Category: Movie Reviews

By Joe Bendel. Jazz musicians are forward-looking by temperament, constantly anticipating the next gig or recording. For a group of elderly Chinese swing musicians who endured the Cultural Revolution, living in the here-and-now rather than the past is not merely an aesthetic choice, it is a survival strategy. The Peace Old Jazz Band is Guinness-certified as the oldest continually performing band and they will finally have their spotlight moment in Uli Gaulke’s As Time Goes By in Shanghai, which screens during the 2013 Margaret Mead Film Festival at the American Museum of Natural History.

When five out of six band members are nicknamed “Old” (as in “Old Sun” or “Old Li”), it is pretty clear what you’ve got here. For the last twenty years, they have hit nightly at Shanghai’s Peace Hotel, following in the grand tradition of the big bands of the Swing Era. Accustomed to playing for dancers, most of the band is not inclined to start experimenting now. They might sound like “moldy figs,” but they have a right to stick to their thing. After all, the Cultural Revolution was a living nightmare for any musician performing decadent jazz and Western classical music.

When booked to play the North Sea Jazz Festival in Rotterdam, the Peace Old recruits a younger vocalist to perform standards as well as a few jazz renditions of traditional Chinese songs. Naturally, they shamelessly flirt with Yin “Yasmin” Chen—we would worry about them if they didn’t. Clearly, this gig will be a career zenith for the band, but they seem to take it in stride.

At first, As Time Goes By seems to be another documentary chronicling the late life triumphs of a group of plucky oldsters. However, it progressively deepens over time. The Peace Old musicians are understandably reluctant to talk about their experiences during the Cultural Revolution (after all, it never officially happened), but when Gaulke catches them alone, they start to open up and when they do it is heavy.

Frankly, the Peace Old’s technique is just kind of okay overall, but Holy Cats, do they play with feeling. While it is difficult for them to talk about their experiences verbally, it all comes out through their instruments. Gaulke mostly has the good sense to focus on the band and stay out of the way, but his transition shots capture a sense of the less affluent side of go-go Shanghai. The Peace Old can relate to both worlds, but do not quit fit into either.

As Time Goes By is deeply moving, both in musical and personal terms. It is rare to find a film that speaks so directly to both the gigging life and the residual collective emotional baggage of the Cultural Revolution, but it certainly does. Gulke’s doc should particularly resonate with working musicians in any major city. Wonderfully wise and bittersweet, As Time Goes By in Shanghai is very highly recommended.  A highlight of this year’s Margaret Mead Fest, it screens this Saturday (10/19) at the AMNH.

LFM GRADE: A

Posted on October 16th, 2013 at 10:25am.

By Joe Bendel. Chris Strachwitz was born to an aristocratic family in Lower Silesia, but WWII drastically altered his destiny, turning him into the song-hunting heir of Alan Lomax. News that the advancing Soviet army was summarily executing “capitalists” convinced his family to emigrate west. Encountering New Orleans Jazz and Delta Blues as an American teen, he subsequently founded Arhoolie Records (named after a form of field holler Lomax recorded) to seek out and preserve the earthy sounds that spoke to him. Fifty years later, Strachwitz looks back on it all in Chris Simon & Maureen Gosling’s This Ain’t No Mouse Music, which screens during the 2013 Margaret Mead Film Festival at the American Museum of Natural History.

“Mouse Music” is a vague term Strachwitz uses for the sort of slick, mass produced music he can’t abide. His musician friends cannot really define it either, but they know you don’t want to be it. Like Lomax, Strachwitz did much of his recording in the field, tracking down many of the real deal Blues, Cajun, Creole, Cajunto, and Appalachian musicians that had slipped through the modern world’s cracks. The first time out, he hit major pay dirt, “discovering” Mance Lipscomb. Thanks to Arhoolie, artists like Big Joe Williams, post-“Hound Dog” Big Mama Thornton, Mississippi Fred McDowell, Michael Doucet, and Clifton Chenier would find a dedicated national audience.

