2022 Farewells: on the screen

Sidney Poitier in THE HEAT OF THE NIGHT

Sidney Poitier was an actor whose great intelligence, charisma and intensity, which combined into a righteous power. He was the first black A-list movie star and a man who changed things forever by insisting on playing empowered, non-degraded roles. Revisit the moment in In the Heat of the Night when his detective informs Carroll O’Connor’s redneck lawman, “They call me Mister Tibbs“. He wasn’t just an iconic actor, either – he was a also an accomplished director and a bona fide civil rights leader.

William Hurt in BODY HEAT.

Actor William Hurt, broke through unforgettably in his first feature film Altered States, which began a stunning run in the 1980s, of which my favorites were Body Heat, The Big Chill and Broadcast News. Hurt’s characters were frequently cerebral, contained and deliberate. His Ned Racine in Body Heat was always thinking, too, just not thinking as quickly or diabolically as Kathleen Turner’s femme fatale Matty Walker. Even after his A-list days had passed, Hurt was uniformly excellent supporting others in films like History of Violence and Into the Wild.

Jean-Louis Trintignant in AMOUR.

Actor Jean-Louis Trintignant starred in some of the most prestigious European movies of the past six decades: Roger Vadim’s …And Man Created Woman with Brigitte Bardot (1956), Claude Leloach’s A Man and a Woman (1966), Claude Chabrol’s Les Biches (1968), Costa-Gravras’ Z (1969), Éric Rohmer’s My Night at Maud’s, Bernardo Bertolucci’s The Conformist (1970), Krzysztof Kieslowski’s Red (1994) and Michael Haneke’s Amour (2012). He even made a Sergio Corbucci spaghetti western The Great Silence in 1968. Trintignant was 91.

Angela Lansbury and Laurence Harvey in THE MANCHURIAN CANDIDATE

Angela Lansbury’s first screen role was as the saucy, self-interested maid in Gaslight, which kicked off a notable Hollywood career.  Her best movie performance was as the evil mother in The Manchurian Candidate, molding her own son into a robotic assassin.  Her memorable work in cinema was outstripped by her careers on Broadway (multiple Tonys for Mame, Sweeney Todd, etc.) and TV (264 episodes and several TV movies of Murder, She Wrote).

James Caan in THE GODFATHER

Actor James Caan is mostly remembered for his vivid portrayal of a guy with too much testosterone – Sonny Corleone in The Godfather (Bada bing!). Caan had been working since age 21 in TV series, with a John Wayne movie thrown in, when he appeared in the TV movie Brian’s Song – a highly popular weeper. He also appeared, with Robert Duvall, in Francis Ford Coppola’s The Rain People. Most underappreciated performance? Probably Rollerball.

Louise Fletcher in ONE FLEW OVER THE CUCKOO’S NEST.

Actress Louise Fletcher was unforgettable in her Oscar-winning performance as Nurse Rached in One Flew Over the Cuckoo’s Nest.  With her cold, assured eyes embodying impervious authority, she could maintain a soft voice and still deflate the charisma of Jack Nicholson’s McMurphy.  Nurse Rached has been voted the second best female villain in all cinema (after The Wicked Witch in The Wizard of Oz).

Ray Liotta in GOODFELLAS.

Actor Ray Liotta became a star with his leading role in 1990’s iconic Goodfelllas and was still at the absolute top of his game this past year in The Many Saints of Newark and No Sudden Move.

Bo Hopkins in AMERICAN GRAFFITI.

Actor Bo Hopkins left us with some absolutely indelible performances in his heyday, a decade starting in the late 1960s. No one has ever been better at portraying a smirking, dimwitted redneck. I liked him best as the ill-fated young robber in The Wild Bunch, the greaser hard guy in American Graffiti and Burt Reynold’s moonshining partner in White Lightning. In this period, he appeared in Cat Ballou, The Getaway, Monte Walsh and Midnight Express.

