Sunday, September 1, 2019

Summer 2019 in Review

Labor Day concludes the summer season so before we transition into fall and winter, here’s a look back at the movies released from May through August. The summer is traditionally the time of year for populist entertainment and while Hollywood provided that it was an unusual season in a number of ways.

Disney’s Dominance
Disney’s tentpole releases dominated the summer box office to the exclusion of almost anything else. The top five grossing movies of the summer were all Disney-owned releases: Avengers: Endgame, The Lion King, Toy Story 4, Spider-Man: Far from Home, and Aladdin. The studio has done well for itself, setting a new box office record with over $7.6 billion earned so far this year and with more to come with the anticipated releases of Maleficent: Mistress of Evil and Star Wars: The Rise of Skywalker. But these films were plagued with a feeling déjà vu and most of Disney’s summer blockbusters were just average in their quality. The Spider-Man sequel was good but nothing we haven’t seen before while The Lion King and Aladdin were exactly what we’d seen before. Even Toy Story 4, which was quite good, had trouble justifying its existence. As David Erhlich said of The Lion King, Disney’s output in summer 2019 was “a well-rendered but creatively bankrupt self-portrait of a movie studio eating its own tail.”


The Shrinking Theatrical Market
Disney’s success appeared to come at the expense of nearly everyone else. The entertainment press regularly turned out pearl clutching analysis pieces that juxtaposed Disney’s market share largess against the failure of other studio franchise releases like Dark Phoenix, MiB: International, and Godzilla: King of the Monsters. It’s worth noting that most of these movies just weren’t very good. The dominance of a single studio can and should worry anyone who cares about cinema and the long term health of the industry. But we also have to acknowledge that Disney’s success was at least assisted by the fact that their competition was pathetic.

More concerning was the box office underperformance of smaller movies. Many good midlevel budgeted movies ($40 - $70 million production budgets) just didn’t attract an audience. Booksmart suffered from a bad marketing scheme and a lousy release date. Long Shot was a good and smart movie with a bland title and its political themes might have been of little interest to an audience that is inundated with politics in every other medium. The remake of Child’s Play was released around the same time as Annabelle Comes Home and it might have been one killer doll too many. We can speculate why Late Night and Dora and the Lost City of Gold and Midsommar and The Angry Birds Movie 2 failed but whatever the cause, this trend points to an audience that is only interested in attending the theater for the biggest releases of familiar titles and brands. The theatrical marketplace cannot survive on tentpoles alone.

Musical Films
2019 has seen the release of a lot of musical movies and several titles debuted this summer. A few of these were documentaries including the Aretha Franklin concert film Amazing Grace. Also released this summer were Marianne & Leonard: Words of Love, about the relationship between Leonard Cohen and Marianne Ihlen, and Pavarotti, Ron Howard’s documentary about the legendary opera singer. Summer 2019 also featured several musical dramas. Rocketman was an impressive biopic of Elton John. Yesterday was high concept piece that paid tribute to the music of The Beatles while Born to Run dramatized the true story of a Pakistani immigrant living in the UK who was inspired by the music of Bruce Springsteen.


An Impressive August
In a typical summer, Hollywood studios release their flagship titles in May through July, with the Memorial Day and Independence Day holidays being the peak periods. August has traditionally been designated as a dumping ground for low quality titles that studios don’t have faith in and the Labor Day holiday is typically a low turnout weekend. Summer 2019 played out a little differently. Several high profile May through July releases were underwhelming while August saw the release of Good Boys, Scary Stories to Tell in the Dark, Blinded by the Light, Fast & Furious Presents: Hobbs & Shaw, The Peanut Butter Falcon, and Ready or Not and even Angel Has Fallen was better than expected. Not all of these films drew crowds but this was a better quality August crop than we usually get at the end of the summer.

Highlights of the Summer
Here are a few of the better movies released this summer:

The Art of Self Defense: An offbeat and terrifically crafted black comedy that both tapped into this particular moment but also transcended it with a story that is worthy of comparison to Fight Club and American Psycho.

Blinded By the Light: A surprisingly layered and complex jukebox musical that was a lot of fun. Blinded By the Light was a tribute to the music of Bruce Springsteen with a genuine appreciation for what The Boss had to say but it transcended mere fandom.


Booksmart: Every generation gets at least one last-crazy-night-in-high-school movie and Booksmart reimagined that story for the 2019 audience and populated it with likable and interesting characters.

Child’s Play: The remake of the 1980s slasher classic was much better than expected. It revisited the material and provided a fresh take while remaining germane to the original idea.

Crawl: This killer alligator movie was one of 2019’s most satisfying popcorn entertainments and one of Alexandre Aja’s most accessible films.

The Farewell: A nearly perfect movie. The filmmaking, the performances, and the storytelling coalesce in an extraordinarily satisfying story.


Good Boys: One of the best comedies of recent years and certainly the best comedy of summer 2019.

John Wick: Chapter 3 – Parabellum: The John Wick series keeps topping itself and the third installment was an extraordinary action picture.

Long Shot: This movie got missed in its theatrical release but Long Shot was rare bird: a politically adept romantic comedy.

Midsommar: Continuing the present wave of impressive horror pictures, Midsommar might be too cerebral for the Conjuring crowd but it was a smart and expertly made film. A director’s cut was given a limited release at the end of the summer.


Once Upon a Time . . . in Hollywood: Quentin Tarantino’s ninth movie was his most self-indulgent (and that is really saying something) but it was a fun nostalgia trip to a bygone era.

The Peanut Butter Falcon: The feel-good movie of the summer, The Peanut Butter Falcon was a really likable film with notable performances by Zack Gottsagen and Shia LaBeouf.

Ready or Not: A shrewd mix of horror and comedy, Ready or Not was smart and well produced and had a wicked sense of humor.

Rocketman: This dramatization of the life and music of Elton John had extraordinary set pieces and a terrific cast including Taron Egerton in the lead role.

Sunday, August 11, 2019

Movies of 1999

Today's episode of Sounds of Cinema took a look back at the movies of 1999. That was a transformative year in American cinema with old directors fading away and new talents making their mark and many films were experimental, original, and exciting. Rather than examining a handful of titles, this show looked at some of the trends in cinema from that year. You can find the full commentary from the show here.

 Here is run down of some of the exceptional films from 1999. Keep in mind, all of these films were released in a single year.

American Pie - A group of teenage boys plot to lose their virginity on prom night. The picture was extraordinarily crude for its day but the picture was also very funny. American Pie echoed 1980s sex comedies like The Last American Virgin but it was better hearted than those films.


Angela's Ashes - Alan Parker directed a well-received adaptation of Frank McCourt’s memoir. It retained McCourt's humor and soulfulness and had a vivid feel for its time and place.

Any Given Sunday - Oliver Stone released the 1999 football drama Any Given Sunday and the movie concluded a prolific decade for the filmmaker.

Being John Malkovich - Directed by Spike Jonze and written by Charlie Kaufman, Being John Malkovich had a wacky conceit: a puppeteer discovers a portal that puts travelers into the mind of actor John Malkovich.

The Blair Witch Project did not invent the found footage genre but the film did it very well and popularized the format and inspired a whole niche of imitators.


Bowfinger - This show business satire starring Steve Martin and Eddie Murphy was a very funny take on Hollywood with an independent filmmaker getting his movie made by any means necessary.

But I’m a Cheerleader was a satire in which a high school studen is sent to gay conversion therapy.

Boys Don’t Cry - Based on a real life incident, Hilary Swank plays a transgender man who navigates life in rural Nebraska. Director Kimberly Peirce should have had a bigger career following this film's success.

Cruel Intentions - Based on Choderlos de Laclos’ Dangerous Liaisons, the film was a frankly sexual story of seduction and manipulation at a private prep school. Its satirical qualities are obvious now but they weren’t necessarily so evident to viewers of 1999.


