The Truth is Out There: Frederick Wiseman's La Danse

These days, documentaries that tend to get commercial release are usually one of three kinds. There are the docs that feature the director as star, notably the films of Michael Moore (Capitalism: A Love Story, Sicko) and Morgan Spurlock (Super Size Me, Where in the World is Osama Bin Laden?). There are the documentaries that really prove that truth is indeed stranger than fiction (Capturing the Friedmans, Crazy Love, Grizzly Man). There are the docs that are tied into current societal concerns and issues (An Inconvenient Truth, Food Inc., The Cove). And then there’s Frederick Wiseman.

Ironic Groove: Robyn Hitchcock & the Venus 3's Propellor Time

I’ve always found Robyn Hitchcock’s music to be mystical, but not in the LSD sense of the word. His albums create a world that is ethereal and often filled with sadness. As a songwriter, he always succeeds in blending melancholy lyrics with uplifting music. On his new release with his current touring group, the Venus 3 (Peter Buck, guitar, Scott McCaughey, bass and Bill Rieflin, drums), Hitchcock sounds inspired and positive. Recorded in 2006, Propellor Time has a similar feel to Goodnight Oslo (2009) and Ole Tarantula (2007) a steady, consistent groove with great harmonies and ironic lyrics. The album opens with a trip to the "Star of Venus," a song about love and its ideals: “You must have seen it coming, a long long time ago, the ship of all your feelings, shipwrecked in one go.” The title track has a Syd Barrett-like delivery, a song so dreamy that you’re caught up in its 'psychedelic' despair. The last track, "Evolove," is a deliberate shot at creationists, done with humour and great phrasing. But the most positive song is "The Afterlife" where “everyone is made of meat/They’re full of life and life is sweet.” Hitchcock’s mystical world comes full circle on Propellor Time.

-- John Corcelli is an actor, musician, writer, broadcaster and theatre director.

An Equally Important Performer: S Epatha Merkerson Departs Law & Order

She has outlasted four district attorneys, six prosecutors and eight pairs of detectives, but Lieutenant Anita Van Buren will soon follow in their footsteps when she departs from her Manhattan NYPD job. What’s not known is if that exit might come in the form of a resignation or death, since the longtime Law & Order character has been battling cancer in the most poignant subplot of this NBC show’s twentieth season.

Feel free to insert that familiar scene-separating electronic interlude here: Cha-chung!

Actress S. Epatha Merkerson, 57, who has portrayed Van Buren since 1993, recently announced her decision to quit the series after 16 years. But she actually goes further back than that with the program, having appeared as the mother of a very young victim in “Mushrooms,” about a cruel mistake that leads to a child’s murder. Written by Robert Palm, this stunning first-season episode reveals illiteracy as a culprit in the case of an adolescent who shoots an infant; unable to read, the boy went to the wrong place when a drug lord hired him to assassinate someone at another address written on a scrap of paper.

The Mozart of Mayhem: Spike Jones and His City Slickers

While re-watching The Marx Brothers in Monkey Business (1931) last week on TCM, I was trying to think of who might possibly be their musical equivalent. (Of course, The Marx Brothers had their own fair share of musical absurdity in their comedies.) Ultimately, I didn’t have to look too much farther than Spike Jones and His City Slickers. From the early forties to the mid-fifties, Spike Jones and his group tore into the pomposity of high culture with a savage intent. Jones implemented a storehouse of rude sounds that made composer Erik Satie’s experiments in Parade (1916) seem polite.

Jones turned musical history into a broadly satirical farce. He made a mockery of honoured classics like Rossini’s William Tell Overture, which he recast as a ridiculously hysterical horse race. The unbearably dippy standard “Love in Bloom” was torn to shreds in much the same manner that The Marx Brothers laid waste to Il Travatore in A Night at the Opera (1935). Johann Strauss’ delicate Blue Danube waltz was transformed into a drunken brawl (in contrast to the lame reverence shown by Stanley Kubrick in 2001: A Space Odyssey). In their assault on Bizet’s Carmen, the group’s “messy-soprano” Eileen Gallagher is heard frightening off three bulls with the mere shriek of her opening aria. Michael “Cub” Coda, of The Brownsville Station (who once sang about "Smoking in the Boy's Room"), remembers his father seeing Spike Jones at the Michigan Theatre in Detroit back in 1945. “They were crazy,” he recalled his dad telling him. “The stage went black and all these sirens and gunshots started going off. Then the stage lit up and it was Spike Jones and His City Slickers…They had a guy playing a toilet seat with strings on it, people onstage wearing wigs and crazy outfits – oh geez, they were nuts.” This nutty group spent their career blowing raspberries at High Art. And they did it with an all-American gusto.

