LFM Reviews The Winding Stream @ The Lincoln Center’s Sound + Vision Film Series

By Joe Bendel. They are the first family of American Roots music and they represent royalty at its most hardscrabble. While many of their songs dated back generations, country music as a thing to market and identify with pretty much started with the Carter Family and a handful of other artists signed to Victor Records during the recording industry’s infancy. Beth Harrington chronicles the family history behind the music in The Winding Stream: the Carters, the Cashes, and the Course of Country Music, which screens free of charge during the Film Society of Lincoln Center’s Sound + Vision Film Series.

The Carters lived most of their lives in the Poor Valley region of southern Virginia. It was not named with irony. The land is hard and unforgiving, but most work still revolves around agriculture. However, A.P. Carter had an ambitious notion that the family’s musical talent could earn them a better life. With his somewhat reluctant wife Sara and sister-in-law Maybelle, Carter formed a trio that would be known professionally as the Carter Family. At great inconvenience, A.P. dragged the women out to perform for Victor producer Ralph Peer, who was scouring the region like a commercial Alan Lomax for songs that would appeal to a “traditional” market.

Of course, the Carter Family perfectly fit the bill, but they nearly forgot about their legendary sessions during the lag between the informal recordings and the release of their 78s. Nevertheless, they sold well enough to vindicate A.P. Carter’s lofty ambitions. Unfortunately, the original ensemble would eventually fracture along with A.P.’s marriage to Sara. For years, Maybelle Carter performed with her daughters as Mother Maybelle and the Carter Sisters before reclaiming the official Carter Family mantle. As most fans know, one of the Carter Sisters was June, who turned the head of a talented but troubled young performer named Johnny Cash.

From "The Winding Stream."

While telling the Carter story, Harrington also addresses some largely forgotten early Twentieth Century cultural history, such as the phenomenon of ultra-high wattage Border Radio and the ethically problematic attribution of traditional songs assumed by the likes of A.P. Carter. For obvious reasons, Johnny Cash plays an essential role in the film, but Harrington never lets him outshine the Carters. Her musical instincts are also quite shrewd, including plenty of archival clips, a stirring rendition of the title song by Rosanne Cash, and a bizarrely good musical flash mob performance of “Will the Circle Be Unbroken,” attesting to the song’s lasting resonance.

Harrington does indeed touch all the necessary documentary bases, but arguably what is most refreshing about Stream is her sensitive treatment of the largely white, God-fearing, under-advantaged population of Poor Valley. There is no sneering at their “Jesus talk” or condescending commentary on their un-cosmopolitan style. Instead, she respects them on their terms.

Winding is often entertaining, featuring original performances from the likes of John Prine and Cheryl Crow, but it also submerges viewers in the ancient spirit of their artifice-free music. One commentator says the Carters’ music exposes us as the “fakers” we are—and it is easy to get what he means. Recommended for fans of “roots” music and those who appreciate old school Americana, The Winding Stream screens for free this coming Monday (8/4) at the Walter Reade Theater, as part of Sound + Vision.

LFM GRADE: A-

Posted on July 31st, 2014 at 10:53pm.

LFM Reviews The Desert @ The 2014 Fantasia International Film Festival

From "The Desert."

By Joe Bendel. If zombies have not completely jumped the shark for you after the spectacle of the unruly San Diego zombie walk, than this might be the right film to regroup with. Yes, the zombie apocalypse has fallen, but three survivors largely tune out the shuffling hordes for long stretches of time in Christoph Behl’s The Desert, which screens during the 2014 Fantasia International Film Festival.

Axel, Ana, and Jonathan have banded together, sharing a strangely intimate post-zombie rising in a reinforced ranch-style house. Axel yearns for Ana, but she has romantically paired-off with the better looking but far less sensitive Jonathan. To serve as an emotional outlet, Ana set up a confession cam in their backroom, where she often records her innermost thoughts. That is not really Jonathan’s scene, but Axel often visits to secretly view the videos Ana deposits in the supposedly sealed trunk. As Axel’s jealousy mounts, Ana increasingly misinterprets his moodiness as hostility, deliberately antagonizing him in turn.

Into this awkward mix, Jonathan brings Pythagoras, a feral zombie he chains up in the workroom to help facilitate some unfinished business from an extremely uncomfortable game of Truth or Dare. Even during Armageddon, three is a crowd. However, four is particularly unstable when the fourth is a zombie.