Dick lampooned the Watergate scandal with the story of two dimwitted young women (Kirsten Dunst and Michelle Williams) who are hired to be Richard Nixon’s dog walkers and they eventually expose the thirty-seventh President’s misdeeds and lead to his resignation.

Dogma - The Catholic League organized a campaign against Dogma but this film was no mere act of provocation. Kevin Smith’s work is so well loved because he mixes humor with sincerity and Dogma was genuinely interested in matters of faith and theology.

Drop Dead Gorgeous was a pseudo-documentary about a Midwest beauty pageant gone awry. Drop Dead Gorgeous was not well received at the time but it has developed a cult following.

EdTV - Reality television was just getting started in 1999 and EdTV was ahead of the curve with its story of an everyman who is followed twenty-four hours a day by a camera crew.


eXistenZ - David Cronenberg has long been fascinated by the intersection of technology and the human body and the director’s 1999 film was about characters stuck in a virtual reality program. eXistenZ was well reviewed but it was released less than a month after The Matrix and got lost.

Election - Adapted from Tom Perrotta’s novel, Election was whip smart and wickedly funny but it also had the unusual feature of shifting points of view which allowed it a level of nuance that satires rarely achieve.

Fight Club - A seminal film of a generation, Fight Club was exciting and subversive and brutal and funny. The movie has gained popularity since 1999 for both the right and the wrong reasons, with some of its biggest fans completely misunderstanding the film's message.


Galaxy Quest - This sci-fi satire starred Tim Allen, Sigourney Weaver, and Alan Rickman and has developed a cult following worthy of the films and television shows that inspired it.

The Green Mile - Frank Darabont followed up The Shawshank Redemption with this underappreciated Stephen King adaptation.

The Hurricane - Norman Jewison helmed The Hurricane which was the final high note in a directorial career that included In the Heat of the Night, Fiddler on the Roof, and Moonstruck.


The Insider -Michael Mann made one his best films in 1999 with this true story of a whistle blower who exposes big tobacco.

Magnolia - Paul Thomas Anderson's follow up to Boogie Nights was an ensemble piece that wove together the stories of various characters living in Los Angeles. This film makes especially effective use of Tom Cruise's talents.

Man on the Moon - Milos Forman helmed the Andy Kaufman biopic Man on the Moon starring Jim Carrey. The movie was a financial disappointment but time has been kind to Man on the Moon. It’s an intelligent and playful movie and Carrey’s performance is a career high.

The Matrix - One of the sleeper hits of 1999, The Matrix’s fast-paced filmmaking, counter cultural ideas, and hip style pointed to the future, at least in the short term.


Office Space - Originally a box office failure in 1999, Office Space became a popular title due to its repeated showings on Comedy Central in the 2000s. It is also a highl quotable comedy from Mike Judge and it foreshadowed his HBO series Silicon Valley.

Ravenous balanced horror with black comedy in a story of cannibalism on the American frontier.

The Sixth Sense - M. Night Shyamalan was dubbed "The Next Spielberg" by Newsweek magazine following the release of this film. Things didn't quite work out that way but The Sixth Sense remains an impressive piece of work.

South Park: Bigger, Longer & Uncut was as smart was it was lewd. American culture of the 1990s was preoccupied with the impact of media on children and South Park contorted that moral panic into a violent and vulgar and hysterical farce.

Star Wars: Episode I - The Phantom Menace - The biggest box office hit of 1999 came across creaky and anachronistic but two decades on the first Star Wars prequel has an undeniable legacy evidenced by the remake of The Lion King and the Marvel Cinematic Universe.


Three Kings - David O. Russell's war film took place during the first Gulf War as a group of American soliders find a stash of gold.

Titus - This adaptation of Titus Andronicus was one of the most bizarre Shakespeare adaptations ever. The movie is severely stylized with outrageous costumes, unusual cinematography and production design, a soundtrack that includes different genres of music, and a wild performance by Anthony Hopkins.

Varsity Blues - This R-rated story of high school football players coping with the pressures of their Texas community punched a hole in the mythology of high school football glory. It makes an interesting double feature with The Virgin Suicides.

The Virgin Suicides - Sofia Coppola’s directorial debut was an adaptation of Jeffrey Eugenides novel was a quietly distressing story of sexual repression.


Monday, August 5, 2019

1999 Retrospective on Sounds of Cinema

The episode airing Sunday, August 11, 2019 will break from Sounds of Cinema's usual format for a special retrospective of movies from the year 1999. That was a transformative year in American cinema with old directors fading away and new talents making their mark and many films were experimental, original, and exciting. Rather than examining a handful of movies, this episode will look at some of the trends of 1999 and feature a cross section of film music from that year.

Sounds of Cinema airs Sundays at 9am on 89.5 KQAL FM in Winona, Minnesota and at 11am on 89.7 KMSU FM in Mankato, Minnesota. The show can be heard over the air, online at each station's website, and live streaming with the Tune In app.

Sunday, July 7, 2019

Controversial Films 2019

Independence Day brings with it Sounds of Cinema's annual controversial films special. The episode celebrates freedom of speech with a look at movies that have been censored, banned, or were otherwise controversial. Note that this is not intended to be a complete list of controversial titles, just a selection of relevant pictures that are of interest. For more information on controversial films, see the links at the bottom. You can also check out the blog post for last year's episode.

The Man With the Golden Arm (1955)
Dir. Otto Preminger

The Man with the Golden Arm was adapted from Nelson Algren’s 1949 novel which was the first winner of the National Book Award. The film version tells the story of a drug addicted backroom card game dealer who is released from prison and relapses into drug abuse. At the time The Man with the Golden Arm was produced, all Hollywood studio films were required to adhere to Motion Picture Association of America’s repressive Production Code which explicitly forbade depictions of drug abuse. Films that did not achieve a seal of approval from the Production Code Administration did not play in theaters and filmmakers sought the administration’s approval through all stages of production. Producer Bob Roberts first attempted to adapt The Man with the Golden Arm in the early 1950s but the filmmaker was unable to come up with a script that satisfied the censors. According to the AFI, Production Code Administration director Joseph Breen said that the story was “unacceptable under the provisions of the Production Code” and Roberts was warned that a film version of The Man with the Golden Arm would be condemned by the Legion of Decency, the U.S. Treasury Department, and the Bureau of Narcotics as well as “state and municipal censor boards.” Roberts’ version never went forward.

Filmmaker Otto Preminger got the rights to The Man with the Golden Arm and began working on adapting it for United Artists with Frank Sinatra cast in the lead role. Preminger had recently achieved success with The Moon is Blue and Carmen Jones. Those films had their own fights with the PCA and Preminger knew how to use controversy to his advantage. Preminger wanted to use The Man with the Golden Arm to address drug addiction, which had never before been the subject of a major Hollywood picture. His film somewhat softened the material from Algren’s novel so the story was not quite as hopeless but it was still far more blunt than any other film at the time. The narcotic in Preminger’s movie is never named. In the book it’s morphine but in the film the drug appears to be heroin.

Leadership at the PCA office had since changed and it was now lead by Geoffrey Shurlock. The new PCA director was bound to enforce the code as written but, according to Jerold Simmons, Shurlock felt the Code’s absolute ban of the depiction of narcotics was outdated and unrealistic and he was interested in helping Otto Preminger get The Man with the Golden Arm produced as a way of amending the Code. The film went into production without a PCA approved script but with the expectation that Shurlock would help reform the Code when The Man with the Golden Arm came up for consideration. However, Harry Anslinger, the commissioner of the Federal Bureau of Narcotics, publically expressed his opposition to The Man with the Golden Arm and especially the Hollywood ending that made the story more hopeful. When the film came before the PCA, the board of directors of the MPAA slammed United Artists for the studio’s perceived undermining of the Code and denied The Man with the Golden Arm a seal of approval.

