Invasion Alert: LFM Reviews War of the Worlds; Premieres on PBS Tues., 10/29

By Joe Bendel. Prior to October 30, 1938, Orson Welles was considered a talent to watch, but his Mercury Theater on the Air did not have a proper sponsor and it regularly got beat by a variety show featuring ventriloquist Edgar Bergen with his dummy Charlie McCarthy (it was a great act for radio, because you truly couldn’t see his lips move). Then Welles staged an innovative adaptation of H.G. Wells’ science fiction classic and suddenly everything changed. American Experience marks the 75th anniversary of Welles’ controversial broadcast with War of the Worlds, which airs this coming Tuesday on most PBS stations.

Orson Welles performing "War of the Worlds."

Welles was already a cottage industry before he transplanted War of the Worlds to Grover’s Mill, New Jersey. Best known as a stage director, he frequently performed on radio, often without credit. The media and the smart set closely followed his career, but he had yet to breakthrough with Middle America. For his weekly radio showcase, Welles had a notion to adapt the Martian invasion novel. Producer-adult supervisor John Houseman thought it was a terrible idea, but Welles had his way as usual. However, the script just didn’t come together until they decided to stage it as a series of breaking news bulletins. This was not a completely original strategy. It was inspired by Archibald MacLeish’s radio play Air Raid, which had just aired with much less fanfare.

According to American Experience’s historical experts, most listeners missed Welles’ introduction, dial-twisting over to the Mercury Theater once Bergen had finished his shtick. As most everyone knows, a mild panic then ensued. All the talking heads try their best to excuse away the mass hysteria, arguing that the stress of the Depression and the constant news flashes trumpeting European war left the general public primed to believe Welles’ Americanized War of the Worlds. Maybe there is a kernel truth to that, but that would have been one heck of an exclusive for CBS to score.

Just about everyone now recognizes Welles as one of the most important film directors of the Twentieth Century, but AE’s WOTW reminds us he was also probably one of the greatest radio directors as well. Director Cathleen O’Connell and tele-writer Michelle Ferrari include some fascinating behind-the-scenes details of the in/famous broadcast, but the black-and-white dramatic recreations of angry listeners’ letters of complaint are rather corny and just generally unnecessary.

Arguably, Welles’ fictionalized news flashes represent an early forerunner to found footage genre films, in which a carefully produced narrative deliberately approximates some form of on-the-fly documentation. O’Connell and her battery of experts, including Welles’ daughter Chris Welles Feder, nicely put the episode in the context of Welles’ career and the development of mass media. Easily recommended for fans of Welles and Wells despite the over-stylized recreation interludes, American Experience’s War of the Worlds premieres on PBS Tuesday the 29th (10/29), seventy-five years after the fateful broadcast, nearly to the day.

LFM GRADE: B

Posted on October 25th, 2013 at 12:54pm.

Days Gone by in North Korea: LFM Reviews The Girl from the South @ The 2013 Korean American Film Festival in New York

By Joe Bendel. It was mostly guys with a whole lot of facial hair. In frat house parlance, the final Soviet-funded World Youth and Students Festival was a real sausage party. For obvious reasons, the South Korean delegate made quite an impression on José Luis García. Since the 1989 Communist youth confab was held in Pyongyang, Lim Sukyung became a minor media sensation. Decades later, García tracked down the so-called “Flower of Re-Unification” for the documentary profile, The Girl from the South, which screens during the 2013 Korean American Film Festival in New York.

García happened to be in Pyongyang by chance, taking his brother’s place in the Argentine delegation at the last minute. To his credit, García was quite curious how the Communist youth congress would address the still fresh massacre in Tiananmen Square. The answer—stony silence, aside from an impromptu punk rock protest from the Scandinavians—was rather unsatisfying. Then Lim blew into town, ready to decry South Korea’s restrictions on contact with the North at every public gathering. Fascinated by her, García recorded as many of her appearances as he could with his consumer video camera. After all, she was one of the few delegates not trying to look like Che.

From "The Girl from the South."

Loaded with irony, García’s home movies of the Pyongyang get-down are easily the best part of the film. Frankly, it isn’t even close. Although García suggests he was more-or-less apolitical in his youth, he captures all the absurdity and pretension of international Communism’s last gasp before crashing into the dustbin of history. One can easily see how this material could be reworked into a wickedly satirical narrative feature.

