Mountain climbing partners tie a line between themselves so – if one of them falls – he can be saved by the other. But what if an accident puts BOTH of them at mortal risk? What if the fallen climber can’t be pulled up? What if one climber’s fall has doomed the other? The gripping documentary Touching the Void retraces that situation in real life – what happens if you cut your partner’s line?
In 1985, this happened to expert climbers Joe Simpson and Simon Yates in the Peruvian Andes. The 2005 film Touching the Void re-enacts the incident with the reflections of participants.
There’s no more life-or-death decision than “Should I cut the rope?” Although the issues of betrayal and guilt naturally arise, it turns out to be lot more complicated than that.
That moment of decision is dramatic, of course, but it’s only one segment of Touching the Void, which includes multiple survival stories in one adventure. One of them is absolutely epic.
Touching the Void was directed by Kevin Macdonald, who won the Best Documentary Oscar for 2000’s One Day in September, about the terrorist attack at the 1976 Munich Olympics. Touching the Void has been acclaimed as“the most successful documentary in British cinema history”. Touching the Void can be streamed from Amazon and iTunes.
Brian Dennehy, Lucas Jaye and Hong Chau in DRIVEWAYS
I can’t think of a more authentic movie about intergenerational relationships than the charming, character-driven Driveways. It’s a modest little indie, and it’s one of the Best Movies of 2020 – So Far.
Kathy (Hong Chau) and her nine-year-old Cody (Lucas Jaye) arrive in a small town to clean out and flip the house of Kathy’s late sister. Kathy and her much older sister had lost touch,and Kathy is surprised and disheartened to discover that the sister had become a hoarder, making the clean-up job monumental. The octogenarian next-door neigbor Del (Brian Dennehy) watches from his porch.
All three are facing life challenges. Kathy is a single mom trying to navigate a career change; now she has an unwanted chore and some guilt from not reviving the relationship with her sister. Cody is a sensitive kid who isn’t comfortable in many situations and who has an embarrassing reaction to anxiety. Del is grieving the loss of his wife and facing the loss of his independence. Things do not go as the audience expects.
Hong Chau in DRIVEWAYS
Director Andrew Ahn, by dropping subtle clues, lets the audience connect the dots about the characters and their back stories. We learn about the mom-son relationship when she discards a cigarette on the ground and he wordlessly grinds it out with his shoe. We learn about Del’s fears about his independence when he glances at an increasingly forgetful buddy.
Driveways is a three-hander and all three actors, Hong Chau, Lucas Jaye and Brian Dennehy are superb. 91-year-old character actor Jerry Adler is brilliant in a few very brief scenes.
This was the final performance for Brian Dennehy (scroll down to bottom for my remembrance). His performance – so remarkably genuine and subtle – in Driveways is award-worthy. Dennehy’s facial expression, in one fleeting moment, conveys Del’s profound regret about a mistake that he made with his own daughter.
Brian Dennehy and Lucas Jaye in DRIVEWAYS
Driveways played at Cinequest 2020 with an in-person appearance by Hong Chau, which I skipped because I sized it up as too sappy. I was wrong.
You know how children are drawn to some kids and not to others? Driveways perfectly captures the joy of making friends when a kid discovers another kid with common interests.
That authenticity is exactly what keeps Driveways from being corny. There’s not a hint of manipulation from Ahn. That’s why Driveways is that rarity, a recommendation from The Movie Gourmet that can be described as”heartfelt”.
Cody is as much the lead character as are the mom and the old guy. The Wife thinks that the movie is too slow for kids. But I’d give it a try and challenge the kids. It’s only 83 minutes, and I think kids will be drawn to the portrayal of a kid that is so real-world and unlike the stock characters spoon fed them by the likes of the Disney Channel.
Driveways is available to stream on all the major platforms.
James Brown and His Famous Flames in THE T.A.M.I. SHOW
The T.A.M.I. Show is probably the first concert film as we think of the genre today. An amazing confluence of talent gives us an unfiltered 1964 time capsule of British Invasion, Surf, Motown, Pop and early Soul (but there’s no Folk) music.
