I read Cormac McCarthy (No Country for Old Men)'s novel The Road this past summer. A post-apocalyptic story about a father and son trudging through a world of no animals or birds, dying trees and constant fires, it's prose was sparse and elegant. However, it was also unremittingly bleak. There was little sense of hope and no sense that anyone would survive the planet's decline. Many of the remaining humans resorted to cannibalism or suicide.
So when I heard that The Road was to be made into a film I was intrigued. Would the director be tempted to brighten up the plot in order to attract an audience, would he highlight the gruesome episodes and make it into a horror flick or would he be true to the book but settle for a limited, art house audience? In the event he seems to have worked some cinematic magic, remaining true to the book but still somehow imbuing the film with a more hope than I found in the novel.
I'm still not sure how this was done. I suspect that it has something to do with the superb acting, especially by the young Kodi Smit-McPhee who plays the boy. Other principal roles are played by Viggo Mortensen (Eastern Promises, A History of Violence and Aragon in the Lord of the Rings) and Charlize Theron (Monster, In the Valley of Eliah) who's character is only seen in flashbacks. Tellingly a number of small but important roles with very little screen time (each less than 10 minutes) attracted top flight actors such as Robert Duvall and Molly Parker.
Not a good first date movie. But for those interested in exploring courage in the face of despair and hope in the face of inevitable destruction, or for all film goers interested in strong acting, definitely worth a look.
***
And here's Robert Foster's take:
WARNING: anyone with a queasy stomach or who is otherwise put off by blood, violence, cannibalistic allusions (one character is called “Baby Eater” in credits), corpses, abused trees, dark gray smoke-filled skies with zero sunshine should probably (ok… definitely) skip this offering cause a Bob Hope road flick it isn`t...
HOWEVER... if you are willing to work through the above to see how much love a father can have for an angelic son who in turn embodies a trusting innocence to get to some semblance of the possibility of hope in a hopeless situation -- by all means see this star-filled (though barely recognizable under layers of crud) movie.
A father (Viggo Mortensen) and 10-year-old son (played exceptionally by Kodi Smit-McPhee real life son of Australian actor Andy McPhee ) are two of the last nameless humans left on an Earth that has undergone some kind of apocalypse whereby food, wildlife, plants, bugs, game shows, etc., are all gone. The son has only ever known this.
They have adventures or better yet near misses with the final oblivion along with a couple bits of luck in their quest to just stay alive and reach the sea for some reason we are never told. Flashbacks to the mother (Charlize Theron who can’t seem to lose her beauty even in a dark setting like this) show how good things used to be before she bails and dies out in the dark - not typical of a mother in my humble opinion but then this is not a typical scenario.
The world is filled for the most part with some pretty desperate folks who are feeling more than a little peckish. There are glimmers of humanity mostly played by big name actors (Robert Duvall, Guy Pearce, Canadian Molly Parker…) who probably signed on with fresh memories of the last Cormac McCarthy book put to film that rightly won big time Oscars: No Country for Old Men. The real evil or victimized characters are played by, as far as I can tell, yet-to-be-discovered thespians.
In the final analysis, can catastrophy lead to good things via bad things? We hope so. I guess anyone who has a child and/or a parent will probably love this movie at some level; the problem is getting to that level.
PS: Oh, for those do-it-yourself handymen out there, keep an eye out for a scene that shows new self healing uses for staple gun and duct tape (sorry but I had to chuckle with visions of Red Green trying to do something similar Monty-Python-style on his old CBC duct-tape-theme television show). Ewww, see how this film made me look desperately for some kind of humour?
Glenn Gould, classical music's Michael Jackson, understood the commercial value of eccentricity and his personality often eclipsed his music. Because of this, he's also one of the most closely chronicled performers of the 20th century... With "Genius Within: The Inner Life of Glenn Gould" the helmers certainly deliver a must-see film for serious music fans that should make beautiful music at the arthouse.
Glenn Gould, le Michael Jackson de la musique classique, comprenait bien la valeur commerciale de l’excentricité et sa personnalité quelquefois voilait sa musique. Cet artiste musicien a donc fait l’objet de plusieurs chroniques au cours du 20e siècle. Genius Within : The Inner Life of Glenn Gould » est un film à voir pour les fervents de bonne musique.
- Variety
***
Marshall McLuhan et Glenn Gould, même s’ils sont torontois tous les deux et de la même génération, ils ne sont logiquement pas reliés. Cependant, tous les deux appréciaient les moyens de diffusion électroniques comme étant ceux qui connectaient le mieux l’artiste à son public, l’essence même du milieu culturel contemporain. Gould a été l’un des premiers artistes à comprendre qu’il pouvait atteindre un genre de postérité digitale (par rapport à une simple postérité ordinaire) en abandonnant des spectacles en direct devant public (en 1964, à l’âge de 31 ans – l’année où McLuhan a écrit (Understanding Media) en faveur du studio d’enregistrement.
Gould entrevoyait l’enregistrement en studio comme le seul véritable moyen d’expression pour une théorie musicale, faisant usage de plusieurs micros à la fois pour créer différents environnements acoustiques, durant la préparation, en combinant différents essais avec l’assurance que les petites imperfections pouvaient être corrigées et que l’on pouvait subtilement façonner des interprétations délicates et remplies d’émotion. Imaginez la réaction si les deux vivaient encore aujourd’hui !
***
Marshall McLuhan and Glenn Gould, albeit Torontonians and of a similar generation, are not logically grouped together. And yet, both extolled electronic media as the essential connective tissue between performer and audience, the essence of contemporary cultural milieu. Gould was one of the first performing artists to understand he could achieve a kind of digital posterity (as opposed to plain ordinary posterity) by giving up live performances (in 1964 at age 31 - the year McLuhan wrote Understanding Media) in favour of the recording studio.
