Last Men in Aleppo

Last Men in Aleppo was nominated for Best Documentary Feature at the Academy Awards this year (lost to Icarus). The film is about the White Helmets, a group of men in Syria who scour the city searching for survivors after homes and buildings have been bombed. Unfortunately, they must also deal with fatalities, often of children and babies. The film was written and directed by Feras Fayyad of Syria, and co-directed by film editor Steen Johannessen of Denmark.

In 2017, a short film about this group of volunteer rescue workers called The White Helmets won an Academy Award for Best Documentary Short Subject. This recent award for a film about the group possibly contributed to why the feature film Last Men in Aleppo did not win this year. (Plus Icarus was an excellent film and deserved to win.)

Syria has been at war for over five years now, and the brave men searching for victims in the rubble at times despair of the West coming to help them. They face death and destruction by rebel shelling, and by Russian warplanes dropping bombs.

The motto of the Syria Civil Defense (White Helmets) is, “To save a life is to save all of humanity.” I don’t usually become political in my posts, but in this case I am going to provide a link to a website that will give you more information about the plight of the people in Syria. Here it is: Syria Civil Defense

I would be surprised if anyone could watch this film and not be deeply affected by seeing the death and fear on screen that these innocent victims live with on a daily basis. Humanitarian aide should not be dictated by politics or religion, but be given because we are all human. The White Helmets are unarmed and neutral and don’t see a difference between people. What some may label as an enemy is still a soul worth saving.

There is no sparing the viewer of Last Men in Aleppo of the death and injury sustained to civilians as their city is bombed. The men who seek to save them are relentless in removing rubble from the crumbling buildings to find even one survivor, while others choose to leave Syria, fleeing a war zone that grows more dangerous by the day.

Last Men in Aleppo won the World Documentary Grand Jury Prize at the 2017 Sundance Film Festival. The film is not rated. I watched it on Netflix. The film is really a historical document, like news coverage you might see on a quality news station, only longer. It’s mainly about the search and rescues, even though we see and hear the bombs going off and dropping throughout the city. It also shows the admiration the people have for the White Helmets, and their own struggle to survive in a city where resources are scarce.

I really don’t have anything else to add to my review here. The film’s images speak for the people of Syria.

90th Academy Award After Thoughts

I watched the Academy Awards with a friend a couple of days after the original telecast. Unusual for me, as I’ve watched this awards show faithfully every year for over two decades. But I opted instead to go to a live blues performance and skipped the Sunday show. Apparently others skipped it too, as the numbers of viewers were lower than normal.

I found the show to be respectful and dignified, not without humor, but with a certain serious note to it. Jimmy Kimmel was fine as host, and I liked they went to a theater where a sneak preview of A Wrinkle in Time was showing to honor moviegoers. Sweet.

As far as the awards went, I did okay with a few of my predictions. They were really more of a wish list for me, and I was not really surprised over some of the winners, such as Costume Design for Phantom Thread. I have yet to see it, but it is after all about couture.

Sound Editing, Sound Mixing and Film Editing won for Dunkirk. As Adam of The Academy Award Project says, war movies typically score in these areas.

Four awards for The Shape of Water, including Best Picture of the year were well deserved. I was happy Jordan Peele won for Get Out as Best Original Screenplay. Haven’t seen Best Foreign Language Film, A Fantastic Woman yet, but will do so, and look forward to Daniela Vega’s performance. Also will be seeing Call Me by Your Name, winning Best Adapted Screenplay for James Ivory at the age of 89.

What disappointed me was Frances McDormand winning for Best Actress. Seriously, Sally Hawkins deserved it. I read someone stole McDormand’s Oscar from her that evening. She got it back that night, and I quipped on Facebook that he stole it intending it go to its rightful owner, Sally.

I was turned off from the start by the trailer for Three Billboards . . . and after reading about the flaws in the writing of the screenplay, chose not to see it. I may never watch it. Too much violence, and not a good role model for the change we need to see in the world.

