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MOVIE REVIEW: Blue Valentine

This movie is best known for the fact that it was initially slapped with an NC-17 rating by the MPAA, a commercial kiss of death.

My wife and I wisely passed on seeing Blue Valentine on Valentine’s Day. Instead, we watched it on Presidents Day.

It is about love gone sour, and the flashbacks to a happier time, when love was fresh and exciting and not stifled by the routine or pathology. Michelle Williams, Oscar-nominated for this film, and Ryan Gosling, who could have been, are also executive producers of the film, which suggests that the actors really believed in the story. The film makes it easy to tell when the film is in the present-day and when it’s in flashbacks. Much of it is well done.

From John Rodat’s essay in Metroland: “Much of the dialogue of Blue Valentine was improvised, and the actors went to some lengths to develop a real-life closeness to facilitate the conversation. Early scenes of the meeting and courtship were filmed first, with later scenes of their married life waiting until after the stars had rented a house together, living and shopping on a budget appropriate to the circumstances of their characters, and learning to bicker.”

Yet we both found the film depressing as all get out. There’s no “if only he did this” or “she did that.” Love just dies. I admit I looked at my watch when one more reminder of what was once good flashed across the scene.

This movie is best known for the fact that it was initially slapped with an NC-17 rating by the MPAA, a commercial kiss of death, not that it’s going to generate boffo box office. The ruling was successfully appealed, and the simulated oral sex scene which had generated the original ruling didn’t seem any more provocative to me than any other simulated sex scene in an R-rated film.

Still, I just can’t imagine seeing this movie again, unless I have a burning need to be in a melancholy mood.

Movie Anagrams

These aren’t necessarily who I want to win – I’d take Rush over Bale, for one – but who I THINK will win.

During the trivia contest in which a friend regularly participates, one of the categories was ‘movie title anagrams’. Since it’s Oscar week, see how many you can get in the same allotted ten minutes.

1. The Rave Bra
2. That Mixer
3. Tiger Rut
4. Haled Wirer
5. Local Rattle
6. Whale on Plate
7. Mayfly Raid
8. Pan Tool
9. New Tramp Toy
10. Greet a Pest Ache

I won’t approve any quiz answers for the first 24 hours, so everyone will be on equal footing.

I had written about my early Oscar picks here four weeks ago. I had intended to see several more films in the intervening time, but life (and death) got in the way. The only full-length movie I’ve seen since then is Blue Valentine, about which I will write soon. So I guess I’ll let my picks from last month stand: Firth, Bale, Portman and Steinfeld in the acting categories; The Social Network and The King’s Speech in the screenplay categories; The King’s Speech for Best Picture. Which means I have to actually make a selection for Best Director, and my gut says The Social Network’s David Fincher over The King’s Speech’s Tom Hooper, with the Academy spreading the wealth. These aren’t necessarily who I want to win – I’d take Rush over Bale, for one – but who I THINK will win.

The Best Picture vote uses Instant Runoff Voting. What does that mean? See HERE.

Film Review-Oscar shorts, live action

It was Valentine’s Day. The wife and I had a long-standing commitment for a child sitter, and movie passes for The Spectrum Theatre in Albany. Obviously, my grandiose plan to see more Academy Award films had put aside in the past two weeks, so seeing a nominee was my preference. But what? She didn’t want to see True Grit. Watching Blue Valentine, a movie about a disintegrating romance, didn’t seem quite right. Nor did seeing separate movies – she wants to see The Social Network, I The Black Swan.

So we decided to see five movies instead, those Oscar-nominated for best live action short films. The descriptions are from Oscar.com.

The Confession – Tanel Toom (UK-25 minutes)
“A young boy preparing for his first confession worries that he has no sins to report, so he enlists a friend’s help in committing one.”
And it’s a pretty minor one, actually, but one that has consequences. Moody, with a bunch of pointed symbolism, well acted, especially the lead boy. I’m told it’s got the Oscar buzz. A brief clip.

Wish 143 – Ian Barnes and Samantha Waite (UK-24 minutes)
“When a terminally ill young boy is granted a wish by a charitable foundation, he makes a surprising request.”
Actually, he’s an older boy, though not an adult, and what he wants is not to die a virgin, which is a bit of a conumdrum to his priest friend. It has humor and pathos, and it was my favorite of the five. A clip.

