499: the legacy of Mexico’s Original Sin

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499. Photo courtesy of Cinema Guild.

In director and co-writer Rodrigo Reyes’ highly original docu-fable 499, one of Hernán Cortés’ soldiers (Eduardo San Juan Breñais) is transported centuries into the future and plunged into contemporary Mexico. The movie’s title reflects a moment 499 years after Cortés’ conquest of the Aztecs in 1520; the conquistador and the audience discover that the dehumanization inherent in colonialism has persisted to plague modern Mexico.

I’m calling Reyes’ medium a “docu-fable” because it is all as real as real can be (the documentary), except for the fictional, 500-year-old conquistador (the fable).

Cast upon a Veracruz beach after a shipwreck (but 500 years later), the conquistador is terribly disoriented, and retraces Cortés’ march from Veracruz to Tenochtitlan/Mexico City. Seeing everything with a 500 year old lens, he is initially disgusted that the Indians that he conquered are now running things.

Soon he finds a Mexico reeling from narco terror. He meets Mexicans who have been victimized by the cruel outrages of the drug cartels, those risking their lives to hop a northbound train, and those in prison. In the emotional apex of 499, one mother’s account of a monstrous atrocity, clinical detail by clinical detail, is intentionally unbearable.

Reyes wants the audience to connect the dots from Mexico’s Original Sin – a colonialism that was premised on devaluing an entire people and their culture. Will the conquistador find his way to contrition?

499, with its camera sometimes static, sometimes slowly panning, is contemplative. Cinematographer: Alejandro Mejía’s work won Best Cinematography at the 2020 Tribeca Film Festival.

499 opens at San Francisco’s Roxie on September 3 with Rodrigo Reyes in attendance, and will play the Roxie for a week before its national rollout.

Movies to See Right Now

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Photo caption: Jennifer Hudson as Aretha Franklin in RESPECT.

Five new movies this week, plus a seminal neo-noir on TV.

IN THEATERS

Ma Belle, My Beauty: This simmering romantic drama is a gorgeous, sexy, character-driven film. I screened Ma Belle, My Beauty at the 2021 SFFILM.

Respect: Jennifer Hudson is up to the challenge of portraying Aretha Franklin in this revealing biopic, especially her struggles to wrest command of her own creativity from both well-intentioned and ill-intentioned men. A little too long, but then there’s I Never Loved a Man (Like the Way I Love You), Respect, Think, Natural Woman and Amazing Grace.

The Lost Leonardo: This documentary peels back the onion on an ever surprising tale of discovery, scholarship, fraud, commerce and politics in the refined and pretentious art world. Is a rediscovered Renaissance masterpiece authentic, and does it matter?

Searching for Mr. Rugoff: The story of a now-unknown giant in independent cinema – a guy with the best possible movie taste and the most elevated artistic sensibilities who was personally a barbarian. Will also be streaming from the Roxie.

Eugenio Derbez in CODA

Also in theaters:

ON VIDEO

Curiosa: This French romantic drama is set in the Belle Epoque, when the Eiffel Tower was new and sexual liberation was burgeoning among literati. It would be more erotic if we cared about the characters. Laemmle.

The most eclectic watch-at-home recommendations you’ll find ANYWHERE:

ON TV

Lee Marvin in POINT BLANK

On August 28, Turner Classic Movies presents the seminal 1960s neo-noir Point Blank, starring Lee Marvin. Marvin stars as Walker, a heist man who is shot and left for dead by his partner Reese (John Vernon, Animal House’s Dean Wormer), who absconded with Walker’s share of the loot and Walker’s wife. When Walker recovers, he is hellbent on revenge, aided by his sister-in-law Chris (Angie Dickinson).

It turns out that Walker needs to trace the money through a cavalcade of Mr. Bigs (Lloyd Bochner, Keenan Wynn, Carroll O’Connor). There’s a great set piece where Walker invades a highrise penthouse, despite the heavily guarded elevator being the only entrance. It all ends in a thrilling nighttime finale at Fort Point.

Walker is a very uncomplicated character, all he wants is to kill Reese and reclaim his $93,000. Anyone in Walker’s situation would be pissed off, but Lee Marvin plays Walker in a constant state of cold rage. Lee Marvin’s unique charisma animates this relentless killing machine.

Marvin, just coming off The Dirty Dozen and having won an Oscar for Cat Ballou, was at the peak of his stardom. Marvin’s other contribution to the film was handpicking the then unheralded John Boorman to direct; (this was five years before Boorman’s masterpiece Deliverance). Boorman intentionally delivered a morally bleak story in the most deserted of locations: empty parking lots, the Los Angeles River channel. and San Francisco’s two icons of abandonment – Alcatraz and Fort Point.

