Movies

MY OCTOPUS TEACHER: an octopus and her human pet

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MY OCTOPUS TEACHER

As nature documentaries go, My Octopus Teacher, is pretty singular. Filmmaker Craig Foster, stewing in mid-life disillusionment, is diving in a South African kelp forest when he encounters an octopus and decides to shadow her over a year and document her life every day. The octopus takes to Foster and adopts him as kind of a pet. But My Octopus Teacher is mostly worthwhile for the amazing resourcefulness of the octopus and the harrowing shark attacks.

I knew that octopuses are wizards at camouflage and at squeezing through tight spaces. I didn’t appreciate how intelligent they are and that they commonly live for only one year.

There are some sequences in My Octopus Teacher that are just astonishing. The underwater photography, especially the scenes just below the surf in the first fifteen minutes are among the best I’ve ever seen. The cinematographer is underwater specialist Roger Horrocks.

Foster himself narrates the film. The Movie Gourmet doesn’t cotton to the simpering of grown men, so I wish I had turned off the sound for the first fifteen minutes of his personal angst and the final ten minutes when he forges a blissful father-and-son shared interest in the ocean.

I do admire Foster for two things. First, he generally didn’t interfere with the course of nature (i.e., rescue the octopus from shark attacks). And he didn’t give her a human name. Good for him.

Off South Africa, the octopus’ major predator is the pajama shark, so named because of the stripes that resemble old-fashioned vertically-striped pajamas. Pajama sharks are especially well-equipped to attack in the narrow and deep crevices where octopuses hide out.

I can’t really blame the sharks because octopus is one of my favorite foods, too. It takes some mastery (which I haven’t as yet attained) to cook them so they’re not rubbery. So, I order octopus every time I see it on the menu (usually at Greek, Spanish, Mexican or Portuguese restaurants).

My Octopus Teacher is streaming on Netflix.

BORGMAN: an adult scare for Halloween

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BORGMAN

Technically, the Dutch thriller Borgman is a horror film, but it’s horror for adults, without the gore and with lots of wit. The shock doesn’t come from monsters unexpectedly lurching out of nowhere. The entertainment comes from the OMG moments of the “don’t ask the weird guy into your house!” and “don’t let the sinister guys watch your kids!” variety.

The setting is the architecturally striking and well-tended home of an affluent Dutch family and their Danish nanny. The husband is an aggro corporate schemer and a real scumbag – selfish, racist and chauvinistic, with the capacity for a violent rage. His wife Marina is repressed and neurotic. But they are highly functional until a homeless guy, Camiel Borgman, happens by, and circumstances compel them to put him up. Borgman feels entitled to more and more outrageous impositions – and soon it’s apparent that he’s even more sinister than he is obnoxious.

What if Charles Manson wasn’t a drug addled hoodlum, and his deranged charisma worked on the affluent mainstream? Borgman leads a crew of normal looking but murderous henchmen, who operate with the ruthless efficiency of Navy Seals. (Watch for the scar near the younger woman’s shoulder-blade.) Vaguely gifted with mind control, he can apparently create dreams by squatting naked and gargoyle-like above Marina while she slumbers with her husband. There is violence aplenty, but it tends to come through a bonk on the head or some poison in a glass.

Dark comedy stems from the matter-of-factness of the murders and body disposal (as in tossing corpses into a lake and then diving in for a relaxing swim). Every once in a while, there’s a hilariously sinister moment, like the supremely random appearance of some whippets that seem more like hellhounds.

BORGMAN

The acting is uniformly excellent, including the kids, but Jan Bijvoet as Borgman and Hadewych Minis as Marina are stellar.

Some questions are never answered (who are those three guys at the beginning and why are they hunting the homeless guys?). Is this a cult or aliens or what? The audience needs to accept some ambiguity. But the overall story arc is clear – no good is going to come of these people once they meet Camiel Borgman and his friends.

There is a subtext here: is this family so bourgeois that it deserves its fate? Fortunately, this subtext isn’t as in-your-face as in some recent self-loathing Eurocrap like Happy Days or Finsterworld, so it’s not at all off-putting. But Borgman can be enjoyed without going there at all.

Borgman is superbly written and directed by Alex van Warmerdam, a 62-year-old Dutch actor with only a handful of writing and directing credits.

I don’t often recommend a horror movie, but I’m all in on Borgman. Take it from me – you haven’t seen this movie before, and it’s endlessly entertaining. Borgman is available to stream from Amazon, iTunes, Vudu, YouTube, Google Play and Hulu.

DAVID BYRNE’S AMERICAN UTOPIA: a most human vibe

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DAVID BYRNE’S AMERICAN UTOPIA

David Byrne’s American Utopia is the concert film for David Byrne’s (currently paused) Broadway show, directed by Spike Lee. The songs are organized to explores themes of humanity and human behaviors and attitudes, and some are overly political. It’s a thoughtful and entertaining show.

