Showing posts with label laff 2014. Show all posts
Showing posts with label laff 2014. Show all posts

Thursday, 19 June 2014

LAFF 2014: JIMI ALL IS BY MY SIDE

A scene from Jimi: All is By My Side. 
A walk with a maestro 

By Ed Rampell

John Ridley has followed up his 2014 Oscar-winning screenplay for 12 Years a Slave by writing and directing a must-see Jimi Hendrix biopic, one of LA Film Festival’s most highly enjoyable movies. As is befitting the screenwriter of Solomon Northup’s slavery saga, Ridley exposes how racism -- among other things -- affected and afflicted the virtuoso guitarist in Jimi: All is by My Side.

The feature follows Hendrix (rapper André Benjamin, aka André 3000 from the time he is plucked from obscurity while performing backup in New York clubs and recording studios and brought to London, where he formed the Jimi Hendrix Experience and his astounding talent earns him the recognition Hendrix so richly deserved. The “plucker” from obscurity is Linda Keith (Imogen Poots), who is Rolling Stones’ Keith Richards (Ashley Charles, in one of the film’s numerous cameos portraying the era’s hottest rockers) “groupie” -- uh, I mean girlfriend. This mod London lass is sort of “slumming” across the pond while the Stones are on tour when she stumbles upon Hendrix at Manhattan dives. Believing in his talent Linda takes Hendrix under her wing and introduces him to Chas Chandler (amiably, ably played by Andrew Buckley), The Animals’ bassist who is in the process of leaving that group to become a manager of rock acts.

The subtle depiction of Hendrix, full of nuance, by Benjamin -- who, offscreen, is half of the hip-hop duo OutKast -- is nothing short of uncanny. (Can you say “Oscar nomination”?) He perfectly looks and acts the part. Benjamin’s delivery of a single line regarding Hendrix’s mother reveals much about what troubles him and his attitude towards women. A phone call to his father likewise provides insight into Hendrix’s back story. All this helps explain his turbulent relationship with English groupie Kathy Etchingham (Hayley Atwell), and why Linda remained the Foxy Lady who got away. Mr. “Peacey Lovey” had his inner demons and this “Voodoo Child” didn’t always practice the cosmic consciousness he preached.

As noted, Ridley’s script also reveals the prejudice that confronted Hendrix in the U.K., where he falls in with Black nationalists through Ida (Ruth Negga) and the wannabe Malcolm, Michael X.

The film is a sheer pleasure for Hendrix fans to watch as his talent ascends, A particularly enjoyable sequence is when the still unknown Hendrix guests with the Cream at a London gig and Eric Clapton (Danny McColgan) -- whom graffiti proclaims to be “god” -- storms off the stage, as Ginger Baker continues to pound the sharkskins and Jack Bruce wails on. In a delightfully revealing backstage scene sure to give Hendrix fans the proverbial smile of the day, Clapton discloses why he deserted the stage, mid-performance.

Unfortunately, the filmmakers were reportedly unable to secure the rights to some of Hendrix’s greatest hits. Nevertheless, with Jimi: All is by My Side Ridley reveals himself to be a true auteur, as talented a director as he is a screenwriter and novelist. This groovy movie perfectly captures that ’60s scene with a cinema verite documentary-like, fly-on-the-wall flair.

In addition to being a pure delight in the tradition of works about struggling Bohemian artistes (paging La Boheme!), along with the Simon Bolivar biopic The Liberator and Dear White People, which LAFF also screened, as well as the upcoming Civil Rights drama. SelmaJimi: All is by My Side continues the cinematic surge of Black-themed movies that 12 Years a Slave has helped to spearhead.