Gould viewed recording as the only reliable means of conveying an musical concept, using multiple mics to build acoustical environments, seized upon editing, intersplicing dozens of different takes with the assurance flaws could be corrected, and to fashion subtly complex emotional interpretations. Imagine their responses, were the both alive today!
Michèle Hozer
Director/ Editor
Two-time Gemini award-winning documentary editor, Michèle grew up in Montreal, started her career at The National Film Board. She has cut over 50 documentaries, working with Peter Raymont for 8 years, including the feature length documentary Shake Hands with the Devil: The Journey of Roméo Dallaire and A Promise to the Dead: The Exile Journey of Ariel Dorfman.
Réalisatrice de documentaires qui ont remporté un Gemini Award à deux reprises, Michèle a grandi à Montréal et a débuté sa carrière à l’Office National du Film. Elle a contribué à la réalisation de plus de 50 documentaires, travaillant avec Peter Raymont pendant 8 ans, dont le long métrage documentaire Shake Hands with the Devil : The Journey of Roméo Dallaire et A Promise to the Dead : The Exile Journey of Ariel Dorfman.
Michèle Hozer Notes:
Gould, like all mythical figures, is a fascinating, complex and contradictory character. At the same time, there was something about Gould that made him the classic tragic hero. Through him one can explore the greatest virtues in humanity, but also the darkest of fears and flaws—in other words, that which makes us fundamentally human, in all our triumphs and frailties.
Gould has not one but five biographies, with others in the works. Also, since his death in 1982, there have been numerous films exploring his life and achievements. At the heart is a great human story. By looking at the man alongside the myth, not only do we understand more about Gould, we understand more about ourselves. Gould often talked about the transcendental nature of music; by losing ourselves in his music and story, we may better find ourselves.
*****
Gould, comme tous les personnages mythiques, a un caractère fascinant, difficile et contradictoire. En même temps, il y a un je-ne-sais-quoi qui fait de lui un traditionnel héros de tragédie. À travers lui, l’on peut découvrir les grandes qualités de l’être humain mais aussi ses défauts et ses plus sinistres peurs et imperfections. En d’autres mots, tout ce qui nous rend fondamentalement humains autant dans nos réussites ainsi que dans nos faiblesses.
Gould n’a pas qu’une seule mais plutôt cinq biographies ainsi que d’autres en chemin. De plus, depuis sa mort en 1982, plusieurs films ont retracé sa vie et ses exploits. Une merveilleuse histoire humaine. Si l’on examine l’homme à côté de son personnage légendaire, non seulement on apprend plus de ce qu’était Gould, mais d’autant plus sur nous-mêmes. Gould a souvent parlé de la nature transcendantale de la musique. Tout en s’évadant dans sa musique et son histoire, nous découvrons mieux ce que nous sommes.
Michèle Hozer and Glenn Gould
Research/ Recherche:
Il existe plusieurs lectures d’intérêt à faire avant la projection de ce film, et dans ce cas plus particulièrement, plus vous lirez, mieux vous pourrez apprécier toute la complexité entourant ce film, son histoire et ses personnages.
There's lots of fascinating material to read before the screening, and in this case, the more you read, the more you'll appreciate the complexities of this film, the stories it tells, the characters who pop into and out of frame
The National Library has a bountiful reservoir of quirky, insightful delightful bits: http://www.collectionscanada.gc.ca/glenngould/028010-502.10-e.html#g
Wondrous Strange: The Life and Art of Glenn Gould (Toronto: McClelland & Stewart, 2003), 257ff.
This site summarizes Gould's approach to each of his major recordings. Insightful, opinionated, it provides you with sketches: http://www.classicalnotes.net/columns/gould.html#52685
Cast of Characters/Distribution:
One would not ordinarily list the cast for a doc, but this one is quite exception:
VLADIMIR ASHKENAZY, Pianist/chef d'orchestre
FRANCES BATCHEN, la bien aimée
PETULA CLARK, chanteuse
CORNELIA FOSS, Artist Wife of Lucas Foss and Gould paramour
Art collecting , to believe this serious-minded, quirky, charming documentary, Herb & Dorothy, is not only for the rich & famous. It's also an object lesson for those who are poor & passionate, but aspire to become rich & famous. The cutline for the movie: You don't have to be a Rockefeller to collect art, is missing its coda: But if you aspire to be Rockefeller, collect art.
Herbert Vogel, postal clerk, and Dorothy Vogel, librarian, frugal Puritans, built their massive collection of NY Minimalist and Conceptual Art, guided by two rules: the piece had to be affordable, and small enough to fit in their rent-controlled one-bedroom apartment. In the doc, Herb & Dorothy come across as sweet, loveable, workaday folk. And the teary-eyed entertaining doc grows on you, just as Herb & Dorothy do. She shops for a new iMac. In return for catsitting one artist's pet, they get one canvas. Painter, Chuck Close called them mascots to the minimalist movement.
We like what we like, seemed to be their primary criterion, they're dogs sniffing for truffles.. After thirty years and over 2,000 pieces, filling every nook and cranny of their one-bedroom apartment, the Vogels gave it all away to the National Gallery in Washington, DC. "Not even a toothpick could be squeezed into the apartment," said Dorothy, without irony. If I had no room for toothpicks where I live, I too might want to free up the space.
