This week’s reviews were 12 years in the making
Aisling Daly sings along.
Aisling Daly grows up.
John Moran gets biblical.
The reviews are in Mr. Phoenix…
Click on the film to read the review
The 57th Corona Cork Film Festival, 11–18 November 2012
Pilgrim Song : Directed by Martha Stevens
A slight and low key journey into the sort of mid-life crises only indie film protagonists have, this is essentially “mumble-core does wilderness” with all that that suggests. We have a loose improvisational feel as recently made redundant music teacher James sheds various responsibitles in his life for a planned two month trek up Kentucky’s Sheltowee Trace Trail to “find himself”. Meeting some interesting individuals his fate becomes oddly entwined with a strange father and son whose own dynamic is a world away from the values James seems so intent on fleeing.
The domesticity he wishes to escape is primarily a marriage in trouble with his perfectly pleasant, seemingly passive wife and the films detached style is part of the problem.
James comes across as a rather lifeless husk himself, not terribly engaging and barely likeable. It’s a shame that a film that strives to communicate some small morsels of wisdom is lumbered with him at its core. I’m a firm believer that to compare and contrast lifestyles, demeanours and personalities, a strong anchor is required and here our star seems like a self important and quite selfish man.
While some scenes make a virtue of the loose style allowing a few dialogue exchanges to pop with an honesty and authenticity which would be bled from a lot of traditional fare, the film seems to set itself up as something of substance but then undercuts that with some easy redneck characterisation and caricaturising of small town America. It’s a grand film while it’s on but it’s hardly something you’d rave about or recommend too strongly.
Hit So Hard – The Life and Near Death of Patty Schemel : Directed by P. David Ebersole
Music documentaries almost always follow the same dramatic arc, the giddy first steps into recording, the dizzying highs of the peak years and the inevitable come down, a series of strung out regretful instances where fickle fame turns on the star and almost destroys them. Turned into cliché fodder by the likes of VH1: Behind the Music series and a glut of music documentaries made in the last decade or so, here we have the story of 90s alternative rock band Hole and in particular their powerhouse drummer Patty Schemel.
It ticks all these boxes but while the overall structure might be predictable, the film itself is well made if unadventurous. Some heavy handed text headings punctuates almost every chapter here and while as a device it’s a little hokey, the candour to be found here is surprising. Even in the most confrontational of documentaries there is a white washed and sanitised watering down and while traces of that are here, I found it interesting how unsympathetic and upfront some of the subjects were, in particular the divisive figure of Courtney Love. While Love has always been ironically a hate-figure of sorts, the film doesn’t shy away from her contrary behaviour and the latter passages, as Schemel finds herself on the streets are harrowing in an understated way, the direct testimony hitting a number of disquieting notes.
I was never much of a Hole fan but loved many of their peers from the time and it’s these glimpses into the overall scene, with Kurt Cobain’s iconic presence most deeply felt as he and Patty were quite close. Outside such obvious material though I greatly enjoyed seeing orbiting bands and their opinions on the subject.
Here was a world of the Melvins bleeding into Faith No More, photo shoots with Metallica and off hand remarks from Eddie Vedder to footage from Nirvana’s In Utero sessions. It was a time when nihilism and alienation was being embraced and refashioned by a strangely engaged mainstream audience. The last gasp of alternative rock, as the hangover of Nirvana’s crossover still lingered and brought many acts along in its wake.
This dissection of the scene was the thing that most interested me but this was delivered with a disturbing yet ultimately redemptive human interest story. It’s nothing you haven’t seen before but like Schemels steady drum beat, it keeps time well enough for enthusiast or casual fan alike.
Gayby : Directed by Jonathan Lisecki, Starring Jenn Harris, Matthew Wilkas
A slight but charming take on modern relationships and the paternal desire, Gayby follows a woman named Jenn who is desperate to have a child and calls upon her best friend, a gay man named Matt to help her conceive.