  

Wednesday, 18 June 2014

LAFF 2014: LAST DAYS OF VIETNAM

A scene from Last Days in Vietnam. 
Family heirlooms 

By Ed Rampell

As U.S. foreign policy in Iraq faces its biggest defeat since the Indochina invasions, the niece of US President John Kennedy -- who escalated the U.S. presence in Vietnam -- has directed the cinematic equivalent of putting a blossom on a turd. Rory Kennedy has fired the opening salvo in the propaganda war regarding upcoming historic anniversaries with Last Days in Vietnam. This film is so shamefully, wildly one-sided film that this historian/reviewer hesitates to call it a “documentary” -- rather, Last Days in Vietnam is a piece of propaganda in the very worst sense of the term. Indeed, this egregiously biased, one-sided work is arguably more of a mock-umentary -- but unlike This is Spinal Tap, Rory's Orwellian disinformation is no laughing matter.

As the 50thanniversary of the Gulf of Tonkin Incident -- that fabricated hoax US President Lyndon Johnson exploited to further escalate U.S. military activities in Vietnam -- much as  the Bush regime’s blatant lies about Iraq’s nonexistent weapons of mass destruction were cooked up to “justify” another disastrous U.S. invasion of a sovereign nation that had not attacked America -- nears this August, and the 40th anniversary of Vietnam’s liberation approaches next April 30, Last Days in Vietnam desperately tries to find something positive to say about the role the American military and diplomats played as the “Yankees go home” scenario unfolded and the communists took over what was then Saigon.

According to the film, some soldiers and State Department officials took great pains -- and sometimes at grave personal risk to themselves -- to evacuate about thousands of the Vietnamese, including military, who had worked for and married U.S. personnel, as well as the up to 5,000-7,000 Yanks still “in country.”

Rory and her partners, including co-writer/husband Mark Bailey, have taken great pains to try and find something glorious and heroic in the greatest defeat for U.S. imperialism in the entire history of the American empire. In their disgraceful effort to make a stinking garlic smell like a rose, the filmmakers willfully expunge history and any sort of context from their one dimensional exercise in disinformation. 

For example: It’s alleged that during 1968’s TếtOffensive the communists executed thousands of South Vietnamese at Huế. However, the countless war crimes committed by Washington and US forces are never, never once mentioned in this execrable piece of agitprop. Hey Rory, ever hear of the Mỹ Lai Massacre? How about the 1972 bombing of Hanoi -- during Christmas? Or the mining of Haiphong Harbor? Of course, the list of American atrocities committed against the Indochinese -- starting with intervention in the domestic affairs of nations that never attacked the U.S.A. -- is endless, the millions murdered by carpet bombing, landmines, agent orange, etc., is innumerable, and it would require an entire series of documentaries to record them all. But Rory never mentions any of them -- although she goes out of her way to vilify the Reds (don’t forget that her father, Bobby Kennedy, served on anti-communist Sen. Joseph McCarthy’s witch-hunting Senate Permanent Subcommitteeon Investigations).

Last Days in Vietnam simplistically endeavors to depict the Vietnam invasion (which, by the way, the Vietnamese call “the American War”) as a conflict between the north and the south, with Washington backing the latter. Rory conveniently commits the heinous crime of omission by never -- not even once! -- ever mentioning the National Liberation Front (NLF), the resistance fighters in the south. According to the Pentagon Papers, 300,000 people belonged to the NLF by 1962 (you know, when Rory's uncle was president). Millions f people in the south must have supported the NLF in order for the TếtOffensive to have been carried out in 1968, let alone for the south to have been liberated seven years later, beating both the American imperialists and the army it supplied and funded. Last Days in Vietnam mentions that the ARVN (Army of the Republic of Vietnam) “eroded” in 1975, but never ponders why the North Vietnamese Army (NVA) and the Viet Cong didn’t.

(Assuming that Last Days in Vietnam's conceit -- that the U.S. merely backed the south against the north -- is correct, then why is it that last month, when this critic visited Hanoi, he saw wartime shrines, such as the Hanoi Hilton and Ho Chi Minh’s mausoleum, but did not see some wall inscribed with the names of the 50,000-plus Vietnamese who died fighting in the U.S. Civil War, from 1861-1865?)