L.Q. Jones in HANG ‘EM HIGH

Actor L.Q. Jones, born with the already Texas-colorful name of Justus E. McQueen, took the name of his first movie character (in Battle Cry) and rode it through 165 roles, bringing something interesting and different in every one. His NYT obit quoted him as liking to play “a heavy that is not crazy or deranged — although we play those, of course — but rather someone who is a heavy because he enjoys being a heavy.” Jones worked in some excellent war movies (Men in War, Torpedo Run, The Naked and the Dead, Hell Is for Heroes) and revisionist westerns (The Wild Bunch, The Ballad of Cable Hogue, Pat Garrett and Billy the Kid, Hang ‘Em High). He was also a delightful raconteur, which you can enjoy by searching for “LQ Jones” on YouTube.

Clu Gulager in THE LAST PICTURE SHOW

Prolific actor Clu Gulager has died at 93. The last of Gulager’s 165 IMDb credits came just three years ago in Once Upon a Time…In Hollywood. Best known for 105 episodes as the sheriff on The Virginian, Gulager made his living by guest appearances in a zillion TV shows from Wagon Train and Have Gun, Will Travel through Ironside, Cannon, CHiPs and Falcon Crest. One of his three characters on The Name of the Game was named Rex Dakota. I have just learned that he starred in 72 episodes of a 1960-62 TV Western that, amazingly, I do not remember – The Tall Man, with Barry Sullivan as Pat Garrett and Gulager as Billy the Kid. He also peppered his career with cult movies like The Return of the Living Dead and I’m Gonna Get You Sucka. Gulager teamed with Lee Marvin in Don Siegel’s classic neo-noir The Killers. At 87, he sparkled as a loquacious taxi passenger in Tangerine.

Gulager’s best-ever screen performance was in The Last Picture Show as an oil rig foreman who is the illicit squeeze of his boss’ wife (Ellen Burstyn). This guy is trapped in a job he will never improve upon and in an affair he will never control; Gulager perfectly conveys his bitter dissatisfaction. The Director’s Cut also adds some sizzle to his pool hall sex scene with Jacy (Cybill Shepherd).

Henry Silva

Actor Henry Silva is recognizable from his 140 screen credits (and, outside of the Oceans 11 movies, those roles may have all been villains). He leveraged his acting talent and unusual facial features to project menace as few actors have done, most memorably in the original The Manchurian Candidate.

Actor Roger E. Mosley is best known for his 158 episodes as the helicopter pilot on Magnum, P.I. and over 50 guest appearances in tv series. As the title character in Leadbelly and many TV shows, he paved the way for more positive and empathetic depictions of African-American characters. He also worked in one of best-ever TV movies, The Jericho Mile, in one of the best sports movies, Semi-Tough, and as Sonny Liston (with Muhammad Ali himself) in The Greatest.  

Although her body of work was overshadowed by her off-screen personal life, actor Anne Heche was superb in Wag the Dog. That was one of a remarkable string of Big Movies in 1997 and 1998: Donnie Brasco, Volcano, I Know What You Did Last Summer, Six Days Seven Nights, Return to Paradise and Brian De Palma’s Psycho.

Did Meat Loaf star in The Rocky Horror Picture Show?
Photo caption: Meat Loaf, with Nell Campbell in THE ROCKY HORROR PICTURE SHOW

Meat Loaf unforgettably burst into cinema in the 1975 cult favorite The Rocky Horror Picture Show. Often credited as Meat Loaf Aday, he also acted in a series of character roles, most notably in Fight Club.

Actor Tony Sirico, best known for his Paulie “Walnuts” Gualtieri in The Sopranos, overcame a youth that landed him in Sing Sing to play a slew of movie and TV gangsters (and appear in four Woody Allen films, too.)

Musician Ronnie Hawkins is best known as the irrepressible, earthy rockabilly mentor of The Band. In the movies, he was unforgettable in The Band’s concert film The Last Waltz; (who is THAT guy on stage with Dylan, Clapton, Neil Young and Van Morrison?) He also had an acting role in Heaven’s Gate.

Under the radar at the Nashville Film Festival

Hannah Lee Thompson in HANNAH HA HA. Courtesy of Nashville Film Festival.

While the Nashville Film Festival has its share of high-profile movies, don’t miss the gems that are screening under the radar. These movies are why we go to film festivals. Here are my top picks.

