Announcing the “Dual Roles Blogathon: One Actor ~ Multiple Roles”

Check out the Dual Roles Blogathon: One Actor ~ Multiple Roles — accepting submissions now!

Christina Wehner

Dual Role BannersThere is something particularly riveting about watching a film where an actor plays more than one role. Ronald Colman in The Prisoner of Zenda, Hayley Mills in The Parent Trap, Michael J. Fox in the three Back to the Future films. Even Ginger Rogers in The Major and the Minor.

It is that combination of technical know-how, make-up, and the sheer skill of an individual actor that produces the peculiar exhilaration one can feel. Cinema is, after all, about role playing and the illusion of reality, an image of reality. What can typify this more than the concept of dual or multiple roles?

In that spirit, Ruth of Silver Screenings and I are so excited to announce the Dual Roles Blogathon: One Actor ~ Multiple Roles.

Time – Friday, Sept. 30th – Sunday, Oct. 2nd

Rules – Duplicate posts on the same film are most welcome (it seems…

View original post 127 more words

Weekly Round-Up: July 10-16, 2016

ghostbusters-2016-cast-proton-packs-images-1200x601

Last week, I saw:

  • Her (2013) – The instant the film ended, my friend asked, “And why isn’t this Criterion?” Her is nothing short of brilliant, exploring universal themes of relationships and connection set in the not-too-distant future. In a similar level to Inside OutHer is a profound and emotional statement on the human experience. HIGHLY RECOMMENDED.
  • Le Amiche (1955) – I love movies about rich people, but I’m still brewing about how I feel on Le Amiche (I’m always iffy with Antonioni). Five girlfriends, including one newcomer, in postwar Turin share gossip and boyfriends. Each is well defined, and her intentions made clear to the audience. The story felt a little slow and directionless, but was also true to life…. yeah, still out on this one. TBD.
  • Ghostbusters (2016) – I almost liked this one. I really wanted to like it. Kristen Wiig is the standout comedy actress of our time, and the rest of the gang all has done solid work in the past. As the movie went on, certain elements just started chipping away at my overall enjoyment – lines would misfire, we’d revert back to lazy “jump” scares, and worst of all, cameos/throwback moments thrown in for… what exactly?  To elevate the quality of the film? (This Dorkly post on the continuity of ghosts didn’t help either.) NOT RECOMMENDED.
  • Armageddon (1998) – This big-budget disaster movie is a bona fide disaster, with director Michael Bay either unaware or unwilling to bring it down. From the opening titles literally exploding to Liv Tyler & Ben Affleck embracing in a NASA rocketship, everything in Armageddon is laughable. I’m amazed this hasn’t become a camp classic a la Mommie Dearest or Valley of the Dolls, but we need to make that happen. NOT RECOMMENDED.

What did you see last week? Am I wrong about the new Ghostbusters?

Weekly Round-Up: July 03-09, 2016

hero_eb20060420reviews60419004ar

I can’t believe I went an entire week (June 26 – July 02) without any movies. And this week was a slow one too! I saw:

  • The Notorious Bettie Page (2005) – Very thoughtful and respectful biopic of the pin-up queen of the 1950s. The film’s greatest strength, and bravery, lies in its blending of Miss Page’s career choices and spirituality not as contradictory, but complementary in forming a complex, confident woman of the 20th century. Gretchen Mol shines in the title role. RECOMMENDED.
  • Ghostbusters (1984) – Rewatching the original to prep for the remake’s launch the following week. It’s been years since I’d seen it, so I was a little surprised by the slower-than-expected pacing as well as the dirty jokes (PG was a different time back then!), but the moments of sheer insanity are still thrilling. RECOMMENDED.
  • Ghostbusters II (1989) – First time with this one – not quite as good as the original, but there were some great laugh-out-loud gags and character interactions. RECOMMENDED.

What did you see two weeks ago?

Criterion Collection: Oct. 2016 Titles

pan-s-labyrinth-pans-labyrinth-4028996-960-540

I had fully set my expectations for next week, but lo and behold here came the new titles announcement right on (unofficial) schedule, the 15th of the month!

We’ve got a couple that were confirmed plus a few that weren’t even on my radar – excited to check them out!