In today's elitist world, art is a commodity and a work's investment upside takes precedence over artistic value. As one with zero expertise on futures, derivatives, investment bubbles, credit default swaps, I must confess much of the stuff to my eye comes off as trinkets and playthings aimed at gazillionaires. Today, the Vogels live in the same apartment with 19 turtles, fish, and one cat. And resumed their addictive ways. piles of new art they've recently acquired.
The doc imitates the Vogels - four years in the making, 120 hours of footage, thousands of images from artists. Nothing exceeds like excess, I say. At least it only runs 89 minutes.
Here's the trailer: http://www.youtube.com/watch?v=vma2T5luy08
peter
*****
Les collectionneurs d’œuvres d’art, si l’on en croit le caractère sérieux de ce documentaire, Herb and Dorothy ne sont pas seulement des gens riches et célèbres. Ceux qui mènent une vie modeste et passionnée peuvent devenir riches et célèbres. La phrase « You don’t have to be a Rockefeller to collect art » sur l’affiche du film pourrait tout aussi bien se lire « Si vous aspirez à devenir riche comme Rockfeller, devenez collectionneur d’art ».
Herbert Vogel, employé des postes, et Dorothy, libraire, un couple de puritains de nature modeste, ont bâti une imposante collection d’œuvres d’art minimaliste et conceptuel de New York, guidés par ces deux règles: le prix devait être abordable et l’œuvre devait être de taille assez petite pour bien cadrer dans leur minuscule appartement. Dans ce documentaire, Herb and Dorothy est un couple adorable et travaillant. Et ce documentaire vous atteint jusqu’aux larmes tout autant que Herb et Dorothy. Elle magasine pour un nouveau iMac. En retour de ses services pour avoir garder l’animal de compagnie d’un artiste, ils reçoivent une toile. L’artiste peintre, Chuck Close, les appellent les mascottes du mouvement minimaliste.
Nous aimons ce que nous aimons semble être leur critère premier…ils sont comme des chiens qui flairent l’odeur de truffes. Après plus de trente ans et avec plus de 2,000 œuvres, ayant rempli tous les coins et recoins de leur petit appartement, les Vogel ont fait don, en 1992, de leur collection à la National Gallery of Art de Washington. « Même un simple petit cure-dent ne pouvait trouver place dans l’appartement », avoue Dorothy, sans aucune trace d’ironie. Si je n’arrive pas à faire de la place pour un petit cure-dent, je dois donc créer de l’espace.
Dans notre monde d’élite fortuné, l’art devient un simple agrément et uniquement un autre investissement, et ceci a préséance sur la valeur artistique. N’ayant aucune expérience sur les investissements en vue du futur, l’accroissement des valeurs, les remous des investissements, tout ce marché, je dois admettre qu’à mes yeux, tout semble n’être qu’objet clinquant destiné à un monde présumé riche et célèbre. Aujourd’hui, les Vogels demeurent toujours dans le même appartement avec leurs 19 tortues, poissons, et un chat. Et ils ont repris leurs accoutumances, empilant de nouvelles œuvres récemment acquises.
Le documentaire imite bien les Vogels – quatre ans pour le tournage, 120 heures de métrage, plus de mille images provenant des artistes. Rien n’est plus excessif que l’excès! Au moins, sa durée n’est que de 89 minutes.
Voici la bande-annonce : http://www.youtube.com/watch?v=vma2T5luy08
*****
It was fascinating to learn about this couple who lived only for art. In a collage of past and present we were privileged to be able to follow the development of their passion, how they met, visited art galleries, became amateur artists and gradually developed insights into the expressionism, minimalism and conceptual art of the day. Through interviews with many contemporary artists the film conveyed their appreciation of Herb and Dorothy’s friendship, interest and understanding. I was amazed at the incredible number of artworks the Vogels managed to fit into their tiny apartment, filled ‘above critical mass’. As a former cat owner I’m not sure how their art collection survived the hair generated by their pet cats that must also have collected in their small living space!
Nancy Walkling
***
un petit bijoux, a real (reel) diamond in the rough ! ... a heartwarming story of two lovable, intelligent and tough New Yorkers, mixed with true art and an insight into the cultural history of their times - it leaves one feeling good and inspired to give that sometimes difficult art another look in another way.
I loved it, but I also knew I would from the moment I learned of this film - the Cinemagique showing allowed me to participate in the kind of 'festival' atmosphere of the venue and to appreciate the quality of your invited question taker - a wonderful evening, that could have been shared by many more.
Marilyn Berzan-Montblanch
***
Herb & Dorothy est un reportage sur un couple de personnes sans grands moyens ni grande ambition financière qui s’est créé une grande collection d’œuvres d’art d’artistes devenus pour la plupart connus. Même si on ne s’intéresse pas forcément à ce type d’art, on s’attache à ce couple qui a toujours gardé les mêmes critères de sélection, même après avoir fait la Une de plusieurs magazines. Ce sont deux personnes qui montrent que l’on n’a pas besoin d’être millionnaire pour établir une collection d’œuvres d’art. Et on peut voir que seul l’amour des œuvres d’art les guide, ils suivent leur instinct qui est souvent juste.
La réalisatrice a suivi le couple dans leur vie quotidienne jusque dans leur minuscule appartement qui déborde de tableaux et de sculptures, mais sans jamais faire preuve de voyeurisme. Elle a une certaine retenue très respectueuse.
J’ai été touchée par ce reportage et par ce couple de personnes qui sont comme tout le monde mais tellement singuliers en même temps.
A movie from Japan to Canada with the world in between, expressed in many languages, developing a vivid series of WWII events, a simple and most understanding document, easily flowing from end to beginning and back again, a slow unfolding of an amazing period of time and great distances yet holding together, a modern miracle. - Ron
***
Definitely not a tear jerker, rather a unique film filled with love & respect for courageous children lost in war and contemporary children telling this story of one child, Hana from Moravia.