Her speech was interesting. I am all for women’s stories and screenplays to be funded and filmed, and then she brought up inclusion rider. This is a stipulation in a contract requiring a certain level of diversity among cast and crew.

I think there would be no need for an inclusion rider if more screenplays were produced and written by women of all ethnicities and about women’s stories. I think that would pretty much solve the issue of inclusion right off the bat. Where crew is concerned could be a different story and may be necessary. What we need is fewer superhero movies or war movies, etc. and more real human stories some examples of which were showcased this year with nominations.

That’s my take on the festivities. What do you think?

Lonely Are the Brave

I first became aware of Lonely Are the Brave, a 1962 black and white film, at the Hollywood in New Mexico exhibit at the Albuquerque Museum (the exhibit is no longer on view). I was intrigued by the story of cowboy meets modern day southwest, and the fact that the screenplay was written by Dalton Trumbo, a screenwriter I admire. The screenplay was based on the book The Brave Cowboy by Edward Abbey, and was filmed in New Mexico.

Jack Burns (Kirk Douglas) is a cowboy making his living herding sheep, and in between jobs he travels across the high desert to Albuquerque on his horse Whiskey. He is unhappy to find fences where there used to be none as he crosses the vast desert landscape. His world is changing. When he shows up at the home of Paul Bondi (Michael Kane) and his wife Jerry (Gena Rowlands), he discovers that Paul is in jail for helping illegals gain access to the States.

Jack decides to break Paul out of prison. Not a man to be deterred, he picks a fight in a bar with a one-armed man and eventually makes it into jail where he finds Paul. (Carroll O’Connor has a role as a truck driver coming from Missouri to New Mexico. You don’t really know his part of this tale until the ending.)

Jack plans a jailbreak, and some of the other prisoners escape with him. A manhunt for Jack ensues headed by Sheriff Morey Johnson (Walter Matthau). Deputy Sheriff Gutierrez (George Kennedy) is not happy about Jack’s successful escape from his prison, and hunts Jack as he travels up the Sandia Mountains on his horse Whiskey. I especially enjoyed the scenery of Albuquerque, as the film focuses heavily on the foothills and steep cliffs of the Sandia Mountains. That was one of the best parts of the film, seeing the Rio Grande, the skyline of Albuquerque circa 1962, and the canyons and arroyos of New Mexico, often from a bird’s eye view.

A thoughtful tale of the old way colliding with the new, I appreciated how Trumbo wrote the character of Sheriff Johnson who was played so well by Walter Matthau. Matthau should have gotten an award for his performance. He shows a compassion for the predicament of Jack, and even some admiration for what the escapee is doing in fleeing straight up over the mountains.

I recommend Lonely Are the Brave if you know the Southwest, particularly Albuquerque, and if you like good storytelling. The filming was really superb and my husband and I both marveled at how they made the action so suspenseful, and how dangerous it must have been to the performers and to the horse Whiskey!

Kirk Douglas approached Dalton Trumbo to write the screenplay as he had worked with him previously on Spartacus. It was a good choice as Trumbo was able to infuse the storytelling with an understanding of this good man caught between worlds as the times changed around him.

Predictions (or more accurately, wish list) of winners at the 90th Academy Awards

Inspired by a fellow blogger who posted his as well as his wife’s predictions, I could not resist making a few of my own. I am only going to share my thoughts on categories where I’ve seen at least three of the five nominated films (or two of the three nominated in one category). It was difficult to pick in some cases, kind of like choosing apples or oranges. But here are my preferences for the win.

Original Screenplay: Get Out

Jordan Peele wrote a tight, well-constructed screenplay melding social commentary within a horror genre, with just the right amount of humor thrown in now and then to lighten up the darkest moments.

Animated Feature: Loving Vincent

When an entire film is painted and then animated, well you can’t get better than that. And the story of the last days of Vincent Van Gogh was touching.