Spike Jones & His City Slickers

Hailing from Long Beach, California, Jones first put together a college dance band that he patterned after Red Nichols’ Five Pennies. But performing standards bored him to pieces. When he met the multi-talented Del Porter, who played xylophone, violin, sax, and clarinet, and had hung out with the great impressionist Mel Blanc, Jones saw the possibility for integrating a little mayhem into the mix. They began as the Feather Merchants, but by the end of the thirties, they became Spike Jones and His City Slickers and their distinct lunacy caught the attention of RCA Records. By this time, the group included violinist Carl Greyson, whose tenor vocal style displayed a twisted grin in songs like “Cocktails For Two”; Red Ingle, who mutilated the sentimental weepie “Chloe,” turning it into a beautiful act of desperate desecration; Winstead “Doodles” Weaver, a former comedian who created the droll voice of the race-track announcer on the William Tell Overture; Freddie Morgan, a goofy-faced, mad banjo player; “Babyface” George David Rock, a trumpet player with the sweet kid voice in “All I Want For Christmas”; and Dr. Horatio Q. Birdbath (a.k.a. Purves Pullen) who contributed mightily to the massacre of “Love in Bloom.” Sir Frederick Gas (a.k.a. Earl Bennett) provided ample demonstrations of his peculiar emissions on songs like “Happy New Year” and “Knock Knock.” The City Slickers dressed like inebriated renegades out of a Preston Sturges comedy, with loud clothes and goofy hats. Their stage presence was a dada explosion from Dogpatch.

Casablanca's Dark Angel: Confidential Agent (1945)

Sixty-eight years after its release, Casablanca (1942) still continues to justifiably enthrall audiences. Born out of difficult casting (George Raft and Hedy Lamar was one scenario; Ronald Reagan and Ann Sheridan was supposedly another) and a catastrophic screenplay that had no ending, Casablanca has gone on to become a film that many consider one of America's finest ever made. However, the other night, I stumbled across a film on TCM (thank God for Turner Classic Movies) that I had never heard of, but after seeing it I think it should have become a dark companion piece to Casablanca (or perhaps Casablanca's dark angel). It's called Confidential Agent (1945) and it was pretty damn good - but I understand why it's not remembered, even though it's a pity it isn't. Based on a book by Graham Greene and starring Charles Boyer and Lauren Bacall, it told the story of Luis Denard (Boyer) a representative (confidential agent) of the Spanish republican government who in 1937 came on a desperate mission to England to buy millions of £ in coal that his government would then use to create munitions. All of this was done in an attempt to defeat the fascists led by Francisco Franco and Hitler's air force. At every turn, he was either looked at with suspicion by the naive Brits because he was a "foreigner," or he was threatened by fascist agents who had followed him to - or resided in - England.

Chloe Sevigny's True Confessions: More On Big Love's Worst Season

Chloe Sevigny’s recent candid comments on how bad this past season Chloe Sevigny's recent candid comments on how bad this past season of HBO’s Big Love was confirms what I wrote recently about the sad decline of the series. (See Big Love: Or the (Sometime) Tyranny of the Cable Networks from Thursday, March 11/10 on Critics at Large.) I was wrong only about the reasons for the show being handed a short slate of nine episodes instead of the ten it got last season (and the 12 each for seasons one and two). I had speculated that HBO was trying to jazz up the show and insisting its creators cram more storylines into the series - from Bill Henrickson running for political office to a gothic incest / artificial insemination plot - to make it move faster. But Sevigny, when asked on the A.V. Club website why it was so over the top this year, had this to say:

