Movies

Subterms

    More stories

    • 125 Shares199 Views

      in Movies

      ‘The Nightmare Before Christmas’: A Hit That Initially Unnerved Disney

      by

      The filmmakers look back on its 30th anniversary and recall how uncomfortable it made executives. They didn’t expect the celebrations around it today.“What’s this?” Jack Skellington sings excitedly when he first comes across Santa Claus’s snowy, colorful village in “The Nightmare Before Christmas.” That’s also what Disney executives asked with concern about the idiosyncratic stop-motion animation musical when they saw a rough cut.“Anytime you’re doing something like that, which was unknown: stop motion, the main character doesn’t have any eyeballs and it’s all music, what’s to feel comfortable about?” Burton said during a video call from London. “Of course they would be nervous about it.”Burton’s “Nightmare,” currently back in theaters to commemorate its 30th anniversary, is now more popular than ever: This weekend the Hollywood Bowl in Los Angeles is holding a series of live concerts around the film, Disney theme parks feature seasonal attractions inspired by its characters, and merchandise, from board games to housewares, abounds.But the eccentric and endearing movie wasn’t always a ubiquitous part of our holiday watch list. Back in October 1993, “Nightmare” was released not as a Disney title but under the studio’s more adult-oriented label Touchstone Pictures.“They were afraid it might hurt their brand,” the director Henry Selick said in a video call from his home in Los Angeles. “If they had put the Disney name on it right then, it would’ve been much more successful, but I understand it just didn’t feel anything like their other animated films.”Based on Burton’s original story and characters, the unusual picture was directed by Selick, by then a seasoned stop-motion artist with spots for MTV and a variety of commercials to his name. Burton’s frequent collaborators Michael McDowell and Caroline Thompson wrote the screenplay.Sally (Catherine O’Hara) and Jack Skellington. She was the subject of a sequel novel last year. Touchstone PicturesOver the course of its original run, “Nightmare” grossed $50 million at the domestic box office. And while that number is by no means dismal, it’s a far cry from Disney animated hits like “Aladdin,” which just a year earlier brought in $217 million from U.S. screens alone.At the time, Disney couldn’t figure out how to market the operatic saga of Jack, a lanky, sharply dressed skeleton, infatuated with bringing the wonder of Christmas to his monstrous friends in uncanny Halloween Town.Selick initially worried that the number of songs Danny Elfman had composed for the movie, a total of 10 tracks for the brisk 76-minute run time, would alienate viewers. In retrospect, he said, the memorable tunes were crucial to the film’s eventual success, once audiences connected with its unconventional rules of storytelling and design.These days Selick can’t go a week without running into a fan wearing a sweater, hat or other apparel emblazoned with “Nightmare” imagery.“This year there’s a 13-foot-tall Jack Skellington you can buy at Home Depot, and people have them on their lawns,” Selick said. “I like that because it’s pretty bizarre and extreme. That’s not just a T-shirt, that’s a real commitment.”For Burton, the character of Jack Skellington embodies a preoccupation common in his work over the years: the terrifying notion of being misunderstood. “The conception of it was based on those feelings growing up of people perceiving you as something dark or weird when actually you’re not,” he recalled.Selick compared the skeletal antihero’s amusingly manic behavior to Mr. Toad from the animated classic “The Wind in the Willows,” one of his favorite Disney protagonists. “I’ve always been drawn to characters like Jack Skellington,” Selick said. “He gets carried away with something new and goes way overboard with his enthusiasm.”Burton, who grew up in the Los Angeles area, where Latino culture has a strong presence, also holds a special affinity for Día de los Muertos, the Mexican holiday that embraces mortality as a natural part of life’s cycle. That was among his many inspirations for “Nightmare. ”The film was initially a modest hit that Disney released under its adult label, Touchstone.Touchstone Pictures“I always felt a connection to that celebration. People think of it as a dark sort of thing, but it’s quite light,” Burton said. “That’s where the juxtaposition of those feelings of dark imagery with more spiritual positive feelings connected with me very early in life.”For stop motion as a technique, “Nightmare” represented a watershed right before the advent of computer-generated animation. Selick credited the director of photography, Pete Kozachik, for introducing the tools that set the production apart, namely designing and building the rigs that allowed the heavy Mitchell film cameras to move a frame at a time.“That made the film so cinematic,” Selick said. “All the stop motion before had been done in lock shots or really simple little pans,” the mostly static visual language that limited other stories told in the same medium. But, Selick continued, “what Pete brought was this freedom of camera movement, which really turned it into a bigger movie.”While there was talk of turning his concept for “Nightmare” into a TV special or realizing it in hand-drawn animation, Burton — who as a child adored Ray Harryhausen’s creations and Rankin/Bass tales like “Rudolph the Red-Nosed Reindeer” — held out until there was a team to do it in stop motion.“If you’ve ever been on a stop motion set and you see its tactile beauty, it is like going back to the beginning of making movies in the sense that it’s all about artists making puppets, sets, there’s a feeling that’s unlike any kind of thing,” Burton said.Decades before he directed the stop-motion features “Corpse Bride” (2005) and “Frankenweenie” (2012), both of which earned him Oscar nominations for best animated feature, Burton dove into the painstaking technique with a 1982 short film, “Vincent.”“Other mediums are great, but for me that’s the most pure and beautiful one,” Burton added.Selick admitted that for a while the general public’s lack of awareness that he had directed “Nightmare” upset him. He’s now made peace with the lack of credit because this milestone in his career wouldn’t have happened without “Tim’s brilliance and ideas.”“I could still certainly win bar bets for the rest of my life,” he said with a cheeky smile. “‘For $20, who directed “The Nightmare Before Christmas”?’”The movie has inspired Disney theme park celebrations, concerts and merchandise.Touchstone PicturesFor Selick, one of the indicators that the movie had become a classic came a few years after the lukewarm reception to the theatrical release, but before Disney had fully embraced it. The director recalls children coming to his house trick-or-treating on Halloween night in homemade costumes of “Nightmare” characters before officially licensed versions existed.“I’d sometimes bring them in with their parents and show them the original figure of Jack as Santa in his sled with the reindeer that I kept, and they would just scream with joy,” Selick recalled while pointing his camera to the fragile figure in a glass display case.“It’s not really mine or Tim’s or Danny’s anymore,” Selick said. “It’s the world’s movie, and I kind of like that.”Since 2001, the Haunted Mansion ride at Disneyland has been transformed every fall into a “Nightmare”-inspired attraction known as Haunted Mansion Holiday. And each year, from early September through October, Disneyland holds the Oogie Boogie Bash, a Halloween party three nights a week featuring and named after the movie’s rambunctious villain.Burton believes these displays epitomize the film’s evolution from unclassifiable oddity to a uniquely beloved property. “When I see that, I go back to the early days when the film was first being done, and thinking of the journey that it’s taken, this symbolizes it in a very strange way,” said Burton.Selick added that he was invited the first year of the Haunted Mansion Holiday. “They didn’t try to turn it into one of their other characters,” he said. “They really got the aesthetic of the designs just right.”A sequel novel, “Long Live the Pumpkin Queen,” focused on Jack’s romantic partner, Sally, and a prequel comic, “The Battle for Pumpkin King,” were published in the last year. Yet three decades on, Burton maintained that the original animated film was a one-of-a-kind feat.“In a certain way that’s the beautiful thing about it as it is. It’s one movie. It’s stop motion and it tells its story. And that helps make it special for me,” Burton explained. “It’s its own thing, there aren’t five sequels and there’s not a live-action reboot.” More

