MVFF #35 The Sessions

This is one of the more pleasant films to play at the Mill Valley Film Festival. "The Sessions” is the story of UC Berkeley graduate and Poet, Mark O'Brian. Disabled from Polio, he's spent most of his years in an iron lung. The moment of his life depicted in the film is when he decides to lose his virginity...in his late 30's, by hiring a "sex surrogate", whom educates with physical intimate contact for therapeutic ends.
             The film itself has a tone I found to be between a cable movie of the week, and a Mike Nichols drama. Meaning the subtle way serious subject matter is handled in a light and direct way (“Mrs. Robinson, you’re trying to seduce me…) it’s such a positive human story to begin with, but I think what else drew me in was the films incredibly honest view on sex. The way the filmmakers handled the material in a non-sensational and unembarrassed way, took me aback considering the notorious ways subject matter like this is usually handled in American cinema. By the end, honestly, I could see this being a most effective tool for education purposes. Not only does it teach bluntly the physical, but deftly communicates the emotional aspects of sex, and its repercussions, as well as how to navigate them. Something I feel is incredibly lacking the sex education of our youth…getting off my soapbox. It was a joy to see this material handled in a truly developed and open way.
             The performances are what elevate this closer to the "Mike Nichols" side of the spectrum. With John Hawkes proving once again to be a strong staple in films. I never was partial to the term “character actor” but of that described class of performers; he’s one at the top. Hawkes been on a roll recently, with his tremendous and frightening turn in “ Martha Marcy May Marlene” but has enjoyed a steady workload especially with the ambitious HBO series “Deadwood”. I'm one that’s glad he's getting his dues. And however much I loved Phoenix in "The Master", I wouldn't be upset at Hawkes taking the acting statue at this years Oscar’s (Day-Lewis as Lincoln is coming soon so that debate might be rendered moot soon) If you watch YouTube videos of the real Mark, it’s a frighteningly accurate performance by Hawkes. His charm and nuances due to the disability are remarkably recreated by Hawkes. He is deserves all the accolades that are coming to him.
            Helen Hunt was a wonderful return to the screen for me. Characterizing perfectly the strength and vulnerability needed for the surrogate, Cheryl Cohen-Greene. But also, and this is a key attribute, outspoken unashamed attitude towards her profession. She maintained that demeanor so consistently and effortlessly.

            Side story. I actually became acquaintances with the real Cheryl, a year or two before this film happened, as I found we lived in the same town for years. In fact, before I got the job at Mill Valley Film Festival (projectionist) she had been talking about this movie and Helen Hunt playing her. And now seeing the fruition of those stories, the screening held a special weight for me. Helen nailed her perfectly, but didn’t forget to infuse that little special piece of Helen to round it out. They are “players” after all. And she was just living it up, coming in person to this premier screening.
            William H. Macy was a revelation of a portrayal for the priest best friend who smokes and drinks, and gives him God's pass to have sex out of wedlock. A really great depiction of how I always thought a religious figure to be. He definitely rounded out my sentiments stated above concerning this optimistic viewpoint on very sensitive subject matter.
            It's a very well rounded film, soft and light. But the warmth is very vibrant. With so many films seemingly infused with nihilism, some with similar subject matter (see my views on the Israeli film “The Slut”). It gives me a strong feeling of hope to see this beautiful example of the goodness in humanity. And that one-day we can all see these sentiments on sexuality and intimacies infuse more of everyday life.

MVFF #35: "The Slut"

This Israeli film showed at the Mill Valley Film Festival this year. Written, directed, and starring in the title role by Hagar Ben-Asher, was quite a disappointing experience, and honestly I found to be a most preposterous and shallow analysis of human relationships and sexuality.
            The main character, Tamar, a single mother of two, lives a comfortable life that includes a rotation of regular lovers in the country town she resides in. A chance meeting of an attractive old acquaintance, Shai, puts her lovers on the back burner as she falls into a more traditional monogamous relationship. After she becomes pregnant, there is a noticeable lull in her attitude. Wherein she begins to somewhat reject this more standard situation of one partner, home, kids.
            What's truly noticeable in this is that most of the drama derives from the conflicts created by a very selfish person for no reason other than to satisfy her sexual appetites. Who doesn't communicate very well with the people she brings into her little "world". Perhaps this is the point, to have some comment on emotional development, selfishness, how to communicate what is and is not working. These all would be welcome insight to complicated relationship dynamics, perhaps a notion of the selfishness of sex. But in the end I didn’t end up feeling there was a very interesting or in depth look at these themes, or our motivations regarding the complexities of sexual relationships. It consisted of Tamar silently suffocating in the unit she creates with Shai. It created a pretentious, ugly, and ultimately useless piece of work, I somewhat felt only to sensationalize.
            The ending I'm sure will upset plenty of people, it did me quite a bit. And I think it will not only because the subject of the ending is an idea/image of pure evil and wrong, but that there is truly no basis for it whatsoever. The motivations for it was in no way logical, well…I guess I can see show she drew those lines…but it was so unnecessary and uncharacteristic of Shai’s character thus far that I had to cry “Bullshit” on the whole thing. I’m purposefully leaving out the details of the ending because if you choose to investigate this film, I want you to be able to have the same blank reaction I did, so you can draw your own honest assessment.