Lee Marvin in POINT BLANK

If you’re wondering why Angie Dickinson was a movie star, Point Blank is for you. Angie was ballsy, sexy and always unashamedly very direct, and she rocked midcentury fashion. (She plays one unforgettable scene in a dress with bold horizontal stripes in the colors of Denny’s restaurants.)

Watch for James B. Sikking as the professional sniper; Sikking became well-known as the supercilious SWAT team commander Lt. Howard Hunter in Hill Street Blues. Future horror icon Sid Haig pops up as the security guard in the penthouse lobby.

Angie Dickinson and Lee Marvin in POINT BLANK

THE LOST LEONARDO: is it a hustle? does it matter?

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THE LOST LEONARDO

The insightful and thought-provoking documentary The Lost Leonardo starts out as a mystery. We learn that there are “sleeper hunters” in the art world, who seek unrecognized or mislabeled art and buy them on speculation. Our two sleeper hunters buy a beat up, old painting for $1100 to find out if is a long lost original Leonardo da Vinci painting, “the male Mona Lisa”. So, the initial question is, is this a real Leonardo painting, of which only 15 are known to exist?

Around 1500, Leonardo painted a Jesus portrait titled Salvator Mundi (The Savior of the World), of which many copies were made by others. The speculators send their painting to the world’s top restorer of Renaissance masterpieces to query whether this could be the original. Then they approach the National Gallery of Art, which has the painting scrutinized by three leading world experts in Leonardo’s work.

The initial findings are promising. The transition between the lip and the upper lip resembles only one other painting – the Mona Lisa. Removal of patchwork paint reveals that Jesus’ thumb has been repositioned, which was a common practice by Renaissance masters, but is never is seen in a copy.

But questions remain for some. Why would Leonardo, who was meticulous, choose a piece of wood with a knothole that would assuredly eventually cause a disfiguring crack? Worse, how could a 600-year-old Leonardo show up in New Orleans with no provenance?

Both the proponents of the painting’s authenticity and those who would discredit it agree that the restorer contributed up to 85% of the actual paint on the current painting. So, even if Leonardo painted it in 1500, is it now just a masterpiece by the restorer?

The story diverts to an amazing con job that is unrelated to the painting’s authenticity. A shrewd and audacious French businessman bilks a Russian billionaire out of $45 million by pretending to be negotiating the purchase of a painting that that he has already bought. And, as the Frenchman later notes ruefully, you don’t want to piss off a Russian oligarch.

At this point, The Lost Leonardo takes us into a record-breaking $450 MILLION art sale (in which the purchaser is revealed by the CIA – yes, the CIA) with implications for global politics. Implicitly, The Lost Leonardo poses a second question – does it matter whether the Salvator Mundi is real or not? It certainly doesn’t need to be proven to those who would benefit from it being a real Leonardo – the sellers, the National Gallery of Art, Christie’s auction house – or to those who are emotionally moved by it as a piece of art.

The Lost Leonardo peels back the onion on an ever surprising tale of discovery, scholarship, fraud, commerce and politics in the refined and pretentious art world. It’s a good watch.

SEARCHING FOR MR. RUGOFF: the best movie taste in any barbarian

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Photo caption: SEARCHING FOR MR. RUGOFF. Photo courtesy of Deutchman Company.

The documentary Searching for Mr. Rugoff is the story of a now-unknown giant in independent cinema. I was drawn to learn more about Donald Rugoff, whom I hadn’t heard of, because he was responsible for the US distribution of a slate of essential foreign and independent films that were the spine of American art house cinema:

  • Bruce Brown’s seminal surf movie Endless Summer (1965)
  • Milo Forman’s international breakthrough The Fireman’s Ball (1966)
  • Robert Downey, Sr.’s iconoclastic Putney Swope (1968)
  • Costa-Gavras’ double Oscar winning Z (1968) and State of Siege (1972)
  • The Mayles’ Rolling Stones-at-Altamont doc Gimme Shelter (1970)
  • De Sica’s The Garden of the Finzi-Continis (1970)
  • the great doc about a child faith healer grown up, Marjoe (1972)
  • one of the funniest movies I’ve ever seen, The Tall Blond Man with One Black Shoe (1972)
  • Bergman’s Scenes from a Marriage (1973)
  • Monty Python and the Holy Grail (1975)
  • Barbara Kopple’s Oscar winning Harlan County, USA (1976)
  • and more films by Ken Loach, Marcel Ophüls, Lina Wertmüller, Werner Herzog, Agnes Varda, François Truffaut and Satyajit Ray.