United Artists stood by Otto Preminger’s film and released it without the PCA seal for which the MPAA fined United Artists $25,000. The studio resigned from the MPAA although United Artists would rejoin the organization a few years later. The Legion of Decency awarded The Man with the Golden Arm a “B” rating which meant that the film was “morally objectionable in part for all” but this was the first time that the Legion did not give a “condemned” rating to a film not passed by the PCA. That break between the PCA and the Legion was a significant blow to the stature of the Code and theaters that might have otherwise passed on a non-PCA approved title booked the movie. This further diluted the authority of the Code. Local censors in Maryland, Georgia, and Wisconsin threatened to censor the film but the uncut version of The Man with the Golden Arm played everywhere except Spain where it was banned. The film did impressive business at the box office probably due in no small part to the publicity over the controversy.

As a post-script, after the critical and box office success of The Man with the Golden Arm the PCA amended the Code to allow for depictions of drug use. The movie was resubmitted for approval in 1961 so that it could play for television broadcast. The movie passed without any cuts.


The Brown Bunny (2003)
Dir. Vincent Gallo

The Brown Bunny is an arthouse film written and directed by Vincent Gallo. The story is a road trip narrative about a motorcyclist, played by Gallo, who travels across the country and reminisces about his relationship with a former girlfriend, played by Chloe Sevigny. The movie was infamous for a scene in which Sevigny’s character performs an unstimulated sex act. When the movie was released, a promotional billboard depicting the sex scene was posted on Sunset Boulevard in West Hollywood. Some locals complained about the advert but Gallo defended the imagery, saying that it was no more provocative than the Calvin Klein and Gucci ads that frequented billboards in the same area. The billboard was removed after just a few days despite the ad space being purchased for a month.

An early cut of The Brown Bunny, running 119 minutes, premiered at the 2003 Cannes Film Festival. The movie had a disastrous reception. The Cannes audience, which is known for being vocal during screenings, booed and jeered the film or simply walked out. Critics assembled by Screen International gave The Brown Bunny the lowest rating in the history of their annual voting. One of The Brown Bunny’s most vocal critics was Roger Ebert who proclaimed it to be “the worst film in the history of the festival.”  Gallo responded by calling Ebert a "fat pig with the physique of a slave trader” to which Ebert said, "Someday I will be thin, but Vincent Gallo will always be the director of The Brown Bunny." However, between the Cannes screening and the film’s official release, Gallo re-edited the film and removed twenty-six minutes of footage (although the sex scene remained.). Ebert reviewed the ninety-three minute cut and awarded it three stars saying that Gallo had “transformed” The Brown Bunny and that the “film's form and purpose now emerge from the miasma of the original cut.” Fifteen years after the Cannes screening, Gallo made it known that he still hadn’t let go of Ebert’s original criticism of The Brown Bunny, insisting that Ebert had sabotaged the movie’s reputation.


American History X (1999)
Dir. Tony Kaye

American History X was the story of a reformed white supremacist starring Edward Norton in one of his early roles and directed by Tony Kaye who at that time was an up and coming filmmaker. Norton and Kaye had different views of what American History X ought to be and Norton’s performance was not to Kaye’s liking. The relationship between Norton, Kaye and New Line Cinema broke down during post production. Norton and the studio executives gave Kaye notes on how to alter the film. Kaye would have none of it and New Line took American History X away from the director and banned him from the editing process. Kaye responded by filing a lawsuit against New Line Cinema and when that didn’t work he attempted to take his name off the picture but was unable to do so because of Directors Guild rules. Kaye then began trash talking American History X to anyone who would listen including journalists and advertisers and film festivals. In the end, the studio released its version of American History X and the movie was a hit with critics and audiences. Edward Norton earned an Oscar nomination for his performance. Kaye’s campaign against Norton and New Line Cinema all but destroyed his career and in 2002 Kaye wrote a lengthy mea culpa in which he expressed regret for his behavior. 

American History X has had a strange afterlife that puts Tony Kaye’s fight for the movie in a new light. The story is unequivocally anti-racist. However, some white supremacists read the film as actually endorsing their beliefs. Film critic Lindsay Ellis made this point, noting how the imagery of American History X, and especially of Edward Norton’s character, contravenes the message of the narrative. The dramatic black and white images (which strangely echo the fascist aesthetic of Leni Riefenstahl’s Olympia) make Norton’s character look powerful and even heroic. Among those making that point is Kaye himself, who told The Hollywood Reporter, “the way the movie was edited . . . lionized a neo-Nazi. It's saying: 'You can do this heinous stuff, show a movie star's smile and it's all OK.'” Kaye says he is still petitioning to create a director’s cut of American History X.


Dogma (1999)
Dir. Kevin Smith

Filmmaker Kevin Smith’s body of work is distinguished by its combination of glib and foul mouthed humor combined with sincerity. Movies like Clerks and Chasing Amy and Zack and Miri Make a Porno are full of colorful characters who are generally quite likable but whose stories deal with authentic human experiences like love, middle aged discontent, and parenthood. Smith’s 1999 movie Dogma applied the filmmaker’s style to faith and in particular Catholicism. Smith came from a Catholic background and he channeled his experiences and feelings about religion into the film.

Dogma was the story of two angels (Ben Affleck and Matt Damon) who had been deposed from heaven centuries ago but discover a loophole in Catholic theology that will allow them to return. If they accomplish this, the angels will subvert God’s will and inadvertently undo all existence. A counselor at an abortion clinic (Linda Fiorentino) is recruited to stop them and along the way she encounters supernatural characters who make this disillusioned Catholic reconsider her own complex feelings about faith.

Religious-themed movies are actually quite popular with a certain movie going crowd but only if the film fits within certain parameters. Dogma did not fit in that box. It was earnest about matters of faith but Dogma was also irreverent toward religious authority and had plenty of silly, vulgar, and scatological humor. A copy of the script was acquired by the Catholic League, a lay organization (not affiliated with the Catholic Church) that purports to defend the Catholics from bigotry. The Catholic League launched a campaign against Dogma, publishing a booklet about the movie that was circulated to dioceses across America. The protest against Dogma gained traction and Kevin Smith was inundated with 300,000 pieces of hate mail and death threats and he was escorted by body guards to the film’s screening at the Cannes Film Festival. Smith expressed exasperation with the controversy as no one protesting the film had actually seen it. 

Dogma was produced by Miramax, which at that time was owned by Disney. The Catholic League took particular aim at Disney whose executives were uncomfortable being associated with the film and its tenor. The decision was made to sell Dogma’s distribution rights to Lionsgate, which at the time was an up-and-coming studio. According to Kevin Smith, the Catholic League lost interest in Dogma once Disney was unassociated with the film. Dogma was still released and protesters did show up at theaters. One demonstration was held in Eatontown, New Jersey at Kevin Smith’s local cinema. Smith decided to crash the protest and picketed the movie alongside local Catholic demonstrators. 1500 protesters were anticipated but the total headcount was estimated at about fifteen. 


Ms. 45(1981)
Dir. Abel Ferrera

In the 1970s and 80s a whole subgenre of rape-revenge movies emerged including titles such as House on the Edge of the Park, Death Wish, and I Spit on Your Grave. The reasons for the influx of these films at that particular time are complicated and a matter of debate. Cinema of the 1970s had been liberated from the restrictions of the Production Code and filmmakers reveled in the new freedoms, exploring the limits of sexuality and violence on screen. This occurred against a background of liberalized attitudes toward sexuality, second wave feminism that had raised awareness of violence against women, and rising crime rates in America’s major cities. However, the rape-revenge genre was generally ill-received. Many of these films were regard to be in bad taste while others were accused of exploiting imagery of women being brutalized. And in some cases, such as the Death Wish sequels, those criticisms were valid.