Production Design: Beauty and the Beast

For lavish and magical sets, this film wins hands down.

Makeup and Hairstyling: Darkest Hour

He looked like Churchill.

Film Editing: I, Tonya

That wasn’t really Margot Robbie doing those triple axels. But it sure looked like she was jumping and skating like Tonya.

Documentary Feature: Icarus

An interesting expose into the doping within sports, most notably Olympic athletes by the Russians, this is a well-done documentary that plays like a thriller.

Costume Design: Beauty and the Beast

Great costuming, and so many different styles of dress really helped tell the classic story.

Director: Guillermo del Toro, The Shape of Water

He made this monster movie that is so much more fit together perfectly.

Cinematography: The Shape of Water

Beautiful visuals, from the opening scene to the last.

Supporting Actress: Laurie Metcalf, Lady Bird

A nuanced performance of a demanding mother with heart not quite ready to let go.

Actress: Sally Hawkins, The Shape of Water

The range of emotion she gives in this superior film is extraordinary. And without talking. Wow.

Picture: The Shape of Water

This is the one that will be remembered for years to come, and watched again and again.

Who do you want to win in your favorite category?

Enjoy the Awards show, and I’ll post again later in the week.

Get Out

Although I had heard some things regarding the Academy Award nominated film Get Out, I wasn’t really all that well informed about what the movie was about. Described as horror-comedy and social thriller, it is everything this type of film should be: a knuckle biting, writhing in your chair experience, with you and your fellow moviegoers whispering, “Get Out” as the film progresses. The film is rated R for violence, bloody images, and language including sexual references.

Chris Washington (Daniel Kaluuya) is an African-American photographer who has been dating a white woman, Rose Armitage (Allison Williams) for four months. She insists on taking him to her parents’ home in the secluded countryside for a weekend.

Things are strange right from the start of Chris’s visit. Rose’s father Dean (Bradley Whitford) and mother Missy (Catherine Keener) seem typical parents, kind of clueless as to how their conversation and actions may be perceived by Chris. Their live-in help are even stranger: two African-Americans, Georgina (Betty Gabriel) and Walter (Marcus Henderson) who are just plain odd. Chris is an observant young man and notices the incongruent behavior immediately.

Chris has a friend who works for the TSA, Rod Williams (LilRel Howery), who had warned him prior to his leaving the city not to take this trip. The situation at the Armitage estate becomes crazier and crazier, and eventually the sheer terror of Chris’s situation takes hold of him. These people are up to no good.

Get Out has been nominated for four Academy Awards: Best Picture, Best Director for Jordan Peele, Best Actor for Daniel Kaluuya, and Best Original Screenplay, written by Jordan Peele. As a first time director, Mr. Peele did a fantastic job. He also did a fantastic job writing the screenplay; it is so tight and well thought out, and I really admired it. There is just the right amount of fear and comedic relief in this horror story. His vision to show what it is like for African-Americans, the stereotypes and the actual harm others can wish on them, is shown here along with the more sci-fi aspects of this very evil family Chris finds himself stuck with for the weekend.

The film had a kind of feel I recalled from seeing The Stepford Wives long ago. Walter and Georgina, and a guest at a party the Armitage’s host particularly had that same vacant expression on their faces, which really made me wonder what was going on. When it is revealed what this family is doing, it was truly horrific.

I saw Get Out in the theater and enjoyed my fellow movie lover’s reactions. We were all held glued to the screen by this story. All the actors did a marvelous job at their really quirky characters, and I especially enjoyed the performance of LilRel Howery who played TSA agent Rod. Will Chris get out okay? And will Jordan Peele or Daniel Kaluuya get out of the Academy Awards ceremony with a coveted award? Watch and see for yourself.

The Post

Nominated for Best Picture at the Academy Awards, The Post is a fine example of what film can be: educational, thought provoking, historical, entertaining, and all without gratuitous violence.