As we learn in Searching for Mr. Rugoff:

“From 1965 to 1978 [Rugoff’s company] Cinema 5 received 25 Oscar nominations and 6 Oscars. 16 nominations were for foreign language films, 6 were for documentaries.”

Ira Deutchman made this film when he heard that Rugoff, his first boss, had ended up buried in a pauper’s grave; (watch the movie to discover the truth on that).

However, Donald Rugoff was notoriously disheveled and unpleasant.  He always had two secretaries posted outside his office because of the high probability that one would quit at any time. He was so volatile that many of his associates incorrectly believed that he had a steel plate in his head that affected his behavior. His own son describes him as a “toxic figure” in the home.

So, there we have it – the guy with the best possible movie taste and the most elevated artistic sensibilities was personally a barbarian.

He was, however, also a mad genius of PT Barnum-like promotion. Until times changed and he wasn’t. Rugoff’s life was a wild ride – and it was critical to an important moment in cinema.

Searching for Mr. Rugoff is opening in person at and streaming from the Roxie. I streamed it from Laemmle.

MA BELLE, MY BEAUTY: a simmering romantic reunion

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Idella Johnson, Sivan Noam Shimon and Hannah Pepper in Marion Hill’s film MA BELLE, MY BEAUTY. Courtesy of SFILM.

In the beginning of the simmering romantic drama Ma Belle, My Beauty, the New Orleans musicians Bertie (Idella Johnson) and Fred (Lucien Guignard) receive a surprise visitor. Fred, the band leader and Bertie, the vocalist, have married and relocated their jazz band to a rambling French farmhouse owned by Fred’s parents. Both the marriage and the move were Bertie’s idea, but now she’s depressed and no longer working with the band.

We learn that Bertie, while involved with Fred, had a simultaneous relationship with Lane (Hannah Pepper), until Lane starting dating another woman. Now Lane is single again, and Fred, hoping to shake Bertie out of her depression, has invited Lane to visit and surprise Bertie.

A surprise it is, and not altogether welcome. Bertie tells Hannah that Bertie’s happiness does not depend on either Fred or Lane – but is that true? And is Lane really willing to accept a non-exclusive relationship? And who is whose creative muse?

Bertie and Hannah spar, Hannah has a noisy fling with another guest, sexual tensions simmer, and before you know it, somebody is harnessing on the strap-on.

Almost all the action takes place at the farmhouse and the setting is sumptuous – Grade A Travel Porn. The farm is located in Anduze, France, at the very edge of the Rhone Valley, nestled in the foothills of the Cévennes.

Ma Belle, My Beauty is the first feature by writer-director Marion Hill, and it won an audience award at Sundance. I screened Ma Belle, My Beauty at SFFILM, and, in the Q&A, Marion Hill said that she was seeking to shoot a film in this idyllic French location, along with aspiring to explore the post-breakup dynamics of polyamorous women.

There’s a touch of jazz in Ma Belle, My Beauty, and Idella Johnson’s vocal performance shine.

The setting may be languid, but we know that Hill’s characters may erupt in passion at any moment. Ma Belle, My Beauty is a gorgeous, sexy, character-driven film. I screened Ma Belle, My Beauty at the 2021 SFFILM.

CURIOSA: erotic, but do we care?

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Noémie Merlant and Niels Schneider in CURIOSA. Photo courtesy of Memento Films.

The French romantic drama Curiosa is set in the Belle Epoque, when the Eiffel Tower was new and sexual liberation was burgeoning among literati.

The saucy Marie (Noémie Merlant) is in love with Pierre (Niels Schneider), but marries the more financially established Henri (Benjamin Lavernhe). Pierre is a libertine (and, if British, would have been called a “rake”). Pierre returns to Paris from Algeria with a girlfriend unencumbered with inhibitions and an obsession with erotic photography. Marie instantly begins an affair with Pierre, and, boy, does she start losing her inhibitions, too.

Merlant and others spend much of Curiosa in various states of undress, so much so that teenage boys will have difficulty fast forwarding between them. Impressively, the distributor was able to find and cobble together 1 minute and 38 seconds worth of mostly clothed action. for the trailer below. It bears mention that Curiosa was co-written and directed by a female filmmaker, Lou Jeunet.

The characters are “based loosely” on the writings and photographs of real literary figures. We do know that Marie de Heredia married Henri de Régnier, had an affair with Pierre Louÿs and posed for his erotic photographs.

The cinematography by Simon Roca is beautiful, and this movie filled with attractive, naked people should be more engaging. The problem is that it is difficult to relate to or care about any of the characters.

