Movie review: American Fiction

Jeffrey Wright in a rare lead performance

As a bribe to get her to update her passport, I took my daughter to lunch, and then we bused to the Spectrum 8 Theatre in Albany to see the new film American Fiction on a snowy Tuesday afternoon (January 16) in a near-empty room.

If you’ve seen the trailer, you know that Theolonious ‘Monk’ Ellison (Jeffrey Wright) is a prickly black novelist frustrated that his writing is not “Black enough” to sell many books. At a book conference, he sees how the new book by Sintara (Issa Rae) receives thunderous applause for its portrayal of the Black experience.

Under a pseudonym, Monk writes what he considers an outlandish “Black” book of his own and has to deal with the consequences of the book’s release.

But that’s not all the film was. It touches on family dynamics, specifically Monk and his siblings Lisa (Tracee Ellis Ross) and Cliff (Sterling K. Brown), including how to take care of their aging mother (Leslie Uggams). Who was the favorite child? How do those characteristics get passed down, particularly as one relates to others, such as Monk’s potential girlfriend, Coraline (Erika Alexander)? That throughline alone was worth the price of admission.

I laughed aloud several times and often nodded my head in an “oh, yeah” agreement.

They’re missing the point.

As is my wont, I like to look at negative reviews on Rotten Tomatoes. Sometimes, it speaks to how I was feeling. Occasionally, it points out something I might have missed. In this case, I think most of the 7% who didn’t recommend the film missed the point.

“A buzzy film adaptation of Percival Everett’s Erasure, a novel about publishing’s racial politics, misreads what is truly ailing the book industry.” I don’t think it was explicitly supposed to be specifically about the book industry, but rather about how even well-meaning white people can get the issue of race so wrong. My daughter said that one character in particular reminded her of of someone we both knew, and I totally see it.

“By softening the blow with its cuddly human side, American Fiction feels too self-satisfied by half.” The film needed the human side, especially Lorraine (Myra Lucretia Taylor), the Ellisons’ long-time housekeeper, to help contextualize the portrayals.

“American Fiction is an intriguing conundrum. It starts as a sizzling, hilarious satire that manages to sling pointed arrows at most of its targets. However, by trying to become too many things, it ends up sanding the edges off its sharpness.” I LIKED the “too many things” because these people are complex. One critic suggested Monk was “flat,” but he seemed pretty authentic to me.

The ending is a bit murky, but I don’t much care. American Fiction may be my favorite 2023 film, but I must ruminate on it more.

Book review: Prequel by Rachel Maddow

pro-Nazi, isolationist literature

You will probably remember reading about the fear of Communism in the 1950s United States, with Senator Joe McCarthy leading the way. But there was also a Red Scare in the 1930s.

This led some folks, including within the US government, to lean into the leadership of that dynamic leader in Germany, Adolf Hitler. The Germans were happy to provide Americans with the needed propaganda.

This is the takeaway after reading Rachel Maddow’s new book, Prequel: An American Fight Against Fascism, inspired by her work for the Ultra podcast.  While there were many villains in the narrative, there were also several heroes. She talked with MSNBC’s Lawrence O’Donnell about how she discovered the largely forgotten threat to American democracy revealed in the podcast.

The book has so many characters that she spends three pages briefly describing 30 people who will appear. The book is not in strict chronological order, though the info after the US entered WWII in 1941 is mostly so.

Loyalty to his homeland

The first is George Viereck, a Munich-born who immigrated to the US with his parents to America when he was eleven. The writer distinguished himself as “an advocate to the American public for his beloved fatherland,” starting with World War I.

After the War, he cultivated relationships with more celebrated men”: Kaiser Wilhelm II, Henry Ford, Nikola Tesla, Benito Mussolini, Albert Einstein, and others. Dr. Sigmund Freud suggested that he sought a father figure, and Vierick found him in a man five years his junior, Adolf Hitler.

Another character was Philip Johnson, who had lots of family money and would become a significant architect.  He helped form the Gray Shirts in the US, inspired by the Brownshirts.