Indies: HANNAH HA HA

The indie Hannah Ha Ha is an extraordinary film about an ordinary person. Hannah (musician Hannah Lee Thompson in her first film) is content with her life in a small town – helping her dad (he would be lost without her) and giving music lessons. She touches lives, and townfolks eagerly help celebrate to her 26th birthday,  But her brother Paul (Roger Mancusi) points out that she is comfortable with a path that will leave her without a career or, critically, health insurance. Paul wants what is best for Hannah, but every time he talks to her he makes her feel bad about herself, finally shaming her into finding her place in the conventional economy (which is not at the top of the pyramid). Filmed in a cinéma vérité style, Hannah Ha Ha is the first feature written and directed by Joshua Pikovsky and Jordan Tetewsky, and it’s masterfully edited by Tetewsky. Thompson, whose Hannah is smart, witty, capable and utterly ill-suited for life as a corporate pawn., is excellent. We are our choices – but who frames those choices? Hannah Ha Ha is a thought-provoking film that explores the profound question of what makes for human value and fulfillment.

International: PIGGY

Laura Galán in PIGGY. Courtesy of Nashville Film Festival.

In the fresh and darkly hilarious Spanish horror movie Piggy, Sara (Laura Galán) is an overweight teenager cruelly teased by her peers. She works in her family’s butcher shop, which supplies her tormentors with a surfeit of unkind pork-related nicknames. One day, at the town swimming pool, mean girls sadistically traumatize her. Sara makes a shocking decision, and Piggy becomes a kind of Carrie meets Beauty and the Beast. Piggy is the first feature for writer-director Carlota Pereda, a veteran television director. Horror films turn on whether the protagonist can survive, and, often, on whether the victims deserve their demise; Pereda has a lot of fun with both. This is a hoot.

Documentary: RELATIVE

A scene from Tracey Arcabasso Smith’s RELATIVE. Courtesy of Nashville Film Festival.

Relative is filmmaker Tracey Arcabasso Smith’s reflective exploration of intergenerational sexual abuse in her own family.   As Smith lovingly, but insistently, interviews her family members, she uncovers an epidemic of abuse in generation after generation.  Relative becomes ever more powerful as Smith refuses to sensationalize, but stays centered on the strength and humanity of the women on camera.  This is a brilliantly edited film – first person testimonies are inter-cut with the home movies of a lively family – a family we now understand was stained with corrosive secrets.  Finally, Relative (BTW a great title) takes us to how the cycle of abuse can be broken. Relative is the first feature for director Arcabasso Smith.

Piggy screens on Saturday night, Hannah Ha Ha on Sunday, and Relative on Monday. Here’s the trailer for Hannah Ha Ha.

Previewing the Nashville Film Festival

LOUIS ARMSTRONG’S BLACK AND BLUES. Courtesy of AppleTV.

The Nashville Film Festival opens on Thursday, September 29 and runs through October 5 with a diverse menu of cinema, available both in-person and on-line. The Nashville Film Festival is the oldest running film festival in the South (this is the 53rd!) and is an Academy Award qualifying festival. The program includes a mix of indies, docs and international cinema, including world and North American premieres.

The Nashville Film Festival embraces its home in Music City and emphasizes films about music (like last year’s Brian Wilson: Long Promised Road and Fanny: The Right to Rock). That’s the case with the films that open and close this year fest:

  • Louis Armstrong’s Black & Blues, and
  • The Return of Tanya Tucker: Featuring Brandi Carlile.

See it here first: those opening and closing films, plus Piggy, Meet Me in the Bathroom, Nanny and Aftersun have all secured distribution and will be available to theater and/or watch-at-home audiences. Before just anybody can watch them, you can get your personal preview at the Nashville Film Festival.

I loved covering the 2021 Nashfilmfest in person, with Poser and The Tale of King Crab as my faves. I’ll be covering remotely this year, but that just leaves more pig-forward delicacies from Peg Leg Porker and Martin’s Bar-B-Que Joint for you.

Check out the program and buy tickets at the festival’s Film Guide. Watch this space for Nashville Film Festival recommendations (both in-person and on-line) and follow me on Twitter for the latest. I’ll be back in a couple days with my recommendations.