Ms. 45 is the story of a mute young woman who is sexually assaulted twice in the same day. She gets herself a handgun and begins shooting would-be attackers. But as her vigilante activities continue, this woman’s grip on sanity continues to slip and she becomes less and less discerning as to whether the men in her sights intended any harm. Directed by New York filmmaker Abel Ferrera with significant contributions by lead actress Zoë Tamerlis, Ms. 45 was more complex than the average rape-revenge flick. The movie was made with style and intelligence and Ms. 45 combined brutal intensity with a nuanced understanding of violence and trauma.  The sexual assaults of the movie are part of a larger web of harassment and misogyny that lead this woman to vigilantism and eventually madness. 

Like many rape-revenge films from the late 1970s and early 80s, Ms. 45 ran into trouble with the censors. The film was banned in Finland, Norway, Sweden, and New Zealand and it fell afoul of the video nasties panic in the United Kingdom. Various distributors in different territories recut the film to appease local censors and it wasn’t until 2013 that a definitive cut of Ms. 45 was widely available.  In recent years Ms. 45 has enjoyed a critical reappraisal. It’s now regarded as a feminist piece, one that is worth rediscovering in the #metoo era. 


Crash (1996)
Dir. David Cronenberg

David Cronenberg’s 1996 film Crash (not to be confused with Paul Haggis’ 2004 film of the same name) was adapted from J.G. Ballard’s book. The story follows several people in a fictional subculture where automobile collisions are a source of sexual arousal. The intent of the movie was to dramatize the link between desire and risk as well as technology’s place in human sexuality. Crash is unusual and uncomfortable to view, particularly for the way in which it combines violence with sexuality. However, the violence was confined to auto collisions. As the British Board of Film Classification observed, the “sexual content of the film was unremarkable in classification terms and the violence was no stronger than could be found in many other features (comprising car crashes rather than one-on-one personal violence).”

When Crash premiered at the Cannes Film Festival it divided audiences. Roger Ebert gave the film a three-and-a-half star review and Martin Scorsese named Crash one of the ten best movies of the 1990s whereas Nigel Reynolds called it “morally vacuous, nasty, violent and little more than an excuse to string together one scene after another of sexual intercourse.” British newspapers the Daily Mail and the Evening Standard launched a campaign against Crash when it opened in UK theaters, demanding that the film be banned. BBFC examiners determined that the movie did not violate the UK’s obscenity laws and Crash was released uncut to UK theaters with an18 certificate. According to the BBFC, this outraged the Daily Mail and Evening Standard who resorted to “publishing the photographs and personal details of the BBFC's examiners and ridiculing them as unrepresentative 'liberals' who had refused to ban an offensive and dangerous film.”

Crash nearly didn’t make it into US theaters at all. The movie was distributed by Fine Line Features which was owned by Ted Turner. According to Wired, Turner “was so personally disturbed by Crash that he tried to have it blocked” from playing in US theaters and “Turner only backed down ‘when a reporter called him on it’ during a public appearance.” In response, Crash actress Holly Hunter said “I think it's a very chilling arena for Ted Turner to be entering when he's speculating about what could be morally reprehensible for the American public." Crash did ultimately play in US theaters but most American moviegoers were unable to it. The theatrical version was rated NC-17 by the Motion Picture Association of America and most major theater chains will not book NC-17 movies. In its widest release, Crash played in just 339 theaters nationwide and it was a box office failure. Blockbuster Video, which had nearly a monopoly on the home video market in the late 1990s, refused to stock NC-17 films and David Cronenberg was contractually obligated to create an R-rated cut for the rental chain. This version was about ten minutes shorter than the NC-17 cut.

Years later, Paul Haggis wrote and directed an unrelated movie with the title Crash. That film was a major mainstream success and won the Academy Award for Best Picture. David Cronenberg was upset with the title of Haggis’ film and said so publicly, claiming that Haggis was disrespectful not only to the filmmaker but also to novelist J.G. Ballard and his book.


Song of the South (1946)
Dir. Harve Foster and Wilfred Jackson

Song of the South was Disney’s adaptation of Joel Chandler Harris’ “Uncle Remus” stories. Taking place in Georgia during the Reconstruction era, Uncle Remus (James Baskett) tells folk tales to young Johnny (Bobby Driscoll) to impart important life lessons to the boy. 

Song of the South was considered offensive for its white-washing of the Jim Crow era and for its racial stereotypes. At the time of its release in 1946, the NAACP spoke out against Song of the South and protests were staged outside theaters showing the film. Disney did itself no favors when it held the premiere of Song of South in Atlanta which was segregated at the time and the film’s African American stars could not attend. With each rerelease, Song of the South became increasingly anachronistic and after a brief theatrical run in 1986 Disney announced that it had retired the picture and had no plans to rerelease it in theaters or on home video.

However, Song of the South is a technically and historically significant piece of filmmaking. It mixes live action with hand-drawn animation almost two decades before Mary Poppins and the film won a pair of Oscars including Best Original Song for “Zip-A-Dee-Do-Dah,” which is now the theme song to the Splash Mountain ride at Disneyland. Furthermore, Song of the South is a cultural artifact. Its racist caricatures were unfortunate but not unusual in Disney films or in American entertainment as a whole and erasing that record creates cultural amnesia without actually addressing the sources and repercussions of those images. As Aramide A. Tinubu points out, “by refusing to address its own racist legacy (which extended well beyond the 1940s), Disney is only adding to the problem.”

Disney’s decision to withhold Song of the South remains in force and the company has doubled down on its efforts to clean up its history. The House of Mouse made clear that Song of the South will not appear on the Disney+ streaming service but also announced that the minstrel crows would be cut from the streaming version of 1941’s Dumbo and the casting couch joke from Toy Story 2 was removed from the most recent disc release.


Halloween II (1981)
Dir. Rick Rosenthal

In the early 1980s the horror genre was overtaken by the slasher film – stories of teenagers who are picked off by masked killers armed with edged weapons. These films were tremendously popular with audiences and were immensely profitable for Hollywood studios but slasher films also drew condemnation from media watchdog groups and film critics. Gene Siskel and Roger Ebert used their syndicated television program to launch a campaign against Friday the 13th and parental groups successfully lobbied Tri-Star Pictures to pull Silent Night, Deadly Night from theaters. These detractors were given renewed ammunition by murders committed in 1982 by Richard Delmer Boyer in Fullerton, California. In the trial, Boyer claimed that he suffered from hallucinations brought on by viewing 1981’s Halloween II, which he had watched while under the influence of various substances. The film was an exhibit at the trial. Halloween II was screened for the jury and a psychiatrist compared scenes in the movie with Boyer's recollection of the killings. Boyer was found guilty and sentenced to death while the incident became known as the “Halloween II Murders.”


Battleship Potemkin (1925)
Dir. Sergei Eisenstein

Sergei Eisenstein was one of the most important filmmakers in the history of Russian cinema. His work was revolutionary in its politics but also in its style and Eisenstein was a master of using camera angles and editing in a way that stirred the viewer’s emotions and communicated ideas without spelling them out on the screen. Eisenstein made a name for himself with 1925’s Battleship Potemkin. The movie dramatized the 1905 mutiny aboard a Russian warship which was one of the early events leading to the Russian Revolution that overthrew the Tsars and instated Communism.

This film didn’t simply come about out of Eisenstein’s sense of patriotism or personal politics. Battleship Potemkin was commissioned by the Soviet Union’s Central Committee to celebrate the twentieth anniversary of the revolution and it was originally intended to be a sprawling project that covered the breadth of the revolution as it was experienced by various characters across Russia. When that proved impossible to achieve in the time allotted, Eisenstein focused on the events aboard the Potemkin and crafted a story that sits alongside Triumph of the Will and Why We Fight among the most effective pieces of political propaganda. But unlike Leni Riefenshal and Frank Capra’s documentaries, Battleship Potemkin was a drama and the movie succeeded in using the elements of cinematic storytelling to provoke viewers’ emotions and lead audiences toward the desired ideological conclusion.