To isolate the humanity on stage, Byrne has very intentionally pared away all the glitz. What remains is just Byrne and his band, which serves as a chorus – two dancers, two guitarists, a keyboard player and six percussionists. All are barefoot and clad in identical grey suits that are well-fitting descendants of Byrne’s Big Suit from Stop Making Sense.

Most, but not all, of the of the songs are Byrne’s or by the Talking Heads. The biggest show-stoppers are the Talking Heads’ vintage anthems Burning Down the House and Road to Nowhere and Janelle Monae’s Hell You Talmbout. This is no run-of-the-mill jukebox musical.

Stop Making Sense, of course, is one of the greatest of concert films, directed by Jonathan Demme. It shouldn’t surprise anyone that great directors make great concert films (e.g., Martin Scorsese and The Last Waltz; DA Pennebaker and Monterey Pop). Given the constraints of the contained set and material, Spike Lee does a great job of projecting the vibe of American Utopia.

David Byrne’s American Utopia is playing on HBO.

DICK JOHNSON IS DEAD: funny, heartfelt and frequently bizarre

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Dick Johnson in DICK JOHNSON IS DEAD

Documentarian Kirsten Johnson and her dad face the end of his life in this funny, heartfelt and frequently bizarre film. Dick Johnson Is Dead is so highly original that I would place it in its own genre – docufantasy.

Kirsten’s father Dick Johnson is an 85-year-old psychiatrist whose increasing forgetfulness and frailty is forcing hm to leave his Seattle house and move onto Kirsten’s NYC apartment. As generally sunny as he is, his loss of vigor and independence is hard on him. His impending loss of memory (and of life itself is hard on them both.

Kirsten chronicles the familiar – the doctor’s appointments, the closing of her dad’s practice, the selling of his car and the downsizing of his possessions. And then she grapples with his mortality by staging a series of fictional demises – as he “dies” in a series of quirky accidents, like getting a large appliance dropped on him from a highrise. Other scenes imagine Dick in heaven, dancing with her mom, and dining with Frederick Douglass and Buster Keaton.

DICK JOHNSON IS DEAD

Dick Johnson is indulgent with his daughter and one helluva good sport. There’s even a Seattle “funeral” while Dick is still alive and able to watch from the wings.

Offbeat as it is, the core of Dick Johnson Is Dead is wistful and deeply personal. Dick Johnson Is Dead is streaming on Netflix.

THE LIFE AND DEATH OF COLONEL BLIMP

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Roger Livesey in THE LIFE AND DEATH OF COLONEL BLIMP

The 1943 masterpiece The Life and Death of Colonel Blimp is a remarkably textured portrait of a man over four decades and his struggles to evolve into new eras. Written and directed by the great British filmmakers Michael Powell and Emeric Pressburger, this is a movie with a sharp message to 1940s audiences about modernity, as well as a subtle exploration of privilege that will resonate today.

The character of Clive Candy, when we first seem him as an old man, is the butt of a humorous scene, being made fun of as out of touch and ridiculously old-fashioned. Candy, a veteran of sabre duels between 19th Century gentleman officers, still naively thinks that wars should be fought according to rules. Made in the urgency of wartime 1943, The Life and Death of Colonel Blimp pointedly delivers the message that the old fuddy duddies should get out of the way. Only modern men can fight the quintessentially modern threat – the Nazis with their propaganda and industrialized genocide.

But Powell and Pressburger can make this argument without emasculating or demonizing Blimp; he is a good man, just a good man whose time has passed – and it is what it is.

We see flashbacks of the younger Clive Candy and see his bravery, steadfastness, loyalty, sentimentality, romance, and his occasional wit. He is a man devoted to a code of behavior. always profoundly anchored to doing the right thing and willing to sacrifice (in both love and war).

Candy is also a creature of privilege, and he’s clueless about that privilege. He is an upper crust Englishman in a class-driven, all male and all-white power structure. His day job is serving an empire whose premise is the suppression and exploitation of darker skinned peoples peoples. He never has to compete, on the merits, with women or with the working class or people of color. He just assumes that he should be a military leader and that England should have an empire; but he also unquestionably shoulders the duties and obligations that goes with the leadership and the empire.

Roger Livesey plays Candy as he ages over the forty years. Livesey often played decent and genial romantic leads, and I usually find those roles pretty bland. But here Livesey convincingly depicts a man who believes that he must never change, even as he faces heartbreak or changing times.

Anton Walbrook excels as Candy’s German peer, an officer of Candy’s generation who realizes in the 1940s that their time has passed. I’ve lately warmed to Walbrook, who was typecast as romantic, European dandies early in his career; his later work, in Powell and Pressburger’s The Red Shoes and The 49th Parallel, Max Ophul’s Le Plaisir and La Ronde and the 1940, less well known version of, Gaslight, is excellent.