            I had such a strong reaction to watching this, that when I saw it was scheduled to play again on my shift as projectionist, I refused to do the screening. Not for any censor reason, but I just couldn’t find any justification in this work. Almost similar to Roger Ebert’s reaction to “Blue Velvet” if you’ve ever seen it (and if you haven’t YouTube it, its awesome).

            Catherine Breillat does a much more insightful job with material like this. Such as “Fat Girl”, drawing such deftness to the commentary of social stigmas, and ideas of positive vs. negative influence on adolescences and their outlooks and development of sexuality. Among many other themes…love her films

CREATURE FROM THE BLACK LAGOON- 3D - California Film Institute

CREATURE FROM THE BLACK LAGOON- 3D - California Film Institute

Check it out!!!

The mad ones descend upon the Mill Valley Film Festival

Walter Salles's
On The Road

Walter Salles's
“On The Road” @ 35^th Mill Valley Film Festival

"They danced down the streets like dingledodies, and I shambled after as I've been doing all my life after people who interest me, because the only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones that never yawn or say a commonplace thing, but burn, burn, burn..."
                                                                                  -Jack Kerouac


The mad ones start. They always instigate. Instigate the change, the language, the mood for the rest of us to follow. The mad ones always know. Know where to go, where to find it, what to do with it. Without maps or rules...they follow the beat. Beat of life, beat of the road, beat of the words, with their hearts and minds. 

Purity in this is absolute. Like breathing air is a pure act. The mad ones follow the road with purity. 

The air is pure in this film, words and bodies, language and color, are all pure representations.

The most inspired idea of this film was to have Walter Salles direct. Who so brilliantly displayed his passion for youthful discovery in "The Motorcycle Diaries", follows these mad ones with an unmolested eye. The reserved energy of his camera shows just how vibrant the times and story of these "instigators" really was. The energy of a bursting youth culture on the verge of revelation is bleeding off the screen. Thanks to Walter, these mad ones have a new road to explore.

It's hard for me to write critically about this film and not feel like a phony. This material deserves a special attention. I found very little at fault, but admittedly I was working while the film was on...tried as I did to sit and watch the whole thing all the way through...I did miss some. But right from the opening scene...the beat lived, danced, and vibrated off the screen.

It's incredibly difficult to capture as special a time and place as what's described in "On The Road". And even a minor successful attempt deserves merit. But this doesn't feel like a minor success. It feels like a complete success. I was transported, immediately. It could be my age. And having recently been at a similar place in life as these travelers, but there is something more...with the colors and shots, pacing and costumes. The actors pitch perfect. 

I feel in love with them, as I did reading the book. 

The players weren't faces they were people. In which life is instilled, and real words to say. Viggo Mortensen was perfectly blended as the "Old Bull Lee" character (William S. Burroughs). And Kirsten Dunst disappeared into her role as Camille. And a fragile and brave cameo by Steve Buscemi made me laugh and broke my heart all at the same time.

This version was 125mins. If you've read from the Cannes Festival, the first screened cut was significantly longer. I also would've loved to see that cut. But this doesn't feel like it left out any of the heart and soul of the journey. Even the brief moments that may have taken chapters in the book, but only minuets of screen time have weight, considerable weight. 

Not having read the book in years, I couldn't tell you what was "left out" or changed. But my readings from the Cannes screening have left me to believe that the whole book was shot verbatim. And edits where made to long monologues of Sal at his typewriter. There are still plenty of them; if something was to be cut...I can understand choosing those moments. His narration or "readings" are present throughout.

It's an authentic film. And it's a pleasure to see that after all the phonies have had their day. This comes along and shows us where the revolution actually happens not in a room, or around a table of decisions. But out on the road, and the ending credits leave you there. Wandering the ever-unfolding open road.