The history Battleship Potemkin has been distinguished by censors trying to dampen the movie’s impact or ban it outright. The Russian film industry of the 1920s was ill equipped to distribute the film internationally and so Battleship Potemkin was sold to the German film company Prometheus. The sale included the rights to edit the film which was necessary to get Battleship Potemkin exhibited at all. According to Bruce Bennett, German military and law enforcement authorities were afraid Battleship Potemkin might encourage the spread of communism and wanted the movie banned. It did eventually screen in Germany but with significant edits. The censored Prometheus cut became the basis for the versions distributed throughout the world which were then further edited by other censors. French police burned copies of Battleship Potemkin and the movie was banned at various times in Finland, Italy, Sweden, and Portugal. The United Kingdom banned Battleship Potemkin until after the death of Soviet leader Joseph Stalin and according to Tom Mathews the movie was banned in Pennsylvania for allegedly “[giving] American sailors a blueprint as to how to conduct a mutiny.”

After World War II, Battleship Potemkin was re-edited by Russian filmmakers working from the Prometheus cut. The intention was to create the definitive version but the resulting cut included significant omissions and changes to the intertitles and frame rate. This version was the least faithful edit of Battleship Potemkin but it was also the most widely circulated edition. Throughout the 1980s and 90s, film scholars searched the world’s film collections for missing material and in 2005, eighty years after its Russian premiere, Battleship Potemkin was finally screened as originally intended by Eisenstein.

The original score for Battleship Potemkin was composed by Edmund Meisel. However, this score was largely abandoned in subsequent edits and replaced with selections from the work of composer Dmitri Shostakovich. Meisel’s score was re-recorded for the 2005 restoration. However, Eisenstein allegedly wanted the score for Battleship Potemkin to be rewritten every twenty years to keep the film relevant to contemporary audiences and musicians have composed their own musical accompaniments. This includes a 2004 score by Neil Tennant and Chris Lowe of the Pet Shop Boys, a 2007 soundtrack by Del Rey & The Sun Kings with the Dresden Symphonic Orchestra, and a 2011 score by Michael Nyman.

The most famous scene in Battleship Potemkin is the “Odessa Steps” sequence in which Tsarist troops massacre a crowd of citizens celebrating the Potemkin mutiny. The Odessa Steps scene has been imitated and parodied in movies as diverse as The Godfather, Bananas, Brazil, and The Naked Gun 33⅓.


Sources
  • Bennett, Bruce. “A Revolution on Screen.” Liner notes to the Kino International Blu-ray release of Battleship Potemkin.
  • Barker, Martin, Jane Arthurs and Ramaswami Herindranath. “The Crash Controversy: Reviewing the Press.” The Cult Film Reader. Ed. Ernest Mathijs & Xavier Mendik. New York: Open University Press, 2008. Pages 456 – 74.
  • Evening With Kevin Smith, An. DVD. Sony Pictures Home Entertainment, 2002.
  • Mathews, Tom. Censored: The Story of Film Censorship in Britain. Chatto & Windus: 2002.
  • Most Controversial Films of All Time by Tim Dirks at AMC Filmsite 
  • Movie-Censorship.com  
  • Simmons, Jerold. “Challenging the Production Code: The Man with the Golden Arm.” Journal of Popular Film and Television. 2005: Volume 33, Issue 1. Pages 39 – 48.

Wednesday, July 3, 2019

Controversial Films on Sounds of Cinema

Sounds of Cinema's annual look at controversial films will air on Sunday, July 7th.

Sounds of Cinema has made a tradition of using Independence Day weekend to celebrate freedom of speech by looking at movies that have been censored, banned, or were otherwise controversial.  The 2019 edition of this program will feature new material so even if you've tuned in for past broadcasts don't miss this episode.

Sounds of Cinema can be heard Sunday morning at 9am on 89. 5 KQAL FM in Winona, MN and at 11:00am on 89.7 KMSU FM in Mankato, MN. If you are outside the broadcast area you can still hear the show via live streaming from each station's website or on your mobile device using the TuneIn app

Saturday, June 29, 2019

Farewell, James Gullickson

I want to recognize James Gullickson, the General Manager of 89.7 KMSU FM "The Maverick" which broadcasts from the campus of Minnesota State University in Mankato. Gully is retiring from his post after many years of service.

Sounds of Cinema began in the KMSU studios back in 2004 (under the title "Maverick at the Movies"). At the time I was a graduate student and I was working with the station’s news crew. I had been thinking about a radio show featuring film music and I pitched the idea to Gully. I wasn’t very experienced in radio production but Gully agreed to give me the chance to do something I was interested in. Among the qualities I’ve admired about Gully has been his commitment to letting students and volunteers explore their interests and providing enough support so that we produce quality programs but also allowing us the space to follow our interests. He did not micromanage my program but he was generous with feedback while also being kind about it. I shudder a bit when I reflect back on some of my early programs but Gully allowed me to learn from my mistakes while offering suggestions that improved my work. This show has continued in no small part because of Gully’s support and he has been a mentor, an advocate, a supervisor, and a friend. 

Gully guided KMSU through some challenging times. He took over management duties in a period when the station’s future was uncertain and he guided KMSU through personnel shakeups, technical obstacles, and financial challenges. The station you hear now, which is an important fixture of Minnesota State, the Mankato community, and southern Minnesota more generally, is a testament to Gully’s vision and leadership.

So, thank you, Gully. You’ve been one of the great influences on my life and you’ve left behind an impressive legacy. Congratulations on your retirement. You’ve earned it.

If you live in the Mankato area and want to pay your respects, there is a retirement party for Gully at Pub 500 on Sunday, June 30th. Details can be found here.

Thursday, May 23, 2019

'Apocalypse Now' on Sounds of Cinema

For Memorial Day weekend, Sounds of Cinema will feature a condensed version of the two disc soundtrack to Apocalypse Now. The soundtrack includes the music, dialogue, narration, and sound effects and plays like a radio drama.

Based on Joseph Conrad’s novella Heart of Darkness, Apocalypse Now tells the story of Captain Willard, an American soldier in Vietnam who is given a secret mission to assassinate an American colonel who has gone insane deep within the Southeast Asian jungle. On Willard’s journey he confronts his own doubts about the war, his allegiance to his country, and even his own sanity.

Apocalypse Now is an unconventional war film. There are none of the typical war film clichés; no taking the hill, no waving flags, no Rambo-style heroics, no buddies in combat. Instead, Apocalypse Now is a journey from the order and relative civility of the military command through a progressively chaotic and uncouth battlefield, stripping away the social and technological signs of human advancement and returning the characters to a primal state of nature. By doing this, Apocalypse Now examines the roots of violence and the nature of warfare, making the film an exploration of the Thanatos drive.

Apocalypse Now was directed by Francis Ford Coppola and contains a unique and ground breaking sound mix by Walter Murch. The screenplay was written by John Milius and Frances Ford Coppola and the narration is credited to Michael Herr.

Here is a video of Apocalypse Now director Francis Ford Coppola talking about the film on its fortieth anniversary.



Sounds of Cinema can be heard Sunday morning at 9am on 89.5 KQAL-FM in Winona, MN and 11am on 89.7 KMSU FM in Mankato, MN. Tune in over the air, online at each station's website, or through the Tune-In app on your mobile device.