Meanwhile, in 1933, the German Foreign Office “dispatched a young man named Heinrich Krieger to the University of Arkansas School of Law.” [He learned all about “race law” in the United States, how Jim Crow laws “were… just one of many bulwarks in American law constructed for the protection of white people from the “lower races” Germany used it as a blueprint for an ethnic hierarchy.

Yellow journalism

Some of these names are unfamiliar. Here’s one you’ll know: Henry Ford, whose antisemitism was “rank, and it was unchecked.” One of the staffers of the Dearborn Independent, a newspaper owned by Ford, recommended a sensationalist approach. The paper came across the “newly translated edition” of “Protocols of the Meetings of the Learned Elders of Zion.” It was “the work of rabidly antisemitic Russian fabulists furious at the Bolsheviks’ toppling of the old tsarist aristocracy.’ In Mein Kampf, published Hitler lifted ideas from Ford’s writings and namechecked him.

By the 1930s, Nazism had become normalized in large swaths of the United States. The situation is described in the book, but you should note The Nazis of New York from Now I Know.

There were several plots to sabotage the US in several ways. Leon Lewis, an “antifascist spymaster of Southern California, and his agents provided evidence of sedition, but the FBI was not initially interested.

There were Congressional hearings. Witnesses such as General George Van Horn, who wanted to be the American fuhrer “but was unwilling to risk his U.S. Army pension to do so,” were allowed to drop astonishingly antisemitic diatribes into his prepared testimony.

Hollywood!

Among the films released in 1939, such as Stagecoach, Gone With The Wind, and The Wizard Of Oz, here’s the most unlikely. Warner Brothers put out a film in 1939 called Confessions Of A Nazi Spy, a ripped-from-the-headlines thriller about four German-Americans were charged with spying on U.S. military installations… The espionage plot went all the way to the Nazi-led government in Germany, implicating Göring (president of the Reichstag), Goebbels (minister of propaganda), and even Adolf Hitler himself.”

The movie was very controversial because cinema was supposed to be entertainment. Louis B. Meyer held a party for Lionel Barrymore “on the eve of his 61st birthday” to keep his MGM actors and staff far from the Nazi Spy opening.

“During filming, a sixty-pound piece of equipment fell… and barely missed the film’s biggest name, Edward G. Robinson.” It was a clear case of sabotage.

The Production Code Administration, the industry censor that looked for “swearing, drugs, nudity, sex, gore, religion, and racial controversy,” also enforced a “subjective, amorphous sort of ban on political proselytizing. So the PCA, which had been lobbied by the German consulate in Los Angeles, to be “on the lookout for anti-Nazi sentiment in American movies.” The movie was made, miraculously, but mentions of antisemitism, and even the words Jew or Jewish, were scrubbed.

Propagandist

Still, Goebbels is quoted in the film. “From now on, National Socialism in the United States must wrap itself in the American flag. It must appear to be a defense of Americanism. But at the same time, our aim must always be to discredit conditions there in the United States. And in this way, make life in Germany admired and wished for. Racial and religious hatred must be fostered on the basis of American-Aryanism. Classism must be encouraged in a way that the labor and the middle classes will become confused and antagonistic. In the ensuing chaos, we will be able to take control.”

Religion

Father Charles Coughlin was the “antisemitic ‘Radio Priest’ with an audience in the tens of millions. His sermon after Kristallnacht in November 1938 “conveyed that Jews of Germany had brought this violence upon themselves by their ‘aggressiveness and initiative’…There was a lot more to worry about in the commies killing Christians than there was in Germans (or anyone else)killing Jews.”

The paramilitary Christian Front, under the leadership of John F. Cassidy, Coughlin’s handpicked appointee, trained to shoot at targets of FDR. They were armed with weapons of war, such as automatic rifles.

Historian Charles Gallagher began obtaining the FBI files about the Christian Front in 2010. “Not only were these religious crusaders determined to carry out their mission, but they also had real support inside the National Guard and the New York City Police Department.” Yet the group, even after the FBI arrested several members, was widely perceived  as “more frightened than revolutionary.”

“Promiscuous Use of His Frank”

Henry Hoke, “direct market guru,” had uncovered a Nazi plot inside Congress. He collected a vast amount of sophisticated “pro-Nazi, isolationist literature that was being mailed to citizens across the country for free.