The always coolly reliable Deborah Kerr appears in multiple roles, playing three different women who show up in Candy’s life.

Powell and Pressburger insert plenty of humor and smart filmmaking to tell this story. The montage of mounted animal heads that spans the period between the world wars is especially witty.

Clive Candy is a creature of his time – which TLADOCB unsentimentally depicts as having passed. But there is value in this man. Just like with Wille Loman – attention must be paid.

The Life and Death of Colonel Blimp airs October 15 on Turner Clssic Movies and is available to stream from Amazon, AppleTV and the Criterion Channel.

Roger Livesey in THE LIFE AND DEATH OF COLONEL BLIMP

THE ARTIST’S WIFE: she finds her gifts

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Lena Olin and Bruce Dern in THE ARTIST’S WIFE

In The Artist’s Wife, sixty-something Claire (Lena Olin) is married to a famous, much older, painter Richard (Bruce Dern). You get the idea that Richard has always been a handful, but he is undergoing some disturbing changes. He is increasingly confused and mean, even abusive. Claire is the last to recognize and accept that Richard is sinking into Alzheimer’s.

We see glimpses of Richard as a good catch – affectionate and witty – and he is a superstar of the art world. Now, however, Richard is creatively blocked and drinking more. And the dementia is showing itself in more and more inappropriate behavior, from cruelty to his students to the impulse purchase of a $94,000 clock.

Claire was a painter herself, having sidelined her own career to support Richard’s. Now, seeking relief from Richard’s decline, she rents a studio and starts working herself. More than anything, Clare is generous, and she finds ways to give other great gifts.

The Artist’s Wife is Lena Olin’s movie, and her performance is the best thing about the movie, as her Clare ranges from clueless to desperate to persistent to tipsy to seductive to hurt and, finally, triumphant.

Let’s remember that, in 1988’s The Unbearable Lightness of Being, Olin played the girlfriend even more beautiful than Juliette Binoche. She can still rock bikini underwear.

Speaking of beauties from the 70s, Stephanie Powers (Hart to Hart) appears (and briefly in full frontal nudity).

Ultimately a Feel Good movie, The Artist’s Wife is streaming on Amazon, Vudu, YouTube and Google Play.

SHE IS THE OCEAN: women celebrating the oceans in science and sport

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Ocean Ramsey in SHE IS THE OCEAN

Inna Blokhina’s visually stunning documentary She Is the Ocean explores passion and possibilities. The passion is for celebrating the world’s oceans through science and sport. The possibilities are the great achievements that women can and have achieved in its pursuit.

She Is the Ocean introduces us to a stable of women with astonishing accomplishments, including:

  • Keala Kennelly, the woman’s pro surfing champ who now competes in men’s pro surfing events.
  • Andre Moller, who surfs the monster wave Jaws and paddle boards on the open ocean between Hawaiian Islands.
  • Anna Bader, a championship cliff diver whose highest dive has been from almost eight stories and who trains while pregnant.
  • Marine biologist Ocean Ramsey, known as the Shark Whisperer.
  • Teen surf prodigy Coco Ho, who by age twenty has been voted the world’s second most popular female surfer.
  • Oceanographer Sylvia Earle, still at it 65 years after her first dive, who led the first team of female aquanauts in 1970 and set the record for a single 1000-meter dive.

These women are tied together by their passion. Ramsay says, “I feel more comfortable and more graceful under water. I spend more time with the sharks than my family.“

This Spring, well after She Is the Ocean was completed, Brazilian pro surfer Maya Gabeira conquered a record wave in Portugal, so a woman now holds the Guinness record for surfing the biggest wave ever.

Cinta Hansel in SHE IS THE OCEAN

But the core of She Is the Ocean – and its passion and possibilities – is Balinese Cinta Hansel, the ten-year-old middle daughter of surfer and board shaper Bruce Hansel. Since she was eight, Cinta has aspired to be a world class surfer. Her dad has helped her, and she has become a prodigy. She is absolutely determined, and the joy she feels in the surf is infectious.

Inna Blokhina and her team of cinematographers and editors have created a visual masterpiece in glorious 4K. The underwater and surf shots are stunning. One “money shot” is of Ocean Ramsey getting a tow from a Great White. Another is Andrea Moller standing on her paddle board a few feet from the giant tail of a whale.

You can watch She Is Ocean on October 16 in a virtual screening from the Balboa, the Vogue and the Rafael in the Bay Area.

five more movie choices from CINEJOY

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Steve Starr and Gay Walley in EROTIC FIRE OF THE UNATTAINABLE

Cinequest’s October virtual festival CINEJOY. runs through October 14. I’ve written about the best of Cinejoy, and here are five more Cinejoy films.