This film is based on the true story of the unfolding of events in the early 1970’s when The Washington Post received stolen government documents that had been laboriously photocopied and would come to be known as the Pentagon Papers. They were volumes of top-secret files outlining the deceit that occurred within the U.S. government to prolong the Vietnam War, a war that could not be won.

Over 50,000 American servicemen and women died during this ill-fated conflict, including a cousin of mine that is a bitter and traumatic memory still today for me. I had to witness his burial at the tender age of a high school freshman. It made me the anti-war/pro-peace person I am today. But enough about me.

The publisher of The Washington Post, Katharine Graham (Meryl Streep), came into her position after the untimely death of her husband. Her right hand man is Ben Bradlee (Tom Hanks), a rather irascible and keen editor who has the trust of both Katharine and his employees.

Journalist Ben Bagdikian (Bob Odenkirk) gets a lead on obtaining the government documents, and when The New York Times is censored by the Attorney General’s office from publishing them, the caretakers of the purloined papers, who believe it is necessary to make them public for the good of the country, contact Bagdikian.

The decision of whether to publish this information is not taken lightly. The press and national government are closely linked. They are shown celebrating each other’s birthdays and retirement, and dining at expensive restaurants together. They are friends and colleagues. Katharine really agonizes over this decision as she and others could be jailed for printing it.

She also has to overcome the distrust of male colleagues and superiors in the company, as this is after all the 1970’s, and she is the first woman to serve as CEO of a major newspaper.

I enjoyed seeing the actual newspaper come to print, including the focus on the typesetting procedures, something that is no longer used today. Technology has certainly advanced quite a lot in the last four plus decades.

Similar to Best Picture winner Spotlight (2015), journalism and its value to the public interest is a focus here. Steven Spielberg does a fantastic job keeping the forward motion of the story going. Meryl Streep is unlikely to win for Best Actress, as there are some great performances by women at the Academy Awards this year. Bob Odenkirk, from Breaking Bad and Better Call Saul fame, is cast well as Bagdikian and plays his role brilliantly. Liz Hannah and Josh Singer wrote the screenplay. Josh  co-wrote the screenplay for Spotlight, for which he won Best Original Screenplay at the Academy Awards. The Post is a great film and one I hope you’ll watch. It is rated PG-13 for language and brief war violence.

Abacus: Small Enough to Jail

Abacus: Small Enough to Jail is nominated for Best Documentary Feature at the Academy Awards. Remember that financial crisis that happened back in 2008? When the financial institutions committed financial crimes and mortgage fraud that affected an astounding number of people in America? And how not one of the banks or its employees were brought to a reckoning for what they perpetrated, much less had to face consequences for the crimes?

Ah, but there was one bank that was prosecuted: Abacus Federal Savings Bank in Manhattan’s Chinatown, New York City. This film is the story of that trial and subsequent outcome.

Thomas Sung came to America as an immigrant, as did many Chinese who settled in this case in New York City, making a community for themselves not unlike what was the norm in their villages in China. Mr. Sung was a well-educated attorney, and decided that in order to help his community, he will open a financial institution, Abacus Federal Savings Bank. (An abacus is a type of calculator that was used in China before the advent of computers.)

Unfortunately, Mr. Sung has a few employees, and one in particular, who is unethical and is seeing to it that those applying for home loans are approved even if they are not really qualified. Just like all the other banks are doing during the same time period. The difference is, Mr. Sung doesn’t know about it. When he and his daughters, Jill Sung and Vera Sung, who both work at the bank, discover it, the employee is promptly fired.

But the District Attorney’s office brings them to trial anyway, in a blatant racist move. Coincidentally, his third daughter has been working for the DA’s office and resigns when the conflict of interest becomes evident.

I thought that the filmmaker, Steve James, did a good job of explaining complicated financial matters in an engrossing manner, as well as showing the trial progress through artist drawings sketched after the fact. Mr. Sung, his wife Hwei Lin, and his daughters appear in the film, as well as people from the DA’s office, which was surprising. Guess that office hoped to vindicate themselves for actions taken.