Unfortunately, the Lim he meets some twenty years later is not particularly interesting to spend time with and decidedly uncooperative. Evidently, Lim served a short prison term after returning to the Republic of Korea and would subsequently suffer a terrible family tragedy, but she never opens up to García about anything. As a result, the film’s second two acts are about as illuminating as a wiki entry.

Granted, GFTS presents a sharp contrast between idealized memories and the disappointments of reality, but that does not exactly make gripping viewing. García never pushes Lim with obvious questions regarding North Korea famines and labor camps, but he never really succeeded in getting her to sit for a proper interview. Thanks to her overt manipulations, his climatic one-on-one quickly descends into an exercise in futility. García practically bangs his head on the table out of frustration and most viewers will be tempted to do the same.

Of course, there is no corresponding “Girl from the North,” because anyone returning to the DPRK after publically criticizing the country’s militarism would be consigned to a death, along with their entire family. García probably gets that, but he was too hung up on getting something—anything—from Lim. Girl from the South has some fascinating moments, but they are largely front-loaded. Mainly recommended for hard-core North Korea watchers, it screens this Saturday (10/26) at the Village East as part of this year’s KAFFNY.

LFM GRADE: C+

Posted on October 24th, 2013 at 3:45pm.

LFM Reviews Pluto @ The 2013 Korean American Film Festival in New York

By Joe Bendel. Forget about secret society rituals. These elite prep school kids are too busy keeping their classmates down. They are the top ten in their class and they will kill to keep it that way throughout Shin Su-won’s Pluto, which screens during the 2013 Korean American Film Festival in New York.

Kim June was the top student in his public high school, but that does not impress anyone in his new school, particularly not his American roommate, Yu-jin Taylor, the top man in their class. Supposedly, this is his big opportunity. He was only admitted because a suicide opened up space for him. That was Yung Su-jin’s roommate. Now the slacker computer major is out to settle the score with the ruling elite. Kim sort of likes her, but the working class transfer student opts to curry favor with the privileged ten instead.

As part of their “rabbit hunting” initiations, Kim does their dirty work in exchange for inside information on approaching exams. Naturally, Taylor and his cronies clearly have no intention of letting him into the club. However, as viewers can readily glean from the film’s complicated flashback structure, it is a very bad idea to play mind games with someone as tightly wound as Kim.

From "Pluto."

While Pluto’s class warfare themes are obvious and inescapable, Shin’s uncompromising screenplay surpasses mere polemics, portraying the sociopathic will-to-power at its rawest. This is not the sort of film that will have anyone saying “so there” when it ends. Kim might be our protagonist, but he is not an exactly a downtrodden POV character audiences would like to identify with. Surprisingly, his nemesis Taylor turns out to be the most nuanced of the lot. Of course, his cronies do not much care for his sudden subtle dimensions of character.

Pluto boasts some considerable star-power, thanks to Kim Kkobbi appearing as Yung, a relatively modest but intriguing supporting role. Lee Da-wit is eerily soulless and desperate as the hollow-looking Kim. Yet, it is June Sung who really keeps viewers off-balance as the not exactly remorseful Taylor.

Many of the sins of prep school dramas past repeat again in Pluto. As if required by an unwritten law, all the adults are ridiculously dense and the cops are problematically passive. Still, Shin raises the stakes for all future prep students behaving badly, making a film like Tanner Hall look tame and pale in comparison. Despite some clumsy excesses, it is mesmerizing, in-your-face filmmaking. Recommended for the reasonably jaded, Pluto screens this Friday (10/25) at the Village East as part of this year’s KAFFNY.

LFM GRADE: B

Posted on October 23rd, 2013 at 1:09pm.