`Love never dies` is given new meaning in Larry Weinstein`s profound documentary, Inside Hana`s Suitcase`, as Hana`s dream of becoming a teacher is fulfilled through Japanese teacher Fumiko Ishioka, her students, a Japanese survior of the atomic bomb, Hana`s schoolmates & friends , her adoring brother - George Brady and his family and young students in Canada.
Alexina Louie & Alex Pauk`s musical score enhances the childrens voices; gifted cinematographer,Horst Zeidler recreates Hana`s journey from a happy Moravian childhood, to Auschwitz in 1944. Ironically, Auschwitz, where young Hana`s suitcase is confiscated, serves as the nucleus that breaks the silence. Karen`s Levine`s book tells the story but this film enables to fulfill Hana's dream: to teach children to never lose hope.Hana`s brother, George Brady, Fumiko Ishioka and Laura Brady are sooooo splendid! - Katherine
***
The film is a moving tribute to the resiliency of the human spirit, the power of love, and the belief in the possibility of a better, more humane world....well worth seeing. The effortless flow between past and present was akin to a well-choreographed dance, brilliantly executed.
The story - a suitcase left behind by a child, lost in the holocaust - took a good deal of creative ingenuity. One Japanese woman showed each and every one of us could make a difference, one by one, in making this a more hospitable planet. I hope this film gets to be seen by children in every schoolroom in every country around the word. They are our future. And if the children in this film are representative of how the film will be received, the future looks much brighter than the past. - Rita
The Blind Side is a Pygmalion & Galatea movie I've waited four years to see. Like a sprinter in full flight, I first raced through Michael Lewis' book, while flying home from Florida, and would not put it down. It's Pygmalion, on a gridiron, one unbelievable story. Michael Oher, in the words of Michael Lewis, 'goes from being the least valued human being in America, to the being the most exalted 18 year old.'
For the next year, I gave away copies, as thank you notes, as confidence boosters, as Christmas presents to males and females alike. Michael Lewis, when I first came across his writing, was a reporter with the NYT Magazine, writing on new technology. Like Nick Hornby (An Education), Lewis explores hidden underbellies, figuring how things work - in this case, race, schools, class, conventional thinking.
The Blind Side depicts the remarkable story of teenager Michael Oher (Quinton Aaron) surviving on his own, virtually homeless, when he is spotted on the street by Leigh Anne Tuohy (Sandra Bullock). Learning he is one of her daughter’s classmates, Leigh Anne insists that Michael—wearing shorts and a t-shirt in the dead of winter—come out of the cold, invites him to stay at the Tuohy home for the night. A gesture of kindness turns into something more as Michael becomes part of the Tuohy family. And as the family helps Michael fulfill his potential, both on and off the football field, Michael’s presence in the Tuohys’ lives leads them to some insightful self-discoveries of their own.The Blind Side is written and directed by John Lee Hancock (The Rookie) Gil Netter, Broderick Johnson and Andrew Kosove produced the film with Molly Smith, Erwin Stoff and Tim Bourne serving as executive producers. Sandra Bullock and Tim McGraw star as Leigh Anne and Sean Tuohy, and Kathy Bates as Michael Oher’s dedicated tutor, Miss Sue. Quinton Aaron is introduced in the central role of Michael Oher. The film also stars young actors Lily Collins and Jae Head as the Tuohy children, Collins and S.J., respectively. Women's book clubs across America have been wrapping their minds around The Blind Side for the last three years.
Here is Michael Lewis, on YouTube, talking about his book: http://www.youtube.com/watch?v=7F-_HHriWSQ
For mavens who are readers, here's a NYT magazine excerpt from the Lewis book: http://www.nytimes.com/2006/09/24/magazine/24football.html?pagewanted=all Here's the trailer: www.theblindsidemovie.com
*****
The Blind Side est le film que j’attendais depuis quatre ans.Tel un sprinter, j’ai parcouru le livre de Michael Lewis, durant mon vol de retour de la Floride, étant incapable d’en cesser la lecture.C’est du Pygmalion, sur un terrain de foot…une histoire tout à fait incroyable.Michael Oher, selon Michael Lewis, passe d’un personnage très peu valorisé en Amérique à un jeune homme de 18 ans merveilleusement passionné.
Durant l’année qui a suivi, j’ai offert des copies de son livre en tant que marque de remerciement, outil de motivation, cadeau de Noёl.Lorsque j’ai découvert l’écrivain Michael Lewis, il était chroniqueur de nouvelle technologie pour le NYT magazine.Comme Nick Hornby (An Education), Michael Lewis explore les aspects cachés tentant de découvrir la façon dont les choses fonctionnent – dans le présent cas, la race, les écoles, les cours, la pensée conventionnelle.
The Blind Side relate une histoire vécue, celle d’une étoile de football américain, Michael Oher.L’adolescent, Michael Oher (Quinton Aaron) est un sans-abri abandonné et subsiste par ses propres moyens.C’est alors que Leigh Anne Tuohy (Sandra Bullock) le remarque sur la rue.Apprenant que le jeune homme est un camarade de classe de sa fille, elle insiste pour que Michael, vêtu d’un short et d’un t-shirt en plein hiver, sorte de ce froid terrible.Sans aucune hésitation, elle l’invite à venir passer la nuit dans la maison des Tuohy.Ce qui devait être un simple geste de compassion devient beaucoup plus intense alors que Michael fait partie de la famille de plus en plus, malgré leurs différents antécédents.Vivant dans son nouvel environnement, l’adolescent doit affronter plusieurs nouveaux défis.Cette famille l’aide à réaliser son potentiel sur le terrain de football de même qu’en dehors.En même temps, la présence d’Oher dans la vie des Tuohy les amène à se réaliser eux-mêmes.
