MCN Columnists
Ray Pride

By Ray Pride Pride@moviecitynews.com

Pride’s Friday 5 (July 6, 2012)

1. Margaret

 

So: Margaret. A couple reviewers out east have tweeted camera-phone pictures of shiny new Blu-Rays. I’ll have to wait until Tuesday’s street date for the package “available exclusively at Amazon for a limited time.” As the press release put it, “the two-disc Blu-ray set includes the theatrical version as well as a bonus DVD featuring the never-before-seen extended cut.” So what is this 3:06:12 DVD cut? Is it a finished, fully sound-mixed version prepared by Lonergan as a first assembly? A third, a tenth? The reputed Schoonmaker-Scorsese cut? Will the big third-act moral turn cut from the theatrical version have the punch it has in the 185-page script? The recent Sunday New York Times Magazine article judiciously sidestepped small details as if the writer were also under legal injunction from speaking. Fox Searchlight has organized free showings of the extended version in New York and Los Angeles; Lonergan may finally be able to define the differences himself at the July 9 screening at the Sunshine, sponsored by indieWIRE as a first-come, first-served free-for-all.

Next week, then: “The profusion of life, of life in Manhattan post-9/11, of life that eddies in all directions, is novelistic in ambition, Dickensian in a welter of cracked legalisms. Paquin brandishes a bravura performance—shrill, feral, emphatic, self-dramatizing, self-cautioning, self-aware, self-immolating—that is like nothing I’ve ever seen.”

Available Tuesday, July 10, only from Amazon.

2. The Battle of Algiers

Honoring the fiftieth anniversary of Algerian independence, the great Battle of Algiers is showing this week in New York and Los Angeles. Not only have filmmakers that came after learned from Gillo Pontecorvo‘s documentary-styled study of  violence, but politicos think they have as well, as this BBC talkfest suggests.

And only if you’ve seen the movie, and aren’t seeing it again any time soon, a link to the masterful tension of the bombings sequence (6’01”).

Film Forum, NYC, Friday, July 6 – Thursday, July 12.  The trailer and a ton of cogent links are at FF’s Now Showing page.  New Beverly, Los Angeles, July 6 and July 7.

2. China Heavyweight

Yang Chung‘s terrific second feature, China Heavyweight, opens Friday, July 6 at IFC Center in NYC. I want to enjoy it a second time before writing about it at any length. It’s a worthy successor to Up The Yangtze. Synopsis from the press release: “Chang follows the charismatic Qi Moxiang, a former boxing star and state coach who recruits young fighting talent from the impoverished farms and villages across Sichuan province. A select few boys (and girls) are sent to national training centers, with the hope of discovering China’s next Olympic heroes. But will these potential boxing champions leave it all behind to be the next Mike Tyson? Their rigorous training, teenage trials and family tribulations are expertly intertwined with Coach Qi’s own desire to get back in the ring for one more shot at victory.”

3. The Overlook Hotel

Lee Unkrich brought us Toy Story 3. He also maintains an exhaustive Tumblr account of all things The Shining: Kubrick minutiae in glorious excess.

 