Here are the performers:
The Rolling Stones
James Brown
The Beach Boys
Chuck Berry
The Supremes
Marvin Gaye
Smokey Robinson and the Miracles
Lesley Gore
The Blossoms (backing Gaye)
Gerry and the Pacemakers
Jan and Dean
The Barbarians
Billy D. Kramer and the Dakotas
Eight The T.A.M.I. Show performers are in the Rock and Roll Hall of Fame: Berry, the Stones, the Beach Boys, James Brown and the Famous Flames, the Supremes, Marvin Gaye, Smokey Robinson and the Miracles and The Blossoms singer Darlene Love, who was inducted as a solo act. Future actress Teri Garr and choreographer/pop artist Toni Basil were two of the Go Go Girls. Members of the famed Wrecking Crew session musicians constituted the house band, including guitarist Glen Campbell, pianist Leon Russell and drummer Hal Blaine, along with the jazz great, bassist Jimmy Bond. The house band is rarely glimpsed, but you can see them to the right during The Supremes’ set and at the finale.
Mick Jagger and Keith Richards of the Rolling Stones in THE T.A.M.I. SHOW
The T.A.M.I. Show was filmed in two performances at the Santa Monica Civic Auditorium. Tickets were free for LA teenagers. (Future film director John Landis and future teen heartthrob David Cassidy went as seventh grade classmates.) The event was emceed by by Jan and Dean. T.A.M.I. stands for either Teen Age Music International or Teenage Music Awards International (although there were no awards).
James Brown absolutely killed. His was a performance for the ages, and the crowd went nuts. To their everlasting regret, the Rolling Stones had to follow him to close the show.
In this performance, the Stones were hippy Brits singing Blues music (that, oddly, White American teens were only now discovering though these White guys from the UK). It’s most notable for Mick Jagger’s groundbreaking definition of a Front Man. As I write this in 2020, I just heard a Stones song on the radio that I didn’t recognize and learned that it was released this year – 56 years after the T.A.M.I. Show.
The Beach Boys in THE T.A.M.I. SHOW
The Beach Boys came on immediately after a Jan and Dean song, which does not favor Jan and Dean today in comparison. Brian Wilson’s genius and the band’s fun energy were many rungs above what Jan and Dean had to offer as musicians. It’s poignant to watch the the young, 1964 Beach Boys today, knowing that everything about them hung precariously on Brian Wilson’s traumatized mental health.
Billy J. Kramer fronting the Dakotas in THE T.A.M.I. SHOW
There are two very odd “What are those guys doing here?” sets. One is the slick-haired Brit popster Billy J. Kramer and the Dakotas, an act managed by Brian Epstein and produced by George Martin at the same time as the Beatles; Kramer got to perform FOUR songs!
The second is one of the first shaggy haired American rock bands, The Barbarians. They perform Hey Little Bird, which preceded their one novelty hit Are You a Boy or Are You a Girl?
The Barbarians, for some reason, performing in THE T.A.M.I. SHOW
When I watch these 1964 performances, I can’t help but think about what these artists still had ahead of them. James Brown had just recorded I Got You (I Feel Good), but it wouldn’t be widely released until 1965. The Stones still hadn’t created EARLY Stones songs like Satisfaction, Paint It Black, Sympathy for the Devil and You Can’t Always Get What You Want. Marvin Gaye hadn’t yet sung I Heard It Through the Grapevine or What’s Goin’ On. Ahead for the Supremes were Love Child and a flock of other number one hits. And this was before The Beach Boys did California Girls and Good Vibrations, not to mention the Pet Sounds album.
The T.A.M.I. Show is on the Library of Congress’ National Film Registry. It probably would have been more influential, except that hardly anybody saw it for years. It’s somewhat of a Lost Film, having fallen off the radar after its 1964 release. I recall seeing it on late night TV sometime in the late 1970s or early 80s. It was resurrected in VHS bootleg form in the 80s (but without the Beach Boys set).