The Blind Side est réalisé par John Lee Hancock (The Rookie), qui a aussi écrit le scénario basé sur le livre The Blind Side : Evolution of a Game, de l’auteur Michael Lewis.Gil Netter, Broderick Johnson et Andrew Kosove ont produit ce film avec Molly Smith, Erwin Stoff et Tim Bourne en tant que producteurs exécutifs.
Sandra Bullock et Tim McGraw incarnent les rôles respectifs de Leigh Anne et Sean Tuohy, et Cathy Bates celui de son dévoué professeur, Miss Sue.Quinton Aaron joue le rôle principal de Michael Oher.Dans ce film, de jeunes acteurs tels que Lily Collins et Jae Head interprètent les rôles des enfants Tuohy, Collins et S.J., respectivement.
Plusieurs clubs du livre s’adressant aux femmes se sont penchés autour du livre The Blind Side depuis les trois dernières années.Michael Lewis parle de son livre
I'm enjoying the new season of the movie club. Cinémagique gives people new experiences and exposure to movies we'd be unlikely to see otherwise. Plus I like the social aspect of the club and the discussions afterwards. My favourite movie so far this fall was Mary and Max, which made me laugh out loud several times and also brought some tears at the end. Last night's Blind Sidewas entertaining but I thought too simplistic to be completely believable - even though it's based on a true story. It doesn't seem plausible that a family of four would embrace a new member so uniformly lovingly with no resentments or jealousies. I enjoyed the commentary of the two young football players - even though I don't understand football and am rather repelled by the sight of it. And the quiz with prizes was fun! I put up my poster at the Atwater Library in a prominent place.
Lynn
*** Good turn out for tonight's screening and interesting discussion (thanks to Robert and Tony from the McGill Redmen).
Movie was just OK in my opinion. Similar to Remembering the Titans: inspirational, manipulative with a dose of social commentary. Perhaps it moved too quickly away from the early life of Big Mike to his redemption in Republican suburbia? Perhaps I just never bought into the possibility that he could fail?
Nice to see Sandra Bullock in a somewhat meaty role after some recent awful parts [The Proposal, Miss Congeniality 2, ...].
Paul
***
Peter: I thought your comment was so 'right on': that the film allowed us to watch someone transform from being the most worthless person in society into one of its most valuable ones - that is so true! My reaction to this is that there is such human potential just being wasted - because we as a society just let it.
And that's what brings me to Leigh-Anne. I loved watching her transform from being a smarty-pants, get-it-done, Sarah Palin-type wife/mother/powerhouse decorator into someone with heart and self-doubts. I'm thinking of the Thanksgiving meal: realizing the value of what she really had, and moving the family from the TV room into the dining room. Another moment was the questioning of her own deeper motivations after Michael spoke to the NAACP - did she save Michael for Michael or for herself? I really appreciated Sandra Bullock's performance, as I did the smart-Alec 'younger brother' SJ - but I thought he was just a little too cute and over-used, especially when he was dealing with all those college coaches. It may have even been true - I didn't read the book - but it didn't feel true. I think they could have fleshed out why the family trusted him with the negotiations for Michael. Funny, but I could believe him as being a trainer to Michael, but not a negotiator. I also thought he was a wonderful actor, and loved him when he was on the screen - but you asked about my reaction and that's what I thought of when I was analyzing my reactions.
Again, thank you and Warner Brothers for letting us have the film - and getting the McGill football players to speak to us was inspired!
Leslye ***
Thanks for the screening last night Peter. We really enjoyed it. We both thought the set up until we see Michael on a football field, too long ..... the first act. Thanks for understanding, we had to run off and watch the game. The interesting thing when you watch the real # 74, Michael play for the Baltimore Ravens is that on every play he's involved in, he helps to pick up a player on either team all the time. What a mensch!
Jimmy ***
Some of my "fears" about Hollywood have been present last night, but at the same time, this week's movie, from a movie viewer point of view, is a great example of the US pattern we will see in the coming year: very christian values, sustained by lots of violins... They even added a very US argument with the mention of the NRA, which is for me very anti-catholic!
As you mentionned, Hollywood produced, and is still producing some amazing movies. This one is a correct, standard production, that should not make history but reflects current USA values. Yes, you can thank MGM (he means WB - pp) for this presentation. It is good to see movies from as many sources as possible. And they were great to give you this movie at your first meeting!
Thanks for your work, and see you at the next presentation.
Daniel ***
I did indeed like your "Hollywood Movie". In fact I liked everything about it, the excellent cast, the fact that it was a true story and the football players were a great addition. Thank goodness our universities don't have athletic scholarships. Thanks for bringing it to Montreal.
Cheers
Mary ***
Ce film comporte plusieurs messages de vie...l'amour inconditionnel d'une mère, la réalisation de soi et cette phrase "quand on veut, on peut" n'a jamais été si bien représentée. Ce film s'adresse à la famille toute entière...convaincant et regénérant ! À voir...avec une boîte de Kleenex !
Louise
***
Thank you for letting me be a part of last night. Sandra Bullock lived up to her statement that she was indeed a multi-tasker; wife, mother.
psychologist, even the coach for the football team. Totally unbelievable but I managed to cry anyway.
More history of Michael's past would have made the film more endearing. And what happened to Mr. Tuohy. He seemed totally in accord with whatever the Mrs. said and did.
I wonder how he became so successful.
In summary I have and would recommend the film.
