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Mike Wilmington

By Mike Wilmington Wilmington@moviecitynews.com

Wilmington on Movies: The Afterlight

The Afterlight (Three Stars)
U.S.: Alexei Kaleina & Craig Macneill, 2009

A genuine American art film, shot very lovingly, albeit with a low budget, and filled with sometimes stunningly beautiful images of forests, fields and farms in rural upstate New York (Walton), The Afterlight tries unabashedly for pure cinematic poetry, and often gets it. It’s also sometimes pretentious, though not in a way that alienated me, and the story line is often deliberately opaque, though not annoyingly so.

The story of The Afterlight, by first time filmmakers Alexei Kaleina & Craig Macneill, is set in a short stretch of time before and during a solar eclipse, and it centers on a young couple from the city, smiley but quiet construction worker Andrew (Michael Kelly of The Adjustment Bureau and The Changeling), and pretty, troubled Claire (Jicky Schnee of All Good Things), who try to rescue their relationship (from what we don’t know) by relocating to the country and an old abandoned schoolhouse. There, they slide into internal darkness and angst as they interact with their neighbors, the feisty little girl Lucy (played by local Walton non-professional Morgan Taddeo), the ethereally lovely and slender blind woman Maria (Ana Asensio — and it‘s certainly strange that two knockouts like Claire and Maria are in the same upstate town, never mind neighborhood) and Maria’s melancholy elderly aunt Carol  (memorably played by the late Rhoda Pauley, to whom the movie is dedicated).

There’s one other major character, Claire’s father Carl, played by Rip Torn — who, not surprisingly, gives the best performance in this well-acted movie, though his part consists mostly of voice-overs and one scene with Claire that’s virtually a monologue (in which he recounts his disturbing experiences as a prison van driver), and though all of his moments were added in re-shoots after the film was initially completed. Even in these fragments, Torn is superb, and one only wishes there were more of him.

The best of the movie ravishes. The sunlit green tableaux and shadowy interiors of The Afterlight, in which the other characters seem both trapped and restless (like the bird), are so impeccably framed and so astonishingly well-shot, by cinematographer Zoe White (making her feature debut) that your eyes are always rewarded, your mind usually intrigued. Macneill was a student of Stan Brakhage, and, like Brakhage, he and his moviemaking partner Kaleina have a painterly, poetic bent that can slowly, softly mesmerize the viewer.

I liked the movie very much, and when some of its early festival admirers compared it to Michelangelo Antonioni and Ingmar Bergman, they had some justification. The Afterlight is obviously made by filmmakers who know and admire Antonioni and Bergman, and who would probably be pleased by the comparison — and the images, scenes and emotions often suggest those two masters. (More pastoral than urban, the film reminded me a bit more of Bergman than Antonioni — and it reminded me as well of other lyrical Swedes, like Jan Troell, Alf Sjoberg, Arne Sucksdorff and Bo Wideberg.)

Shaping their tale in moods and rhythms far more European in feel than American, Macneill and Kaleina aren’t afraid to fill their scenes with stillness and solitude, to let their fine cast quietly strip their emotions bare, or to offer an occasional visual symbol or two (a caged songbird, a lonely forest, even the eclipse itself). The director-writer-editor pair, and  cinematographer White, show a sheer love of moviemaking that often makes their film a joy to watch. (Facets)

One Response to “Wilmington on Movies: The Afterlight”

  1. Sandeshaya says:

    Alexei Kaleina? then just wait…
    Thanks.

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Wilmington

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“I suddenly couldn’t say anything about some of the movies. They were just so terrible, and I’d already written about so many terrible movies. I love writing about movies when I can discover something in them – when I can get something out of them that I can share with people. The week I quit, I hadn’t planned on it. But I wrote up a couple of movies, and I read what I’d written, and it was just incredibly depressing. I thought, I’ve got nothing to share from this. One of them was of that movie with Woody Allen and Bette Midler, Scenes From a Mall. I couldn’t write another bad review of Bette Midler. I thought she was so brilliant, and when I saw her in that terrible production of ‘Gypsy’ on television, my heart sank. And I’d already panned her in Beaches. How can you go on panning people in picture after picture when you know they were great just a few years before? You have so much emotional investment in praising people that when you have to pan the same people a few years later, it tears your spirits apart.”
~ Pauline Kael On Quitting

“My father was a Jerome. My daughter’s middle name is Jerome. But my most vexing and vexed relationship with a Jerome was with Jerome Levitch, the subject of my first book under his stage and screen name, Jerry Lewis.

I have a lot of strong and complex feelings about the man, who passed away today in Las Vegas at age 91. Suffice to say he was a brilliant talent, an immense humanitarian, a difficult boss/interview, and a quixotic sort of genius, as often inspired as insipid, as often tender as caustic.

I wrote all about it in my 1996 book, “King of Comedy,” which is available on Kindle. With all due humility, it’s kinda definitive — the good and the bad — even though it’s two decades old. My favorite review, and one I begged St. Martin’s (unsuccessfully) to put on the paperback jacket, came from “Screw” magazine, which called it “A remarkably fair portrait of a great American asshole.”

Jerry and I met twice while I was working on the book and spoke/wrote to each other perhaps a dozen times. Like many of his relationships with the press and his partners/subordinates, it ended badly, with Jerry hollering profanities at me in the cabin of his yacht in San Diego. I wrote about it in the epilogue to my book, and over the years I’ve had the scene quoted back to me by Steve Martin, Harry Shearer, Paul Provenza and Penn Jillette. Tom Hanks once told me that he had a dinner with Paul Reiser and Martin Short at which Short spent the night imitating Jerry throwing me off the boat.

Jerry was a lot of things: father, husband, chum, businessman, philanthropist, artist, innovator, clown, tyrant. He was at various times in his life the highest-ever-paid performer on TV, in movies, and on Broadway. He raised BILLIONS for charity, invented filmmaking techniques, made perhaps a dozen classic comedies, turned in a terrific dramatic performance in Martin Scorsese’s “The King of Comedy,” and left the world altered and even enhanced with his time and his work in it.

That’s an estimable achievement and one worth pausing to commemorate.

#RIP to Le Roi du Crazy

~ Biographer Shawn Levy on Jerry Lewis on Facebook