LFM Reviews New French Shorts at the IFC Center

By Joe Bendel. The original idea was to present a selection of French short films with prestigious festival credentials as a warm up for the My French Film Festival. However, the mood is sure to be drastically different from what anyone would have anticipated when UniFrance presents the third annual New French Shorts showcase at the IFC Center.

As the world reels from the terrorist attack on Charlie Hebdo, cineastes can take particularly comfort from Amélie Harrault’s Kiki of Montparnasse, because it represents everything we love about French culture and everything the Islamist killers would hate. Chronicling the life of a cultured and independent woman, it is elegant, artistic, and a bit racy. Alice Prin (a.k.a. Kiki) rose from humble beginnings to find fame as an artist’s model, torch singer, actress, and memoirist in the Parisian artists’ community of Montparnasse. It would be impossible to make a boring film about “the Queen of Montparnasse,” but Harrault’s short film is particularly inspired, altering the look of the animation to reflect the style of each successive artist Prin encounters, including Mondigliani and Man Ray.

Prin’s story is not all champagne and caviar, but it portrays Paris as we always want to think of the city. Bandine Lenoir’s The America of Womankind also offers a bit of sauciness (and Antoine Sahler’s fusiony trumpet gives the closing credits a nice kick), but it is more of a sketch than a narrative. While a teenaged girl and her boyfriend make the beast with two backs, her mother, grandmother, and aunts debate whether they should interrupt them or embrace their sex-positive attitude. It is somewhat amusing but inconsequential.

However, two of the programmed films explore the grittier side of contemporary France. Clément Tréhin-Lalanne’s Aïssa is the lesser of the two, serving more as a statement than a film. A young Congolese immigrant is seeking amnesty protection, claiming to be a distressed minor. However, a coldly bureaucratic medical examination may very well disprove her claim. Essentially, Aïssa is a one note film, but the vulnerability of Manda Touré’s performance is still impressive. It is also notable how the television-like aspect ratio gives it the feel of Super-8 micro docs.

Jean-Bernard Marin’s The Runaway addresses similar themes, but it is a fully developed narrative. Lakdar is a tough talking social worker, but he really cares about his charges, even the self-destructive ones like Sabrina. Through his efforts, she has landed a service industry trainee position, which might convince the court to sentence her to probation rather than a prison stretch, if she presents herself in a thoughtful, contrite manner. Alas, that might be too much to ask. Unfortunately, she might drag down Lakdar with her, as well.

As Lakdar, Adel Bencherif is absolutely terrific delivering a tragic, street level performance akin to what you might see in early Scorsese. Runaway is hardly a lecturing multicultural guilt trip either, emphasizing the flawed reality of human nature. Like Sabrine, an inmate in a Washington state women’s prison is a difficult case to help in Laure de Clermont-Tornerre’s Rabbit. She had committed to care for a dwarf rabbit as part of a counseling program designed to develop responsibility, but she might sabotage herself instead. Frankly, Rabbit is a perfectly presentable film, but the stakes and intensity cannot compare to Runaway.

French-based Chinese filmmaker Hu Wei’s docu-essay Butter Lamp might sound conspicuously out of place, but visually, it is unusually distinctive, so why not stretch the selection parameters? As an itinerant photographer and his assistant snap portraits of hardscrabble Tibetan families in front of anachronistic fake backdrops, Hu offers a shrewd commentary on the conflict between traditional Tibetan culture and globalization. Deceptively simple, it is actually quite cleverly executed.

Kiki of Montparnasse, The Runaway, and Butter Lamp are all excellent short films, under any circumstances. Of course, next week’s UniFrance showcase will be an opportunity to see them, as well as a time to express solidarity with the admirably iconoclastic Charlie Hebdo. Also recommended on strictly cinematic terms, the 2015 New French Shorts program screens this Wednesday (1/14) at the IFC Center.

Posted on January 14th, 2015 at 11:09pm.

LFM Reviews The Polgar Variánt @ New York Jewish Film Festival

From "The Polgar Variánt."

By Joe Bendel. Grandmaster Judit Polgár was like a female analog of Gary Kasparov. She had an aggressive attack on the chessboard and her Hungarian Jewish family had its share of trouble with the Communist regime. However, she also had two sisters who were nearly as good as she was. Yossi Aviram chronicles the Polgár Sisters’ unique training and unprecedented success in the male-dominated chess world in The Polgar Variánt, which screens during this year’s New York Jewish Film Festival.