Beverley
***
It was exciting to be among the first to see this film. It was also somewhat reassuring to slide back into the competent hands of Hollywood. Yes, the film had the familiar tone and predictability , but I was also surprised and pleased by its new approach, less sensational and more human.
I was glad it was a true story - for some reason the fact that something like that actually happened makes it more meaningful. My movie partner, however, found it an entertaining and very realistic presentation but it made no difference to him that it was based on a true story.
His comments: a happy movie, it held the audience, was very realistic and had no nastiness. It leaves one feeling complete. A movie to see but not one that would generally not need a second viewing.
For my part, this movie gave me an insight into a part of American life - I felt it rang true more than many other movies. Compared with Peter's description of the book, I think the movie did not capture enough the depth of emotion and commitment of Mrs. Touhy . I liked the football although it did not help me understand the game. The movie avoided dealing with the exploitation of the players that I hear actually does go on. And I liked the photos of the actual people at the end.
Nancy R. ***
dear peter, i like writing but i am not really comfortable about publishing my reactions to the films..all that being said, i am now bleery-eyed after reading the new york times review (of Blind Side) which is really a synopsis of the book...which i suspect was actually better than the film on many levels.
We have often discussed at [McGill] that no one sees the same film...it is an interactive process to which we bring ourselves. I, for one, was the mother of a quarterback at lcc and then westmount high; he was a gifted athlete but we still spent many hours at the orthopods with injuries...he could have gone to college on a football scholarship, but decided early on that he needed his brain, gave up contact sports for an education and received a medical degree from mcgill university. I am positively shocked at the amount of money paid to star athletes. What is wrong with this society's values when scientists, educators, nurses, doctors and other essential service givers have their work so comparatively, poorly recompensed?
On another level, it is very heartwarming to see that poor kids can use their athletic prowess as a means to upward mobility. Your two athletes were very articulate about mcgill's position concerning athletics and the academic priorities valued at this institution; maybe hockey players will shed a different light on their experience in this northern climate! Last night's film underscored the fact that success on any of life''s playing fields equates to success in life...there is nothing like positive reinforcement as a motivator!
I give the film a 3 star rating and i'm sure it will have wide appeal and be financially successful....sandra bullock was very endearing in her role...but even with a southern accent, she still played sandra bullock...in other words she is no meryl streep! i hated all that body smashing and predictably covered my eyes...this is a hollywood film for the masses and I am sure will last more than the two week stays that have marked some of the very best films you have guided us to.
Just a little aside...i found it very amusing when cathy bates spoke of science and body parts being buried under the football field...do you know where enrico fermis first atomic pile was housed? Under the football statium in chicago...probably northwestern university's...
Farla ***
The Blind Sideis a fine movie to recommend, both to sports enthusiasts and to people who enjoy a great story, well told, with a happy ending: a first-rate date movie. I laughed whole-heartedly, and needed a hankie for the final scenes. Sandra Bullock nailed the Memphis twang and looked great wearing Erin Brockovich's dream wardrobe. The football side of the story was well explained, and Quinton Aaron was appropriately lovable as the young Michael Oher, although physically he seemed flabby, knock-kneed and not very athletic. The whole cast performed very well, and Kathy Bates's story about the FBI's forensic science lab underneath the University Of Tennessee playing field was a hoot.
Although I am very glad to have seen the movie, I have two big reservations about it. The first is the motivation of the Touhy family: why did they take in this kid? People explain that Leigh-Ann is a do-gooder, but why? She wears a cross around her neck, but never speaks of her Christianity, except as a way of networking with the district attorney. We can certainly understand where Michael Oher comes from, but the principal driving element of the story is the Touhy’s magnanimity, whose origin remains utterly mysterious. What’s the back story?
My second reservation is that almost all of the problems these people face are solved by spending more money. Want a private school education? A kind family will pay. Need clothes? Money and wheels to store provided. Need an identity? Get a drivers license and a nifty red-neck pick-up truck. Have an accident? There’s insurance. Problems in school? The family hires a full-time live-in tutor. The fact that the Touhy’s seem never to make sacrifices (when in real life they confronted many obstacles) blunts the message of selflessness. The Touhy’s seem so rich that we might reproach them for not fostering an entire orphanage or, indeed, all of Bangladesh.
Margaret
***
Thank you for the opportunity to see this well acted (if not over-acted (SJ)) movie. Sandra Bullock was the best I have seen her, and Tim Mcgraw was passable as the doting husband. As it was my first experience attending a cinema club, I tried to look beyond the characters, and thought that the camera angles and positioning, especially in the football scenes, was good. I also enjoyed the music score, which was upbeat and added to the positive attitudes put forth in the movie.
With the links you gave us before the screening, I got a good understanding of Michael's character, and I found it missing in the movie. Where he ran out from the NCAA inquiry was the only movie indication of Michael's evasions throughout his life up to that point.
I also liked the use of photos of the actual people portrayed in the movie, during the closing credits. I studied them all, looking for the similarities with the actors. It seemed a good fit, an enjoyable experience. I hope to see you again soon.
Wayne
I so enjoyed my first film as a member, The Blind Side. You gave insight into a film to which I would normally have paid little attention. The two young footballers were an inspired choice. Too bad they cannot tour with the film. Warner Brothers could use such film buffs of the football genre.
Marlene
I found the set-up up too long, and (as someone who has not read the book and was only minimally aware of the story) very disjointed. It took too long, in my opinion, to get us "hooked".