It’s still not available to rent a stream, but The T.A.M.I. Show is available on Netflix DVD. It’s very easy to find the full one hour 52 minute version for free on YouTube, along with clips of each of the acts.
The latest from Silicon Valley native documentarian Matt Wolf, Spaceship Earth traces an audacious scientific quasi-experiment of the 1990s, the Biosphere 2, perhaps the Last Stand of the Renaissance Man.
How ambitious was Biosphere 2? (Biosphere 1 is Earth.) It was the construction of an enormous structure – big enough to host a series of ecosystems – jungle, desert, etc. And to fill it, like Noah’s Ark, with an array of plant and animal species. And then sealing a team of eight humans inside for two years to survive (don’t underestimate Job 1 in this experimental artificial environment), tend the agriculture and conduct scores of scientific experiments. The promise was to learn about how humans could survive in future space colonies.
Biosphere 2 in SPACESHIP EARTH.. Courtesy of ecotechnics.edu and Spaceship Earth.
Scientists quibble about how closed and controlled the experiments really were. Ultimately, the experiment itself is not as meaningful a story as who did it and why. Wolf could have made this a procedural, or an expose about a cult or a fiasco.
Instead, Wolf made the inspired choice to begin 25 years earlier, with the San Francisco hippie commune that became the core leadershop of Biosphere 2. Led by the charismatic John Allen and a cadre of very smart and able women, they moved to rural New Mexico, then Berkeley and then around the world. These were unusually highly functioning hippies because they didn’t dive into drugs, and they focused on tangible projects like building a seaworthy ship and a hotel in Nepal – and always experimental theater.
Along the way, billionaire-with-a-B Ed Bass took a shining to Allen and the group and became their benefactor and sponsor. That made it possible for a pipe dream about sustainability to become a real project with a budget in the hundreds of millions.
SPACESHIP EARTH, Courtesy of Spaceship Earth
Here’s what is stunning about this story. If someone, say NASA, had undertaken to create an Earth-like closed environment in preparation for space colonization, these are the LAST people who would have been asked to be involved. None of these hippies had academic or professional credentials or experience that even remotely would qualify them, in an objective sense. But they got there first with the idea and with Ed Bass’ money.
That’s what I found so amazing about the folks behind Biosphere 2 – they weren’t specialists, like the folks who build spaceships. Think of the generalist Renaissance Man who works across disciplines. These folks had a profound commitment to sustainability and said “what if?”, much like Da Vinci designing buildings, bridges and fortification, conceptualizing parachutes, helicopters and deep sea diving bells while painting great art. Or like the 18th Century gentleman inventors/scientists/industrialists/collectors.
The resultant 1990s media circus, certainly enough to scar the participants, seems almost quaint today. With an instantaneous and never ending news cycle, tribal and agenda-driven commentary and viral social media, God help them if they tried this today. It didn’t turn out to be the New Age Garden of Eden that was advertised.
Of course, there was hubris and tone deaf PR from the organizers, and the inevitable personality clashes between any eight nonconformists locked up together in a fish bowl for twp years. And then there was that sudden soaring of the CO2 level, threatening the lives of many species, including the humans.
What happened? In Spaceship Earth, it’s not treated as a catastrophe or a self-immolation or a betrayal, although you could make the argument for any of those characterizations. What’s more important is what these folks aspired to do and how far they got.
This was a genuine quest for sustainability, with some valid scientific experiments embedded in grand performance art.
Just released this weekend, Spaceship Earth can be streamed from iTunes, Vudu, YouTube and Google Play.
Mads Brügger’s eccentric and irresistible documentary Cold Case Hammarskjöld purports to solve a historical mystery. In 1961, Secretary-General of the United Nations Dag Hammarskjöld was flying to cease-fire negotiations near the Congo-Rhodesia border when his plane crashed, killing all aboard. There has never been a satisfactory explanation of why or how the plane crashed.