Why should you watch this film you may ask? Just to get incensed all over again about the way financial institutions gutted the savings and foreclosed homes of people they never should have approved in the first place? Not just that. Abacus: Small Enough to Jail is a fascinating look at a part of New York City where hard working immigrants do their best to survive in a community that is perhaps more closely knit than any other you may find in America. Everyone knows everyone else here it seems, and you can’t say that for most people living in bedroom communities across America.

Still the prejudice and labeling that went down in this investigation and subsequent court trial when no other banks were prosecuted is shameful. America has a long way to go. Start with your vote.

The Breadwinner

The Breadwinner has been nominated for Best Animated Feature Film at the Academy Awards. The screenplay was written by Anita Doron and Deborah Ellis, and is based on the children’s novel, The Breadwinner, by Deborah Ellis. The film is rated PG-13 for thematic material including some violent images. The dialogue is in English. Angelina Jolie was executive producer for this thought provoking and visually striking film. An engaging story, it is about the life of a young girl, Parvana, living with her family in Afghanistan.

Parvana is an 11-year-old girl growing up under the Taliban in 2001. Her father is wrongfully arrested and taken to prison, and this places her mother Fattema, sister Soraya, and baby brother in peril without a man to provide for them. Parvana is ridiculed and threatened by neighbor boys, especially after her father is taken away. She serendipitously meets a friend, Shauzia, who has changed her identity to that of a boy and has become streetwise. Shauzia is willing to help Parvana with a similar deception. Women are not to appear in public without a male, and Parvana finds a way to navigate the job she takes on as breadwinner by cutting her hair and dressing as a boy. She is emboldened by the freedom this gives her.

Within the film is a mythical tale running parallel to Parvana’s story. She tells this story in pieces to her baby brother. Filled with beautiful, evocative imagery, the story Parvana tells her brother and really herself, adds richness to the very real situation that she encounters with no father to care for them. The mythology is really about childhood empowerment, and is a tale she had heard from her father about a boy who seeks to recover the stolen seeds of his village from the Elephant King. There is much danger along the path of this boy’s journey as he tries to retrieve what are rightfully the village’s seeds for the future, much like it is for Parvana, who decides to go to the prison where her father is held and ask for his release.

The story brought to mind another film where a female impersonates a male. A woman yearning for knowledge in a culture that does not support education for women, Yentl dresses as a man in order to study with other scholars and experience a freedom women could not. The film is Yentl with Barbara Streisand in the leading role, and is a tale that takes place in Jewish culture.

The Breadwinner is also in another culture that you might say is quite different from American culture and Christianity. I think it is good to hear these types of stories as it helps us understand other cultures and shows the similarities especially in women’s lives under the subjugation of men, and the discrimination that occurs. Also significant is the part of the story about people just trying to live as a family caught between empires fighting for dominance. I recommend The Breadwinner to you.

Victoria & Abdul

Victoria & Abdul is a historical and biographical drama about Queen Victoria and her friendship with a young Indian clerk, Abdul Karim. It was nominated for two Academy Awards for Best Costume Design, and Best Makeup and Hairstyling. The film is rated PG-13 for some thematic elements and language.

Queen Victoria (Judi Dench) is in her 80’s, and has recently become Empress of India as her empire continues to expand. In 1887, two Indians from Agra are summoned to England to present the Queen with a mohur, which is a gold coin that has been minted in India to honor the Empress. Abdul Karim (Ali Fazal) is excited to be sailing the oceans on an adventure, whereas his companion Mohammed (Adeel Akhtar) is less than thrilled.