    • 100 Shares129 Views

      in Movies

      Richard Roundtree, Star of ‘Shaft,’ Dies at 81

      by

      Richard Roundtree, the actor who redefined African American masculinity in the movies when he played the title role in “Shaft,” one of the first Black action heroes, died on Tuesday at his home in Los Angeles. He was 81.His manager, Patrick McMinn, said the cause was pancreatic cancer, which had been diagnosed two months ago.“Shaft,” which was released in 1971, was among the first of the so-called blaxploitation movies, and it made Mr. Roundtree a movie star at 29.The character John Shaft is his own man, a private detective who jaywalks confidently through moving Times Square traffic in a handsome brown leather coat with the collar turned up; sports a robust, dark mustache somewhere between walrus-style and a downturned handlebar; and keeps a pearl-handled revolver in the fridge in his Greenwich Village duplex apartment. As Mr. Roundtree observed in a 1972 article in The New York Times, he is “a Black man who is for once a winner.”In addition to catapulting Mr. Roundtree to fame, the movie drew attention to its theme song, written and performed by Isaac Hayes, which won the 1972 Academy Award for best original song. It described Shaft as “a sex machine to all the chicks,” “a bad mother” and “the cat who won’t cop out when there’s danger all about.” Can you dig it? The director Gordon Parks’s gritty urban cinematography served as punctuation.A fictional product of his unenlightened pre-feminist era, Shaft was living the Playboy magazine reader’s dream, with beautiful women available to him as willing, downright grateful, sex partners. And he did not always treat them with respect. Some called him, for better or worse, the Black James Bond.He played the role again in “Shaft’s Big Score!” (1972), which bumped up the chase scenes to include speedboats and helicopters and the sexy women to include exotic dancers and other men’s mistresses. In that movie, Shaft investigated the murder of a numbers runner, using bigger guns and ignoring one crook’s friendly advice to “keep the hell out of Queens.”In “Shaft in Africa” (1973), filmed largely in Ethiopia, the character posed as an Indigenous man to expose a crime ring that exploited immigrants being smuggled into Europe. The second sequel lost money and led to a CBS series that lasted only seven weeks.But the films had made their impact. As the film critic Maurice Peterson observed in Essence magazine, “Shaft” was “the first picture to show a Black man who leads a life free from racial torment.”Mr. Roundtree in a scene from the 1972 movie “Shaft’s Big Score,” the first of two sequels.Stanley Bielecki Movie Collection/Getty ImageRichard Arnold Roundtree was born on July 9, 1942 (some sources say 1937), in New Rochelle, N.Y., the son of John and Kathryn (Watkins) Roundtree, who were identified in the 1940 census as a butler and a cook in the same household.Richard played on New Rochelle High School’s undefeated football team and, after graduating in 1961, attended Southern Illinois University on a football scholarship. But he dropped out of college in 1963 after he spent a summer as a model with the Ebony Fashion Fair, a traveling presentation sponsored by a leading news and culture magazine for Black readers.He moved back to New York, worked a number of jobs and soon began his theater career, joining the Negro Ensemble Company. His first role was in a 1967 production of “The Great White Hope,” starring as a fictionalized version of Jack Johnson, the early 20th century’s first Black heavyweight boxing champion. A Broadway production starring James Earl Jones opened the next year and won three major Tony Awards and the Pulitzer Prize for drama.After “Shaft,” Mr. Roundtree made varied choices in movie roles. He was in the all-star ensemble cast, which also included Charlton Heston and Ava Gardner, of the 1974 disaster movie “Earthquake.” He played the title role in “Man Friday” (1975), a vibrant, generous, ultimately more civilized partner to Peter O’Toole’s 17th-century explorer Robinson Crusoe.In “Inchon” (1981), which Vincent Canby of The Times described as looking like “the most expensive B movie ever made,” he was an Army officer on the staff of Gen. Douglas MacArthur (Laurence Olivier) in Korea. He starred with Clint Eastwood and Burt Reynolds in “City Heat” (1984) and with a giant flying lizard in “Q” (1982).On the small screen he played Sam Bennett, the raffish carriage driver who courted Kizzie (Leslie Uggams), in the acclaimed mini-series “Roots” (1977). That show was transformational, Mr. Roundtree said in an ABC special celebrating its 25th anniversary: “You got a sense of white Americans saying, ‘Damn, that really happened.’”Richard Roundtree in 2019. He remained busy as an actor for more than four decades after his first big role.Celeste Sloman for The New York TimesMr. Roundtree’s name remained associated with the 1970s, but he was just as busy during the next four decades.He was an amoral private detective in a five-episode story arc of “Desperate Housewives” (2004); appeared in 60 episodes of the soap opera “Generations” (1990); and played Booker T. Washington in the 1999 television movie “Having Our Say: The Delany Sisters’ First 100 Years.” He was a big-city district attorney in the film “Seven” (1995) and a strong-willed Mississippi iceman in “Once Upon a Time … When We Were Colored” (1996).After the year 2000, when he was pushing 60, he made appearances in more than 25 small-screen series (he was a cast member of or had recurring roles in nine of them — including “Heroes,” “Being Mary Jane” and “Family Reunion”) and was seen in half a dozen television movies and more than 20 feature films.In 2020, he starred as a fishing boat’s gray-bearded captain in “Haunting of the Mary Celeste,” a supernatural maritime movie mystery. In 2022, he acted in an episode of “Cherish the Day,” Ava DuVernay’s romantic drama series.Mr. Roundtree married Mary Jane Grant in 1963. They had two children before divorcing in 1973. In 1980, he married Karen M. Cierna. They had three children and divorced in 1998.Mr. Roundtree is survived by four daughters, Kelli, Nicole, Taylor and Morgan; a son, John; and at least one grandchild.The Shaft character, created by Ernest Tidyman in a series of 1970s novels, endured — with Hollywood alterations. Samuel L. Jackson starred as a character with the same name, supposedly the first John Shaft’s nephew, in a 2000 sequel titled “Shaft.”In 2019, another “Shaft” was released, also starring Mr. Jackson (now said to be the original character’s son) and Jessie T. Usher as his son, J.J. Shaft, an M.I.T.-educated cybersecurity expert. The film felt something like a buddy-cops comedy, but the smartest thing it did, Owen Gleiberman of Variety noted in a review, was to take Mr. Roundtree, “bald, with a snowy-white beard,” and “turn him into a character who’s hotter, and cooler, than anyone around him” and whose “spirit is spry, and tougher than leather.”Orlando Mayorquin More