Last Days in Vietnam's sources include former US Secretary of State Henry Kissinger, who appears in news clips and presumably in contemporary, original interviews, where this mass murderer of millions in Indochina, Chile, Timor, etc., is once again given the softball “elder statesman” treatment. Richard Armitage -- no, not the Hobbit actor but the Navy and U.S. government operative who apparently never met a covert action he didn’t like -- is likewise given the hero treatment. But Armitage’s willingness to break the law -- purportedly to save south Vietnamese lives -- is never put in the context of his alleged involvement with Ted Shackley, the CIA chief in south Vietnam, and the heroin trade, or Armitage’s dubious role in the Iran-Contra Scandal -- are never mentioned.The film also conducts original interviews with former ARVN officers.

After the LA Film Festival screening an audience member asked Rory and crew members why nobody from the communist and NLF side were interviewed for the film and she replied, “We considered this but ultimately their part of the story was about the war. We wanted to focus on the heroes,” that is, those Americans who put themselves in peril to rescue south Vietnamese lives, in order to tell what Rory blithely called “a human story.”

Author Stuart Herrington, who served in military intelligence and then the Defense AttachéOrganization in south Vietnam and is a source in the film as he was an eyewitness to the events of April 1975, joined Rory for the post-screening Q&A. Herrington said that the communist side “did not add to the film” and that they would have merely indulged in “chest thumping” had they been interviewed. Sore Loser!  As if Yanks never take part in “American triumphalism” screaming “USA! USA!” and the like, especially when it invades -- unprovoked -- smaller, weaker nations.

But here’s the real reason why this agitprop pic never makes any effort to show the other side of the story: NVA and NLF supporters would presumably point out that the southerners the Yankees tried to save at the last minute were collaborators and running dogs of U.S. imperialism, who supported a Washington-backed puppet government. And that it was the Viet Cong who were the south’s real patriots. But don’t worry: The former president’s niece, charter member of the ruling class, has taken great care to make sure that American ears aren’t offended by hearing the other side of this “human story.” The Vietnamese Left doesn’t just not get equal time -- it gets no air time in this blatantly biased propaganda flick, violating journalistic ethics to present multiple viewpoints, without fear or favor.

However, skillful propagandist that Rory is, in her effort to whitewash history and to try to ferret out something positive in a colossal debacle so she can pander to U.S. rightwing sentiment, there’s something even she can’t hide. Look closely at the newsreel clips as the NVA tanks roll into what was renamed Ho Chi Minh City. Not only are the soldiers jubilant, but look at the smiling faces of the Vietnamese masses as they are being liberated from decades of Japanese, French and Yankee occupation and imperialism. Perhaps we should thank Rory for not using CGI to turn those smiles into frowns.

To be fair, Rory has produced and/or helmed some good documentaries in the past, including 2005’s Street Fight, 2006’s The Homestead Strike and 2007’s Ghost of Abu Ghraib. The jury is still out as to what US President Kennedy would have done in Vietnam had he had a second term in office. Some, like film director Oliver Stone (JFK), contend he planned to pull out of Vietnam (which Stone and others believe is a major reason why the president was liquidated). And Rory’s father, Bobby, did run as a peace candidate in 1968, although again, bullets cut short his life and who knows how a possible Bobby presidency might have ended the war, instead of Tricky Dick Nixon's ascension to the presidency in 1968?

And Last Days in Vietnam does point out that the U.S. Ambassador to south Vietnam, the Nixon-appointed Graham Martin, was in denial of reality up to the very last minute (if not, like the pig who appointed him, unhinged), resulting in chaotic, last minute evacuation plans. More than 400 of those Vietnamese camping out at the U.S. embassy grounds in what had been Saigon never made it to those choppers or boats to escape their fates. 
Having said this, with liberals like Rory Kennedy, who needs reactionaries? 

Last Days in Vietnam will premiere on PBS’ (your tax dollars at work!) American Experience in Winter/Spring 2015 -- just in time to brainwash Americans as the 40th anniversary of U.S. imperialism’s greatest defeat nears, and as another catastrophe for Washington’s foreign policy unfolds in Iraq. 