5. Contempt

In Jean-Luc Godard‘s 1963 masterpiece, Michel Piccoli plays Paul Javal, a playwright who needs money, and producer Prokosch is embodied by Jack Palance, that heavy among heavies, waving a packet of cash in Paul’s direction to doctor a script of the Odyssey that is to be directed by Fritz Lang. “I like gods,” Palance purrs, “I like them very much.” Paul has a beautiful young wife, Camille, played with momentous petulance by Brigitte Bardot. Paul asks whether he should write the script. Camille tells him it’s fine. Later she feels he hasn’t shown enough concern when Prokosch has been forward with her. No matter what Paul does, it will not be enough. Camille seizes on excuses, any excuses, to dismiss Paul’s adoration. She remembers the love she once thought they had: “Everything used to happen instinctively, in complicitous ecstasy.” For a good third of the movie, the couple bicker, contradict, cut at each other in their brightly colored, unfinished apartment. The world is reduced to Paul and Camille. Man and Woman. The furniture is as bold, as blunt as sculpture. A cerulean chair, a sunflower-colored throw, a red couch. Statues. Bardot. Her body rebukes the viewer, Paul. “Do you love my breasts, my eyes, my knees?” she asks, as the camera, transfixed, goes beyond objectification into blunt fetish. “I love you totally, terribly, tragically,” is all Paul, smitten, ever-equivocating, can tell her. At the end, the camera looks out onto the ocean, the horizon. Limitless possibility or infinite distance? The space between you and I, the space between a man, a woman. The sparkling azure of the sea is the crashing gulf between them. It is unfathomably huge. Contempt is the most tragic, piercing, hopeless of modern love stories. Youth, beauty, cinema—they will damage you. In his screenplay, Godard wrote, “In contrast to Paul, her husband, who always acts on the strength of a complicated series of rationalizations, Camille acts nonpsychologically… Though one might wonder about her, as Paul does, she never wonders about herself. She lives full and simple sentiments, and cannot imagine being able to analyze them.” And in an interview he elaborated, “Perhaps it is better not to understand too much.”

At LACMA in Los Angeles, Friday, July 6.  Also on Blu-Ray.

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Pride

Quote Unquotesee all »

“The sad and painful truth is that pretty much everyone in this town knew who Harvey was. I have had long talks with my most liberal friends. Did we know he was a rapist? We didn’t. But did we know that for decades he has been offering actresses big careers in exchange for sexual favors? Yes, we did — and make no mistake, that is its own kind of rape. And did we all — or did any of us — refuse to do business with him on moral grounds? No. We ALL STAYED IN BUSINESS WITH HIM. I have never done business with Harvey but I can tell you with certainty that I would have — because I was recently approached by a film festival he sponsors. They asked me to submit my short film for their consideration and I did it without thinking twice. I am a dyed-in-the-wool feminist and a vocal one at that. So why didn’t I think twice? Because this entire town is built on the ugly principals that Harvey takes to an horrific extreme. If I didn’t work with people whose behavior I find reprehensible, I wouldn’t have a career.”
~ Showrunner Krista Vernoff

From AMPAS president John Bailey:

Dear Fellow Academy Members,

Danish director Carl Dreyer’s 1928 film “The Passion of Joan of Arc” is not only one of the visual landmarks of the silent era, but is a deeply disturbing portrait of a young woman’s persecution in the face of the male judges and priests of the ruling order. The actress Maria Falconetti gave one of the most profoundly affecting performances in the history of cinema as the Maid of Orleans.

Since the decision of the Academy’s Board of Governors on Saturday October 14 to expel producer Harvey Weinstein from its membership, I have been haunted not only by the recurring image of Falconetti and the sad arc of her career (dying in Argentina in 1946, reputedly from a crash diet) but of Joan’s refusal to submit to an auto de fe recantation of her beliefs.

Recent public testimonies by some of filmdom’s most recognized women regarding sexual intimidation, predation, and physical force is, clearly, a turning point in the film industry—and hopefully in our country, where what happens in the world of movies becomes a marker of societal Zeitgeist. Their decision to stand up against a powerful, abusive male not only parallels the cinema courage of Falconetti’s Joan but gives all women courage to speak up.

After Saturday’s Board of Governors meeting, the Academy issued a passionately worded statement, expressing not only our concern about harassment in the film industry, but our intention to be a strong voice in changing the culture of sexual exploitation in the movie business, already common well before the founding of the Academy 90 years ago. It is up to all of us Academy members to more clearly define for ourselves the parameters of proper conduct, of sexual equality, and respect for our fellow artists throughout our industry. The Academy cannot, and will not, be an inquisitorial court, but we can be part of a larger initiative to define standards of behavior, and to support the vulnerable women and men who may be at personal and career risk because of violations of ethical standards by their peers.

Yours,
John