Danish filmmaker Brügger enlists the Swedish private investigator Göran Björkdahl, who has been researching the Hammarskjöld crash, and heads off to Africa in search of witnesses and clues. Björkdahl is dead serious. Brügger is, well, entertaining. With an ironic wink at the audience, Brügger begins by equipping the two with pith helmets for their African exploration.
The two come across a very plausible conspiracy that the Hammarskjöld plane was targeted. And, as they move among the shady world of South African reactionaries, they encounter an even more shocking conspiracy theory. But Brügger is a story-teller, not a historian; fortunately, he doesn’t have to deliver a smoking gun.
Idiosyncratically, Brügger chooses to narrate his film by dictating the “script” to two African secretaries. Midway, he admits that what really drives him is the excuse to hop around Africa talking to aged fixers and mercenaries. And it’s a rich collection of scoundrels that he finds, some revealing old secrets, some covering them up and some apparently spinning wild tales.
That’s the fun of Cold Case Hammarskjöld, now available from all the usual streaming services.
Coming up tomorrow night on Turner Classic Movies, a masterful director and his charismatic star ignite the war-end thriller Ashes and Diamonds, set amidst war-end treachery. It’s one of my Overlooked Noir.
It’s the end of WW II and the Red Army has almost completely liberated Poland from the Nazis. The future governance of Poland is now up in the air, and the Polish resistance can now stop killing Germans and start wrestling for control. Maciek (Zbigniew Cybulski) is a young but experienced soldier in the Resistance. His commanders assign him to assassinate a communist leader.
Maciek is very good at targeted killing, but he’s weary of it. As he wants out, he finds love. But his commander is insisting on this one last hit.
This is Zbigniew Cybulski’s movie. Often compared to James Dean, Cybulski emanates electricity and unpredictability, Unusual for a leading man, he often wore glasses in his screen roles. He had only been screen acting for four years when he made Ashes and Diamonds. Cybulski died nine years later when hit by a train at age forty,
Zbigniew Cybulski in ASHES AND DIAMONDS
Andrzej Wajda fills the movie with striking visuals, such as viewing Maciek’s love interest, the waitress Krystyna (Ewa Krzyzewska), alone amidst the detritus of last night’s party, through billows of cigarette smoke. Wajda’s triumphant signature is, literally, fireworks at the climax; the juxtaposition of the celebratory fireworks with Maciek’s emotional crisis is unforgettable.
Ewa Krzyzewska in ASHES AND DIAMONDS
Wajda adapted a famous 1948 Polish novel into this 1958 movie. In the adaptation, the filmmaker changed the emphasis from one character to another.
Ashes and Diamonds was the third feature for Andrzej Wajda, who became a seminal Polish filmmaker and received an honorary Oscar. US audiences may remember his 1983 art house hit Danton with Gerard Depardieu.
TCM will be preceding Ashes and Diamonds with the documentary Wadja by Wadja, which I haven’t seen, but I will be recording. Ashes and Diamonds can be streamed from Amazon and iTunes. It was featured at the 2020 Noir City film festival.
This year’s SXSW Film Festival, set to play in March, was cancelled due to COVID-19, but SXSW and Amazon are teaming to showcase over thirty of the films through this Wednesday, May 6. I’ve seen six of them (five shorts and a feature) that I can recommend.
Fate to Face Time is a 7-minute comedy about how any date can lead to misadventure, even a remote one. She’s gone out with him twice and is looking to accelerate things with a surprise FaceTime call, but he may not be that much into her…
We’ve all over-invested in a certain date (and, since teenage years, we’ve all known better, but have done it anyway). Face to Face Time begins as a cringe comedy, but the finale is a howler.
Face to Face Time is written and directed by (and stars) Izzy Shill. As Shill herself notes in the intro, this short is especially timely while we are all sheltering at home and many are dating remotely.