I streamed Curiosa from Laemmle.

RESPECT: struggling to take command of her own artistry

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Jennifer Hudson in RESPECT

Aretha Franklin was, if anything, formidable, and Jennifer Hudson reaches formidability as Aretha in Respect. Hudson (handpicked by Aretha to star in her own biopic) is sensitive enough to play the ambitious but confidence-challenged young Aretha and brassy enough to soar as the diva that Aretha became.

Respect concentrates on three stages of Aretha’s life – her childhood in the 1950s, her uncertain career at Columbia Records in 1960-65 and her creative partnership with Jerry Wexler, beginning in 1967, that led to stardom. The film culminates with the1972 live gospel album that we can now watch in the 2019 film Amazing Grace.

The common thread in Respect is Aretha’s learning to push back on the attempts by men to control her artistically, financially and intimately. The film’s high point is Aretha finally getting the opportunity, in a Muscle Shoals recording session, to impose her own creativity on I Never Loved a Man (Like the Way I Love You); we’re able to watch the instant that Aretha transforms herself into an icon. Hudson also delivers killer versions of Respect, Amazing Grace, Natural Woman and (my personal favorite) Think.

During much of the film, 12-year-old actress Skye Dakota Turner, plays a ten-year-old Aretha (and she’s heartbreakingly great). Aretha’s formative years were startlingly unusual. For one thing, as the daughter of a celebrity minister dad and a celebrity gospel singer mom, she was unusually privileged for a black youngster in the 1950’s – she was spared poverty and grew up in a home where MLK himself, Dinah Washington and gospel music legend James Cleveland were frequent guests. On the other hand, her broken home was unhealthy enough that Aretha became pregnant at age 12, and again at age 14. She emerged well-connected – and severely traumatized.

Forest Whitaker is, as one would expect, excellent in the pivotal role of Franklin’s father, C.L. Franklin. The cast is uniformly excellent including Audra MacDonald as Aretha’s mom, Kimberly Scott as her grandmother, Marc Maron as Jerry Weinberg, Marlon Wayans as her seamy first husband, and Mary. J. Blige as Dinah Washington.

Respect is 2 hours, 25 minutes long, and could have been better if 15-20 minutes shorter. Nevertheless, it gives us a sound view of the factors that molded Aretha Franklin’s personality, and her struggles to take command of her own artistry.

Movies to See Right Now

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Photo caption: Troy Kotsur and Marlee Matlin in CODA

This week, the Must See is the surprisingly textured CODA.

IN THEATERS

CODA: Writer-director Sian Heder’s screenplay has made CODA, which could have been simplistic, into that rare, feel-good family film that is authentic, fumy and thought-provoking. Also streaming in AppleTV.

Also in theaters:

ON VIDEO

The most eclectic watch-at-home recommendations you’ll find ANYWHERE:

ON TV

Ingrid Bergman and Charles Boyer in GASLIGHT

On August 25, Turner Classic Movies will air Gaslight (1944), a classic suspense thriller that still has a lot to say about domestic violence and abusive power in relationships.

An evil husband (Charles Boyer) isolates his wife (Ingrid Bergman) and uses manipulation to convince her that she’s going crazy. He’s seeking to conceal his crimes and gain unfettered control of her house and fortune. He’s also dallying with the maid (a nubile 18-year-old Angela Lansbury). Fortunately, the wife’s longtime admirer (Joseph Cotton) works for Scotland Yard and starts to investigate…

Here’s my essay on Gaslight, Gaslight and gaslighting in domestic violence.

CODA: a thought-provoking audience-pleaser

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Emilia Jones, Troy Kotsur, Marlee Matlin and Daniel Durant in CODA

In the delightful audience-pleaser CODA, teenager Ruby (Emilia Jones) is the only hearing member of her family. CODA stands for Child of Deaf Adults. Her dad (Troy Kotsur), mom (Oscar-winner Marlee Matlin) and older brother Leo (Daniel Durant), all deaf, operate a New England fishing trawler. Ruby is a gifted singer with an opportunity to attend an elite music school, but her family depends on her helping the business.

Can Ruby stay true to her family and reach her dream? This could be the premise for a hackneyed movie, but CODA is anything but trite. My own taste in movies runs so dark that I sometimes forget that a film can be heartwarming without being corny. CODA achieves that.

CODA’s success results from the textured supporting characters and complicated family dynamics in writer-director Sian Heder’s screenplay. CODA is the second feature film for Heder, one of the main writers for Orange Is the New Black.