  • Erotic Fire of the Unattainable: My favorite discovery so far at Cinejoy, this is a captivating study of a free spirited woman of a certain age and her asymmetric relationships. It’s docufiction – “people playing themselves in stories that relate to their own real lives”. Here’s my full review.
  • The Last Days of Capitalism: Taking place entirely in a Vegas hotel luxury suite, a rich forty-something extends his encounter with a much younger hooker into several days of verbal probing and sparring. It’s kind of My Dinner With Andre with spa robes and sex. It turns out that he is hedonistic for a purpose, and she is more than she seems, too.
  • Far East Deep South: In this genealogy documentary, a Northern California Chinese-American family is stunned to discover that they have roots in Mississippi.
  • Watch Me Kill: Filipino actress Jean Garcia stars as a pitiless and prolific contract killer. Something from her past is haunting her, and there is a mind twisting thread. I was okay with the relentless violence, as would Quentin Tarantino, but not every viewer would be.
  • The Return of Richard III on the 9:14 am Train: This French comedy of manners centers on a crew of neurotic actors holed up in a vacation rental to rehearse a project. Although it’s got the best title in Cinejoy, it’s only mildly funny.

You can see these films and those on my best of Cinejoy at CINEJOY.

EROTIC FIRE OF THE UNATTAINABLE: captivating docufiction

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Gay Walley in EROTIC FIRE OF THE UNATTAINABLE. Courtesy of Vital Productions.

My favorite discovery so far at Cinejoy, Erotic Fire of the Unattainable is the captivating study of a free spirited woman of a certain age and her relationships. Gay (Gay Walley) is a NYC author in her 60s who has a boyfriend, but there are other men available to sample; she’s had a history of struggles in trying to find a guy who is the best fit.

Her relationships are all asymmetric – either she loves the man more than he loves her, or he loves her more.

We don’t see many movies about the romantic lives of women of a certain age, but assessing the relative appeal of lovers is a universal quandary. Unless you have lucked into the Ideal Partner (like I have with The Wife), there are trade offs.

As the actress Gay Walley says about the character Gay, “She is a free spirit. All the men come with strings. She clearly wants to be with someone but she can’t take the strings.”

Steve Starr and Gay Walley in EROTIC FIRE OF THE UNATTAINABLE. Courtesy of Vital Productions

Director Frank Vitale works in his own form of cinema, docufiction – “people playing themselves in stories that relate to their own real lives”. He casts non-actors and their friends, who act out stories that spring from their own real life experiences. His star, Gay Smalley, gets the screenwriting credit. Smalley, who in real life has published a novel entitled Erotic Fire of the Unattainable, plays the author Gay, who has penned a book of the same name.

He may use non-actors, but there’s nothing amateurish about Vitale’s filmmaking – Erotic Fire of the Unattainable looks great. The cinematographer is Niav Conty, who directed another Cinequest/Cinejoy gem, Small Time.

You can stream Erotic Fire of the Unattainable through October 14 at CINEJOY. After the film, there’s an insightful interview with Vitale and Walley.

STUNTWOMEN: THE UNTOLD HOLLYWOOD STORY – don’t wig a guy

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Michelle Rodriguez and Debbie Evans in StUNTWOMEN: THE UNTOLD HOLLYWOOD STORY. Photo Credit Shout! Factory

“Actresses play characters, but stuntwoman play actresses playing characters, while driving fast and kicking ass.”

That’s one of the professional movie stuntwomen summing up the business in the documentary Stuntwomen: The Untold Hollywood Story. Stunt performing and stunt coordinating are underappreciated by most of us – and certainly kept in the background by the industry (and the Oscars). It’s hard and dangerous enough to perform movie stunts, but females have also had to battle against persistent gender bias.

Stuntwomen: The Untold Hollywood Story takes us back to the first decade of silent films, when actresses did their own extreme stunts, until they became too valuable in box office terms to be expendable. At that point, women were frozen out of the stunt business for half a century. Michelle Rodriguez, who is currently our most kickass/badass actress, helps introduce us to today’s world of women who specialize in fighting, crashing cars, falling off great heights and getting set on fire.

We meet Jeannie Epper, who doubled Lynda Carter in Wonder Woman and Jadie David, who doubled Pam Grier in all those Blaxploitation action movies. (Epper fell backwards out of tall buildings, and then the film was reversed to create the effect of Wonder Woman zooming upwards.)

We also learn the meaning of “wigging a guy”. And we are reminded that stuntwomen often double actresses who are wearing high heels, and that skimpy outfits don’t allow for much protective padding.

This is solid women’s history and a great inside glimpse at the movie biz. Stuntwomen: The Untold Hollywood Story can be streamed from iTunes and Google Play.