Once under way, I enjoyed the ride. I must say, though, that if I didn't know it was a true story, I'd have a hard time buying it. The couple's relationship was just too perfect to be true. Whether this is a fair reflection of the book or not begs the question.... how in the world could they have gone through that with so little tension or disagreement? It would have added so much to the movie, in my opinion, had we seen even a small bit of the discord that must surely have gone on in that family. All, in all, this movie feeds into my bias about the somewhat deluded world-view many of our republican neighbours to the south seem to have. This Blind Side will probably go over gangbusters with that market segment, but I like a little more depth to my movies.
Barbara
Enjoyed The Blind Side experience, my first outing with your group - A feel-good movie with good actors. Felt it didn't portray well enough the family's struggles and challenges when Mum brought home a street kid. The book would have gone into better detail I would guess. Enjoyed the younger boy's amusing coaching tactics but felt things went overboard when he bargained with the various university football coaches. Liked the pictures during the credits which showed the real family whose story this movie tells.
What is happening now that film is coming out and you are no longer under pressure?
Just returning from Chicago where Love and Savagery was well received, John is taking next year off. Things are in the offing, but for now he just wants to enjoy his well earned time off .
Where did the passion bloom for moviemaking come from?
His very cultured mother’s artistic input. They went to at least three times a year, John going to live theatre and museums.
Can you give some insight into the writing of Love and Savagery?
In 1979 the poet, Des Walsh spent three months in County Clare. In 1989 he auditioned for a role in Welcome to Canada and his band Tickle Harbour did much of the music. After shooting Random Passage (directed by Smith, written by Walsh), they rented a place in Ballyvaughan, County Clare, and started shaping the script for Love and Savagery.
How would you describe Love and Savagery?
A universal, atavistic story set in what is at once both a real and mythical landscape. Losing someone you love with all your heart is a terrible, if common, ordeal. Although set in a faraway time and place, audiences will find emotions we all know well. Human love is a universal experience. The collapse of love is always savage. Two people meant to meet, carry each other in their hearts forever, a meeting that must be cherished and respected. It is partially an exploration of the spiritual yearning that exists in all of us.
How did you find the lead characters?
Michael McCarthy is from Trinity Bay, Newfoundland, and Cathleen O`Connell from County Clare. Producer Kevin Tierney observed something very innocent in Allan Hawco`s being that shines through the camera lens.. Sarah’s Cathleen is sensual and innocent, both modern and traditional. She celebrates her lust, while understanding it will make her a better nun - a fabulous paradox. As she matures, she finds spiritual peace.
The Mother Superior character reminded me of my favorite teachers.
Martha Burns had wanted to play a nun since seeing The Sound of Music in her native Winnipeg. Without judgement, this Mother Superior tries to help Cathleen find peace. The Church is a vast and complex continent, spanning many communities and peoples. Some of the greatest people he met during the production of the Boys of St.Vincent were priests and nuns.
How was filming in Ireland?
We went to Carrigaholt, which has the architectural integrity of a coastal town from a different century! The townsfolk brought their knowledge of grief in their faces. Postmaster Pat Gavin transformed the bus-stop built by the crew into a protected outdoor coffee shop adjacent to his post office.
*****
And three separate member reviews of the movie...
*****
Si vous aimez qu’on vous raconte des histoires empreintes de véracité!
Si vous êtes du genre qui aime voir des comédiens qui ont l’air d’être de vrais humains!
Si vous aimez les belles images non peintes en 3D ! Alors vous êtes du genre à poursuivre cette lecture.
Love and Savagery, le dernier film du réalisateur John N. Smith, raconte une histoire d’amour que le scénariste et poète Des Walsh situe en Irelande et à Terreneuve. Le film pose l’éternelle question: est-il mieux d’avoir aimé et d’avoir perdu cet amour que de n’avoir jamais aimé ?
Carrigaholt, ce petit village côtier d’Irlande mieux connu pour ses huitres, quoiqu’on y voit débarquer des homards, est à la fois charmant et pitoresque. L’endroit regorge d’histoires de sièges et de captures, de mythologie et de magie. Du quai on peut voir la silhouette de la tour d’un château médiéval. Il semble même que les rochers ont autant de vécu que les habitants du village.
L’action des passe en 1969. Un jeune poète et géologiste Michael McCarthy ( Allan Hawco) débarque sur la côte ouest de l’Irlande pour y étudier les formations géologiques de The Burren . qui regorge de crevasses, de symboles et d’histoires vielles de milliers d’ années et de flores surprenantes. À l’auberge ou il loge il y rencontre une belle jeune fille; Cathleen O’Connel (Sarah Greene) tout a fait époustouflante par la justesse de son jeu.. Martha Burns comédienne, bien connue du milieu du théatre et de la télévison anglaise et récipiendaire d’un Génie, interprète le rôle la Mère Supérieure d’un couvent qui double d’hôpital La belle Cathleen vient certains jours y faire du bénévolat une fois son travail de bairmaid terminé à l’auberge et bar/restaurant de son oncle.
Le jeune homme troublé par la belle vient à son tour troubler la paix du village et soulever les ires des villageois. Les comédiens principaux sont entourés de Sean Panting, interprétant le rôle du meilleur ami de Michael. Jark Whelan, Macdara O’Fatharts, Dylan Scott Smith and Nicholas Collins qui se mèlent aux têtes intéressantes et traits creusés des villageois.
Les paysages Irlandais époustouflants sont superbement saisis par la camera de Pierre Letarte. Il est intéressant de noter que Letarte, le scénariste et poète Des Walsh et le réalisateur John Smith, avaient préalablement collaborer sur la série de renommée internationale The Boys of St.Vincent en 1992. Dix ans plus tard ils se réunissaient sur le tournage de Random Passage, une mini série à succès qui se méritent 2 Génies et récolte la faveur du public de la CBC .