THE RETURN OF TANYA TUCKER.: FEATURING BRANDI CARLILE. Courtesy of Nashville Film Festival.

Best of Cinequest

Photo caption: Jennifer Levinson in TRUST. World premiere at Cinequest. Courtesy of Menemsha Films.

After a pandemic-driven hiatus, Cinequest returns in-person for the first time since March 2020. Beginning on August 16, this year’s festival will be live at downtown San Jose’s California Theatre, Hammer Theater and 3Below. On August 25, the program moves to Campbell’s Pruneyard Cinemas through August 29.

I’ve already seen almost twenty offerings from Cinequest 2020, and here are my initial recommendations. As usual, I focus on the world and US premieres. Follow the links for full reviews, images and trailers. I’ve also included some tips for making the most of the Cinequest experience under “Hacking Cinequest”.

MUST SEE

This year’s festival Must Sees are the first features from three female filmmakers: writer/actor/producer Jennifer Levinson with Trust, documentarian Nira Burstein with Charm Circle and co-writer/actor Elizabeth Hirsch-Tauber with 12 Months.

  • Trust: Writer-actor Jennifer Levinson’s absorbing exploration of family betrayal must be the best screenplay at Cinequest. Kate (Levinson) is rocking her college experience when her mother unexpectedly dies. Kate returns to her hometown for the funeral, and apprehensively re-engages with her estranged family. They just might cringe their way through the funeral until an estate planning blunder explodes. Often darkly hilarious, Trust is elevated by Levinson’s textured characters. Kate’s strait-laced, conflict-averse brother is clinging onto functionality by his fingernails. The oldest sister is a flamboyant hot mess, but her astonishingly bad behavior seems to stem from some undiagnosed disorder. Their nogoodnik of a father hides a profound weakness and desperation behind his sleazy gloss. Kate herself has the decency that evades her nuclear family, but she’s immature and too prickly. How will Kate find closure when she has no control over the motives of the others? World premiere. Trailer at bottom of this post.
  • Charm Circle: You think YOUR family has issues? In this superbly structured film, writer-director Nira Burstein exquisitely unspools the story of her own bizarre family, a cautionary and ever-surprising chronicle of mental illness. Bay Area premiere.
  • 12 Months: This uncommonly authentic film traces the year-long span of a romance, using vignettes that are snapshots of the relationship’s evolution. Just like a real life relationship, 12 Months has moments that are playful and moments that are searing. 12 Months is entirely improvised by its director and its stars, who are extremely keen and perceptive observers of relationship behavior, and they don’t hit a single wrong note. World premiere.

INTERNATIONAL CINEMA

Lidia Vitale and Ludovica Mancini in Gabriele Fabbro’s THE GRAND BOLERO at Cinequest. Courtesy of Cinequest.
  • The Grand Bolero: Early in COVID’s devastating assault on Northern Italy, a middle-aged organ restorer is locked down in a centuries-old church; a salty curmudgeon, she cruelly resists the assistant forced upon her – a runaway young mute woman with no place else to shelter. But the young woman’s unexpected musical gift unlocks passion in the older woman. Passion evolves into obsession, propelling the story to an operatic finale. The Grand Bolero is the most visually beautiful film that I’ve seen in some time, and the music is powerfully evocative. It’s a remarkable first feature for director, co-writer and editor Gabriele Fabbro and his cinematographer Jessica La Malfa. Bay Area premiere.

DOCUMENTARY

Charlie Morgan in OUT IN THE RING. Courtesy of Ryan Bruce Levey.
  • Out in the Ring is Ryan Bruce Levey’s encyclopedic yet irresistible history of LGBTQ professional wrestlers. Out in the Ring chronicles straight wrestlers like Gorgeous George who pretended to be gay, and the many gay wrestling stars like Pat Patterson who were forced to stay in the closet. It’s also a showcase for today’s panoply of queer wrestling stars. Both unflinching and uplifting. World premiere.
  • Tell Me a Memory is a simple, yet engrossing, LGBTQ+ oral history. One or two at a time, individuals from Memphis (did you know they call themselves Memphians?) tell their own stories. The subjects are impressively diverse – in age, gender, race and identity. Coming Out in the Bible Belt is a common thread. This is a gentle and emotionally powerful film. World premiere.