Wednesday, May 15, 2019

The Phantom Menace: The Second 'Star Wars' Revolution

Star Wars: Episode I - The Phantom Menace was released twenty years ago this week. It was the most anticipated film not only of 1999 but in all of Hollywood history to that point. The backlash against the film is legendary and the panning of The Phantom Menace has obfuscated how important the first Star Wars prequel was to cinema history. The following essay, originally broadcast in 2015 as part of a series of commentaries about the state of Star Wars, argues for the legacy of The Phantom Menace.



Sixteen years after completing the original Star Wars trilogy with Return of the Jedi, George Lucas returned to his galaxy far, far away with the prequel trilogy, which told the backstory of the existing films. It is an understatement to say that the Star Wars prequels, which began with 1999’s The Phantom Menace, continued with 2002’s Attack of the Clones, and finished with 2005’s Revenge of the Sith, were regarded as a disappointment by fans and critics alike. It’s also uncontroversial to say that the new crop of movies, starting with The Force Awakens, are intended to distance the series from the prequels and preserve the Star Wars brand for the future.

What may be controversial, and which I will argue here, is that the prequel trilogy—and in particular The Phantom Menace—was as significant and as influential of a cinematic event as the original Star Wars.

If nothing else, 1977’s Star Wars was a landmark movie because of the technology that was invented in the process of making it. On the level of technical craft, The Phantom Menace has some equally groundbreaking accomplishments; unfortunately those accomplishments are embodied by Jar Jar Binks. There had already been computer generated characters in movies, namely the dinosaurs of 1993’s Jurassic Park, but there is a difference between creating an animal versus a sentient being who communicates and interacts with the other human performers. The latter requires a subtlety in the performance that calls upon a different set of skills. Although Jar Jar Binks is among the most reviled characters in Star Wars (or any other movie for that matter) the fact is that without Jar Jar we don’t get Gollum of Lord of the Rings or Caesar of Rise of the Planet of the Apes.

Along with creating totally digital characters, the Star Wars prequels also innovated entirely digital environments. This was another important breakthrough. Where movies like Terminator 2 and Jurassic Park were filmed in a physical space and then inserted digital characters or other elements in post-production, the Star Wars prequels reversed this; the movies were essentially animated films with live action components. This has had a profound impact on the way movies are made. First, the digital back lot has become a reality and on big budget studio films the most involved and time consuming portion of the filmmaking process is no longer the shoot with the actors but the post-production period in which digital technicians shape the material. Second, a whole new kind of movie has been made possible: the motion capture film. This hybrid of animation and live action moviemaking allowed Robert Zemeckis to make The Polar Express and James Cameron to create Avatar.

This leads to the third technical accomplishment of the Star Wars prequels and that is creating a standard for the quality and quantity of the work. Previous to The Phantom Menace the average tentpole film might have 400 effect shots. Virtually every shot of the Star Wars prequels was digitally enhanced in some way—that’s about 2000 shots per film—and they are of uniformly high quality. This same density of digital effects can be seen in The Avengers and 300.

There was another technical innovation spearheaded by the prequels: digital filmmaking. Attack of the Clones was the first feature film to be shot entirely with digital cameras. This was quite controversial at the time and whether or not this was good for the motion picture industry continues to be a matter of fierce debate. But the fact of the matter is that the future of cinema is digital and, for better or worse, Star Wars led the way in that conversion.

In each of these cases, whether it was computer generated characters or digital cameras, the filmmakers of the Star Wars prequels devised an entire process to get from a concept to a finished product. That infrastructure created new kinds of filmmaking jobs while ending old ones, reshaped the way that movies are made, and altered the expectations of the audience. In short, the prequel trilogy was the second Star Wars revolution.

The technical breakthroughs of the Star Wars prequels don’t excuse the many flaws of those films. But when it comes to taking stock of the legacy of Star Wars it’s a mistake to stop counting the series’ impact in 1977 or even 1983. The prequel trilogy has directly shaped contemporary motion picture production perhaps even more so than the original movie.


Read more essays on the past, present, and future of Star Wars here.

Sunday, April 28, 2019

More Songs Inspired by Movies

Today’s episode of Sounds of Cinema altered the show's music format a bit to feature songs inspired by films and movie stars. Here’s a look at some other songs that fit the profile.

“Electric Barbarella” by Duran Duran
Duran Duran took their name from the mad scientist (named Dr. Durand-Durrand) in the 1968 cult classic Barbarella. The band formed in 1978 and was at the height of its fame in the 1980s and 90s, in part due to salacious (for the time) music videos. In 1997, Duran Duran released the album Medazzaland, which included the song “Electric Barbarella.” It was touted as one of the first songs to be legally available for purchase online. If you listen closely you can hear some of the sound effects from Barbarella


“Candle in the Wind” by Elton John
Elton John’s 1973 hit “Candle in the Wind” was written as a tribute to Marilyn Monroe, who had died eleven years earlier. Interestingly, the songwriters had heard the phrase “candle in the wind” in reference to the late Janis Joplin. In 1997, Elton John revised and rerecorded “Candle in the Wind” in tribute to Princess Diana after her death by car crash and it became one of the biggest selling singles in music history.


“Along Came Jones” by The Coasters
The Coasters were an R&B group popular throughout the 1950s and 60s. They were known for lighthearted tunes like “Riot in Cell Block #9” and “Yakety-Yak.” The song “Along Came Jones” was inspired by the motion picture of the same name starring Gary Cooper and Loretta Young. The lyrics describe a generic western movie as told from the point of view of someone watching television.


“Space Oddity” by David Bowie
David Bowie’s song “Space Oddity,” which was the first track on Bowie’s eponymous 1969 album, was inspired by 2001: A Space Odyssey. The song is about a fictional astronaut, Major Tom, who gets lost in space, much like the astronauts in 2001. Ironically, the BBC used “Space Oddity” as background music for the broadcast of the Apollo 11 moon landing.


“The Union Forever” by The White Stripes
The White Stripes 2001 album White Blood Cells included the track “The Union Forever,” which was inspired by Orson Welles’ classic Citizen Kane, a favorite film of Jack White. Most of the lyrics are taken from dialogue in Citizen Kane, so much so that Warner Bros. considered suing the band for copyright infringement.


“I’m the Droid You’re Looking For” by Nerf Herder
The band Nerf Herder takes their name from the insult that Princess Leia lobs at Han Solo in The Empire Strikes Back and several of their songs make reference to pop culture and to movies, especially the Star Wars and Star Trek series.


“Valley of the Dolls” by Marina and the Diamonds
The 1967 film Valley of the Dolls has become one of the de facto show business cautionary tales. Adapted from Jacqueline Susann's novel, Valley of the Dolls tells the story of three women who are chewed up and spit out by the machinery of show business. The film had a popular title song performed by Dionne Warwick and the picture has inspired many other tributes and allusions.


“Jurassic Park” by Weird Al Yankovic
Another musician who has found a lot of inspiration at the movies is Weird Al Yankovic, who has made a career out of satirizing popular songs. His work oftentimes mixes one pop cultural reference with another such as fast food, consumer products, and movies and television shows. His 1993 album Alapalooza opened with “Jurassic Park,” a parody of the song "MacArthur Park” written by Jimmy Webb and performed by Richard Harris.


“The Red Shoes” by Kate Bush
Based on a fairytale by Hans Christian Andersen, the 1948 feature film The Red Shoes was about a woman who must choose between the man she loves and a career as a ballerina. The film inspired British musician Kate Bush who released the album The Red Shoes in 1993. Along with the album, Bush also released a companion short film “The Line, the Cross and the Curve.”


“Year of the Cat” by Al Stewart
Many of the lyrics to Al Stewart’s song “Year of the Cat” were inspired by the dialogue in the Humphry Bogart classic Casablanca.

Saturday, April 27, 2019

Songs Inspired By Movies on Sounds of Cinema

The Sounds of Cinema episode for Sunday, April 28, 2019 will alter the show's music format a bit. Sounds of Cinema usually plays music from the movies but this episode will feature songs inspired by films and movie stars such as "Bette Davis Eyes" by Kim Carnes and "Gump" by Weird Al Yankovic. The show will also include reviews of The Curse of La Llorona and Teen Spirit.