Ruby has a vibrant, humor-filled family, a family that is fun to be around. They are decidedly not barbarian drudges; they just don’t understand Ruby’s need to sing because they’ve never heard music.

But the family has grown to depend on Ruby to translate for them in the hearing world of doctor’s appointments and commercial fishing. Ruby is so essential to their functionality that losing Ruby’s presence is a legitimate concern.

Ruby’s older brother Leo has ideas for the business, but his role in the family has been overshadowed by Ruby’s, which he resents. Her mom self-isolates, afraid of being rejected by hearing people after her one youthful success as a beauty queen. The dad, determined to keep a multi-generational fishing business alive, is utterly lost as he faces new economic and regulatory realities, and he retreats into the Illegal Smile of cannabis.

Eugenio Derbez in CODA

Ruby is mentored by an exacting music teacher Mr. Villalobos (Eugenio Derbez), and their reationship is one of CODA’s fresh elements. What keeps Mr. Villalobos from being the standard movie martinet is his sensitivity; he has failed to reach his own dream of music stardom, and, like Ruby, he has been The Other, the subject of discrimination and low expectations.

The charismatic Derbez is brilliant here. His Mr. Villalobos is frustrated when Ruby’s teen priorities keep from meeting the standard that he knows is necessary, but he understands enough about Ruby’s challenges to keep giving her another chance. Derbez is a huge star in Mexico as a comedian and filmmaker.

Emilia Jones and Marlee Matlin in CODA

Heder also chose to cast deaf actors for the deaf characters, which pays off in terms of authenticity. (Troy Kotsur, in particular, delivers a superb performance as the father.) She also chose just the right moment to impose silence when Ruby is singing to a large, hearing audience, so we can relate to her family trying to make sense of the audience reaction. There’s also searing dialogue between mother and daughter about the complexity of the deaf mom’s birthing a hearing baby.

CODA has the framework of a teen coming of age story, with mean kids at school and Ruby sweet on her classmate Miles (Ferdia Walsh-Peelo). But the core of the movie is about the family and about whether Ruby will let Mr. Villalobos take her to a new opportunity.

Heder’s writing has made CODA, which could have been simplistic, into that rare, feel-good family film that is authentic, fumy and thought-provoking. CODA is in theaters and is also streaming on AppleTV.

Movies to See Right Now

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Photo caption: Dev Patel in THE GREEN KNIGHT. Photo courtesy of A24

This week – a thoughtful swords-and-sorcery fantasy and a spectacular misfire of an art movie. Plus my favorite film noir femme fatale.

IN THEATERS

The Green Knight: Dev Patel plays Sir Gawain of Arthurian legend in a movie more about a test of character than it is about a heroic quest. Thoughtful and character-driven – and great special effects, too.

Annette: This passionate and inventive art house musical is doomed by a flawed screenplay, bad pacing and a creepy puppet baby.

Also in theaters:

ON VIDEO

SUMMERTIME. Photo courtesy of Frameline.

The most eclectic watch-at-home recommendations you’ll find ANYWHERE:

ON TV

Gloria Grahame with Director Jerry Hopper on the set of NAKED ALIBI; Photo courtesy of Mark A. Clark and Film Noir Photos.

On August 17, Turner Classic Movies celebrates my favorite film noir actress, Gloria Grahame, with several Grahame films, including Human Desire, The Big Heat and In a Lonely Place. Grahame projected an uncanny mixture of sexiness, vulnerability and unpredictability. The fact that Gloria was a Bad Girl in real life doesn’t hurt.

The best of these films is In a Lonely Place, where Grahame falls for the troubled screenwriter Humphrey Bogart, a guy with a MAJOR anger management issue; once she’s hooked, she realizes that he might be a murderer after all… The flashiest Grahame role is in The Big Heat, where she is involved in an act of shocking cruelty and fitting retribution.

But I’m pitching her less well-known turn in Human Desire, where she plays Vicki, married to a brutish wife-beater (Broderick Crawford). Vicki is no saint, and accompanies hubby on a murder and helps him cover his tracks by coming on to a hunky railroad engineer (Glenn Ford). Vicki then suggests to her lover that if only her husband were dead…

Human Desire was directed by the great Fritz Lang, and is a remake of Jean Renoir’s classic La Bête Humaine (The Human Beast) with Jean Gabin and Simone Simon.

I have the Australian version of the Human Desire poster in my living room. The tag line is “She was born to be bad…to be kissed..to make trouble“, and the Aussie authorities have labeled it “NOT SUITABLE FOR CHILDREN“.

Gloria Grahame and Glenn Ford in HUMAN DESIRE