The subsequent ceremony to present the Queen with the mohur is really something to be seen. Victoria is charmed by Abdul’s innocence and allegiance to her, and they become friends at her insistence. She asks him to remain in England to teach her Hindi and the Qur’an. He insists that to learn Urdu is more suited to someone of her standing, and the Queen proves to be an apt pupil, to the consternation of her staff, advisors, and son Bertie, Prince of Wales (Eddie Izzard). She practices penmanship, speaking the Urdu language, and reading the Qur’an. She refers to Abdul as her Munshi, a term used for native language teachers at that time.

The film shows us the prejudice and racism that prevailed at the time of the occupation of India by British troops. Abdul is not just Indian, he is a Muslim, and is scorned, plotted against, and the Queen’s staff threatens to walk out if he remains on site. Her advisors would like to prove she is insane, which she most definitely is not. Abdul remains devoted to the aged queen until her death.

Stephen Frears, who also directed Philomena, The Queen, and Dangerous Liaisons, directed Victoria & Abdul. The screenplay was written by Lee Hall, and was based on the book by Shrabani Basu. Ms. Basu discovered the hidden friendship between the two unlikely companions during a visit to the Isle of Wight’s Osborne House, where she noticed a portrait of an Indian servant in the Durbar Room that did not appear to be the likeness of a servant. She began research into who Abdul Karim really was, and what he meant to the Queen. She wrote Victoria and Abdul: The True Story of the Queen’s Closest Confidant after four years of extensive research.

These stories are essential to tell as we come to terms with empire, and the accompanying subjugation of native peoples that has occurred throughout recorded time. I enjoyed this film, and learning about Ms. Basu’s dedicated search for the truth about Victoria and Abdul. Here is a link to an excellent article about her search for the truth: http://time.com/4941313/victoria-and-abdul-true-story-shrabani-basu/ I hope you enjoy Victoria & Abdul and the history behind the film as much as I did.

Dunkirk

Dunkirk has been nominated for Best Picture, Director, Cinematography, Film Editing, Original Score, Production Design, Sound Editing, and Sound Mixing at the Academy Awards. There are no acting nominations among these, and that’s because this is a war movie with lots of action and sometimes long drawn out scenes of waiting. Waiting to see if a soldier will escape detection by the enemy, waiting to see if the boats sailing across the English Channel will arrive in time to save the Allied troops, and waiting to see if any RAF pilots will prevail in the skies over the Germans. The historic evacuation of Allied soldiers from certain death by the Nazis, who have them surrounded and pinned in on the beach, occurs in May 1940.

The film is rated PG-13 for intense war experience and some language. I will first provide you with a few pointers to make your viewing of Dunkirk, if you haven’t already seen it, more enjoyable and less frustrating for you.

Number one: Turn on the subtitles on your TV. I am shamefaced to admit that I have difficulty hearing what British actors are saying due to their accents. Additionally, with the near constant drone of airplanes, boat engines, and screaming men, I had trouble hearing the dialogue. You will thank me for this tip if you’re watching the film at home.

Number two: At the beginning of the movie, the “Mole” is referred to. I looked this up and the mole is a long concrete jetty that protects a beach. It is not referring to a spy. Knowing this helps you understand what Commander Bolton (Kenneth Branagh) is talking about when he describes the difficulty of getting any large craft close enough to shore to take on any men. The Nazi bombing had rendered the harbor useless, and the only way large ships could get close enough to shore to rescue anyone was by sidling up to one of the two moles.

Number three: The film alternates between three points of view during the relatively short time of the Dunkirk rescues. These are labeled at the beginning of the film. The “Mole” scenes on the beaches of France take place over the space of one week. The scenes at sea where the British civilian craft are deployed to rescue the troops encompasses one day. The planes flying overhead take one hour. If you understand this when you watch, you can see how these three points of view move forward to meet near the end of the film.

I liked Dunkirk. The writer/director Christopher Nolan did a good job showing what it may have been like for the three groups of men, and a few women who were nurses or were on board some of the ships that came for the rescue. The musical score with its percussive tones, composed by Hans Zimmer, accompanied the film’s action well. It is a different type of war movie, in a good way. I recommend that you see Dunkirk.