    • 163 Shares199 Views

      in Movies

      The Best True Crime to Stream: Stories That Are Very Scary, and Real

      by

      Four terrifying, unnerving picks across television, film and podcast.It’s the time of year when I tend to push the boundaries of how many scary stories I can stomach. That includes horror movies, but also, true crime offerings that I may have skipped. Of course, with true crime, that self-soothing mantra of “at least it’s not real” doesn’t apply, which makes it all the more haunting. Here are four picks that shook me to my core.Documentary“Beware the Slenderman”On May 31, 2014, in Waukesha, Wis., Anissa Weier and Morgan Geyser, then 12 years old, lured their friend and classmate Payton Leutner into a forest and stabbed her 19 times. Weier and Geyser were trying to appease the fictional character Slender Man, a tall, lanky, faceless ghoul and modern-day boogeyman whose image had been disseminated on the Creepypasta Wiki, a horror-centric online forum. The girls believed that if they killed their friend, they would save their families from Slender Man’s wrath and get to live forever in what they called Slender Mansion.This 2016 documentary, directed by Irene Taylor Brodsky, uses chilling footage of the girls recounting the precipitating events to police officers hours after the stabbing. And Brodsky spent 18 months with the parents of Weier and Geyser ahead of their trial on charges of attempted first-degree murder.Particularly hard to shake is how Slender Man captivated young people. The character originated from a Photoshop challenge to create convincing paranormal images, then spread to platforms across the web and became the basis of popular online games. In the documentary, mental health experts talk about the role of internet as companion; the abundance of grotesque imagery online; and what I found most disturbing: the concept that a meme with great spreadability is in fact a virus of the mind.Docuseries“John Wayne Gacy: Devil in Disguise”The term “killer clown” would normally send me running for the hills. But I was curious about this 2021 six-episode Peacock docuseries, which is a comprehensive exploration of the crimes committed by the serial killer John Wayne Gacy, who preyed on boys and men and was sentenced on 33 counts of homicide in 1980. Gacy, who had been a respected and well-connected figure in his Chicago community and who performed for children as Pogo the Clown, was executed at an Illinois prison in 1994.Along with interviews of investigators, a sister of Gacy’s and family members of victims — as well as film of the excavation of his home, under which dozens of bodies were buried — the series includes a great deal of previously unseen footage of a 1992 interview with Gacy by the F.B.I. profiler Robert Ressler, who is credited with creating the term “serial killer.” (For “Mindhunter” fans, Ressler inspired the character of Special Agent Bill Tench.) Most indelible to me is how utterly ordinary and unremarkable Gacy seemed.While serial killers like him have often been too heavily glorified, there is value in not forgetting the systemic failures that allowed such horrors to continue unchecked. Much as they did with the crimes of Jeffrey Dahmer, the police ignored warnings and pushed aside clues, including pleas from a victim who’d survived, because of entrenched homophobia.Podcast“Dr. Death”: Season 1I decided to binge this 10-episode series on a 12-hour road trip with my dogs. Not even one episode in, I had to pull over and get out of my car for some air. But I persevered, so don’t let that dissuade you.Season 1 of this Wondery podcast, reported and hosted by the science journalist Laura Beil, tells the story of Christopher Duntsch, a young neurosurgeon who arrived in Dallas in 2010 and charmed his patients with confidence and charisma. He claimed that he could cure back pain when nothing else worked. Under his care, which amounted to butchery, over 30 patients were severely injured; two died.As stomach-turning as these accounts are, revelations about how he slipped through the medical system are worse.“In the Dark”: Season 1In 1989, 11-year-old Jacob Wetterling was kidnapped on a dead-end country road in his small Minnesota town, a kidnapping that would fuel an already fast-growing national paranoia: that pedophiles were snatching up America’s children. The search that followed was one of the largest manhunts in U.S. history. Though the investigation was terribly mishandled — as the host Madeleine Baran, an investigative journalist, and a team of reporters make clear over nine episodes and two bonus episodes of this American Public Media podcast (it found a new home at The New Yorker earlier this year).For 27 years, there were no answers, but a couple of weeks before Season 1 was set to debut, in 2016, Wetterling’s remains were discovered, changing everything and taking a story from decades ago and placing it breathlessly in the present. More

    • 138 Shares199 Views

      in Movies

      After Outcry, Writers Guild Tries to Explain Silence on Hamas Attack

      by

      Facing mounting pressure from more than 300 Hollywood screenwriters questioning why it had not publicly condemned the Hamas attack on Israel this month, the Writers Guild of America West sent a letter to its members on Tuesday that sought to explain its silence while also calling the attack “an abomination.”The letter, signed by the guild’s leadership and viewed by The New York Times, said the reason the union had not issued a statement after the attack on Oct. 7 was not “because we are paralyzed by factionalism or masking hateful views” but rather because “we are American labor leaders, aware of our limitations and humbled by the magnitude of this conflict.”The guild’s letter acknowledged that it had publicly commented on other situations “which could be characterized as beyond our scope,” but that it had not made any statement following, for instance, Russia’s invasion of Ukraine.“It can be an imprecise science for a labor union to pick and choose where it weighs in on both domestic and world affairs,” said the letter, which was signed by the president, Meredith Stiehm; the vice president, Michele Mulroney; and Betsy Thomas, the secretary-treasurer.Still, they added, “We understand this has caused tremendous pain and for that we are truly sorry.”(The west and east branches of the W.G.A. are affiliated unions with separate leadership that together represent more than 11,000 writers.)On Oct. 15, a group of screenwriters sent an open letter to the guild asking why it had not publicly denounced the attack on Israel, noting the union had made public statements in support of the Black Lives Matter movement and the #MeToo reckoning. They also noted that other major Hollywood unions had issued statements condemning the attack.The letter has now been signed by more than 300 writers, including Jerry Seinfeld, Eric Roth (“Killers of the Flower Moon”) and Amy Sherman-Palladino (“The Marvelous Mrs. Maisel”). Some Jewish screenwriters had begun to question whether they should remain part of an organization that they felt did not support them.Ms. Stiehm’s initial reply to the open letter was an email to inquiring members saying that the lack of response was because “the board’s viewpoints are varied, and we found consensus out of reach.”The letter on Tuesday, which said the guild’s leadership was “horrified by the atrocities committed by Hamas,” was an attempt to stem the outrage. “I really appreciate this statement,” said the screenwriter Howard Gordon (“24” and “Homeland”), who added in an interview that the silence from the guild had prompted responses from both Jewish and non-Jewish members ranging from rage to fear to the desire to resign from the organization.“I hope this letter goes a long way to sort of calming some of it down,” said Mr. Gordon, who signed the open letter to the guild. “Hopefully something constructive comes out of this, which is an acknowledgment of how we combat and confront and talk about antisemitism.”For Dan Gordon, however, the apology came too late. Mr. Gordon, 76, sent a letter Tuesday morning resigning his membership in the organization, calling its silence “appalling.”“It is corrosive to me as a writer and repugnant to every fiber of my being as a person of conscience,” wrote Mr. Gordon, who has no relation to Howard Gordon and is best known for “The Hurricane” and “Wyatt Earp.” “I am resigning my membership not because I wish to work on nonunion projects, nor cross any picket line, but because I no longer wish to be a fellow traveler with those who hide behind the fetid veil of a morally bankrupt wokeism and stand silent in the face of unadulterated evil.”Mr. Gordon’s latest film, “Irena’s Vow” — about a young Polish-Catholic woman during World War II who hid 12 Jews in the basement of a German officer’s house without his knowledge for almost a year — debuted at the Toronto International Film Festival in September.He will change his guild membership status to “financial core,” according to his letter. Under that designation, he will still receive the contract benefits earned by the guild but he will no longer be able to vote or attend any guild meetings. The designation is irreversible and viewed by the guild as an act of disloyalty. The W.G.A. maintains an online list of members who have chosen this status, with a reminder that “Fi-Core is forever.”Mr. Gordon called Tuesday’s letter from the guild “pusillanimous” and faulted it for not calling for a release of the hostages.“I don’t retract anything I said,” he added in an interview. “If one cannot condemn, clearly, and without reservation, what Hamas perpetrated, one’s moral compass is absent, not broken.” More

