IFP: A Girl and a Gun

There were some interesting looking documentaries addressing topical issues at last months IFP, and some that looked dreadful. I refrained from posting on them, because for films of that nature really need to be screened in their entirety. There were promising films on Afghanistan, but without the full story, it is hard to pass judgment on ultimately how compelling the narrative is and how fairly the subjects were treated by the filmmakers. I do want to catch up with one topical film, A Girl and a Gun, which delves into the relatively unexplored topic of women gun-owners.

Based on the twenty minutes screened Gun does not fall back on stereotypes or tired party lines. One woman we meet is a social worker who probably looks to the world like a typical Upper Westside liberal (in truth her politics were not revealed in the clip), who happens to be a recreational shooter. She herself seems somewhat surprised by the apparent contradiction in her lifestyle. We a gun magazine professional say something gun-nutty one minute, and then something insightful the next. We briefly meet two mothers, one who campaigns against handguns, the other who used a handgun to protect her daughter.

From the brief screening, Gun seems to be fair to its interview subjects and nuanced in its approach to the issues of gun rights. Predictably, this hilariously provoked many in its first screening, who found it “biased” for not uniformly conforming to their prejudices.

Again, it is impossible to pass judgment on just twenty minutes of film, but in this case of A Girl and a Gun (trailer here), it was sufficient to demonstrate great potential. I am definitely looking forward to seeing the finished film.

IFP: Hot Flash

Blues artists usually are not considered good human interest stories by the media, but Saffire—"the Uppity Women of the Blues," were obviously different. They received a lot of attention for being a multi-racial trio of late middle-age women, who happened to be blues musicians. To Bruce Iglauer of Alligator Records, they were blues musicians first and foremost, who would become one of the top selling acts on his label. Their career trajectory is traced out in Hot Flash, an entertaining a short documentary (39 minutes) screened at IFP, which takes its name from one of Saffire’s best regarded recordings (clip here).

Despite their blues chops, Saffire built a large following outside traditional blues circles, based on their message of empowerment for women. They also have a flare for ribald humor, following in the venerable tradition of Bessie Smith and Ma Rainey. (If you can’t pick up on what they are singing about in a tune like “Silver Beaver,” I don’t know what to tell you.)

Iglauer signed them simply because he enjoyed their demo, and thought he could do maybe a tad better than break even on their record. It surprised him by becoming a breakout hit (by blues standards). One of the intriguing things about the film is that it comes at a time when their commercial reception is cooling. According to Iglauer, they have cut back on touring due to family concerns, which has had a discernable effect on their sale of CDs. Iglauer frankly states he is unsure if Alligator can continue to record the group. One can hope that the film will generate publicity for Saffire and keep them profitably under contract for some label. As viewers see in the film, they are talented, legit blues artists.

Briskly directed by Sarah Knight, Hot Flash covers a great deal in a short period. My only complaint is one I have with many musical documentaries—there are no complete musical performances shown in their entirety, unedited and not drowned out by off-camera interview subjects. After all, their music is the most important part of their story and at least one full tune would give audiences a feel for attending their shows.

Saffire has a story worth hearing, and Hot Flash tells it with economy and humor. As is the case with Saffire’s music, the film should have an appeal well beyond the traditional blues audience.

IFP: Frontrunners

Alexander Payne’s 1999 film Election squared frighteningly well with my experiences with high school student senate elections. As there will never be a shortage of ambitious kids, student government elections will continue to supply drama of the big-fish-in-a-small-pond variety, as demonstrated in the IFP screened documentary, Frontrunners (trailer here).

Frontrunners chronicles a recent student union election at Stuyvesant, New York’s elite public high school for the gifted and talented. Evidently, Stuy turns the election intensity up to eleven, with primaries, student newspaper endorsements, and a televised debate.

It is pretty compelling to see the young leaders map out their campaigns, trying to find the right ethnic and gender balances for their tickets, testing campaign themes and putting together GOTV efforts. Most of the candidates are clearly talented, putting to shame the weak field of candidates my school had to offer (present blogger included).