AND TWO I HAVEN’T YET SEEN

Jim Gaffigan and Rhea Seehorn in LINOLEUM. Courtesy of Blue Fox Entertainment.

Of the Cinequest films that I haven’t been able to screen yet, the most favorable buzz comes from Linoleum, the Jim Gaffigan science comedy that opens the festival, and the political satire Land of Dreams. Both have distributors – they’ll be in theaters, but you can see them early at Cinequest.

HACKING CINEQUEST

Cinequest recovers its Downtown San Jose vibe, with concurrent screenings at the 1122-seat California, the 550-seat Hammer and the 257-seat 3Below – all within 1600 feet of each other. This year’s beer garden is across the street from the California.

At Cinequest, you can get a festival pass for as little as $179, and you can get individual tickets as well. Take a look at the entire program, the schedule and the passes and tickets.

As usual, I’ll be covering Cinequest rigorously with features and movie recommendations. I usually screen (and write about) over thirty films from around the world. Bookmark my CINEQUEST page, with links to all my coverage.  Follow me on Twitter for the latest. And here’s the trailer for Trust.

SAN FRANCISCO JEWISH FILM FESTIVAL is back with a rich slate of docs

Raya Burstein and Uri Burstein in CHARM CIRCLE. Photo courtesy of Cinequest.

One of the Bay Area’s top cinema events is back – the San Francisco Jewish Film Festival (SFJFF). This year’s festival is a hybrid, with in-person screenings at San Francisco’s Castro Theatre and the Albany Twin in Albany through July 31, with some films streaming from the SFJFF digital screening room August 1-7. The SFJFF is the world’s oldest and largest Jewish film festival, and the program offers over 71 films from over 14 countries (but mostly from the US and Israel), plus 4 programs of short films (Jews in Shorts).

The SFJFF always presents an impressive slate of documentaries, in recent years including What She Said: The Art of Pauline Kael, Satan & Adam, Bombshell: The Hedy Lamarr Story, The Mossad and Levinsky Park.

The Must Sees from this year’s documentary program are:

  • Charm Circle: You think YOUR family has issues? In this superbly structured film, writer-director Nira Burstein exquisitely unspools the story of her own bizarre family, a cautionary and ever-surprising chronicle of mental illness.
  • Speer Goes to Hollywood: In this absorbing documentary, filmmaker Vanessa Lapa takes us inside a Nazi war criminal’s brazen attempt to rehabilitate his image into “the Good Nazi”. Previously unheard private audio recordings of Albert Speer himself reveal him to be one of history’s most audacious spin doctors.
  • The Faithful: The King, the Pope, the Princess: Filmmaker Annie Berman follows the people who are devoted to iconic celebrities, both dead (Elvis Presley and Princess Diana) and alive (the Pope du jour). I don’t mean “fans”, I mean “devoted”, as in those who make annual pilgrimages and who decorate shrines. Who are these faithful, and how did someone they never met “touch their lives”? The journey is sometimes amusing, sometimes appalling, but fundamentally meditative.

You can peruse the festival’s program and schedule at SFJFF.

Cinequest is back LIVE August 16-29

Cinequest, Silicon Valley’s own major film festival, returns live and in-person August 16. After two years of its online Cinejoy festivals, Cinequest is back in downtown San Jose, with screenings August 16-24 at the California, Theatre, Hammer Theater and 3Below. For August 25-29, the program moves to the Pruneyard in Campbell. (In 2023, the in-person Cinequest will return to its usual March time slot.)

Jim Gaffigan and Rhea Seehorn inLINOLEUM. Courtesy of Blue Fox Entertainment.

Highlights of the 2022 Cinequest include

  • The opening night film Linoleum, including a personal appearance by its star Jim Gaffigan. Linoleum has created buzz as an especially thoughtful and heartfelt comedy.
  • New movies with Alison Brie, Alessandro Nivola, Aubrey Plaza, Molly Shannon, Corey Stoll, Fred Armisen, Bruce Campbell, Vondie Curtis-Hall, Richard Kind and Natascha McElhone.
  • See it here FIRST: Linoleum, Spin Me Round, The Allnighter and Trust are among the movies slated for theatrical release later this year.
  • Films from China, Korea and Vietnam, and I’ve already screened Cinequest features from Poland, Germany and Uruguay.