    • 100 Shares159 Views

      in Movies

      ‘Milli Vanilli’ Review: Blame It on the Fame

      by

      Luke Korem’s documentary retraces the manufactured pop duo’s rise and fall, while asking pertinent questions about the price of stardom.The performers Fab Morvan and Rob Pilatus earn your empathy in the documentary “Milli Vanilli,” a jolting, eye-opening investigation on how fame destroyed them. The war-of-words film, directed by Luke Korem, unfolds like a whodunit.The film retraces the bonkers events of Morvan and Pilatus’s naïve rise to the top in the late 1980s as Milli Vanilli, the image-forward pop duo who secretly lip-synced prerecorded songs to live audiences. Their hits included “Girl You Know It’s True” and “Baby Don’t Forget My Number.”At first, the duo needed money to escape poverty, but their celebrity status kept them hooked, and their German producer, Frank Farian, held the bait.And then, the documentary revisits their fall: During a live performance on MTV in 1989, the song started to skip, exposing them as frauds. In 1998, Pilatus died of an overdose. “I lost my sobriety and every sense of reality,” we hear him say in the film.Impressively, Korem gets those who ran the business side of Milli Vanilli, including officials at Arista Records, to spill the juicy details on what actually happened to the duo: Morvan and Pilatus became Farian and the label’s scapegoats. As presented here, it’s easy to see how this could be the basis for a horror film by Jordan Peele.Morvan is the heart of the documentary; he reflects on the group’s past treatment (he thinks they deserved that revoked Grammy) and raises still-relevant questions about the way the music industry exploits vulnerable performers. Charles Shaw, one of the real singers behind Milli Vanilli, says that Farian, who also worked with the group Boney M., “made most of his money on Black artists, and it worked.”Milli VanilliNot rated. Running time: 1 hour 46 minutes. Watch on Paramount+. More