  • The Executioner
  • The Tree of Wooden Clogs
  • Short Cuts – Blu-ray upgrade
  • Boyhood – This one is the “winner” of the month for me. Loved it when I first saw it in theaters almost two years ago and have been holding off for the long-confirmed Criterion release. My original review is posted here, and can’t wait to revisit this film in October with even more perspective of time and growing up.
  • Pan’s Labyrinth – I liked (but not loved) Guillermo del Toro’s dark fairy tale when it first came out, but I’ll probably rent it again to double-check before its Criterion release.

Which titles are you picking up?

2016 Check-In

2016 Part 1

2016 in film has been an interesting year to say the least.

This summer is all but cursed, with disappointing sequels and lackluster starts to would-be franchises opening nearly every weekend. The term “box office poison” was used to describe Hollywood stars of the 1930s, but one could almost apply it to the bizarro movie season we’ve had lately.

In between the weeds, however, several sequels and original stories are making an impact among audiences and critics alike. Some of my favorites from 2016, in order of release, are:

  • The Witch – An early American horror film with arthouse sensibilities. This wasn’t for all audiences (I recall a fella in my crowd declaring “This some bullshit!” as the house lights came back on), but The Witch is just the right pace for the set who prefers slow-cooking scares over a torrent of “jump” scares.
  • Zootopia – For a film buff, the best kind of movie-going experience is getting to revisit a classic and uncover layer upon layer with each additional viewing. Zootopia is one such film, and after four viewings (in less than one year, mind you) I always find something new in this remarkably mature, complicated take on inequality and prejudice in the animal kingdom (which isn’t too different from ours). I’m still amazed, but greatly pleased, that this dialogue-driven, morally challenging animated flick has been such a hit with audiences.
  • Finding Dory – I’m too in the “honeymoon phase” to say whether this sequel surpasses its classic predecessor, but Finding Dory offers a substantially different and more emotionally resonant story than Nemo did over ten years ago. Similar to Zootopia, this movie about talking sea life is an often upsetting look at how we treat nature and each other.

I’m also just now realizing that my three favorite films of 2016 all feature talking animals.

What are your favorite movies of 2016 (so far)? Reply below in the comments!

 

Work, Work: Repetition and Circular Songwriting in “Hamilton”

schuylersisters

Look at where you are. Look at where you started.

Most songs, whether on the radio, on stage, on film, follow the basic “Verse-Chorus” structure. If the Chorus is the “thesis,” or point of the piece, the Verse is the “body paragraph,” providing specifics, examples, additional color to flesh out the key message of the Chorus.

The music of Lin-Manuel Miranda’s Hamilton shatters this convention. Its score can be described as less like a traditional book musical, and more like an opera, set to a hip-hop, R&B, and pop score. A few numbers fit within traditional song templates (there are nearly 50 songs), while the bulk of it is more on the operatic side, with musical moments and ideas presented, then swirling to another phrase, then back again.

Hamilton is almost the anti-musical, presenting what I consider “circular” songs: presenting one single instance, frozen in time and/or inviting us in media res, flooding us with context, then snapping back to the present. They have elements of the traditional “Verse-Chorus” template, but have a unique structure all to their own.

One example of this is the terrific introduction to The Schuyler Sisters. Three high-class ladies hit the New York scene, introducing themselves by name: “Angelica, Eliza, and Peggy: the Schuyler Sisters.” Led by Angelica, the trio rebuffs men’s romantic advances for more intellectual pursuits: discussing Thomas Payne’s Common Sense, politics, and gender equality. They all agree that “History is happening in Manhattan, and [they] just happen to be in the greatest city in the world.” The song expands, as a hearty ensemble joins them for another chorus before we lock back into the opening refrain: “Angelica, Eliza, and Peggy: the Schuyler Sisters!”

Not only is this song immensely entertaining, but it leaves a considerable impression for essentially starting and ending at the same place – the opening “Angelica, Eliza, and Peggy” introduction, rather than the song’s chorus. In the narrative proper for this show (excluding the opening number), literally the first words out of each sister’s mouth is her name – seemingly the basest level of introduction. The song turns out to be anything but, as we learn more about the different personalities, attitudes, and minds of these modern, well-rounded women. The reaffirmation at the song’s conclusion, their re-introduction, nails this home. They’re at the same place they were when the song started, but we’re not – three minutes later, we’ve been remarkably introduced to the Schuyler Sisters.