21st Century Be-Bop: Dave Holland Octet's Pathways

Dave Holland’s latest album is a triumph of ensemble playing and composition. But this statement could have been written about his last 4 recordings either with his Big Band or Quintet. This album, recorded live at New York’s Birdland club over 4 nights in January 2009, is the first featuring an Octet. The title track written by Holland is built upon a driving rhythm that sets the tone for the entire record. Gary Smulyan gets the first solo on baritone sax and it’s an earthly delight. Holland’s funky bass line on “How’s Never?” sets a pattern and the band plays against the pulse for the duration. But like most of the music written by Holland, the path is never smooth or straight. There’s variety in the musical journey that’s full of surprises which is why Holland and his first-rate groups are so great to hear. It’s music written to make you lean forward in your chair - or turn up the volume on your iPod. This is particularly true on a composition called, “Ebb and Flow”, which is nicely arranged to accommodate the ensemble and soloists, Kevin Eubanks [trombone] and Chris Potter [tenor]. The album closes with “Shadow Dance” which works a steady, slow groove before jumping into hard-bop drive. Pathways is Be Bop for the 21st Century.

--John Corcelli is an actor, musician, writer, broadcaster and theatre director.

The Declining Art of the Movie Poster

In 1979, on Markham Street, behind Honest Ed's in Toronto, I found my mecca. As a movie-mad university student, Memory Lane -- a film poster, lobby card shop and general treasure trove of pop culture paraphernalia owned and operated by "Captain" George Henderson -- was a godsend. I'd fallen in love with the posters used to promote the films I loved, hated, or had never seen. The artistry of the posters immediately caught my eye and I was instantly hooked.

George's place was a cluttered paradise featuring piles of posters and lobby cards stacked in no particular order. You just picked a pile and dug away. Over the years, I unearthed some real treasures for next to nothing (all lobby cards were $1 and posters were $5 - the exception was the year Ronald Reagan was elected. George hauled out all his old Reagan posters, put a $15 to $20 price tag on them and watched what had been gathering dust disappear). Amongst my finds were a full set of lobby cards from The Manchurian Candidate (1962), a set of 20 lobby cards from Barry Lyndon, a huge three-sheet poster for Dr. Strangelove, a lobby card for Bogart's The Desperate Hours, a lobby card for Preston Sturges' Christmas In July, the one-sheet for Hitchcock's Marnie, another - but badly torn - of Hitch's North by Northwest, lobby cards for Lolita (a good friend of mine spotted the stack of cards before I could, but he graciously gave me one). It went on and on. The posters in particular were often outstanding hand-illustrated works depicting scenes or characters from the films. Artists, such as Frank Frazetta, who went on to great fame as a comics and poster illustrator, worked their magic in this field too (Frazetta's poster for a film I don't even like, Hotel Paradiso (above), is still a favourite). If I wanted an image of the actors, I bought the lobby cards.

Wake of the Flood: Louisiana,1927

Louisiana, 1927

Before the tragic events of Hurricane Katrina in 2005, the worst flood of the Mississippi River took place on Good Friday, April 15, 1927. When the levee broke, just above Clarksdale, water inundated the state. New Orleans in particular was hit with 14 inches of rain in 24 hours, although the city itself survived. What was most significant about the calamity was the transformative effect it had on the culture of Louisiana.

Greasy Pan: Cooking with Stella

I'd like to think that Canadians have a sense of humor -- after all, we poke fun at ourselves as if it's second nature. No doubt this is due to our undefined national identity toppled by a vast amount of strikingly absurd stereotypes, ones that are ripe for comedy. Canadians know this, just watch an old rerun of SCTV or even try to catch an episode of Degrassi Junior High. Americans definitely find the joke funny; the academy of voters even went so far as to nominate a song called "Blame Canada" for an Oscar. The Canadian film industry doesn't mind tossing out grants to have our culture mocked so long as our cultural diversity shines through. The problem inherent through Cooking with Stella is that we're not in on the joke. Canadians are presented as little more than friendly idiots with deep pockets.

Cooking With Stella is a slight comedy about a Canadian diplomat (Lisa Ray) and her husband Michael (Don McKellar) living in New Delhi with their cook, Stella (Seema Biswas). All through Dilip Metha's film, she works overtime to build a positive relationship between Michael and Stella. But Stella, who is at first kind and willful, quickly gets transformed into the villain of the picture, gleefully stealing thousands from Michael (and others) through a very profitable black market business. What is problematic about this is that Metha doesn't view her as the story's antagonist. Allegories instead get drawn to Robin Hood, but unlike that prince of thieves, Stella's hand is merely a selfish one.