And, at Cinequest, it’s easy to meet the filmmakers.

As usual, I’ll be covering Cinequest rigorously with features and movie recommendations. I usually screen (and write about) over thirty Cinequest films from around the world. Bookmark my CINEQUEST page, with links to all my coverage (links on the individual movies will start to go live on Sunday, August 14). Follow me on Twitter for the latest.

Cinequest at San Jose’s California Theatre

Best Movies of 2022 – So Far

Photo caption: Owen Teague in MONTANA STORY. Courtesy of Bleecker Street.

Every year, I keep a running list of the best movies I’ve seen this year.  By the end of the year, I usually end up with a Top Ten and another 5-15 mentions. Here are my Best Movies of 2021 and Best Movies of 2020 lists.

To get on my year-end list, a movie has to be one that thrills me while I’m watching it and one that I’m still thinking about a couple of days later.

Unfortunately, most of these films have come and gone in theaters and won’t be accessible again until they stream this summer.

Seidi Haarla and Yuri Borisov in COMPARTMENT No. 6. Courtesy of Sony Pictures Classics.

THE BEST OF 2022 – So Far

Montana Story: a family secret simmers, then explodes. Theatrical run has finished; expect it to stream this summer.

Compartment No. 6: a surprising journey to connection. Theatrical run has finished; expect it to stream this summer.

Poser: personal plagiarism. (Opens in theaters on July 8; review will go live on July 5.)

The Tale of King Crab: storytelling at its best. Had a blink-and-you-missed-it theatrical run; I’ll let you know when it streams.

12 Months: an authentic relationship evolves. Premiered at Cinequest’s online fest in March and may play the in-person Cinequest in August.

Sylvie Mix and Bobbi Kitten in POSER. Photo courtesy of the Nashville Film Festival.

Frameline 2022: four recommendations

Lina Al Arabi in BESTIES. Courtesy of Frameline.

San Francisco’s Frameline —the world’s largest LGBTQ film festival—opens today and runs through Sunday, June 26, 2022. Last week, I previewed the fest, and, today, here are my recommendations:

  • Besties: This stellar French coming-of-age film is a showcase for star Lina Al Arabi’s magnetism and writer-director Marion Desseigne-Ravel’s storytelling.
  • Loving Highsmith::This biodoc of the iconic novelist Patricia Highmith (Strangers on a Train, Carol) is filled with intimacies revealed.
  • The Sixth Reel: This endearing madcap comedy is set in the insular world of classic movie geeks – with a touch of drag.
  • Unidentified Objects: This Odd-Couple-On-A-Roadtrip dramedy takes us on a singular journey – from the offbeat through the surreal to the redemptive.

I love the tagline to this year’s Frameline: The Coast Is Queer. If you can’t make it to the theaters, The Sixth Reel and Unidentified Objects are streaming in Frameline’s Digital Streaming Room. Buy tickets at Frameline.

Patricia Highsmith in LOVING HIGHSMITH. Courtesy of Frameline.

Farewell to a statesman: Norm Mineta

Photo caption: AN AMERICAN STORY: NORMAN MINETA AND HIS LEGACY

Norman Y. Mineta, a remarkable American statesman and the most distinguished of my mentors, has died at age 90. An American Story: Norman Mineta and His Legacy traces his life and times, in which he amassed a startling number of “firsts” and other distinctions in America history:

  • The first Asian-American mayor of a major U.S. city.
  • The first Japanese-American member of Congress elected from the 48 Continental states.
  • A Cabinet Secretary in both Democratic and Republican Administrations.
  • The nation’s longest-serving Transportation Secretary.

The achievements were even more remarkable given that, as a child, Mineta was imprisoned by his own US government in a WW II internment camp. And given that his political base had, during his career, an Asian-American population of far less than ten percent.

This didn’t happen by accident.  Norm Mineta was a driven man. At the same time, his ambition and will was tempered by his buoyancy and ebullience.