Held Hostage by Al Qaeda: LFM Reviews Held Hostage; Premieres on PBS Tues., 10/22

By Joe Bendel. Algeria’s In Amenas gasoline processing facility would be the perfect setting for a Die Hard movie. It is an isolated spot, surrounded by vast stretches of the Sahara Desert in every direction. That is why many survivors wonder how several truckloads of al-Qaeda affiliated terrorists could launch a ground assault on the facility without the Algerian authorities noticing. Not surprisingly, many in the Algerian government would prefer to forget the embarrassing international incident. Fortunately, director Bruce Goodison and his team have assembled a comprehensive tick-tock history of the In Amenas hostage crisis. Their revealing look at contemporary Islamist terrorism, Held Hostage, airs on most PBS outlets tomorrow.

With al-Qaeda reportedly operating freely to the south and east of In Amenas in Mali and Libya, security was obviously a concern for the expat workers long before January 16th, 2013. Paul Morgan, the British security chief, had actually tendered his resignation out of frustration with lax plant security days before the attack. (Tragically, he would not survive to be vindicated by events.) While military and gendarmerie escorted workers on and off the premises, no facility personnel were allowed to carry arms. That meant once Mokhtar Belmokhtar’s band of terrorist-brigands reached the plant, there would be no means of organizing any resistance.

From "Held Hostage."

Securing the first on-camera interviews of many survivors and victims’ family members, Held Hostage provides a very personal perspective on the terrorist attack. Perhaps the report’s most shocking moment involves the circumstances surrounding the truly cruel and senseless murder of Filipino expat Angelito Manaois, Jr. Three Americans died at In Amenas, which should concern us all, but the losses were greater for Britain, Norway, Japan, and the Philippines. Regardless, the crimes committed in In Amenas warranted far greater attention than they received from the traditional old media.

Goodison’s team broaches a number of inconvenient questions throughout the program, particularly with respect to the conduct of the Algerian military. Granted, refusal to negotiate with terrorists is a defensible position, but it rather looks better if there is some attempt to stall for time while organizing a rescue operation. Whereas, strafing carloads of hostages is just hard to defend from any standpoint.

Held Hostage is technically quite well constructed, instilling a full sense of the factors that contributed to the desert calamity in just under an hour. Viewers will have the sense they could lead their own briefing session after watching it—and perhaps they should. It a real expose and a wake-up call, but its warning is likely to fall on deaf ears. Easily the most important television of the week, Held Hostage airs on most PBS stations tomorrow (10/22).

LFM GRADE: B+

Posted on October 21st, 2013 at 12:02pm.

LFM Reviews From Tehran to London @ The 2013 Noor Iranian Film Festival in Los Angeles

By Joe Bendel. It is not precisely finished, but it makes a cogent and compelling statement. Mania Akbari started shooting an intensely personal Cassavetes-style examination of a disintegrating marriage, but halted the production mid-way through when the Iranian government started arresting many of her prominent filmmaking colleagues. Relocating perhaps indefinitely to the UK, Akbari reshaped her footage into a more experimental-feeling long short film or short feature. There are rough edges to the resulting From Tehran to London, but they were both a choice and a necessity. A fascinating work on multiple levels, Akbari’s film screens during the 2013 Noor Iranian Film Festival in Los Angeles.

Ava is a poet and an artist who feels unfulfilled in her marriage to the well-heeled Ashkan. However, the way they bicker and grouse like a prematurely old couple suggests there must have been some feeling there originally. They certainly know each other very well, but neither suspects the other harbors deeper feelings for their trusted house servant, Maryam.

Eventually, scandal will shake their household, but viewers will not see it. Instead, Akbari resorts to straight out telling us what would have happened. Obviously, there are all kinds of abrupt tonal shifts and sudden temporal jumps. Akbari hardly had the luxury of returning for pick-up transitionals. Yet, her kit-bashing techniques speak volumes regarding the wider circumstances.

Frankly, from what viewers can tell, the story of Ava and Ashkan could only be considered political around the margins. Certainly, it would have (and does) address issues of gender roles and sexuality in contemporary Iran, but the Albee-like marriage is the centerpiece. In fact, the initial scenes of the couple sparring are surprisingly grabby. There is real bite to the chemistry shared by Neda Amiri and Bijan Daneshmand. Through the moody lightning and suggestive sound of rain outside, Akbari and her crew create a sense of foreboding that is unusually eerie.