    • 88 Shares189 Views

      in Movies

      ‘Miss Juneteenth,’ ‘Dredd’ and More Streaming Gems

      by

      Women in competitions, chaos in high places and documentary portraits of Covid life are among the running themes of this month’s off-the-radar selections on your subscription streaming services.‘Miss Juneteenth’ (2020)Stream it on Netflix.Of all the films that would have been sleeper hits, had they not been released in 2020 when a theatrical push was off the table, it’s hard to top this, the debut feature from the writer and director Channing Godfrey Peoples. Nicole Beharie stars as Turquoise Jones, a Texas single mother whose 15-year-old daughter (Alexis Chikaeze) is about to compete in the local Miss Juneteenth pageant Turquoise won, once upon a time. Peoples’s screenplay sensitively explores poignant questions of opportunities lost and gained, and the mother/daughter dynamics are convincing and compelling. But the real takeaway here is Beharie, whose marvelous, lived-in performance is both inspiring and shattering.‘Teen Spirit’ (2017)Stream it on Max.The actor Max Minghella (whose father Anthony directed the likes of “Truly, Madly, Deeply” and “The Talented Mr. Ripley”) makes an impressive feature directing debut with this story of a girl from the sticks (Elle Fanning) whose golden voice catches the attention of a fallen opera star (Zlatko Buric), who mentors her onto a national singing championship. The story beats are dusty but the approach is fresh, as Minghella focuses on the small details of character and setting that make his telling unique. Fanning does her own singing, and does so convincingly (ditto on her British accent), while investing her 17-year-old character with an appropriately tormented inner life.‘Nobody Walks’ (2012)Stream it on Hulu.The director Ry Russo-Young co-wrote this indie drama with Lena Dunham (who was just launching “Girls” on HBO), and it is an ace fusion of their sensibilities, and their mutual interest in the mind games attractive young men and women can play. Olivia Thirlby is Martine, a New York visual artist visiting Los Angeles — the title is a reference to the comparative absence of pedestrians — to finish an experimental film with the help of a sound engineer, Peter (John Krasinski), whose therapist wife Julie (Rosemarie DeWitt) puts Martine up in their pool house. And that’s when the trouble begins, as Russo-Young and Dunham’s smart script dramatizes how proximity, boredom and hormones can wreak havoc on a seemingly blissful existence.‘Dredd’ (2012)Stream it on Netflix.Thirlby’s other 2012 release could not have been a more startling contrast, a rough-and-tumble adaptation of the ultraviolent British comic book series (previously attempted, to universal pans, by Sylvester Stallone in the mid-1990s). Karl Urban is a square-jawed cop in a futuristic dystopia where police are allowed to not only enforce the law, but carry out its consequences. Thirlby is his partner and Lena Headey is their target, an underworld queen-pin who traps them in a sketchy apartment complex and offers up a healthy reward for their heads. The director Pete Travis executes the nearly nonstop action with bruising intensity, while the better-than-expected script (by the gifted “Ex Machina” and “Annihilation” screenwriter Alex Garland) fills the occasional silences with fastballs of social commentary.‘High-Rise’ (2016)Stream it on Amazon Prime Video.Ben Wheatley’s adaptation of the J.G. Ballard novel occasionally feels like it’s lapping itself — Ballard’s 1975 notions of futuristic class warfare and societal breakdown feel almost quaint compared to what we face today. But Wheatley’s film is wildly entertaining anyway, a boisterous, nose-tweaking portrait of well-bred people turning into feral animals at the slightest provocation. Tom Hiddleston is appropriately cynical in the leading role; Luke Evans, Jeremy Irons, Sienna Miller and Elisabeth Moss turn in memorable supporting work.‘Gloria Bell’ (2019)Stream it on Max.With her new film “May December” (and her performance in it) earning rave reviews ahead of its upcoming Netflix debut, here’s another recent Julianne Moore film worth celebrating. She stars as the title character, a middle-aged woman who is still figuring out how to get the most out of her life, and herself, after divorce. An aid to that could come in the form of Arnold (John Turturro), who offers up love — or, at the very least, comfort — but “Gloria Bell” is not about finding yourself through someone else’s eyes. The Chilean writer-director Sebastián Lelio first told this story in his native tongue, in his 2013 movie “Gloria,” but this is no retread; his American take is lighter and funnier, and a resplendent showcase for the charms of Ms. Moore.‘Bad Axe’ (2022)Stream it on Hulu.When the pandemic hit the U.S. in spring of 2020, the filmmaker David Siev was among the many Americans who went home, huddling up with his family in Bad Axe, Mich., to help keep their venerable local restaurant afloat. He brought along his video camera, and captured an indelible real-time snapshot of a country quickly banding together, and then splintering apart with even greater speed and velocity. The resultant documentary works on two levels simultaneously: as a social document of a country in free-fall (with particular focus on how much of the MAGA-infused community turned on the Asian American Sievs), and as an intimate portrait of the family’s own complicated relationships, and how they were tested by forces beyond their control.‘Back to the Drive-In’ (2023)Stream it on Amazon Prime Video.Restaurants, as you may recall, weren’t the only venues to take a big hit during lockdown, and with movie theaters out of commission, drive-in theaters became a safe alternative, and saw a big uptick in their long-struggling attendance. So the documentary filmmaker April Wright, who previously made the 2013 film “Going Attractions: The Definitive Story of the American Drive-In Movie,” went back to the drive-in to see how these (often family-owned) establishments had done during the unexpected boost, and how they were adjusting to life going “back to normal.” Once the topical matters are addressed, it becomes a fascinating character study, as these entrepreneurs — ranging from grizzled veterans to gee-whiz newbies — react quite differently to the regular difficulties of their throwback business. More