Sounds of Cinema airs every Sunday morning at 9am on 89.5 KQAL FM in Winona, Minnesota and at 11am on 89.7 KMSU FM in Mankato, Minnesota. The show can be heard over the air, online at each station's website, and on your mobile device using the Tune In app.

Wednesday, April 17, 2019

KMSU Spring Pledge Drive

89.7 KMSU FM "The Maverick" is currently holding its spring pledge drive. If you listen to Sounds of Cinema from this station or simply believe in independent media, please consider making a financial contribution. You can make a pledge by calling 507-389-5678 or 1-800-456-7810. You can also make a pledge online at the station's website.




This pledge drive has a $45,000 fundraising goal. The money primarily goes to KMSU's overhead expenses. Most of the local programs, including Sounds of Cinema, are produced by volunteers. Your pledges go directly to keeping the station on the air so that all of us can keep sharing our passions with you.

KMSU offers a variety of extraordinary and unique programming that is valuable to the community. The station allows local businesses, artists, and community organizations exposure they would not get otherwise. It is a truly independent voice in this community. Our playlists are not dictated from corporate offices nor are our views and opinions restrained by marketing departments and partisan talking points. Whatever goes over the air is the result of the dedication, effort, and passions of the station’s staff and volunteers. That feature is increasingly unique in broadcasting and KMSU represents something that the community ought to be proud of.

If you listen to KMSU and enjoy its content, please help to ensure that the station continues to broadcast its unique blend of programming. The reality is that radio—like everything else—costs money. Every piece of media that you hear, watch, or read costs somebody something to make into a tangible and accessible reality. Don’t kid yourself; music and movies and radio programs do not magically appear out of nowhere. They are the result of time and effort and investment. That’s where you come in. As consumers and citizens, we express what we want by the way we spend our hard-earned dollars. Every day we vote with our wallets whether it is at the market, at the local movie theater, or through a public radio pledge drive. And just like the goods of your favorite store, your support will determine whether or not KMSU’s product continues to exist.

It's also important to remember that pledge drives are about more than money. Space and funding are at a premium across higher education. When you make a pledge to KMSU you demonstrate that the station is valued by the community and that helps justify the station's continued existence.

Also, keep in mind that KMSU is a part of the Association of Minnesota Public Educational Radio Stations. This is a separate organization from Minnesota Public Radio and MPR's fundraising dollars  do not go to KMSU.

On Sunday, April 21st, those listening to Sounds of Cinema from KMSU will hear a special pledge drive episode. Those listening from 89.5 KQAL FM in Winona will hear the regularly scheduled program.

Sunday, March 17, 2019

Irish-Themed Films

For St. Patrick’s Day, today’s episode of Sounds of Cinema featured a look at Irish-related films. Here is a recap of the movies discussed on the show.

Little Nellie Kelly (1940)
Little Nellie Kelly was adapted from a successful stage musical but most of the story and songs were rewritten for the motion picture. Judy Garland appears in two roles, first as Irish immigrant Nellie Noonan Kelly and later as her daughter.


The Quiet Man (1952)
John Wayne plays an American boxer who travels to his birthplace in Ireland. There he falls in love with a local woman played by Maureen O’Hara. The Quiet Man is distinguished as one of the few Hollywood films in which Gaelic is spoken.


Finian’s Rainbow (1968)
Finian's Rainbow is a 1968 musical film adapted from the stage show and directed by Francis Ford Coppola and starring Fred Astaire and Petula Clark. The film tells the story of an Irishman and his daughter immigrating to the United States while pursued by a leprechaun. At the time of its release, Finian’s Rainbow had a mixed critical reception but it’s now regarded as an underrated title from the end of Hollywood’s musical era. The Coen Brothers have named Finian’s Rainbow as one of their favorite films.


Barry Lyndon (1975)
Stanley Kubrick was renowned for his obsessive attention to detail. His 1975 film, the story of an Irish commoner who marries his way into British aristocracy, is one of the best examples of that Kubrick’s filmography.


My Left Foot (1989)
My Left Foot is the story of Irish writer and painter Christy Brown who was rendered quadriplegic by cerebral palsy but was able to create using the toes of one foot. The movie was adapted from Brown’s memoir and starred Daniel Day Lewis in the lead role.


The Crying Game (1992)
There is a whole genre of movies about the Troubles in Northern Ireland including Michael Collins, The Wind that Shakes the Barley, Jimmy’s Hall, Hunger, and ’71 among many others. 1992’s The Crying Game tells of a burgeoning friendship between a volunteer in the Irish Republican Army and a kidnapped British soldier. This was the breakout movie for Irish filmmaker Neil Jordan who went on to make Interview with the Vampire, The End of the Affair, and Greta.


Patriot Games (1992)
Patriot Games is an adaptation of the book by Tom Clancy, in which Jack Ryan is targeted by a splinter group of the IRA. The movie has little to say about the politics of Northern Ireland, preferring to stick to the action and adventure, and it’s a darker movie than other adaptations of Clancy’s work. The soundtrack includes the theme from the film Harry’s Game (performed by Clannad) which was also about the Troubles.


Angela’s Ashes (1999)
Angela’s Ashes was adapted from the Pulitzer Prize winning memoir by Frank McCourt. The story dramatizes McCourt’s childhood in Limrick, Ireland during the Great Depression. The movie has some terrific performances and an authentic feel for its time and place.


In America (2002)
Directed by distinguished Irish filmmaker Jim Sheridan, whose other films include My Left Foot and In the Name of the Father, 2002’s In America was the story of an Irish family relocating to the United States and scratching out a living in Manhattan.


Once (2007)
Once is a musical love story that succeeds largely because of its soundtrack. Lead actors Glen Hansard and Markéta Irglová are professional musicians and they are credited with writing most of the music and perform it in the film. The songs are great; Once sports one of the best original soundtrack albums of recent years and the songs link to the characters and their love story.


Leap Year (2010)
Leap Year was a 2010 romantic comedy starring Amy Adams. She plays a woman who wants her boyfriend to propose and Adams’ character decides to exploit the Irish tradition of Bachelor's Day in which women are allowed to propose marriage on February 29th. The movie got mostly negative reviews. Donald Clarke of The Irish Times wrote an especially scathing review that said Leap Year was evidence that “Hollywood is incapable of seeing the Irish as anything but IRA men or twinkly rural imbeciles.”


Leprechaun Series (1993 – 2018)
Leprechaun was a horror-comedy series starring Warwick Davis. In each installment, the murderous imp pursues people who have taken his gold and dispatches them in horrifically creative ways. The original Leprechaun was Jennifer Aniston’s first feature film credit. The movie inspired five sequels (including such immortal classics as Leprechaun 4: In Space and Leprechaun in the Hood) as well as a reboot.

Sunday, February 24, 2019

Academy Awards 2019: How (Not) To Fix a Ceremony in Trouble

The 91st annual Academy Awards will be broadcast tonight. Longtime listeners to Sounds of Cinema are probably aware that I’ve made my feelings about the ceremony quite clear in past editorials (see: 2009, 2012, and 2016). The Academy Awards is little more than a glitzy diversion, a stupid and meaningless fashion show masquerading as art appreciation. But the 2019 ceremony has suffered a series of public debacles that are worth commenting upon because they lay bare the way in which the Academy is failing cinema and the audience.

The origins of the present fiasco trace back to the middle of last year, before many Oscar nominees were even released. In August, the Academy of Motion Picture Arts and Sciences announced changes to the 2019 ceremony including the creation of a new category for “outstanding achievement in popular film” and the decision to award four of the categories during commercial breaks. The announcement drew criticism from within and without and the Academy’s board of governors eventually dropped both initiatives. These changes were a transparent play to boost the Oscar viewership which has been steadily dwindling over the past few years.