But the real lesson to draw from the Vietnam invasion is not that at the very end, perhaps a handful of Yanks put themselves in harm’s way. (Which is a bit like arsonists patting themselves for rescuing a few folks from the house they’ve set afire.) Rather, the true moral of the story is that being the world’s policeman is a disastrous policy that costs Americans and the nations they willy-nilly invade dearly, in blood and treasure. U.S. military and intelligence are arguably the most destabilizing forces on Earth, with bases straddling the globe and eternally intervening in others’ internal affairs. Nobody likes busybodies and meddlers: If you go around the world sticking your nose into other people’s business you’re likely to get punched in the nose. Washington’s empire is bankrupting a country that can’t even take care of those hapless soldiers who politicians and corporations blithely send abroad for foreign misadventures -- should they eventually make it back home outside of body bags. No amount of flag waving can hide the truth: that when it comes to militarism, Washington should mind its own business -- as if America doesn’t have enough pressing problems back home.

Having just returned from Vietnam, this reviewer can assure readers that there is life after U.S. imperialism. Rory's despicable, reprehensible propaganda flick might be called Last Days in Vietnam, but the liberation and reunification were certainly not the last days of Vietnam. The Vietnamese won the war and they are winning the peace, proving that the last shall be first.




Tuesday, 17 June 2014

LAFF 2014: RECOMMENDED BY ENRIQUE

The Star (Sarah Swinwood) in Recommended by Enrique.
Demons and such

By Miranda Inganni

Two individuals with their own agendas find themselves biding their time in Del Rio, Texas, in this quirky, enigmatic film "based on actual events."

An aspiring actress (Sarah Swinwood) comes to town to shoot a no-budget horror film, which she believes will be her big break into Hollywood stardom. Despite being told each day that the director is stuck in meetings in Los Angeles, she and the teenaged cast and crew continue to make the film. Meanwhile, a cowboy with a secret (Lino Verela) is held up in town awaiting a colleague. He is there to ostensibly deliver some plants and is bored out of his mind with the small, dusty town. Both the starlet and the cowboy pass the time in their own distinct way – the starlet swims with the local kids and sticks to the shooting schedule; the cowboy drinks himself to sleep at night, desperately missing his dead wife. When their projects are complete, both cowboy and actress move on.


Based on another film that was never completed, there is a quietness to Recommended by Enrique, written and directed by Rania Attieh and Daniel Garcia. Both lead characters spend much time in solitude, despite (or in spite of) merriment around them. They each have their own inner monologues, with the cowboy’s acting as a narration and the actress’s manifesting itself in her video blog entries. Though they are staying a couple of rooms away from each other in the same small motel, they never interact.  

Newcomers Swinwood and Verela both give excellent performances in this film hinting at mystery and nuance.

LAFF 2014: EAT WITH ME

in Eat with Me. 
Half-baked

By Ed Rampell

Eat With Me, which world premiered at the LA Film Festival, alternates between being an enjoyable, poignant coming out comedy drama and a paint -- or rather film -- by the numbers story. The plot of writer/director David Au’s feature-length directorial debut movie also has more holes in it than -- to use a culinary comparison -- Swiss cheese.

Elliot (the diffident Teddy Chen Culver) is a restaurateur of what is presumably a Chinese (like much else in this story, Au never specifies the ancestry of his Asian-American characters) eatery that is more or less a run of the mill dive in (presumably) a rather generic Downtown L.A. that could be the downtown of almost any urban American center. As the restaurant with its mediocre menu faces shuttering, after a falling out with her husband (over what, we’re never really quite sure) Elliot’s mother, Emma (the wonderful Sharon Omi), suddenly shows up out of nowhere and starts lodging at her son’s pad in (presumably) Downtown L.A.

Complications ensue, as Elliot’s homosexuality becomes an inescapable fact that Emma must contend with and face. She had more or less previously known of her son’s sexual orientation but preferred to ignore it. Eat With Me is most insightful when it shows how Elliot’s parents’ failure to communicate is passed down to him, resulting in his inability to form lasting relationships and his miscommunication with the sensitive musician, Ian (Aidan Bristow).