László Polgár resolved to home-school his three daughters at a time when the Hungarian government rather frowned on such anti-socialist behavior. Undeterred, he was convinced he could train Susan (or Zsuzsa), Sofia, and Judit to be geniuses in a predetermined field. He chose chess, because of its prestige within the Soviet Bloc. To an extent, it worked. All three sisters racked up impressive victories in international women’s tournaments, but they wanted to compete against men in more highly esteemed competitions. The Hungarian chess authority did not just disagree with their ambitions, they put their careers on hold for several years.

Clearly, as the oldest, Susan Polgár paid the highest price. However, by the time their ban was lifted, Judit Polgár was poised to explode on the chess scene. So did their chess careers provide full satisfaction and vindication for their father? Probably in large measure yes, but maybe not entirely so. After all, their lives would become complicated, despite their sheltered early years.

Even though the narration is a bit severe, Variant provides a fascinating look inside the exclusive world of competitive chess. Notably, all the relevant Polgárs participated in Aviram’s film, including the three sisters, their father, and endlessly supportive mother Klára, who at one time was fired from her school teacher position, under suspicious circumstances.

From "The Polgar Variánt."

Happily, it seems all three Polgár Sisters have more important things in their lives than chess, thoroughly contradicting the stereotype of the socially under-developed, myopic chess master. Still, Aviram is perhaps a bit unfair to Gary Kasparov, who was admittedly somewhat chauvinistic when the Polgárs first crashed the men’s tournaments, but subsequently revised his opinions. This seems particularly unfortunate, given his role as the leading advocate of human rights and democratic reform in Russia today (his Twitter feed is a must follow for anyone interested in the contemporary state of organized chess and Russian politics).

Regardless, Aviram tells the sisters’ story with authority and economy, conveying a vividly drab sense of Kádár-era Hungary and the neurotic tension of competitive chess. Recommended rather highly, The Polgár Variant screens this Thursday night (1/15) and next Thursday afternoon (1/22) at the Walter Reade Theater, as part of the 2015 NYJFF.

LFM GRADE: A-

Posted on January 14th, 2015 at 11:08pm.

LFM Reviews Once Upon a Time in Shanghai; Now on DVD/Blu-ray

By Joe Bendel. Ma Yongzhen is one of China’s favorite Robin Hood-ish gangsters. Film and television versions of his story (including the Shaw Brothers’ Boxer from Shantung) often transplant Ma to the wild and woolly Republican 1930s, but the first film version of the Nineteenth Century bumpkin-turned racketeer was the 1927 silent Shandong Ma Yongzhen. A new supercharged remake/reinvention of the 1972 Shaw Brothers fan favorite takes even more liberties with Ma’s story, but if he has any surviving descendants, they are not likely to object to the heroic portrayal of the martial artist in Wong Ching-po’s Once Upon a Time in Shanghai, which releases this week on DVD and Blu-ray, from Well Go USA.

Ma Yongzhen came from the dirt poor provinces to make his fortune in Shanghai. Ironically, he has exactly the sort of skills to make it in the go-go city, but he promised his sainted mother he would never become a gangster. To remind him to temper the power of his iron-fist, she gave him his only valuable possession: a jade bracelet.

Living in a slum watched over by the kindly Master Tie, Ma quickly gets a lay of the land. Through a series spectacular sparring sessions, Ma earns the trust and a legit job from Long Qi, a gangster-club owner more closely resembling the historical Ma Yongzhen. The brash Long Qi has taken over a sizable portion of the Ave Gang’s territory, but he is asking for trouble with his outspoken anti-Japanese sentiments. When the Axe Gang and the Japanese form an alliance, Ma will be pulled into the fray to protect everyone halfway decent.

OUATIS is definitely following the buddy movie playbook, but screenwriter Angela Wong somewhat inverts the formula, by having the naïve country boy stay strong and start to reform the hedonistic crime lord. Even so, the narrative is rather simplistic, but the film’s grit and tragic vibe will appeal to genre audiences nonetheless.

The martial arts sequences choreographed by Yuen Woo-ping and Yuen Cheung-yan are obviously the important thing here—and they deliver. Fortunately, Philip Ng and second lead Andy On have the skills and bearing for the often brutal but wildly cinematic beatdowns. There is no question they can carry this stuff off. Veteran martial arts stars Sammo Hung and Chen Kuen-tai (the 1972 Ma Yongzhen) lend the film further street cred.

From "Once Upon a Time in Shanghai."

After working his way up through a series of increasingly prominent supporting roles (Lionel, the undercover cop stepson in From Vegas to Macau), Ng gets his shot playing the hero here. His turn as Ma is not exactly a bases-clearing homerun, but Ng is not bad at all. He has a strong presence, develops some reasonably believable romantic chemistry with Michelle Hu’s Tie Ju (the somewhat judgmental daughter of Master Tie), and excels in the fight scenes. Although Andy On goes a bit over the top with Long Qi’s outrageous preening and weird bursts of laughter, it sort of works anyway, because this is a genre that rewards attitude – which he brings in generous servings.