Produced and Abandoned: Redacted

When The Hurt Locker won Best Picture at this year’s Oscars, it was a refreshing choice. Instead of going with the manufactured posturing of Avatar, the Academy voters instead were drawn to a more original subject: the addiction of war. (The only other recent film that tackled this subject with intelligence and imagination was the 2008 Israeli picture Waltz with Bashir.) While some decried that The Hurt Locker by-passed the political issues surrounding the Iraq War, I think the examination of a different kind of technological war, where cell phones do as much damage as an air strike, has a political aspect that transcends dogma.

Although we've already seen dozens of movies about the Iraq War, few have come close to making sense of its meaning. Allowing that people of different political persuasions will have separate views of just what that meaning is, most dramas (like 2007's Rendition and In the Valley of Elah) have only reduced the conflict to tired platitudes, or banal melodrama. Perhaps The Hurt Locker succeeds so well because it doesn't attempt to summarize what is still in process, but rather, seizes on an aspect of the war that can now be understood. (Let's not forget that during the Vietnam era there were no Hollywood movies about Vietnam - not, at least, until the conflict was over.)

The Ties That Bind: Bong Joon-Ho's Mother

Bong Joon-Ho’s Mother is devastatingly good. It begins as a story about a middle-aged single mother in a small South Korean town with a mentally-challenged son who gets incarcerated for the murder of a young woman. But it ultimately goes far beyond the basic mechanics of melodrama. For Bong, the director of Memories of Murder (2003) and The Host (2007), genre is merely the starting point for a more searing examination of the family ties that bind.

The umbilical chord that holds a mother to her son is also the link between a country divided and a society not far removed from the rituals of authoritarianism. Like Germany in the post-war and Berlin Wall years, Korea is also a severed nation. But unlike the post-war German directors, like Wim Wenders and Rainer Werner Fassbinder, who used genre pictures as a means to express their guilt and hopelessness, Bong Joon-Ho uses conventional narrative to uncork the violence and pain of being estranged. Given that authoritarianism imposes ritual, Bong is naturally drawn to genres that have rules – but rules he feels compelled to break. The Host, for example, begins as a humorous, wily tribute to '50s monster movies like Creature of the Black Lagoon and Godzilla, but it quickly becomes a surprisingly stirring drama about family honor and loyalties. When a slimy reptilian monster (a product of chemical pollution) kidnaps the daughter of a rather dim-witted father, he goes on a torturous mission to get her back. The Host evolved into that rare horror film, one that became inconsolably poignant. Mother shares many of The Host’s virtues, as well as some aspects from his first film, Memories of Murder, a procedural about a Korean serial-killer.

Cougar Jazz: Carol Welsman with Peter Appleyard at the Markham Theatre

Two weeks ago, I wrote how Jamie Cullum had a huge set of cojones by letting the very talented Imelda May open for him. He trusted his abilities enough to let a very talented unknown wow his audience before he hit the stage. Last Friday, jazz singer/pianist Carol Welsman did a variation on the theme. She wisely invited the brilliant veteran jazz vibraphonist, Peter Appleyard to not open for her, but play with her as her 'special guest'. Somebody had to come on and wake things up.

Before inviting Appleyard on stage, Welsman ran through three or four songs supported by a trio of very talented musicians: Jake Langley on guitar, Mark Rogers on double bass and bass and Jimmy Branly on drums and cajón (essentially a wooden box that Branly massaged magic out of). The songs she picked (from her new tribute album to Peggy Lee, I Like Men) were fine, but the problem on this night was Welsman herself. I'd heard her on record, and she was a credible singer and pianist, but on stage she was well, frankly, dull. Her playing was ordinary, her singing was just okay. And her dancing? The less said about that the better. In fact, the title of this piece came to me during the sleepy portion of first act before Appleyard came on. As Welsman noodled through these first few songs, she reminded me of a cougar who enjoys this type of smooth jazz as she sits at a jazz lounge sipping a martini or two. Harsh, perhaps, but that was the vibe (pun intended) she was putting out. I thought I was on an ocean liner watching the jazz act go through the motions, albeit a jazz act with talented musicians but saddled with an uninspired leader. And then a tidal wave hit the stage and his name was Peter Appleyard.