During his travels, Strachwitz met and collaborated with filmmaker Les Blank (to whom Mouse Music is dedicated) and became a family friend to scores of musicians. Evidently, Strachwitz largely picked up the Bay Area politics surrounding him, but Simon and Gosling mostly steer clear of potentially divisive subjects. However, they cannot resist including the story of how Strachwitz obtained publishing rights to Country Joe McDonald’s “I Feel Like I’m Fixin’ to Die Rag.” Evidently, the folk-rocker needed to lay down the future Woodstock ditty quickly and was referred to Strachwitz’ living room-studio by friends. In lieu of payment, Strachwitz accepted publishing rights, proving former Silesian aristocrats are better businessmen than hippies.

Simon and Gosling keep up with the only slightly manic Strachwitz quite well, conveying a good sense of the man and his label’s roster of artists.  While not everything Arhoolie releases will be to everyone’s tastes, the depth and breadth of it is quite impressive. Indeed, there is something very Whitman-esque about Strachwitz’s far-ranging pursuit of this roots music. The doc also provides a nice Blues fix, which is tough to get through mainstream media outlets. Recommended for fans of unvarnished musical Americana, This Ain’t No Mouse Music screens this Friday (10/18) as part of this year’s Margaret Mead Film Festival at the AMNH.

LFM GRADE: B

Posted on October 15th, 2013 at 12:14pm.

By Joe Bendel. It is not sufficient to merely declare yourself a would-be state. Any governing authority must establish the rule of law. This was never a problem for the State of Israel (its neighbors are a different story). It started at the top, with Prime Ministers who guided the fledgling nation through periods of profound crisis. Ambassador Yehuda Avner witnessed this tumultuous history first hand as a trusted aide to Prime Ministers Levi Eshkol, Golda Meir, Yitzhak Rabin, Menachem Begin, and Shimon Peres. Drawing upon Avner’s insider history, Richard Trank chronicles the Eshkol and Meir years in The Prime Ministers: The Pioneers, which opens this Friday in New York.

Given the wit and verve Avner shows during his interview segments, viewers might assume he was in grade school when he served as Eshkol’s speech writer and English correspondent. However, he was there, in the field, when the State of Israel was first declared. Becoming a young but trusted member of Eshkol’s inner circle, Avner was on-hand for the planning sessions during the Six Days War. Begin was also present, forcefully advocating that Israel take advantage of the crisis to liberate the Old City of Jerusalem. Although cautious, Eshkol recognized the historic opportunity presenting itself and acted decisively.

Where the Six Days War was an unqualified triumph for the Israeli military, the Yom Kippur War initially threatened the very existence of Israel. Yet, Golda Meir rallied the country. In desperate need of military aid, she turned to the Watergate-embroiled Richard Nixon, who authorized a massive emergency airlift. The Western European parties in the Socialist International were not so responsive, refusing to allow the American transports to refuel en-route to their embattled fellow member state. Fortunately, Israel survived, allowing Meir to publicly shame her socialist colleagues.

As the first of a two part documentary series (co-produced by Trank and Rabbi Marvin Heir), Pioneers focuses on Eshkol and Meir, but Begin and Rabin appear in brief but significant supporting roles. Considering Gravity’s continuing box-office dominance, a new Sandra Bullock movie ought to be major news, but her voice-over work as Meir is probably not likely to get the attention it deserves. Regardless, she well captures the Prime Minister’s humanity and resoluteness.

Likewise, it is great to at least hear Leonard Nimoy again, vividly bringing Eshkol’s words to life. Christoph Waltz, who narrated the writings of Theodor Herzl in Trank’s valuable It is No Dream, also nicely gives voice to Begin. Frankly, Pioneers is quite a big name production, with Michael Douglas rounding out the voice cast as Rabin and Emmy winning composer Lee Holdridge penning and conducting the score.

As a subsidiary of the Simon Wiesenthal Center, Moriah Films is a film production company parents and teachers can trust to portray history accurately. Like their previous productions, Pioneers is authoritative yet acutely aware of the human element underlying great geo-political events. One hopes Pioneers and Trank’s promised follow-up will eventually be widely available for high school and college viewing, because it provides the sort of comprehensive history of Israel students deserve, but are not getting from today’s media or academia. Yet, thanks to Trank’s brisk pacing and Avner’s engaging personality, Pioneers is never a dry or distancing viewing experience. Highly recommended for anyone fascinated by the great leaders of the Twentieth Century, The Prime Ministers: the Pioneers opens this Friday (10/18) in New York at the Quad Cinema.

LFM GRADE: B+

Posted on October 14th, 2013 at 2:14pm.