum.org

After being blacklisted in Hollywood, American auteur Jules Dassin (The Naked City, Brute Force) headed to France, where he was hired to adapt Du Rififi Chez Les Hommes, a crime novel by Auguste le Breton that he made significant changes to, resulting in one of the all-time-great heist films. After spending five years in prison (perhaps not uncoincidentally, Dassin had not made a film in five years after Edward Dmytryk and Frank Tuttle declared him a communist to the House Un-American Activities Committee), Tony le Stephanois (Jean Servais) gets out and hooks up again with his old protégé, Jo le Suédois (Carl Möhner), who has settled down with his wife (Janine Darcy) and child (Dominique Maurin) for what was supposed to be a life of domestic tranquility. Joined by Mario Farrati (Robert Manuel), a fun-loving bon vivant with a very sexy girlfriend (Claude Sylvain), and cool and calm safecracker César le Milanais (Dassin, using the pseudonym Perlo Vita), the crew plans a heist of a small Mappin & Webb jewelry store on the Rue de Rivoli. Not content with a quick score, Tony lays the groundwork for a major take, but greed, lust, jealousy, and revenge get in the way in Dassin’s masterful film noir. The complex plan gets even more complicated as César falls for Viviane (Magali Noël), a singer who works at the L’Âge d’Or nightclub, which is owned by Pierre Grutter (Marcel Lupovici), who has taken up with Tony’s former squeeze, Mado (Marie Sabouret), and is trying to save his brother, Louis Grutter (Pierre Grasset), from a serious drug habit. (The club is named for Luis Buñuel’s 1930 film, which featured the same production designer as Rififi, Alexandre Trauner.)

A gang of thieves try to pull off an impossible heist in RIFIFI

As the plot heats up, things threaten to explode in Dassin’s thrilling black-and-white film, which takes a series of unexpected twists and turns as it goes from its remarkably tense, absolutely masterful music- and dialogue-free heist scene to a wild climax — and even includes a sly reference to what should happen to such rats as the men who gave him up to HUAC. Composer Georges Auric insisted on writing a soundtrack for the heist scene — which was a direct influence on such films as Mission: Impossible and was banned in several countries for being too much of a primer on how to pull off a robbery — but after Dassin showed him cuts with and without the score, Auric agreed that only natural sound was necessary for those critical thirty minutes. As a bonus, the Roman Catholic Legion of Decency officially condemned the film for its depiction of sex and violence, which features a hard-to-watch beating of a woman. Dassin, who went on to make another of the great caper movies, 1964’s Topkapi, was named Best Director at Cannes for the low-budget Rififi, a true gem of a film, which is playing September 2-8 at Film Forum in a new restoration.