Frontrunners also, perhaps unintentionally, answers the question of where biased journalists come from. WE see an editorial meeting of the school paper, in which staff start the meeting by bashing Fox News for being biases, and then proceeding to argue they need not cover any candidates they have not endorsed. They clearly have promising careers a head of them at the New York Times.

Frontrunners at least, fairly balances its coverage of the two candidates who survive the primary. It captures the building suspense of the grueling campaign, and concludes with an interesting hint of emotional ambiguity that has a touch of Redford in The Candidate (but be assured, neither of the two candidates lacked for ideas of what to do once in office). On screening it, I’m glad I was running in a school where I could get by on a smile and a hearty handshake.

IFP: Satan and Adam

In the October issue of Downbeat, James Blood Ulmer rejects the “Devil Blues” vision of the music, stating: “when I made this record I was trying to make sure that I had the stories I was talking about be pleasing to God. My songs aren’t about the devil at all.” The blues artist born Sterling Magee, who performed under the moniker Mr. Satan obviously tacked a different course. Together with harpist Adam Gussow they formed the biblical duo Satan and Adam, whose careers will be documented in an eponymously titled documentary.

Satan/Magee in his prime was an elemental force who dominated the duo with his sheer energy. However, recent years have been troubled, leaving his continued musical career in question. These episodes have been detailed in articles collected in Gussow’s latest book, Journeyman Blues (reviewed here), following up his hit memoir of life with his fearsome mentor, Mister Satan’s Apprentice. The third act of the film remains to be shot (an extended trailer was screened at IFP, a shorter one can be found here), but Satan and Adam presents great dramatic potential.

Satan and Adam are actually one of the better known blues combos, as a result of Gussow’s books, performances at international festivals, and their original chance breakthrough appearing in U2’s Rattle and Hum, in their full street performance glory. Satan and Adam the documentary ought to find an audience, particularly if it includes a triumphant second coming of Satan (Magee).

IFP: Budapest to Gettysburg

Whenever I visit Prague I get the sense that 1968 could have been just yesterday for most Czechs. The memory of the Soviet invasion is so fresh and visceral, it continues to loom over every aspect of public life. I imagine there is a similar feeling for 1956 in Budapest, particularly after screening Budapest to Gettysburg (trailer here) at IFP.

Budapest chronicles internationally recognized historian Gabor Boritt’s reluctant return to his native Hungary, at the prodding of his son, filmmaker Jake Boritt. A professor at Gettysburg College, we see Dr. Boritt’s insights on Lincoln sought out by august company, including the likes of the late Peter Jennings, Karl Rove, and Ken Burns. He is not thrilled with this project, though, preferring to leave his own history safely in the past.

As they visit important sites from the Boritt family’s past, Dr. Boritt starts to warm to the project. Dr. Boritt had lived through tumultuous times, surviving the National Socialist occupation as a young Jewish boy in Budapest, and later participating in the revolution of 1956 as a teen-ager. Some family history remains a mystery though, including details of his father’s role in the resistance to the Nazi occupiers. What is most remarkable is the little reported link between the freedom fighters of 1956 and the words of Abraham Lincoln, which in effect ties together the disparate periods of Boritt’s life.

Despite his protestations, Dr. Boritt’s story is well worth telling. He and his colleagues may not have been successful in 1956, but their efforts would eventually bear fruit. Many observers consider the post-Communist success of Poland, Hungary, and the Czech Republic to their legacies of challenging Soviet domination, establishing a tradition of free thinking that would survive all attempts of suppression.

Budapest, screened in its entirety, is finished and ready for distribution. It is a film that should be seen by American students, as it has much to say about the fight for freedom, both in Hungary and on a hallowed battlefield in Pennsylvania.

IFP: Honeydripper

Juke joints were associated with two things: getting down and getting dead. Blues drenched killings have been immortalized in the lyrics of such classics like “Stagger Lee,” which is in fact heard in John Sayles’ new juke drama Honeydripper (trailer here), which formally opened Independent Film Week Mon. night. As a juke joint drama, it shows both the good times and the undercurrent of potential violence that often accompanied the Devil Blues.