Imitation of Life: Bob Kuban & the In-Men's The Cheater

Most pop songs are inspired by personal stories and contain observations about a variety of subjects (although love is generally the prominent one). There are a few tunes, though, that seem to foretell future events - for instance, Jan & Dean's prescient "Dead Man's Curve," where Jan Berry almost fatally encountered it. But then you have the downright eerie - as in Bob Kuban & the In-Men's 1966 hit, "The Cheater." Maybe you have to be of a certain vintage to remember this white soul track, but it still occasionally pops up on Oldies radio programs. While many of us can think of many pop performers whose lives would make great material for movies (let's say, Queen Latifah playing Aretha Franklin, or Andre Braugher as Louis Armstrong), the story of "The Cheater" would make a great procedural drama.

Arthur Miller's The Price: Reflections From a First-Time Director

“…everything has to be disposable. Because you see the main thing today is shopping. Years ago a person, he was unhappy, didn’t know what to do with himself; he go to church, start a revolution, something. Today you’re unhappy? Can’t figure it out? What is the salvation? Go shopping.”

--Arthur Miller, The Price.

When I read those words, I knew I had to direct The Price, a play written in 1968 from the hand of the great American playwright Arthur Miller. They were spoken by Gregory Solomon, a 90-year-old furniture salesman who is about to purchase a huge room of furniture from Victor Franz, a man unloading a burden, in more ways than one.

The Price is one of Miller’s most under-recognized and least appreciated works. It’s the story of two brothers who, after 16 years of estrangement, try to reconcile in the attic of the family residence, where their old furniture is to be sold. Debuting in 1968, the play ran on Broadway for about a year before closing and toured a number of countries before being retired from the stage. I don’t think it was intentional. Miller’s other plays such as The Crucible, All My Sons and the most familiar, Death of a Salesman, became part of the American canon of drama, appearing on student reading lists for years. His plays also became part of the standard repertoire of amateur and professional theatre companies around the world and more recently on television and motion pictures. The Price is in the same company as those works because it offers insight into the relationships between fathers and sons, memory and the consequences of making choices.

Greenberg: Less Than Meets the Eye

Noam Baumbach’s Greenberg is, unlike his other features, a movie where, ultimately, there’s much less than meets the eye. Of all the directors toiling in the American independent movie scene, Baumbach, with movies like Kicking and Screaming, Mr. Jealousy and The Squid and the Whale, has managed to be one of the savviest and most entertaining of filmmakers. He eschews the heavy handedness of self-conscious movies like Lance Hammer’s Ballast and Lee Daniels’ Precious, while opening a window on characters who warrant the attention. Baumbach's protagonists also have little in common with the mopey whiners in Kelly Reichardt’s Old Joy, or any of the caricatured, grotesque folk at the centre of the films of Todd Solondz (Welcome to the Dollhouse, Happiness). Greenberg, however, will likely test the patience of even Baumbach’s staunchest fans.

In Memoriam: Robert Culp and Jim Marshall

One was an iconic 1960s TV star, the other was unknown as a personality, but the photographs he took captured the musical icons of 1960s in a way few others have. Robert Culp and Jim Marshall passed away on March 24th -- one 79, the other 74 -- yet for some reason, Culp's passing, though sad, had no impact on me. He was an actor I enjoyed in repeats only. Because I grew up in one-TV-channel small town Ontario, I never saw his best known works (I Spy, the legendary “The Demon with the Glass Hand” from The Outer Limits) when they first ran. He always seemed more of my parent's era than mine. But reading about Jim Marshall’s death, even though he was only five years younger than Culp, left a deeper impression. Ironically, I never knew his name until today, but his images have been with me (in one way or another) all my life. Many of his most famous shots became record album covers, magazine and newspaper spreads, and they were flashed on TV in the 1960s right up until the present day. The two Marshall pictures posted above are not only part of my permanent memory bank; they have always been two of my favourite musician photographs.