Indeed, most action enthusiasts will want to see more of Ng and the more established On after Wong’s Ma Yongzhen reboot, which says a lot. If you are looking for impressive martial arts action and can easily overlook some predictably excessive anti-Japanese propaganda, then it is a safe bet. Recommended for martial arts and historical gangster fans, Once Upon a Time in Shanghai is now available for home viewing from Well Go USA.

LFM GRADE: B

Posted on January 14th, 2015 at 11:08pm.

LFM Reviews Giuseppe Makes a Movie

By Joe Bendel. Wrap your head around this—Giuseppe Andrews has made more full length features than either Terrence Malick or Quentin Tarantino. Andrews would consider Garbanzo Gas his tenth “proper” feature, but there were ten or so earlier films that just didn’t come together the way he hoped. Of course, Andrews will be the first to admit “proper” is a decidedly subjective term in his case. Adam Rifkin documents Garbanzo’s whirlwind preproduction and two day shooting schedule in Giuseppe Makes a Movie, which opens this Thursday at Anthology Film Archives.

Andrews lives in a Ventura trailer park, next to his producer-father, Ed, a former back-up musician with the Bee-Gees. After previous stretches of veritable homelessness, both men feel they have finally put down roots. The experience gives them a clear affinity for their regular cast-members, most of whom are either homeless or living a half step away. Yet, they have made lasting friendships and scored quick pocket money through their work on Andrews’ films.

Based on the behind-the-scenes footage of Garbanzo and the judiciously selected clips of his precious movies, an Andrews joint looks darned near unwatchable. Yet, despite his obvious eccentricities, the micro-budget auteur comes across quite well adjusted and even sort of insightful. Unlike Ed Wood or American Movie’s Mark Borchardt, Andrews harbors no illusions about the level of his artistry. Nor would he argue he just needs some time to hone his craft, like the ambitious filmmaking duo in Journey to Planet X. Instead, Andrews more or less acknowledges he is a Z-grade filmmaker, but he is okay with that, which is cool.

In fact, Andrews is clearly well versed in European auteurs like Fassbinder and Buñuel, has a normal girlfriend, and maintains an obscenely healthy diet. Naturally, lunacy is inescapable on his sets, but his shoots are considerably calmer than you would expect. Frankly, aspiring micro-budget filmmakers should check out his technique, because he must be doing something right, considering how prolific he is. Arguably, he is a real professional, at least by some weird standard. Maybe Martian.

There are plenty of head-shakingly insane moments in GMaM, but for the most part, it is Andrews’ earnestness and energy that propels the film along, as well as the camaraderie of his ensemble players, such as Vietnam Ron, Sir Bigfoot George, Walt Dongo, and “Spit.” It is pretty hilarious watching “the magic” happen, but Andrews’ affection for these outsiders’ outsiders is rather endearing. Recommended for idealistic cineastes and those who appreciate the micro-budget scene, Giuseppe Makes a Movie opens this Thursday (1/15) in New York, at Anthology Film Archives, where they are also screening Andrews’ Garbanzo Gas and In the Garden, so good luck with those if you’re going.

LFM GRADE: B

Posted on January 14th, 2015 at 11:07pm.

LFM Reviews Pretty Rosebud

Pretty Rosebud Official Trailer from Devolver Digital Films on Vimeo.

By Joe Bendel. Cecilia “Sissy” Santos is a political consultant who feels deeply guilty when she succumbs to adulterous temptation. Yes, that sounds far-fetched, but if you can accept it, there are merits to be found in Oscar Torre’s Pretty Rosebud, written by and starring his real life wife Chuti Tiu, which opens this Friday in Los Angeles.

Apparently, Santos works for a combination boutique PR agency and political consulting firm, but it’s not clear what they do during odd numbered years. Regardless, she at least has a going career with opportunities for advancement. That is more than her lay-about husband Phil can say. He resents his wife’s status as the sole breadwinner, but he refuses to even consider anything less than his previous gig. In all honesty, his ambition has dried up and his sex drive essentially followed with it.

However, Sissy Santos has this boxing trainer (conveniently played by Torre, who looks the part). She regrets it afterward, but of course her husband is still his same insufferably entitled self. Time spent with her traditional Filipino family does not help much either, especially when they complain about her golden boy brother’s divorced Anglo girlfriend. To make matters worse, she has plenty of candidates for further adultery at work, including the congressional nominee, whose campaign she is assigned to.