    • 113 Shares179 Views

      in Movies

      Writers Guild Faces Backlash for Not Condemning Hamas Attack

      by

      A union leader told members that the board’s viewpoints were varied and that a consensus could not be reached.Just weeks after the Writers Guild of America displayed solidarity by ending a monthslong strike and voting overwhelmingly in favor of a new contract with the major entertainment companies, the union is being roiled by a fight over its lack of a public statement condemning the Hamas attack on Israel.On Oct. 15, eight days after the attack, a group of screenwriters signed an open letter to the Writers Guild asking why it had not issued a statement condemning the attack. They noted that other major Hollywood unions had issued such statements. The letter now has more than 300 signers, including Jerry Seinfeld, Amy Sherman-Palladino (“The Marvelous Mrs. Maisel”) and Gideon Raff (“Homeland”).It questioned why the Writers Guild had previously made public remarks in support of the Black Lives Matter movement and #MeToo reckoning but remained silent “when terrorists invaded Israel to murder, rape and kidnap Jews.”On Friday, 75 members of the guild took part in a Zoom meeting to discuss what to do about the silence. Options included withholding dues until the guild leadership convenes a proper conversation on the issue with its membership, according to a person who attended the discussion and spoke on the condition of anonymity because of its delicate nature. Other members are considering resigning from the guild by filing for financial core status, in which they would pay reduced dues and still receive the contractual benefits of the collective bargaining agreement.Later Friday, Meredith Stiehm, the president of the Writers Guild of America West, sent an email to members who had inquired about the lack of a response. “Like the membership itself, the board’s viewpoints are varied, and we found consensus out of reach,” she wrote in the letter, which was viewed by The New York Times. “For these reasons, we have decided not to comment publicly.”Calls to the union on Monday were not returned.Jewish leaders have encouraged Hollywood’s biggest voices to speak out in favor of Israel.“When celebrities speak out, it sends an important message to their tens of millions of followers that this is the right side to be on,” Jonathan Greenblatt, director of the Anti-Defamation League, wrote in an opinion piece published in The Hollywood Reporter.“In light of how distorting social media algorithms can present the world,” he added, “it’s even more important for these voices to cut through.”The writers’ union is not the only Hollywood organization dealing with fallout.On Sunday, Creative Artists Agency announced to its employees that Maha Dakhil, the highest-ranking female agent in the motion picture group, had resigned from the company’s internal board and was stepping away from her leadership role within the motion picture group after posting inflammatory remarks on Instagram that accused Israel of committing genocide.Ms. Dakhil has apologized for her comments. According to an email sent by the agency’s chief executive, Bryan Lourd, which was reviewed by The Times, she will continue to represent her clients, who include Natalie Portman, Tom Cruise and Reese Witherspoon. More