Without question, Sabu’s Miss Zombie is the new modern zombie classic of the last ten years or so. Desert never reaches its heights of pathos, but there is something distinctly unsettling about its fatalistic portrayal of humanity. If ever there was a time to rise up personal resentments, this would be it. Yet, the stress of the apparently world-shattering crisis only amplifies their angst and recriminations. Behl never shows us the anarchy unfolding outside their house-that-is-not-a-home, but the confusing sounds are often more alarming than the half-baked visual effects of z-grade zombie grind-em-outs.

From "The Desert."

As the compulsively tattooed Axel, Lautaro Delgado puts on an acting clinic. It is eerie how eloquently his body language reflects his inner emotional turmoil. In contrast, Ana’s erratic character is much harder to get a handle on, but Victoria Almeida valiantly labors to sell each shift of her psyche. However, William Prociuk bears watching as Jonathan, the ostensibly boorish engineer.

At times, The Desert is too existential for its own good. Nevertheless, Behl successfully reinvents the zombie film as a four character-one set (for all intents and purposes) relationship drama, which is a neat trick. An ambitiously subtle zombie outing that works rather well on balance, The Desert is recommended for adventurous genre fans when it screens again next Tuesday (8/5) as part of this year’s Fantasia.

LFM GRADE: B-

Posted on July 31st, 2014 at 10:52pm.

LFM Reviews Song of the Phoenix @ The 2014 Asian American International Film Festival

From "Song of the Phoenix."

By Joe Bendel. Dewey Redman often played the suona, but he was amazing. Sadly, Chinese musicians who have mastered the traditional trumpet-like reed instrument are becoming rather scarce. Yet, an aging master’s chosen successor will try to carry on as best he can in Wu Tianming’s final film, Song of the Phoenix , which screened during the 2014 Asian American International Film Festival in New York.

Young You Tianming’s underwhelming lung power is a distinct drawback for the unforgiving suona. On the other hand, he has the heart and sensitivity of an artist. During his years of youthful study, You often thought he was playing second fiddle to his fellow apprentice, Lanyu. Yet their master Jiao Sanye chooses You to learn the “Song of the Phoenix.” Considered the apex of suona repertoire, the song is a requiem that masters will only play for the worthiest deceased.

Unfortunately, just as Tianming assumes the leadership of Jiao’s ensemble, demand for suona musicians plummets. Instead, the villagers of his region increasingly opt for western-style bands. With his health failing, Master Jiao has trouble understanding the macro dynamics threatening the suona tradition.

It is almost eerie how apt Phoenix is as a summing up film for the late Wu. Perhaps best known for King of Masks, the “Fourth Generation” filmmaker is arguably even more renowned for incubating “Fifth Generation” talent (notably including Chen Kaige and Zhang Yimou) when tapped to lead the Xi’an Film Studios. He also spent several years in America as an informal exile following the Tiananmen Square crackdown. Clearly, he had a keen understanding of time’s passage and the need to mentor successive generations.

From "Song of the Phoenix."

Tao Zeru is quite extraordinary as Master Jiao, evolving from the coldly manipulative Prof. Kingsford of the suona into an ailing former legend, struggling to make sense of the world that has passed him by. Li Mingcheng is almost painfully earnest as the adult You. They are surrounded by a talented supporting ensemble and some first-rate suona players.

Suona music might be an acquired taste, but it nicely accents Phoenix’s incredible backdrops, which often look like scenes from ancient watercolors. Frankly, the film does not hold many surprises in terms of narrative arc or character development, but it still gracefully critiques the ultra-modern go-go prejudices that have lost sight of long-esteemed Chinese musical and cultural practices. Truly lovely to look at, Song of the Phoenix was worth seeing (particularly by those who appreciate Wu’s position in the Chinese cinema pantheon) when it screened at the Village East, as part of this year’s AAIFF.

LFM GRADE: B

Posted on July 31st, 2014 at 10:20pm.

LFM Reviews Uzumasa Limelight @ The Fantasia International Film Festival

From "Uzumasa Limelight."