Tiu might be writing from a Filipina perspective, but the issues Santos wrestles with should resonate with audiences from diverse ethnic backgrounds, with old school parents. Arguably, she really stacks the deck against dumb old Phil, but her scenes with the family’s Catholic priest are surprisingly well written and more than fair to the priest. In fact, the good Father just might have some helpful, nonjudgmental counsel to offer.

From "Pretty Rosebud."

Obviously, Rosebud was conceived as a showcase for Tiu (a former Miss Illinois), but she proves to be equal to the challenge of carrying the picture. She is a striking presence, but the maturity tempering her sexuality is something you almost never see on film. It is a bold, vulnerably exposed performance. While Torre has limited screen time as Alejandro the trainer, he helps generate the necessary heat to set in motion all the subsequent conflicts. Richard Yniguez’s Father Antonio also nicely bolsters the film’s forgiving tone. In contrast, Kipp Shiotani certainly makes viewers contemptuous of Phil, which seems to be his assignment, while the Santos parents are mostly played as broad, churchy stereotypes.

Rosebud is a small intimate film, but it juggles some heavy themes relatively dexterously. If nothing else, the gym scenes ought to convince DirecTV they need Tiu and Torre for the next season of Kingdom. Recommended for those who appreciate a frank, women’s POV adultery drama, Pretty Rosebud opens this Friday (1/16) in Los Angeles at the Arena Cinema.

LFM GRADE: B

Posted on January 14th, 2015 at 11:06pm.

Farce in the Stalinist Era: LFM Reviews Dying for It

By Joe Bendel. Nikolai Erdman was censored by Stalin’s minions, banished to Siberia, and befriended by Mikhail Bulgakov. His life might sound more conducive to tragedy than farce (although the Bulgakov connection could go either way), but he wrote a truly devastating satire of Stalinist society that was never allowed to be produced in Russia during his lifetime. For her “free adaptation” of The Suicide, Moira Buffini, the playwright and screenwriter of Byzantium, unleashes the slamming doors of stage farce, but retains Erdman’s original bitterly caustic sensibility in Dying for It, which officially opened last night at the Atlantic Theater Company’s Linda Gross Theater.

Even by the awful standards of the era, Semyon Semyonovich Podeskalnikov is a pathetic loser. Unable to find employment, he sponges off his wife, Maria “Masha” Lukianovna. He bitterly hates himself for it and passive-aggressively torments her for allowing it. After a dubious attempt to reinvent himself as a professional tuba player falls humiliatingly flat, Semyonovich resolves to just do the only decent thing and end it all. Initially, Lukianovna does not believe he could do something so rash, but plenty of others do.

As word spreads (thanks in part to the communal living arrangements and of course alcohol), various dodgy types start pressuring Semyonovich to make his suicide a statement for their cause. Who could believe there were so many disgruntled people in Uncle Joe’s USSR, aside from the embittered priest and once prosperous intellectual, but they start coming out of the woodwork. Even the self-loathing state-sponsored sell-out poet lobbies Semyonovich to kill himself for art. Finally, Semyonovich gets some attention and respect. The only downside is the presumed finality of it all.

One of the most striking aspects of Buffini’s channeling of Erdman is how seamlessly it blends high and low forms of humor. There are plenty of jokes that are easy to get, but there is also quite a bit implied about the state of Mother Russia and human nature—and that is where much of the arsenic lies. Presumably, the less than flattering portrayals of priests and intellectuals could have appealed to the Party’s prejudices. However, throughout the play, starvation, misery, and state indifference are constant realities. The truth is everyone has to prostitute themselves to some extent, just to survive—and those who are most closely aligned with the Party are crying the most on the inside.

From "Dying for It."

As Semyonovich, Joey Slotnick has the perfect sad clown presence, constantly dialing up and down a vast array of unappealing character traits while maintaining the audience’s rooting interest. Clea Lewis, former co-star of the Ellen sitcom, also regularly steals her scenes as Kleopatra “Kiki” Maximovna, an aging seductress hoping Semyonovich will attribute his final exit to her charms, in order to keep up her reputation. C.J. Wilson’s large presence is also felt anchoring the production as the earthy but down-to-earth former soldier Alexander Petrovich Kalabushkin.

It is easy to see from Buffini’s adaptation why Erdman’s Suicide was a non-starter during the Soviet years. First and foremost, laughing at social ills was not exactly the sanctioned dialectal method for advancing history to the next level. Even more fundamentally, it ruthlessly cut through all the pretext and pretense of Party propaganda poppycock. Buffini’s refinements give ample opportunities to a talented ensemble to dig into the material, thrusting and parrying with her razor-sharp words. Highly recommended, the Atlantic’s production of Dying for It runs until January 18th.

Posted on January 9th, 2014 at 1:01pm.