    • 125 Shares189 Views

      in Movies

      Natalie Zemon Davis, Historian of the Marginalized, Dies at 94

      by

      She wrote of peasants, unsung women, border crossers and, most popularly, Martin Guerre, a 16th-century village impostor recalled in a 1980s movie.Natalie Zemon Davis, a social and cultural historian whose imaginative and deeply researched investigations of the lives of marginalized figures — peasants, long-forgotten women, border crossers of all sorts — profoundly influenced the discipline, died on Saturday at her home in Toronto. She was 94.The cause was cancer, Aaron Davis, her son, said.Drawing on insights from anthropology and literary criticism, as well as meticulous archival digging, Professor Davis both represented and inspired an emerging approach to history in the second half of the 20th century, often by filling in gaps in the historical record with informed speculations based on deep immersion in the period under study.Her best-known book was “The Return of Martin Guerre” (1983), based on the tale of a 16th-century peasant in Languedoc, France, who for several years successfully impersonated a man from a rural village who had abandoned his family.Her book was a kind of follow-up to a 1982 movie by the same title, which was directed by Daniel Vigne and starred Gérard Depardieu and Nathalie Baye. Professor Davis, who had published a groundbreaking collection of essays, “Society and Culture in Early Modern France” (1975), was the historical adviser to Mr. Vigne and the screenwriter Jean-Claude Carrière while they were working on the film.But with the release of “Le Retour de Martin Guerre” in theaters in France and elsewhere (it had its U.S. premiere in 1983), Professor Davis recognized that the movie could not convey the nuances of the story and so decided to give “this arresting tale,” as she put it in a preface to the book, “its first full-scale historical treatment, using every scrap of paper left me by the past.”Professor Davis’s “The Return of Martin Guerre” is based on the tale of a 16th-century peasant in Languedoc, France, who successfully impersonated a man from a rural village who had abandoned his family.Harvard University PressThe book was warmly received. In The New York Review of Books, the French historian Emmanuel Le Roy Ladurie called it a “major work of historical reconstruction.”Most earlier accounts focused on Arnaud du Tilh, the Gascon peasant who passed himself off as Martin Guerre. Those accounts assumed that Guerre’s abandoned wife, Bertrande de Rols, had been fooled by the false Martin. They made Arnaud du Tilh “the inventive figure in the tale,” Professor Davis wrote.For her, though, Bertrande was central to the story. “By the time she had received him in her bed,” Professor Davis wrote of the impostor, “she must have realized the difference.” Bertrande, in Professor Davis’s telling, “knew the truth” and colluded in the masquerade until it became impossible to sustain.In the book’s introduction, Professor Davis wrote that “what I offer you here is in part my invention, but held tightly in check by the voices of the past.”A scene from the 1982 movie “The Return of Martin Guerre,” starring Gérard Depardieu (in the doorway). The director, Daniel Vigne, is second from right. Professor Davis was the film’s historical adviser. European International, via Everett CollectionHer next book, “Fiction in the Archives: Pardon Tales and Their Tellers in Sixteenth-Century France” (1987), examined stories that common people accused of homicide told in order to secure a pardon from the king. After 1990, her work embraced outsiders and border-crossers around the world.“Women on the Margins” (1995) presented the lives of three 17th-century women of different religions — Judaism, Roman Catholicism and Protestantism — who came from different regions: Germany, Canada and Suriname. In The New York Times Book Review, the historian Arthur Quinn called the book “a stylishly sketched 17th- and 18th-century biographical triptych” that was “yet another exploration of how the modest in early modern Europe strove to fashion identities for themselves.”Professor Davis published two books in 2000. “The Gift in Sixteenth-Century France” is an anthropological look at how gift-giving and reciprocal obligation helped structure society, and “Slaves on Screen” examined the portrayal of slavery, and resistance to it, in five movies, from “Spartacus” (1960), set in ancient Rome, to “Beloved” (1980), an adaptation of the Toni Morrison novel rooted in the American South. Professor Davis said history films offered “thought experiments” about the past, but she criticized their use of fictions that misled viewers.Professor Davis’s 1995 book presented the lives of three 17th-century women of different religions — Judaism, Roman Catholicism and Protestantism — who came from different regions: Germany, Canada and Suriname.Harvard University PressAfter 2001, Professor Davis turned her attention to researching a 16th-century diplomat for the sultan of Fez, al-Hasan al-Wazzan al-Gharnati al-Fasi, who was kidnapped by Christian pirates in 1518 and taken to Rome. He converted to Christianity and lived there for nine years, writing books for Europeans in Italian and Latin about North Africa and Islam, most familiarly