By Joe Bendel. Westerns were once a staple of American television, but now the genre has practically disappeared. Presumably, this was bad news for stunt horse-back riders. Though not quite to the same extent, production of Chanbara swordplay films has also steeply declined in Japan, greatly reducing work for kirare-yaku, the extras specially trained to be “cut-up.” It is the end of an era for Seiichi Kamiyama, but he always stays true to his art in Ken Ochiai’s Uzumasa Limelight, which screened during this year’s Fantasia International Film Festival.

Much to his surprise, Seizô Fukumoto has become the world’s most famous extra. Already the focus of several media reports on the kirare-yaku, he now appears in his first leading role, playing a character not so very different from himself. The Uzumasa establishment long recognized the beauty of Kamiyama’s death scenes. In fact, he was once given a carved rehearsal sword from the hero of a perennially popular samurai TV show (perhaps inspired by the long-running Mito Kōmon). Like a Japanese Gunsmoke, it continued for forty-years, providing Kamiyama regular employment, even when the star’s son took over for his late father. Unfortunately, it has just been canceled by the younger generation of executives.

Suddenly, Kamiyama and his colleagues are scuffling for work, making do appearing as corpses in yakuza dramas and performing in the suburban Kyoto studio’s live action show for tourists. Even though his stock is falling, young extra Satsuki Iga comes to Kamiyama for mentoring in his traditional skills. Thanks to his training and conditioning, she lands a stunt role on a new hipster Chanbara series, where she catches the eye of the obnoxious leading man. Suddenly, she is a star in her own right, but the Uzumasa old guard just keep getting older.

Yes, Uzumasa Limelight is a lot like A Star is Born crossed with Charlie Chaplin’s Limelight, with jidaigeki costuming and the occasional nods to Ozu, but it is profoundly moving and highly satisfying for genre fans. Fukumoto might be one of the great kirare-yaku (he was recruited for the Tom Cruise vehicle The Last Samurai), but his touching performance as Kamiyama suggests he could easily move into more conventionally dramatic roles. With unusual economy, his deeply lined face and subtly communicative body language eloquent express his pride in his craft and his pupil, as well as the weight of all his life disappointments. He proves the film’s axiom—if you can act convincingly during a sword fight than you are a good actor.

From "Uzumasa Limelight."

While Fukumoto has been practicing his art for fifty years or so, Limelight represents the straight up film debut of 2012 World Junior Wushu champ Chihiro Yamamoto, portraying Iga with a maturity beyond her years. Their teacher-protégé chemistry feels very real, but complex in a true-to-life way. Frankly, Fukumoto seems to bring out the best in everyone, because Limelight is stuffed with additional lovely little supporting turns.

The production design team headed by Takashi Yoshida creates a vivid sense of the old Kyoto studio world through their richly detailed work. However, one of the most important contributions comes from swordplay choreographer Mitsuhiko Seike, whose big film-within-the-film action-spectacle delivers the goods with style to spare. Although Limelight shares a certain nostalgic kinship with Ochiai’s previous film, The Tiger Mask, it is more closely akin to his very personal docu-essay short Frog in the Well. It is an absolutely super film that should be a breakout vehicle for Fukumoto, Yamamoto, and Ochiai. With a future American theatrical release to come, it was one of the high points of this year’s Fantasia, which continues through August 6th. Those in Montreal should definitely also check out the honest and touching anime historical epic Giovanni’s Island and consider the highly entertaining but slightly ragged around the edges White Storm and Seventh Code, as well as the generally amusing Premature.

LFM GRADE: A

Posted on July 28th, 2014 at 12:21pm.

LFM Reviews A Time in Quchi @ The Asian American International Film Festival

By Joe Bendel. There is a different rhythm to life in the Quchi countryside. Chang Tso-chi acclimates viewers to it far quicker than his ten year old protagonist. Kuan Hsiao-pao is used to Taipei’s high speed internet, but a summer spent with his traditional grandfather will have lasting significance in Chang’s A Time in Quchi, which screens during this year’s Asian American International Film Festival in New York.

At this point, Kuan is used to his parents’ chaos, so their likely divorce is not exactly shocking. He will spend his summer vacation with his paternal grandfather, so his folks will have more time to quarrel, but he is rather put off by the old man’s highly structured lifestyle. He is also less than thrilled when his chop-busting younger sister “Seaweed” arrives sometime later.