Here are some some more recommendations from Prime’s SXSW 2020 Film Festival Collection:
Quilt Fever – an affectionate documentary abou the Olympics of quilting, held annually in Paducah, Kentucky (who knew? And who knew that there was a Quilting Channel?) (16 minutes.)
No Crying at the Dinner Table – Filmmaker Carol Nguyen recorded separate interviews with her mom, dad and adult sister about losses they have suffered but never talked about, and then shared all three interviews with all three family members. It’s authentic, and it’s a weeper. (16 minutes)
The Voice Inside Your Head – a bizarre comedy is which the inner voice that is stripping you of confidence and self worth is personified in a guy who follows you around all day. (12 minutes).
Daddio – Casey Wilson of SNL wrote, directed and stars in this comic short about how she and her zany dad (Michael McKean) navigated their grief after the death of her mom. (18 minutes.)
Selfie – This French feature film is a collection of astute parodies that comment on digital online culture, from obsession with view/likes on social media to Internet dating to security breaches. Some of the vignettes are smarter and funnier than others. I especially enjoyed the guy who is bragging about how his life is made better by targeted ads (the algorithms really get him!) until he receives a targeted ad for Viagra. (1 hour 48 minutes.)
Search on Amazon for the title of the film – or “SXSW” for the entire menu of 2020 SXSW films on Amazon Prime thru May 6. If you have Amazon Prime, they’re free.
CAPITAL IN THE TWENTY-FIRST CENTURY. Courtesy of Kino Lorber.
Documentarian Justin Pemberton brings alive Thomas Piketty’s bestselling Capital in the Twenty-First Century, a critique of the concentration of wealth. There’s no more fundamentally important political topic than inequality, and this theme has resonated through the best of recent cinema, including Parasite and Knives Out.
Pinketty traces the economics of wealth from feudal times to the present, and Pemberton keeps all the economic history lively with plenty of eye candy. Capital in the Twenty-First Century covers a lot of ground – globalization and movable capital, deregulation and privatization, defanging of organized labor, China state capital, and the impact on today’s youngest generations.
Piketty’s proffered solutions are simple and intellectually sound (stopping off-shore tax dodges, taxing inheritance, incentivizing wealth to be invested in productive risk instead of moving around a closed-loop of financial instruments). But, given the political power of great wealth, this is a very heavy political lift.
CAPITAL IN THE TWENTY-FIRST CENTURY. Courtesy of Kino Lorber.
Capital in the Twenty-First Century pops along fairly briskly, but, as an entertaining popularizer, it’s no The Big Short or An Inconvenient Truth. Still, about an hour in, there’s a jaw-dropping psych experiment in which people benefiting from pure luck believe and act as though they are entitled.
During its Bay Area virtual run at the Roxie, you can stream Capital in the Twenty-First Century at Roxie Virtual Cinema, or at distributoe Kino Lorber’s new virtual platform Kino Marquee.
Is it too soon for pandemic noir? Actually, these two movies from 1950 are about outbreaks and epidemics, not really pandemics. But heroic public health officers are central in both, just like in today’s COVID-19 pandemic. Both Panic in the Streets and The Killer that Stalked New York are among my Overlooked Noir.
First, there’s irector Elia Kazan’s noirish thriller Panic in the Streets This Kazan’s OTHER movie set in a gritty waterfront, and he shot it on location in New Orleans. In his screen debut, Jack Palance plays a hoodlum who commits a murder and unknowingly becomes infected with pneumonic plague. Richard Widmark plays the public health expert who is trying to prevent an epidemic by tracking down Patient Zero (Palance) without causing a panic in the city. Of course, the cops are trying to solve the murder, and the man hunt for the murderer will lead them to the same target. Jack Palance was nothing if not intense, and he brings the right combination of vicious thuggery and escalating desperation to his performance.