This songwriting in media res is even more profound for Angelica’s lead song Satisfied. She toasts the marriage of Eliza to Alexander Hamilton: “A toast to the groom, to the bride, from your sister who is always by your side. To your union and the hope that you provide, may you always be satisfied.” The number then literally “rewinds,” back to when Angelica first met Hamilton. She reflects (via rap) how quickly she judged him before passing him off to the instantly-smitten Eliza, regretting her choice now that the former has fallen for him herself. At the same time, however, she reminds herself that as the oldest sister, she has a responsibility to marry rich and look out for her sisters’ happiness. To have taken Hamilton for herself would have broken both 18th century codes.

The liquid piano line glides us back into the present, as she repeats her toast from the beginning – but now weighed down by the understanding and acceptance of her choice. Her tongue-twisting rap and rapid turn of phrase illustrates how quickly her mind works and all the thoughts and fears running through as she realizes, all in one instant, she will never be satisfied.

The traditional approach would have been each song concluding with the main Chorus, but instead, the songs wrap around back to their introductory phrases. The Schuyler Sisters and Satisfied are just two examples of how Hamilton turns the musical on its head, from classical “move-the-story-along” songs, to literally stopping the narrative action, working backwards to contextualize a key moment, then moving forward.

The effect of each song is less from a “message” driven home through a Chorus, and more in the reaffirmation of the opening phrase. To hinge a song on the repeating of a single phrase once, rather than multiple times (as a Chorus would have been), is an admirable exercise in restraint and creates an even greater musical impact. Hamilton is a remarkably rich score with terrific numbers, but these “circular” songs stand out among the best for their uniqueness and memorable power.

Weekly Round-Up: June 19-25, 2016

hail-caesar-1200x545_c

Last week I only saw three movies, as much more time was spent with family and friends (not a bad thing!) —

  • The Last Days of Disco (1998) – Whit Stillman is back with his fast-talking young urban professionals, who dress and look like the 90s but apparently are in the late 70s / early 80s. I had a hard time keeping all the names and characters straight, which might not have been of high import as the dialogue could have come from any of their mouths – each character was interchangeable. High marks for Kate Beckinsale playing a cold, oblivious roommate to Chloe Sevigny. NOT RECOMMENDED.
  • Hail, Caesar! (2016) – This didn’t hit as well as it did when I saw this in theaters a few months ago, but this Old Hollywood comedy is still charming and inspired. The whole (a kidnapping plot by Communists) is eh, while the sum of its parts (Channing Tatum tap-dancing, and anything with Alden Ehrenreich) is pretty great. RECOMMENDED.
  • The In-Laws (1979) – Insufferable action-comedy about a mild-mannered dentist whose daughter’s future father-in-law is a CIA agent who gets them caught up in wacky adventures! The acting was fine, but nothing about this was funny or entertaining. Wish I had my two hours back! NOT RECOMMENDED.

What did you see last week?

Weekly Round-Up: June 12-18, 2016

femaletrouble1-1600x900-c-default

Last week, I saw:

  • Finding Nemo (2003) – First time watching with Cine-Explore, a terrific commentary-esque feature with visual pop-ups including concept art and storyboards. The filmmaker’s insights on the parallels between father Marlin and son Nemo’s journeys were particularly compelling. REQUIRED.
  • Clouds of Sils Maria (2014) – This story of an aging actress and her dedicated assistant started off an an engaging foot, but I grew tired of these unlikable characters and scenes of wraparound dialogue that didn’t progress the story in a meaningful way. NOT RECOMMENDED.
  • The Damned Don’t Cry! (1950) – I love a good Joan Crawford vs. the world flick as much as the next guy, but this quasi-noir was a tough Doll to swallow. Joan Crawford goes from complacent, impoverished housewife to confident, sizzling seductress seemingly overnight… really? NOT RECOMMENDED.
  • Female Trouble (1974) – Wacky John Waters tale of a disturbed young lady who balances being a mother with a rise to stardom as a violent supermodel. Not sure if I like this as much as Pink Flamingos, but still an outrageously fun time. Special shout-out to the theme song, sung by Divine herself! RECOMMENDED.
  • Mommie Dearest (1981) – One of my absolute favorite, could-watch-this-everyday kind of movies, and finally got to see it on the big screen. Terrific audience, shrieking with laughter at all the right times and even reciting entire scenes of poetic dialogue back at the screen. HIGHLY RECOMMENDED.
  • Finding Dory (2016) – This immensely worthy sequel is more painful, devastating, and emotionally satisfying than its predecessor. An absolute knockout. REQUIRED.

What did you see last week?