Being a John Sayles film, Honeydripper (named after one such juke) eases into its plot at a leisurely pace. Again, as is often the case with Sayles films, it has a strong sense of place. Set in 1950 Alabama, it presents the trials facing juke owner and former big band pianist Tyrone “Pine Top” Purvis, a well meaning family man overwhelmed by his current circumstances. Danny Glover plays Purvis, basically recreating the same character he has played for the last twenty years. In fact, Honeydripper’s biggest fault is the relative weakness of its characterizations. For instance, Stacy Keach’s corrupt sheriff is only a pale shadow of Lone Star’s Kris Kristofferson, a villain who can evidently be bought off with a fried chicken drumstick.

Perhaps the most intriguing character is a mysterious itinerant blues musician played by Keb’ Mo’, whose benevolence or malevolence remains an open question in the film. His appearances are also occasions for some pretty cool solo guitar work from Mo.’

The music of Honeydripper is spot on, capturing the period when the blues was evolving into R&B, which of course would be popularized to white teenagers as rock & roll. In addition to Mo’s tasty solos, there is some impressive work from the emerging Texas blues musician Gary Clark, Jr. as the young new guitar slinger in town. The great Dr. Mabel John also contributes some rocking vocals. John appears to be experiencing a late career renaissance, having also published her first novel late last year (reviewed here).

Honeydripper looks right and sounds great. It may not be perfect, but its blues literacy is readily evident. Unlike many of the films screening this week, it is completely finished and placed with a distributor. Look for it late in the year.

IFP: Objects and Memory

Marketing professionals can explain the importance of punchy titles. Objects and Memory is pretty pedestrian as far as titles go, but it is oddly appropriate for a film that examines how everyday items took on enormous significance based on their proximity to the World Trade Center on September 11th.

Directors Jonathan Fein and Brian Dantz have crafted a very moving and respectful film. While they focus on the WTC, they also examine relevant examples from the Oklahoma City bombing and the Viet Nam Memorial. There are deeply personal recollections from family members that have not to my knowledge been told elsewhere. When you hear family members explain the meaning of a recovered item, like a wallet or purse, it is poignant. A particularly devastating segment involved a woman actually born on Sept. 11th, whose birthday present was salvaged from the trunk of her husband’s car.

Beautifully filmed with supportive music by Philip Glass and narration by actor Frank Langella, Objects is a film that deserves a wide audience (trailer here). At a time when cynicism about the events of September 11th is being promoted for dubious purposes, Objects reconnects viewers with the personal reality and magnitude of the event, without engaging in any sort of polemics.

The practice of investing spiritual meaning in otherwise commonplace items is well documented in human history—one need only look at the relics collected by the early church. As is abundantly clear in Objects, it is not the combination of wood, glass, or acrylic particles that gives an item its true value, but what humanity adds to it. Screened in its entirety (62 minutes), Objects seemed to have an affect on all in the audience. Well meaning and well crafted, it is a film which ought to reach a wider audience.

IFP: The Spine Tingler

How can you turn down a screening that offers you a $1,000 insurance policy should you die of fright? Hip viewers will recognize this homage to horror movie director-showman William Castle, and indeed Spine Tingler is a biographical documentary of that Hollywood legend, which was screened in its entirety at IFP yesterday.

Castle is actually fondly remembered by many for his promotional gimmicks, like issuing insurance policies in theater lobbies, or installing electric buzzers in select seats for the Vincent Price film The Tingler. John Goodman’s character in Matinee is almost wholly modeled on Castle, and its director Joe Dante is one of those paying tribute to the master in Spine Tingler. Producer director Jeffrey Schwarz also covers lesser known, but no less colorful incidents, in what was a darn interesting life.

We learn of the early William Castle, who built a successful publicity campaign for a summer stock play by ostensibly standing up to Hitler, when his German émigré leading lady was invited (but hardly expected) to a reunion in Nazi Germany. Throughout his career, Castle did have an eye for the commercial, buying the rights to Ira Levin’s Rosemary’s Baby. Due to studio machinations, he would not actually direct the Roman Polanski classic, but it was a William Castle Production.

Schwarz clearly has a love of the material, creating an entertaining looking film, through retro graphics and clever use of vintage film. He was able to obtain clearance for all of the important works in the Castle canon, and had the cooperation of the family and many of those who worked with Castle, including Marcel Marceau. This is a film for film-lovers, not just goofy horror movie cultists, as it captures a unique filmmaker’s love for his craft. It deserves distribution (and it will be screening at the upcoming AFI Film Festival.)