The Academy Awards does need an overhaul both in style and in substance but the way the Academy went about it was all wrong. Firstly, there is no reason to create a separate category for popular films. The Academy has historically nominated popular titles for best picture including Mary Poppins, The Exorcist, Jaws, Star Wars, Raiders of the Lost Ark, The Silence of the Lambs, The Lord of the Rings, and Mad Max: Fury Road. Creating a separate popular film category implies that these movies are not serious cinematic work. That’s wrong and that message would do harm to these films, to cinema, and to the Academy itself. Instead of encouraging the public to take movies seriously, the popular film award would do the opposite. It would further discourage the public from thinking critically about the entertainment they consume while continuing to silo films and audiences. It’s difficult enough to get the average moviegoer to see something besides the latest blockbuster and a separate popular film category would discourage viewers from seeing movies that would presumably take the Oscar’s top prize. The popular film category would actually worsen the Academy’s image as an out-of-touch institution. 

Secondly, omitting craft awards from the Oscar telecast would be damaging to the Academy’s stated goal to “uphold excellence in the motion picture arts and sciences.” It’s notable that the awards that would have been omitted from the broadcast include cinematography and film editing—the essential crafts of cinema—as well as live-action short and make-up and hairstyling. The Academy initially said that the categories withheld from the broadcast would rotate every year but it is highly unlikely that awards with star nominees like best actor or best director would be relegated to the commercial breaks. Like the proposed popular film category, this move would impose a tier system on the awards. Truthfully, that preferential treatment among categories already exists but this new format would exacerbate it. The message to the crew members laboring below the line—the people who work just as hard and oftentimes harder than the acting talent—is that they don’t matter. And that message wouldn’t be lost on the television audience. Intended or not, the home viewers would internalize the idea that the contributions of editors and cinematographers are somehow irrelevant to the art of motion pictures. This is perhaps the most pernicious aspect of the Academy’s bid for populism. It actually risks damaging the audience’s appreciation and understanding of cinema.


There are changes the Academy could make to the ceremony. For one, they could get rid of the supporting actor and actress categories. These awards are a joke anyway. Leading performances regularly vie for a supporting actor nomination to better the chance of winning. Take The Favourite’s Olivia Colman who is nominated for best actress while her co-stars Emma Stone and Rachel Weisz are both up for the supporting actress award despite the fact that Stone and Weisz are the real leads of that movie and Colman is a supporting player. This happens all the time. Manipulating the system creates an impression of dishonesty on the part of the studios and undermines the Academy’s integrity. The organization ought to scrap the supporting actor categories (but keep the best actor and actress) and institute a new award for best overall cast.

The best director award could also be eliminated. Unlike actors, writers, or any of the craftspeople, the director’s job is much more difficult for voters to evaluate. Consider Bryan Singer whose was fired off of Bohemian Rhapsody during its production. Bohemian Rhapsody was a financial success and it was nominated for several awards but there is little or no evidence of the behind-the-scenes chaos in the film itself. Just eliminate the best director category and include the filmmaker among those receiving the nomination for best picture (which is often the case anyway since many directors are also credited as producers).

There are also “populist” categories that could be added. Consider an award for “Best Trailer.” This would have the wide appeal that the Academy seeks and at the very least the home audience might actually see the nominees. Another category with mass appeal would be “Best Set Piece.” Nominees could include action or fight sequences as well as musical performances. Categories like these could allow for more mainstream films to achieve nominations, thereby appealing to the center, and do so while celebrating cinematic craftsmanship.

The Academy’s bid for populism stems from a struggle with its identity. The Oscar ceremony has changed very little since the first television broadcast in 1953 and the award show is a relic of Old Hollywood when film stars were mysterious and distant. Categories have come and gone over the years but then as now the Academy Awards is a gala event in which well-heeled celebrities dressed in tuxedos and nightgowns pat each other on the back while ostensibly celebrating the cinematic arts. It is an inherently exclusive and elitist event. But the Academy’s producers and the network that broadcasts it want to reach the Super Bowl audience. In purely commercial terms, the product is being marketed to the wrong consumer. The proposed changes to the Oscars attempted to remedy that but to potentially detrimental effect. But realizing that disconnect and correcting it might revitalize this institution.

Film appreciation is alive and well and is in fact is thriving online where commentators and fans create and share thoughtful articles and insightful videos about popular films as well as cult and classic cinema. The creators of that content and the viewers who consume it are the audience the Academy should seek. In order to connect with them, the format of the show has to change. The stuffy Old Hollywood dinner party format has to go in favor of a more pre-produced show. Pivot from celebrities and glamour to the craft of filmmaking. Make cinema the real star of the show and play to the audience’s love of it.

In this respect, the Academy could take a clue from sports. Something that professional sports leagues and their media outlets have done so well is turning athletic events into part of a narrative. Programs like HBO’s Real Sports with Bryant Gumbel and ESPN’s SportsCenter have combined personal stories of athletes with knowledgeable analysis of the game and a complex understanding of the business. That format has proven successful in sports and it would translate well to entertainment.

In its present format, the Academy Awards—as well as the rest of the Hollywood awards circuit—is a glamourous facade whose structure is crumbling. But it doesn’t have to be that way. With a top to bottom reimagining of what the Oscars could be, an award show like this could entertain and educate and really celebrate the art of cinema in a way that doesn’t insult our intelligence or cravenly appeal to the lowest common denominator.  But at present the Academy is pursuing an audience that just isn’t there and it risks devaluing the very art form it is supposed to celebrate.

Sunday, January 20, 2019

Best and Worst Films of 2018

Today's episode of Sounds of Cinema revealed my picks of the ten best and worst films of 2018. You can find more, including rationales for each title and lists of honorable mentions and trends of 2018, here.

Best Films of 2018: 

1. If Beale Street Could Talk


2. First Reformed 


3. The Favourite 


4. Eighth Grade 


5. Free Solo 


6. The Tale 


7. Sorry to Bother You


8. A Star is Born


9. Chappaquiddick 


10. Spider-Man: Into the Spider-Verse 


Worst Films of 2018:
  1. Acrimony
  2. Fifty Shades Freed
  3. Holmes & Watson 
  4. Death Wish
  5. Mile 22
  6. The Death of a Nation
  7. Gotti
  8. Life of the Party
  9. Dark Crimes
  10. Fantastic Beasts: The Crimes of Grindelwald 
 

Thursday, January 17, 2019

Sounds of Cinema 2018 Wrap Up Coming January 20th

The Sounds of Cinema episode for Sunday, January 20th will look back at the films of 2018 and count down my picks of the best and worst releases of the past year. Sounds of Cinema airs every Sunday morning at 9am on 89.5 KQAL FM in Winona, Minnesota and at 11am on 89.7 KMSU FM in Mankato, Minnesota. You can hear the show over the air and live streaming from each station's website or by using the TuneIn app on your mobile device.

Until then, check out an archive of previous Sounds of Cinema year end wrap ups and here are some year end lists from other critics:

The Atlantic
The 17 Best Films of 2018 

The Guardian
Mark Kermode's best films of 2018

The Hollywood Reporter
Best Films of 2018

10 Worst Films of 2018

IndieWire
The 13 Best Movies of 2018, According to the IndieWire Film Staff 

New York Times
Best Movies of 2018 

The New Yorker
The Best Movies of 2018 

Rolling Stone
20 Best Movies of 2018

10 Worst Movies of 2018

Time
These Are the Best Movies of 2018
 
The 10 Worst Movies of 2018

Vanity Fair
The 10 Best Movies of 2018 

Variety
Best Movies of 2018

Worst Films of 2018 

Washington Post
Best Movies of 2018