A dynamic that recalls Will and Grace filtered through a low budget indie sensibility. The production does occasionally suffer from a lack of scale, coming across as very sitcom-ish and stagy but the script is warm enough to paper over any such flaws. While not averse to using huge stereotypes to sell the situations and characters there is a knowing self awareness to the film that stops it from tripping over itself too much.
The humour flows naturally from the characters, little quirks built on nicely and the whole affair doesn’t outstay its welcome, bouncing along nicely and in an unassuming fashion. The frankness to which the script deals with sexual pratfalls and politics is also a plus, this world feeling remarkably lived in and grungy where needed but then also coming across as fluffy and cartoonish elsewhere. The film is modest and the performances follow suit but there is a winning chemistry between Jenn Harris and Matthew Wilkas, their relationship is natural and unfussy.
Throw in a healthy dose of snark to the jokes and some discussions on comics (Matt being a comic shop owner and aspiring creator) which feel genuinely authentic rather than any band wagon chasing of geek culture and you have a frothy and fun mid tier feature. Disposable and light but none the worse for that.
DIR: Steven Spielberg • WRI: Peter Benchley, Carl Gottlieb , Peter Benchley • PRO: David Brown, Richard D. Zanuck • DOP: Bill Butler • ED: Verna Fields • DES: Joe Alves • Cast: Roy Scheider, Robert Shaw, Richard Dreyfuss
Universal’s 100-year anniversary occasions the re-release of the original blockbuster, in which a giant shark terrorises an American seaside resort over the July 4th holiday.
A shark attack at Amity causes concern. Police chief Brody (Roy Scheider) wants to close the beaches, but the mayor (Murray Hamilton) needs them open for revelers to spend summer dollars in the town’s hotels and other businesses. A further attack, the death of a young boy and the offer of a reward for killing the shark moves us into the second act. Ichthyologist Hooper (Richard Dreyfuss) arrives and confirms that a great white shark is responsible. Finally, shark hunter Quint (Robert Shaw) takes Brody and Hooper out to kill the monster.
The film features superb and celebrated action sequences. The terrific opening, in which the shark unseen attacks a young woman, matches Psycho’s shower scene. Police chief Brody (Roy Scheider) keeps lookout over sunbathers and swimmers when a dog disappears and the shark attacks a boy on a lilo. This features the classic track/reverse shot à la Vertigo. The final act, in which Quint, Brody and Hooper tackle the great white, provides the sequences best enjoyed on a big screen.
John Williams’ classic score enhances the action. How is it so effective? The recurring theme introduces the shark, its pulsing beat perhaps matching our own heart rates as the tension mounts. It established Williams as a leading film composer, started his relationship with Spielberg, and won him his second Oscar.
Jaws also earned Oscars for editing and sound. Spielberg’s approach to dialogue is Altman-esque. Overlapping dialogue makes it difficult to hear, but this naturalism makes the shark attacks more shocking. Difficulties with models made it necessary for a subtler approach to creating tension and establishing the shark’s presence. Despite his inexperience, Spielberg demonstrates masterly understanding of cinematic techniques.
Jaws omits the mawkishness that mars some of Spielberg’s work. Brody’s son imitates his father at the kitchen table while Brody decides whether to close the beaches in a scene that hints at the sentimentality that characterises his later work. The play on fear also distinguishes Jaws among Spielberg’s works; it’s the closest he comes to horror.
Few films share the movie’s cultural impact. Opening in over 450 screens in North America, Universal supported it with an intensive marketing campaign and established the model for today’s summer blockbuster. Even its promotional artwork pervades contemporary culture. The Irish Socialist Party modeled one of its posters on Jaws during the recent referendum campaign, and in August 2011 The Economist’s cover page used it in discussing fears of a double-dip recession in the USA.
These fears make Jaws relevant today. Commentators read the film as a conservative engagement with America’s involvement in Vietnam or as a patriarchal myth, but the scenes of officials confronted with expert evidence deciding in favour of business interests will strike a chord with today’s audiences. It’s a pity our problems can’t be solved by going out in a boat and killing a great white shark.
Rated 12A (see IFCO website for details)
Jaws is released 15th June 2012