under the name Leo Africanus. He was best known as the author of the first geography of Africa published in Europe, in 1550.Her resulting book, “Trickster Travels: A Sixteenth-Century Muslim Between Worlds,” was published in 2006.Africanus, Professor Davis said, had a “double identity and vision, a Muslim curious about Christianity, a North African interested in exploring the world of Rome and Italy.” But hard documentation about him was sparse; to figure him out, she said, she had to develop “a plausible life story from materials of the time.” As she had in the case of Martin Guerre, she speculated about Africanus’s behavior based on the practices in the world from which he came.Natalie Zemon was born in Detroit on Nov. 8, 1928, to Julian and Helen (Lamport) Zemon, both American-born children of Eastern European Jewish immigrants. Her father worked in the textile business, and her mother was a homemaker. Natalie was one of only a few Jews at Cranbrook Kingswood, a girls’ finishing school in Bloomfield Hills, Mich. Although she was popular and successful there, she felt like an outsider, by her account. Enrolling at Smith College in Massachusetts, she became involved in left-wing politics, participating in a Marxist study group and protesting racial discrimination. In 1948, she met Chandler Davis, a mathematics graduate student. They married six weeks later. After pursuing studies in social and cultural history, Ms. Davis graduated from Smith with a bachelor’s degree in 1949 and pursued a master’s at Radcliffe, where she was exposed to the research techniques of social history.She worked on her doctorate at the University of Michigan after her husband was offered a job there in 1950. But after he was held on charges of distributing Communist literature, the government seized their passports in 1952, preventing her for a time from going to France to pursue her chosen area of concentration, 16th-century French society.In 1954, after refusing to answer questions before the House Un-American Activities Committee on First Amendment grounds, Mr. Davis was cited for contempt. He was fired by Michigan and blacklisted. Afterward, the couple, who by then had three children, eked out a living through part-time teaching and journal editing. Professor Davis did not receive her Ph.D. until 1959.Her career, like those of most academic women of her generation, was shaped in part, and stalled, by her husband’s. She and her family moved again, in 1962, when Mr. Davis obtained a teaching job at the University of Toronto.But while teaching part-time, she continued her research, publishing the results in essays and papers and presenting her work at conferences. (“Sometimes I typed with a child on my lap,” she said.) She held a faculty position at Toronto from 1963 to 1971.In 1971, she and a colleague, Jill Ker Conway, shook up Toronto’s conservative history department by teaching a course on the history of women and gender, one of the first in North America. (Dr. Conway went on to become the first woman to be named president of Smith College.)President Barack Obama presented Professor Davis with the National Humanities Medal at the White House in 2013. Pete Marovich/Getty ImagesThat same year, at 42, Professor Davis landed her first tenure-track teaching post, at the University of California, Berkeley; she was the first woman in the university’s history department. Four years later, she published her first book, “Society and Culture in Early Modern France.” This strikingly original collection of essays reflected her “remarkable breadth of learning,” one reviewer wrote.Professor Davis moved to Princeton in 1978 and stayed for 18 years, succeeding Lawrence Stone as director of the Shelby Cullom Davis Center for Historical Studies. In 1996, she retired as the Henry Charles Lea professor of history. She had helped found women’s studies programs at both Princeton and Berkeley.Returning to Canada, she was named a professor emerita in the University of Toronto’s history department.Professor Davis became president of the American Historical Association in 1987, only the second woman to hold that position. She was made a Companion of the Order of Canada in 2012 and was presented with the 2012 National Humanities Medal by President Barack Obama.Chandler Davis died of a stroke last year. In addition to her son, Professor Davis is survived two daughters, Hannah Taïeb and Simone Davis; a brother, Stanley Zemon; four grandchildren; and three great-grandchildren.Professor Davis was a charismatic teacher well loved in the profession. “At conferences and round tables, Dr. Davis is usually the most senior and well-known face in the room,” an article about her in a University of Toronto magazine said, “yet she’ll often pull aside grad students to ask about their work — and how they’re juggling it with family.”In a speech to the American Council of Learned Societies, Professor Davis told of how her years of study had given her confidence in the resilience and adaptability of societies.“No matter how bleak and constrained the situation,” she said, “some forms of improvisation and coping take place. No matter what happens, people go on telling stories about it and bequeath them to the future.” She added, “The past reminds us that change can occur.”Alex Traub More