The various cooking sequences have that painting/filming by numbers quality: There is a food network, chefs are celebrities, Anthony Bourdain has replaced the news on CNN, so Au appears to be pandering to that coveted foodie demographic.

The strength of Eat With Me is its cast, led by the estimable Sharon. Oh my, Omi is stellar as a loving if traditional, conservative mom who struggles with her son’s “deviance” off the beaten sexual path and with her deep maternal instincts, which she expresses by cleaning his loft and by, but of course, cooking for the son she is desperately trying to reach to and connect with. Previously, Omi has mostly been confined to small big and little screen roles but here this gifted artist is allowed to shine in a lead role, and we are all the better for it.

Saturday, 14 June 2014

LAFF 2014: LAKE LOS ANGELES

Cecilia (Johanna Trujillo) in Lake Los Angeles.
Dusts in the wind

By Miranda Inganni

Set in the desolate high desert of California’s Antelope Valley, Lake Los Angeles is a story of struggle and survival for two incongruous, but quietly complementary characters.

Francisco (Roberto Sanchez) is a Cuban immigrant long since distanced from his wife and family. When he is not doing various day labor jobs and writing poetic love letters to his wife, he uses his house as a temporary holding place for immigrants crossing into the US from Mexico. One such person is young Cecilia (Johanna Trujillo) whose mother has purchased her passage with a promise that her father will collect her upon her arrival.

Things do not go according to plan on these vast arid plains pricked with Joshua trees and littered with abandoned houses.

Francisco and Cecilia both came to this land in search, or with a promise, of something better, only to face disappointment. Cecilia’s promised life with a father who she has never met is turned topsy-turvy when she, in a sudden act of self-preservation, runs off into the expansive desert. To keep herself occupied and comforted, she whispers stories, legends she has heard, to an imaginary friend as she wanders in search of her father, any father – a little girl lost in an expanse of grit.


Directed by Mike Ott and written by Ott and Atsuko Okatsuka, Lake Los Angeles uses the location almost as another character. The area drives the actors to various actions. It elicits a practically palpable, desperate dryness that gets into everything and sets the tone carried throughout the enjoyable film.

Friday, 13 June 2014

LAFF 2014: EVOLUTION OF A CRIMINAL

Darius Clark Monroe in Evolution of a Criminal.
Easy come, difficulties grow

By Miranda Inganni

When he was 16, Darius Clark Monroe and two of his classmates decided to rob a bank at gunpoint. Ten years later, Monroe’s film, Evolution of a Criminal, depicts this criminal episode of his life, what lead up to the robbery and how it affected him, his family and the victims of his crime.

Growing up in the outskirts of Houston, TX, Monroe was a good student and loving child. Unfortunately, he learned a little too much about his parents’ financial woes. He heard too often his mother complain about their mounting credit card debt and the struggles of living from paycheck to paycheck. Trying to be a good son, Monroe got a job at a local big box store and kept his nose to the high school grindstone. After a frightening home break-in, in which all of the family’s valuables -- most notably the VCRs, a gun and his stepfather’s full paycheck -- were stolen, something changed for Monroe. 

The brazen thieves had kicked in the basement door, climbed through the attic and busted a hole in Monroe’s bedroom ceiling to gain entry to the house. Monroe reasoned that he could simply replace the stolen VCRs with some from the store at which he worked and easily made that happen. Shortly thereafter, Monroe and his friends came up with the plan to rob a small, local branch of a bank. Armed with a shotgun, Monroe and his friend stormed the bank, while their other buddy waited in the getaway car.

Due to the severity of the crime, in which they stole about $140,000 and held a number of people at gunpoint, Monroe was tried as an adult and found guilty. He was incarcerated. 

But that is not where the story ends. Rather than become a criminal for life, Monroe had more creative plans. 


Evolution of a Criminal combines home movies, interviews with family members, former teachers and some of the victims, plus some reenactments to explore what happened and what it lead to Monroe's criminal enterprise. 

One of the many documentaries offered at Los Angeles Film Festival 2014, Evolution of a Criminal offers a sobering exploration of what can (and all too often does) go wrong for young men trying to better their lives through “easy” means.