Documentarians Dianne Fukumi (director and co-producer) and Debra Nakatomi (co-producer) embed the story of Japanese-Americans, from immigration through internment, and on to reparations.

AN AMERICAN STORY: NORMAN MINETA AND HIS LEGACY

The defining event for Mineta’s Nissei generation was the WW II internment of 120,000 Americans by their own government. The central thread in the Mineta story is that the injustice of Mineta’s internment informed George W. Bush’s resistance to treating American Muslims that same way in the aftermath of the 9/11 attacks.

Mineta being sworn into the US House of Representatives by House Speaker Carl Albert in AN AMERICAN STORY: NORMAN MINETA AND HIS LEGACY

The film’s most delightful moment may be the octogenarian Mineta sunnily taking his luggage through security at Norman Y. Mineta San Jose International Airport.

I have known Norm since I served in his 1974 primary campaign and interned for him on Capitol Hill in the mid 70s. One of my proudest moments was when my wife noted Norm’s delight in encountering me again in 2018. I last talked with him on the phone when he was sheltering at home in August 2020, barber-free, bragging about his “COVID ponytail”.

I saw An American Story: Norman Mineta and His Legacy at an October 2018 friends and family screening with Norm Mineta, Fukumi and Nakatomi in San Jose. It has since played on PBS. You can stream it at An American Story: Norman Mineta and His Legacy.

The Movie Gourmet’s 2022 Oscar Dinner

Photo caption: Gummy worms (front center) and, clockwise, bulgogi/banchan/rice, burger/fries, tea, fried chicken/mash potatoes, cocktail, snacks, licorice pizza, cod/chips, pernil.

Every year, The Wife and I watch the Oscars while enjoying a meal inspired by the Best Picture nominees. This year, our lives are in chaos because we are moving; since we didn’t have time to actually prepare every dish from scratch, we looked to a menu that could be out-sourced.

  • Gummy worm centerpiece from Dune: The Wife is celebrating the giant sandworms in culinary art. (Gummy worms from 7-11.)
  • Cocktail from Nightmare Alley: We passed on the obvious carny chow to reference Stan’s (Bradley Cooper) nightclub act and how well Lilith (Cate Blanchett) pulls off holding a cocktail glass. There are no geeks at The Movie Gourmet, so no live chickens were involved tonight. This particular cocktail is one of The Movie Gourmet’s favorites – Bulleit Rye, Averna and Aperol, chilled and served up with an orange twist and a floater of homemade Strega.
  • Tea from Belfast: Tea is sipped throughout. (Tea from our pantry.)
  • Snacks from Don’t Look Up: One of the funniest bits is that Kate (Jennifer Lawrence) can’t stop obsessing about General Themes (Paul Guilfoyle) and his scam with White House snacks. (From Rotten Robbie.)
  • Cod and chips from CODA: The family catches cod. and they eat cod. (This also works for Belfast.) (From City Fish and Chips.)
  • Bulgogi, banchan and rice from Drive My Car: The theater organizer and his Korean wife host Yusuke (Hidetoshi Nishijima) and Oto (Tôko Miura) with a memorable Korean repast. (From HOM Korean Kitchen.)
  • Fried chicken and mashed potatoes from The Power of the Dog: We’re thinking of the meal served by Rose Gordon (Kristin Dunst) at her inn. (From KFC.)
  • Hamburger and fries from King Richard; Richard takes the family for fastfood burgers in Compton before his intended showdown with a local thug. (From In-N-Out Burger.)
  • Pernil from West Side Story: The Puerto Rican gangbangers certainly visit their abuelas for this roast pork comfort food. (Actually made this – leftover from a family meal earlier this week.)
  • Licorice Pizza from Licorice Pizza: Although no one eats this in the movie, it IS the title, for gosh sakes. BTW, the licorice and the pizza are each better when not eaten with the other. (My go-to pizza joints, A Slice of New York and Bibo’s New York, would be horrified at the thought, so I made this myself.) Important: the pizza and the licorice are much better when eaten separately.

Thanks again to The Wife, who has been the primary driver of the Oscar Dinner in recent years, and the genius behind masterpieces like the Severed Hands Ice Sculpture for Winter’s Bone and the Black Bean Alien Signal from Arrival.