Na Wewe– Ivan Goldschmidt (Belgium-19 minutes)
“In 1994, as the Rwandan genocide spills over into neighboring Burundi, a bus is attacked by a group of rebels.”
Very tense; I was awaiting the slaughter, yet imdb called it a comedy? Well, maybe a subtle comedy. Na Wewe means You Too in Kirundi. Looks like the kind of film the Academy would like. A clip.

The Crush -Michael Creagh (Ireland-15 minutes)
“Eight-year-old Ardal has a crush on his teacher and is devastated to learn she has a fiancé.”
And Ardal finds the fiancé unworthy and calls him out. My wife’s favorite film. A clip.

God of Love – Luke Matheny (US-18 minutes)
“A love triangle between two musicians and a young woman takes a surprising turn when one of them finds a collection of magical darts.”
Appropriate for Valentine’s day, though probably the most lightweight of the five. Feels Woody Allenesque somehow. The trailer.

Unsurprisingly, all of the filmmakers are first-time nominees. “The Academy’s entire active membership is eligible to select Oscar winners in all categories, although in five – Animated Short Film, Live Action Short Film, Documentary Feature, Documentary Short Subject, and Foreign Language Film – members can vote only after attesting they have seen all of the nominated films in those categories.”

Old Father 2010

I’m no more, or less, disillusioned by politics than I was last year.

So what kind of year was 2010?

I’m still sad that my local YMCA closed. I was a member there from December 1982 to April 2010. I played racquetball there, and occasionally volleyball as well. My attempt to play racquetball elsewhere proved unworkable.

My bike was stolen; majorly bummed by that.

The blog I do for the Times Union newspaper got excerpted in the print edition at least a half dozen times this year. The problem with that, of course, is that the blurb may be confusing to the reader out of context. Still, people actually recognize me from this, which, I guess, is a good thing. I’m notorious enough to be asked to participate in that To Kill A Mockingbird readathon.

I’ve been attending my current church and singing in the choir for 10 years. We got a new choir director this fall. After eight years of stability, the last couple of years were full of transition in the leadership of the choir; hope this guy sticks around a while. I’ve been a Presbyterian for eight years, after being a Methodist – or nothing – for most of my life; STILL learning about it.

I attended no funerals this year; that’s actually quite unusual for me.

After attending the school where my wife works for a year, my daughter is now attending her neighborhood school in the city, and I take her there most days, while her mother picks her up.

We’re going to an international reunion next year, and we all got passports, not just on the last day, but the last 15 minutes, before the rates went up.

I’m no more, or less, disillusioned by politics than I was last year.

When the Golden Globes movie nominations came out, I realized that, outside of the animated films, of which I saw Toy Story 3, Tangled, and 30 minutes of Despicable Me, I saw only one movie for which either the actors and/or the film was nominated, and that was The Kids Are All Right.

My TV DVR is constantly at 75% full, give or take 10 percentage points. I have yet to see an episode of 30 Rock or The Office for this season, I’m weeks behind on Glee. I skipped the JEOPARDY! college tournament. I AM up-to-date with The Closer and Grey’s Anatomy, however.

I have in excess of 140 sick days available at work, a function of being there 18 years.

I blogged every day this year, again.

Johnny B. re Captain Beefheart

I didn’t realize until I saw this TCM clip that THREE members of the cast of the movie Airplane! died this year: Peter Graves, Barbara Billingsly, and Leslie Nielsen.

Steve Bissette Tackles the Hate Movies

The late Gail Fisher, who is best know for playing Peggy Fair on the detective series Mannix, starred in The New Girl, and it also featured Edward Asner.

Not only is my good buddy Steve Bissette a great comic book artist, he is a cultural historian. First, he linked to a booklet created by Steve Canyon artist Milton Caniff on How to Spot Someone of Japanese Descent, but the terminology used was less appropriate.

Then he put together a series on posts on what he calls Hate Movies:

1. The horrific anti-Japanese propaganda “documentaries” during and after WW2, and well into the early 1960s

2. The 1960s exploitation movies that played upon racist fears of miscegenation, black-and-white sexual relations, and so on (from which I purloined the image to the left).
Discussion of movie titles such as I Passed for White and My Baby Is Black.