Since this is Taiwan, kids still go to school even during summer vacation, so Kuan is duly enrolled at the village primary school. Not surprisingly, he is initially rather standoffish, but Kuan soon forms his first real friendship with Huang Ming-chuan, an aboriginal classmate. Unfortunately, just as Kuan embraces Quchi, tragedy strikes.

Quchi is a subtle and wistful coming of age story that showcases some extraordinarily natural young actors. However, it must be completely compartmentalized from Chang, who is essentially the Taiwanese Polanski, except he is not being sheltered from justice by the French government. Frankly, it is a little creepy to realize the incident he was convicted for occurred at a party for Quchi, but that is not the fault of Yang Liang-yu and his co-stars.

From "A Time in Quchi."

While Yang’s work might be too understated for those who like to bring their Fault in Our Stars branded hanky to the movies, he keeps what could have been a saccharine melodrama feel mature and grounded. He also rather graciously allows Lin Ya-jo to steal all of Seaweed’s scenes. Nonetheless, it is veteran actor-screenwriter Kuan Yun-lung (a.k.a. Kuan Kuan) who really gives the film its heart and integrity as the gruff but wise grandfather.

Even at the height of young Kuan’s city slicker culture shock, he can appreciate the natural beauty of Quchi’s rivers and foothills. Cinematographer Yuan Ching-kuo certainly did as well. Visually, it is a much more arresting, big canvas film than you would expect from the coming-of-age genre. It represents nice work from a large cast and creative crew that should not be tarnished by Chang’s subsequent scandal. Recommended for those who appreciate quiet but telling family dramas, A Time in Quchi screens this coming Monday (7/28) at the Village East, as part of the 2014 AAIFF.

LFM GRADE: B+

Posted on July 28th, 2014 at 12:20pm.

LFM Reviews Goal of the Dead @ The 2014 Fantasia International Film Festival

From "Goal of the Dead."

By Joe Bendel. During a zombie apocalypse, population density is considered a bad thing. That makes a sports stadium a very bad place to be, even in a simple country village like Caplongue. Everyone in town will be there for the grudge match with the Parisian professionals, including a zombie. One infection logically leads to another in Benjamin Rocher & Thierry Poiraud’s two-part zombie soccer epic Goal of the Dead, which screened in its entirety at the 2014 Fantasia International Film Festival.

The last time the Olympique de Paris squad played Caplongue, they hired away the highly ranked amateur team’s star player. Seventeen years later, Sam Lorit is at the end of his career. Expecting to be received like a returning hero, the over-the-hill center is quite taken aback by Caplongue’s hostility. It seems they never forgave him for abandoning the team and the town. In fact, the local doctor is so set on revenge he has his son, Lorit’s former teammate Jeannot, on an aggressive doping regimen. Unfortunately, the latest batch has some nasty zombie side effects.

Forget about zombie bites. Jeannot spreads the contagion through projectile vomiting to the face. Most of the two teams are quickly dispatched on the field, but Lorit is ironically saved by a meritless red card. Suddenly, he finds himself fighting to survive with Cléo, the daughter he never knew he had.

Finally, someone has combined soccer with zombie vomit. That is basically the kind of film or films the Goal duology is. Released as two separate installments in France, Rocher’s first half has far more exposition and scene-setting than your average zombie film. You will practically know Lorit’s career stats by heart when it is done. At least in the process, he very considerately sets up the pins for Poiraud to knock down in his rock ‘em sock ‘em second period, bringing more laughs with his elevated mayhem.

From "Goal of the Dead."

Rather unexpectedly, Alban Lenoir decides to do some acting as Lorit, taking him through a full range of emotions as best he can, given the carnage. Tiphanie Daviot’s Cléo also brings more energy and attitude than the typical horror movie teenager, but her fellow townsfolk are largely standard issue provincials.

Goal is a lot of gory, messy fun, but it never stands the zombie genre on its ear like Tommy Wirkola way-better-than-the-original Dead Snow: Red vs. Dead, which also screens at this year’s Fantasia. Still, Rocher, Poiraud, and their battery of screenwriters do not let a good concept go to waste. Delivering the promised madness, Goal of the Dead is recommended for zombie fans, fresh from its screening at this year’s Fantasia.

LFM GRADE: B-

Posted on July 28th, 2014 at 12:20pm.