Cherry Bombs: The Runaways

Given that The Runaways, a new film about the late ‘70s all-girl hard rock band, is written and directed by Floria Sigismondi, who cut her teeth doing videos for Marilyn Manson, David Bowie, Christine Aguilera and The White Stripes, it’s rather surprising that The Runaways’ music ends up so secondary to their story. Their story doesn't come to much either. Sigismondi gets so caught up in art school impressionism that she loses touch with the theme of the material. Instead of providing the propulsion needed in depicting a young rock band finding its chops, The Runaways gets lost in a haze of rock video clichés and amorphous trysts between lead singer Cherie Currie (Dakota Fanning) and lead guitarist Joan Jett (Kristen Stewart). The picture develops about as much fizz as stale ginger ale.

The Runaways were a group of underage Southern California female misfits who were molded by L.A.’s freak Svengali Kim Fowley into a pre-punk outfit that confronted their audience, in both song and image, with a provocative jail-bait allure. What they provided was a clever reversal of the male rockers’ sexual obsession with young girls that was often depicted in songs like Andre Williams’ hilarious “Jail Bait,” Chuck Berry’s “Sweet Little Sixteen” and The Rolling Stones’ “Stray Cat Blues.” These brash and provocative girls turned that prurient fascination back on the audience with trashy rock like “Cherry Bomb” (a saucy re-write of “Wild Thing”) and “You Drive Me Wild.” While clearly influenced by the polymorphous glam of David Bowie and Sweet, The Runaways also had some of the tough effrontery of The Ramones and The New York Dolls. Fronted by Cherie Currie, a blond punk chanteuse in lingerie, The Runaways had solid back-up with Joan Jett’s surly rhythm guitar, Lita Ford’s stinging lead runs and Sandy West’s kicking-over-the-trash-can drumming. Kim Fowley brought together a group of disaffected middle-class teenagers and made their disaffection part of their group identity. But, the irony is, that fierce independence was built on their total fealty towards him.

Part of this theme does get into the movie, but Sigismondi lacks the dramatic instincts to shape the material in such a way that the group – as a group – makes any sense. We don’t really get to see how the girls bond under Fowley’s sadism. She not only takes great liberties with their story (the film is based on Cherie Currie’s memoir), Sigismondi doesn’t develop that core relationship with Fowley which would ultimately lead to the band’s break-up. Sigismondi chooses instead to focus on the dynamic between Currie and Jett so that the rest of the band becomes invisible supporting players. For the first third of the picture, though, both Fanning and Stewart give credible performances. Fanning has a quiet insolence that makes her a shrewd choice to play Currie. (It’s a shame, though, that she gets stuck playing out conventionally dramatic family scenes with her jealous sister and alcoholic father.) Stewart thankfully loses some of those mannerisms that marred her starring roles in Twilight and Adventureland. She downplays Jett’s tough-girl image and illuminates instead the pleasures she gets from her impudent behaviour. Michael Shannon is on hand to play Kim Fowley and though it seems like the ideal Shannon role, he devours so much scenery that the camera has to duck. Michael Shannon is too perfect for Fowley and his abusive attributes come across more as an actor’s stunt than a true performance. (He looks like a brooding Lurch doing Max Cady out of Scorsese’s Cape Fear.)

The Imperfect Art of the Adaptation

Adapting a work from a novel, graphic novel or any other source for a movie or TV show is a challenging problem. So many decisions are required when the writer approaches the original work. Neither the complete plot nor all the characters can be used, but what do you reject and what do you keep? These were clearly the issues facing the writers of the new adaptation of John Buchan's The 39 Steps (broadcast on the BBC in December 2008 and on PBS in March 2010) and the 2003 version of The League of Extraordinary Gentlemen, based on writer Alan Moore and illustrator Kevin O'Neill's 1999 graphic novel (it is now in seemingly permanent repeat on AMC), when they approached these works.

Toiling in the Trenches: For the Love of Movies

People who toil in the trenches of film criticism know what it’s like to be courted or dissed by publicists and festival organizers. There’s also that love-hate thing with readers. Moreover, it’s a lonely line of work to sit for hours in a darkened theater and then tap away on a keyboard while staring at another screen. Your eyes and tush begin to ache.

Boo hoo.