3. How to Deal with Racial Conflict Head-On & Fail at the Boxoffice, Whatever Your Race – the harder to summarize, confrontational race conflict dramas of the 1960s.
Features a six-minute clip of a pre-Star Trek William Shatner in the title role as The Intruder, plus a discussion of the film by Shatner and director Roger Corman. Also a discussion of actor Sidney Poitier and writer LeRoi Jones/Amiri Baraka.

3 APPENDIX. What Happened to The Intruder?
Mike Ripps’ versions of Bayou aka Poor White Trash (trailer) and Roger Corman’s The Intruder under the title Shame (the whole thing).

4. Turning Up the Heat: Bill, Juan, & Leroi, Then & Today Or, What Do You Call Angry Anti-Hate Hate Movies? Whatever You Call Them, Don’t Call Them Late for Supper!
LeRoi Jones’s Dutchman (1966), which will feature in the next eight segments. The Negro Handbook and the Negro Motorist Green Book; and is there anti-white xenophobia? Also featuring FOX News and the firing of Juan Williams from NPR.

The series was briefly interrupted as explained HERE.

5. Subversion on the Subway. LeRoi Jones/Amiri Imamu Baraka’s Dutchman and Jones’ wife Hettie Jones.

6. Lula’s Roots: Little Sisters, Passing Pinkies, Poor White Trash. Antecedents of Dutchman’s Lulu in such diverse fare as D.W. Griffith’s Birth of a Nation (1915), Fritz Lang and Thea Von Harbou’s Metropolis (1927), Elia Kazan’s Pinky (1949), Douglas Sirk’s Imitation of Life (1959), Robert Mulligan’s To Kill a Mockingbird (1962), and Norman Jewison’s In the Heat of the Night (1967).
I was most fascinated by “Lewis Freeman’s government-produced educational short film The New Girl (1959), produced for the President’s Committee on Government Contracts, created by Republican President Dwight D. Eisenhower in August, 1953 and …chaired by none other than Vice-President Richard M. Nixon.” The late Gail Fisher, who is best know for playing more-than-just-a-secretary Peggy Fair on the detective series Mannix, starred, and it also featured Edward Asner. Steve linked to it, but I thought I would as well:
PART 1 and PART 2.

7. On a Downtown Train…Cashing Out Clay. More on Dutchman, plus Amiri Imamu poetry.

8. From Lula to Lulu: Making Manhattan in London – Underground, Overseas. Dutchman and the Beatles films link; Black Like Me; To Sir With Love; and an episode of The Outer Limits.

9. Bring Out Your Dead…”The Jones Boys”: Carrying Clay. Clay, the black male character in Dutchman, as he relates to the music of Charles Mingus, and the assassinations of Malcolm X, Martin Luther King and Fred Hampton.

10. Going Continental: Continental Divides. The distribution of Dutchman by Walter Reade/Sterling, which also was responsible for Lord of the Flies, Black Like Me, Ghidrah, Night of the Living Dead, Dr. Who and the Daleks, and Slaves.

11. Dutchman: Contemporaries, Ripples & Shockwaves. Masculin, Féminin; The Brig; Marat/Sade; very early Brian DePalma films such as Hi, Mom!; Be Black; and Paradise Now, which Steve rightly suggests is an antecedent to to the Broadway musical Hair.

12. Uncle Toms, Watermelon Men, Sweet Sweetback & Mandingos. “Being a potpourri of images, quotes, and links that relate to, summarize and/or surround the essay installments I’ve posted to date…” Including the “blaxplotation” films of the early 1970s, such as Watermelon Man (1970). the brutal Fight For Your Life (1977), and the pivotal Melvin van Peebles work, Sweet Sweetback’s Baadasssss Song (1971).

EPILOGUE: White Trash, Blaxploitation, Hate Movies & Continental Blues. Or; Final Look at What I Was Talking About All Month
A summary, but mentions a Leadbelly movie I need to know more about.

It’s fair to say that there is a LOT of material here, and the blogposts are a first draft of a project Steve is working on. As he then noted, the postings “prompted deeper research into some venues, and I’m expanding and considerably revising a print version of this essay for publication later this year in one of my collected editions of my fanzine/magazine/online writings on genre films.” Also, at the end of each segment, he writes, “Please note: I do not condone or share the views expressed in the archival images presented in this serialized essay at Myrant. I share them here for historical, educational, and entertainment purposes only.”