The film is complete (trailer here), except for a little color correction, according to Schwarz (actually, it would have been totally appropriate if someone had turned up in the film with a green head, but it all looked right at the screening). Castle’s films enjoy a revival life, so this film should have a market, and despite the Tingler footage, I obviously did not die of fright (and Mother Spins will not be collecting $1,000), so the uninitiated can safely attend.

IFP: Talkin’ Water

Katrina related documentaries seem to be an emerging cottage industry. I will not be able to see each one screening at the IFP Marketplace, but the enthusiasm of the filmmakers convinced me to catch Talkin’ Water.

The film producers gave film and cameras to four teen-aged African-American girls, two from New Orleans and two from New York, to film the state of New Orleans environment, and interview everyone who thought they might have something to say.

The “let-the-children-be-our-teachers” approach can be grating, but in this case some fresh perspective from the young filmmakers, who do not seem to be carrying a lot of ideological baggage, is actually welcome. Katrina is undeniably one of the lowest points in the history of American media, with unconfirmed rumors reported as truth. Instead of being embarrassed, the old media has inexplicably seen fit only to congratulate itself.

The four young women are understandably disillusioned with government, and seem to come to the conclusion that they should pursue a more self reliant course. Their youth may also have helped open up some of their interview subjects, as the cut screened shows a particularly emotional encounter with a journalist still living in a FEMA trailer.

Talkin’ Water will have to distinguish itself in a crowded field of Katrina documentaries, but the young filmmakers’ voices will surely help. While many seem to take a didactic tone, pursuing various agendas, the honesty of the young four young women will probably provide a welcome perspective. (In post-production, trailer here.)

IFP: Predator House

Predator House is a film likely to cause mixed emotions in viewers. The portion screened was fascinating, but I do not know if I want to spend more time with the profiled individuals, for an understandable reason. They are convicted sex offenders.

If nothing else, PH raises alarms over the prison revolving door. Accept for the female subject, as part of their therapy, the four male profiles have copped to fifty to eighty previous victims, before getting caught. However, accept for one individual who also served time for attempted murder, the other four only did two to three years for the sex crime for which they were convicted.

The movie is pretty clear on one point, like it or not, they are getting out and they have to be put somewhere. For reasons that are not fully explained in the market cut, the owner of a Spokane apartment building has agreed to house fifty-five such ex-cons. She certainly sounds tough though. The landlord, the State Department of Corrections, and the parole officers cooperated in the filming, making PH the first film crew to film there, aside from foreign news crews (which have been allowed in the past). According to the filmmakers, they frequently act as a corrective to when the subjects try to spin certain issues in their horrific careers.

PH certainly has a true crime appeal, and would be an excellent fit for HBO’s documentary series. The commitment and execution are definitely there, but one wonders how they could spend three years with such an assembled cast of characters. (Predator House is in post-production. Trailer here.)

IFP: Natural Soul Brother

The IFP Market and filmmakers’ conference kicked off yesterday, and today marked the beginning of screenings for a slate of documentaries from hopeful filmmakers. Most are in various stages of production or post-production. Even those screening in their entirety are presumably subject to revision once picked up for distribution. Most films are represented in ten to twenty minute rough cut extracts. Therefore, full reviews would not be appropriate, but for some, it is enough to suggest the filmmakers are at least on the right track.

Natural Soul Brother was one of the first to screen, and indeed looked to be on the right track. Natural tells the stories of the early African-American disk jockeys who championed R&B, and in the process revolutionized American popular music. Many became huge local celebrities, and many became larger than life personalities, like former minister turned D.J. Al Benson, who figures prominently in the fifteen minute clip. A strong, intriguingly edited presentation, it mixed footage of the original hip D.J.’s with Martin Luther King’s address to the National Radio Announcers’ convention, to underscore the influence the D.J.’s influence.

This is definitely the sort of cultural history that lends itself well to film, and the execution here looks promising, and hopefully one can see it in theaters eventually. (Still in production, but trailer available on website). More IFP reports will be posted tonight.