He eventually ascertained that 20 members of Congress were “inserting propaganda into the Congressional Record and letting pro-Nazi groups use their franking privileges.

Nazi propagandist George Viereck was writing articles for Senator Lundeen (R-MN) in several magazines, which was lucrative for both. Viereck set up a Make Europe Pay War Debts Committee with Lundeen as chair so the mailings could be sent nationwide.

Eventually, 30 defendants, none of them members of Congress, were indicted on sedition charges, but the trial was repeatedly undermined and ended up being suspended.

The question I wonder about is whether we have learned anything from the past. Or are we doomed to echo it?

Movie review: The Color Purple (2023)

Fantasia Barrino’s first film

My wife and I saw the remake of the movie The Color Purple on December 26. It opened on Christmas Day and is likely the earliest I’ve ever seen a film in its theatrical run.

Two things ran through my head afterward. While I had seen the original 1985 version in the cinema – nominated for 11 Oscars and winning exactly none – a factoid I did not need to look up – I have a difficult time recalling more than a feeling of mostly despair. The director of that film, Steven Spielberg, is an executive producer of the new one.

I get what Taraji P. Henson said about the earlier take. “’The first movie missed culturally. We don’t wallow in the muck. We don’t stay stuck in our traumas. We laugh, we sing, we go to church, we dance, we celebrate, we fight for joy, we find joy, we keep it. That’s all we have.’”

Black joy doesn’t seem to dominate the media narrative. When I watched Making Black Grapevine, as I described here, I realized how much it’s often missing.

Promotion

Conversely, the movie was so hyped I was nervous. A star of the film appeared every day on CBS Mornings the week before the film opened, plus Oprah Winfrey, an executive producer of this iteration and a star of the 1985 take.  My wife assumed it was a Paramount film  (CBS is a Paramount Global company.) But no.

I assume it was because Gayle King, the longest-tenured of the hosts, is BFF with Oprah. To be sure, I got some insights. Henson was nervous about singing in the film, and Fantasia Barrino, who was in the Broadway musical in 2007, was worried about acting in her first film. I never saw the musical.

Wikipedia: “BroadwayWorld revealed that the film will not be a direct copy-and-paste adaptation of the stage musical, with elements from the novel and the 1985 film also being featured, including ‘Miss Celie’s Blues (Sister),’ the song sung by the character of Shug Avery in the 1985 film. 13 songs from the musical were cut from the film…  while a song cut from the stage production, titled ‘She Be Mine,’ was reinstated for this film.”

Ah, the film

We liked the movie. It looks good, and most of the songs were compelling. The balance of music to narrative seemed reasonable. The acting and singing by Barrino as Celie, Henson as Shug Avery, and Danielle Brooks as Sofia were fine. The rest of the cast was strong, including Corey Hawkins, H.E.R., Halle Bailey, and David Alan Grier. Colman Domingo, who stars as the heroic pacifist Bayard Rustin in the Netflix film Rustin, is the brutal Albert “Mister” Johnson here.

The reviews were 87% positive with the critics and 95% in Rotten Tomatoes. One of the negative reviews was from Lisa Johnson Mandell of AtHomeInHollywood.com. “Just in time for Christmas – a jaunty movie musical about incest, rape and abuse. The musical numbers are gorgeous, but confusing and tone-deaf. They trivialize the gravity of truly unconscionable crimes and the people who commit them.”

This is an interesting concern. If the 1985 film was too dour, is the 2023 reimagining too… celebratory? As a couple of critics opined, is the 1982 book by Alice Walker unfilmable?

Or is the power of forgiveness for even these atrocities stronger than despair? I saw an interview on CBS News an interview of an Israeli man whose parents were murdered on October 7 who was seeking peace, not vengeance. The capacity for grace cannot be overestimated. So, I’m willing to accept the “happy ending” here.

Movie review: Maestro

Bradley Cooper

I really wanted to see the film Maestro. It is about one of my favorite cultural icons, Leonard Bernstein, who I wrote about in 2018.

The movie was playing at the Spectrum Theatre in Albany. As it turned out, it was for only ONE WEEK before it landed on Netflix. My wife and I were going to go on Saturday, then Tuesday, but life got in the way. I saw it on Thursday’s last day in a theater (a/k/a yesterday).