Although quite accomplished as a director, Akbari is still probably best known as the nearly unseen driver in Abbas Kiarostami’s Ten. In front of the camera, she is quite convincing as Ava’s more conventional worrywart sister, Roya. She also deserves tremendous credit for her commitment to free expression, starting the film with a dedication to: “all those filmmakers in Iran, who have served a prison sentence and the ones who are still in prison.” That alone is worth seeing on the big screen.

At just over forty five minutes, Tehran easily pulls viewers in and leaves them wondering “what if?” Yet, it should be considered definitive, as the very particular product of its time and place. Challenging, intriguing, and maddening, From Tehran to London is a significant film that deserves greater attention. Highly recommended, it screens Tuesday (10/22) as part of the Noor Iranian Film Festival.

LFM GRADE: A-

Posted on October 19th, 2013 at 11:55am.

Where Awesome Lives: LFM Reviews the Japanese Superhero Classic, The Golden Bat

By Joe Bendel. He has the looks of the Red Skull and the flamboyance of a Lucha Libre wrestler. The Golden Bat is Japan’s oldest superhero, dating back to at least 1930, nine years before Bruce Wayne repurposed his dungeon, so show some respect. This Thursday, Brooklyn’s Spectacle Theater pays homage to the strange, caped avenger, who has constantly saved our butts in manga, anime, and motion pictures, with Hymns of the Golden Bat – a special one night only program of the Ōgon Batto’s greatest hits, culminating with Hajime Satô’s impossibly manic seventy-three minute live-action epic, The Golden Bat.

Right, the Earth is pretty much in for it. The planet Icarus (dig the mythological reference) is speeding towards us on a collision course, but the scientific establishment is too snobby to heed the warnings of Akira Kazahaya, a teenaged factory worker who dabbles in astronomy. Fortunately, the Pearl Research Institute has been on the case. Led by Dr. Yamatone, they too have tracked Icarus, developing a Dr. No-certified laser canyon to blow-up Icarus in the nick of time. They just need a lens strong enough to withstand the laser’s force, which is ironic, considering Pearle can usually craft your lenses in under an hour.

Seeking a natural lens, Dr. Yamatone and nearly the entire Pearl staff is lured to the long lost island of Atlantis, where the evil Nazo has the drop on them. Ah, but not so fast. Within the temple of Atlantis, they find the Golden Bat’s Egyptian sarcophagus, where his is re-animated by Emily Pearl, the granddaughter of the Institute’s founder. Good thing they thought to take a fourteen year old along on such a dangerous mission.

Needless to say, the Golden Bat pops-up and lays a proper beatdown on Nazo’s henchmen. Of course, they are not out of the woods yet. In fact, that is just the first ten minutes of Golden Bat’s mayhem. There will also be multiple doppelgangers to contend with and laser battles galore, accompanied by the Ōgon Batto’s ominous sounding laughter and big, brassy chorale theme music.

The Golden Bat is the kind of film that can make pedantic fussbudgets’ heads explode. You just have to toss logic to the wind and hang on as it careens from one spectacle to another, like a pinball. Where else will you find a super villain decked out in a fuzzy-wuzzy rat costume with four eyes? The plot rather defies description and the laws of science, but fortunately the title caped crusader constantly reappears to pummel bad guys with his Scepter of Justice.

Oddly enough, a young Sonny Chiba is present, but largely not a factor in the smack-downs as the Picard-esque Yamatone. Frankly, Emily Takami is much better than you would expect as her young namesake, hardly cloying or annoying at all as the teenaged world-saver. Whoever was sporting the Golden Bat costume was certainly physically energetic, while Osamu Kobayashi’s voice-overs are bizarrely distinctive.

Indeed, The Golden Bat is a thing of beauty to behold, from the trippy sets to the hyper action sequences. Satô, probably best known for helming the darker cult favorite Goke, Body Snatcher from Hell, clearly was not one to do things by halfsies. There is something for everyone here, including fans of Ultraman, Kaiju movies, alien body snatcher films, and men in capes.The Spectacle should be the perfect venue to appreciate his charms with a like-minded audience of any of the above. Highly recommended to all fans of cult cinema, The Golden Bat should be a fitting capstone to a mind-expanding night this Thursday (10/24) at the Spectacle in Williamsburg, Brooklyn.

LFM GRADE: A

Posted on October 21st, 2013 at 11:52am.