Evelyn Keyes in THE KILLER THAT STALKED NEW YORK
You might have difficulty imagining a movie procedural of Public Health officers quelling an epidemic being described as “lurid”, but then there’s The Killer that Stalked New York. The star is Evelyn Keyes, who plays Sheila, a Typhoid Mary of smallpox. Sheila has made a very bad choice in boyfriends – a guy for whom she has taken one fall already and is now helping with a delivery of stolen jewelry. She’s on the run from the cops until she can deliver the loot – and bad boyfriend (Charles Korvin) wants that loot right away, too. And she’s not feeling well…
Sheila has smallpox, so she’s zipping furtively around NYC infecting people. So the Public Health Department is also tracking her down as Patent Zero. The Killer that Stalked New York is about these two overlaid ticking bombs – the jewelry caper and the smallpox – all while Sheila is getting sicker and sicker. Fortunately, a dreamy Public Health doc (William Bishop) is drawn to save her.
Evelyn Keyes is the best thing about the movie, although she has to play a pretty overwrought role. And she is made up to look worse and worse in the course of the plot, getting really sweaty and finally sporting pustules.
Visit my posts on Panic in the Streets and The Killer that Stalked New York for more discussion, images and a trailer. The Killer That Stalked New York has played on Turner Classic Movies. It’s not currently available to stream, but the DVD is available to purchase. The better movie, Panic in the Streets, plays frequently on Turner Classic Movies and can be streamed from iTunes, Vudu, YouTube and Google Play.
Richard Widmark and Paul Douglas in PANIC IN THE STREETS
In the absorbing crime thriller The Whistlers, Cristi (Vlad Ivanov) is a shady Romanian cop who is lured into a dangerous plot by the rapturously sexy Gilda (Catrinel Marlon) and the promise of a fortune. A lethal Spanish mafia is planning a Perfect Crime to recover the loot stolen by Gilda and her Romanian partner, Zsolt. Only Zslot knows where the treasure is, and he’s been jailed by Cristi’s colleagues. To beat the omnipresent surveillance of Romanian state security, Cristi is sent to La Gomera, an island in the Spanish Canary Islands to learn a whistling language.
A whistling language? Indeed, residents of La Gomera can communicate by whistling in code. The language is called Silbo Gomera and it was already being used in ancient Roman times. The whistling can be heard for up to two miles, which allows the locals to communicate across the impassable ravines on the mountainous island.
The plan to spring Zsolt depends on Cristi learning Silbo Gomera and then implementing an intricate plan in which nothing can go wrong. Even if the plan goes right, Cristi and Gilda run the very real risk of being killed by the pitiless Spanish mafia or by the corrupt and unaccountable Romanian cops. Cristi and Gilda are walking a tightrope of treachery.
Vlad Ivanov in THE WHISTLERS
The Whistlers is written and directed by Corneliu Porumboiu, who is a master of the deadpan. Two of his earlier films became art house hits in the US, 12:08 East of Bucharest and Police, Adjective. Both of those films explored fundamental corruption in Romanian society as a legacy of the communist era..
Cristi is played by Romanian actor Vlad Ivanov. Ivanov is best known for the Romanian masterpiece 4 Days, 3 Weeks and 2 Days, in which he played one of cinema’s most repellent characters – Mr. Bebe, the sexual harassing abortionist. American audiences have also seen Ivanov’s performances in Police, Adjective and Snowpiercer.
Ivanov excels in playing Everyman piñatas, which serves him well in The Whistlers. Ivanov delivered a tour de force in the 2019 Cinequest film Hier, as a man more and more consumed by puzzles, and increasingly perplexed, dogged, battered and exhausted.
For The Whistlers to work, Catrinel Marlon must make Gilda quick-thinking and gutsy, and she pulls it off. She is very good, as is Rodica Lazar as Cristi’s coldly ruthless boss Magda.
This is a Romanian film with dialogue in Romanian, English, Spanish and, of course, whistling. The Whistlers, a top notch crime thriller, can be streamed from Amazon, Vudu, YouTube and Google Play.