Bradley Cooper recently earned two Golden Globe nominations for this film, one for Best Director – Motion Picture and a second for Best Performance by a Male Actor in a Motion Picture – Drama. The biopic was also nominated for Best Motion Picture – Drama. Carey Mulligan earned a nomination for Best Performance by a Female Actor in a Motion Picture – Drama.

Yet, while I appreciated Cooper’s effort – as one of the two dozen patrons at my 3:30 showing noted, Cooper engaged in a labor of love –  his Bernstein felt clinical, at arm’s length much of the time.  As Maxwell Rabb of the Chicago Reader mused, “Cooper’s second film offers a discordant narrative—a blend of compelling moments with flat notes.”

Hannah Brown from the Jerusalem Post noted, “The script” – by Cooper and Josh Singer – “isn’t bad so much as wrong… barely giving a sense of why Bernstein was such an iconic figure on the American cultural landscape, and focusing on some of the blandest and least interesting aspects of his life.”

THE highlight

Likely, the best thing in the movie is Lenny’s conducting the Mahler’s Resurrection Symphony at Ely Cathedral. Cooper spent a lot of time getting Bernstein’s joy just right. Indeed, I enjoyed the film more from that point forward.

Carey Mulligan was a revelation as Lenny’s wife, Felicia Montealegre Cohn. She was sometimes a muse, often a protector of their children, and she tolerated his infidelities but only to a point.

As this article noted, “Maestro jumps between different periods, using black and white and color to depict the contrasting dynamics of Bernstein and Felicia‘s relationship. The intentional use of different aspect ratios in the film symbolizes the differences in their relationship between the two periods.”

I didn’t love Maestro. Still, I’m interested in how others view it. It received an 80% positive score from the critics and 83% from the audience.

Movie review: The Holdovers

Directed by Alexander Payne

It’s almost winter break at a prestigious boys’ prep school in 1970. Most of the kids are going home, but five are the holdovers, unable to get away for the break. Thus, the name of the film.

A faculty member has to tend to them. One is assigned but gets out of the gig. The task then devolves to the demanding teacher of ancient civilizations, Paul Hunham (Paul Giamatti), who almost no one likes.

Then, the five teens are offered a way out, but only four can take advantage, leaving the bright but troubled Angus Tully (Dominick Sessa) stuck with Paul and the cook Mary Lamb (Da’Vine Joy Randolph), deep in her own issues.

I liked this movie a lot: the characters, all broken in some manner, often change unexpectedly. One of the telling aspects is that I had seen the trailer for the movie a half dozen times. Those scenes, as shown in the movie, are actually funnier. Yet, there is serious character development.

The dialogue by David Heminson is delightful, especially Paul’s:  “I find the world a bitter and complicated place – and it seems to feel the same way about me.”

Da’Vine Joy Randolph is the breakout star here. Vanity Fair, in noting the 25 best performances of 2023, says, “In Alexander Payne’s The Holdovers, Randolph proves her ability to settle in for a character-driven story that’s stripped of distraction and focused solely on her skills as an actor. As Mary, a school cafeteria administrator…  Randolph captures maternal pain while never allowing the grief to feel clichéd. Whenever she’s onscreen, you can’t take your eyes off her layered, nuanced performance in this moving dramedy. “

Well-received

Several reviews use the sentence, “Paul Giamatti gives his best performance since Sideways,” the 2004 film that Payne also directed. The new movie received 96% positive reviews from critics on Rotten Tomatoes, while 91% of the audience concurred.

I suppose The Holdovers might become, in its weird way, a holiday classic, especially for anyone, in the words of one critic, “who has known the oppressive weight of Christmas loneliness.”

One critic complained, “It’s impossible not to notice how many scenes limp along, how many have nothing to do with the previous one, and how many fizzle out.” I didn’t think that was happening. I sensed that the story gave the viewer the idea that the relationship, especially between Paul and Angus, had gone as far as possible, but then, another layer would be revealed.

My wife and I saw The Holdovers at our Landmark Theatre, Spectrum 8, on December 2 in one of the larger theaters that was about half full.

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