Deux des producteurs, Barbara Doran (Terreneuve) et Tristan Orpen Lynch (Irelande) ont fait aussi équipe auparavant sur un autre film de John. N. Smith, The Englishman’s Boy. La musique est de Bertrand Chénier, le montage de Michel Arcand - des noms bien connus d’ici au Québec.
Le film existe en langue anglaise uniquement mais si vous posséder la langue vous pourrez apprécier le joli accent Irlandais. Si non, prenez-des cours! Ca vaut le coup.
Surtout ne dites-pas que l’on ne fait plus de films comme on les faisait autrefois.
Nicole de Rochemont
*****
J.N. Smith has done it again, this time a Canadian-Celtic gem based on Del Walsh's book, 'Love and Savagery'
As the Irish 'Celtic Tiger' continues to skyrocket into the international community, Irish diaspora greats as J.N. Smith ensure the eternal celtic culture stays abreast within the endless celtic artistic circle. At this dawning of 21st century globalized mass communication, few professional artists are capable of communicating the continuations of ancient cultural societies. John N Smith makes us appreciate the role played by the diaspora of an ethnic people born out of genocides, famines, endless wars. Thank God, for the Irish diaspora of Newfoundland/Labrador and Quebec that was instrumental in producing this gem, 'Love and Savagery'.
In Love and Savagery, one of the curious young, a Newfoundland geologist and poet returns to his ancient land. Michael McCarthy (played by Allan Hawco) travels in 1968 to Ballyvaughan to examine the "Burren", a geological wonder. In County Clare & the Aran Isles, Michael discovers not only in the rocks but within the lifestyle of the area people, his own roots. One colleen, Cathleen O'Connell (played by Sarah Greene), wins his heart while teaching him far more of his peoples' ways, sacrificed in the diaspora. Irish celtic way to one's path in life is not as evident as his North American culture led him to believe. A price must be paid for any introspective spiritual search within oneself. Kathleen O'Connell shows Michael that the journey may not lead to simple conclusions. The insightful & patient Mother Superior, Louise Nicol enlightens Kathleen to the fact that convent walls will not dispel the 'aching total pain of lust'.
A fine piece of Celtic art, this film's music score and sweeping cinematography join symphonically with a sound script & fine performances. Of course, one cannot help ponder the inability of our fast paced international film business to link this cinema gem to comparative cultures of the masses fearing the loss of their own continuance with the march of a one-culture globalized world. So, do your part and spread the word so that others may experience this excellent film. Canada and namely Montrealers are so honored that JN Smith is one of us but not surprised by this latest gem knowing the legacy he continues to give us:
Katherine Moore
*****
Quel BEAU film! Bravo à tous ceux qui on collaborés à cet œuvre du cœur si bien rendue.
Si on parle des ingrédients qui font d’un film un succès, on pourra affirmer que Love and Savagery a suivi la recette et que le plat est une superbe réussite.Le scénario de Des Walsh est simple et sans aucuns artifices, comme les émotions qui y sont évoqués. Michael rencontre Cathleen et ils tombent amoureux, rien de plus simple. Mais Cathleen veut devenir religieuse et même si elle aime Michael profondément elle optera pour la vocation divine. Histoire déchirante à laquelle tous peuvent s’identifier.
La réalisation de John N. Smith est simple comme les décors d’Irlande et les gens qui le peuplent. Il n’est nullement nécessaire d’en faire beaucoup quand c’est si facile à comprendre, et John N. Smith possède le don d’extirper des comédiens une performance poignante et vraie.
Les comédiens : Je m’attendais à voir des stéréotypes Hollywoodiens, mais les deux protagonistes principaux du film ont l’air si vrais et jouent si juste que l’on est littéralement aspiré dans cette histoire d’amour. Allan Hawco et Sarah Greene portent ce film impeccablement. Le reste de la distribution est aussi juste et bon ; Impeccables. J’ai été particulièrement touché par le jeu de Dylan Smith dans le rôle de Sean Collins, quelle maîtrise de son personnage. La Caméra de Pierre Letarte est irréprochable et les éclairages si naturels que cela en devient remarquable. Enfin, le montage est doux et fin. L’expérience d’un Michel Arcand s’intègre tout doucement dans cette équipe de professionnels chevronnés.
Animated Hollywood flicks transport us into magical worlds where dragons fly, romances bloom and endings are forever happy. Mary & Max, a feature film debut by Australian animator Adam Elliot, is not Hollywood. It is a captivating journey of a friendship between two improbable people: Mary Daisy Dinkle [the voice of Tony Collette] is 8 years old at the start of their friendship and lives in Melbourne, Australia; Max Horowitz [the voice of Philip Seymour Hoffman], fat and forty, lives in New York.
Mary & Max opens like a book. The narrator [Barry Humphries, better known as TV’s Dame Edna Everage] chronicles the enduring friendship of two unalike, unlikely people, spanning two continents and 20 years. We accompany Mary from childhood to middle age, Max from middle to old age.
We first encounter Mary’s uncaring world in her Melbourne suburb, gloomy hues of brown evoking her melancholic mood. Friendless, the target of schoolmates’ scorn, Mary is ignored by both her chain-smoking, sherry-nipping, kleptomaniacal mum and dull dad who stuffs dead birds for a hobby.
Mary randomly comes upon Max when she picks his name out of a NY telephone directory. Her letter panics Max. Anxiety prone and lonely, he can’t relate to people, can’t hold a job, lives alone with Hal, his one-eye cat, and Henry, his stupefied goldfish. He frets over everything and nothing. He resents his fit psychotherapist, since his passion for ‘chocolate hot dogs’ has prevailed over Overeaters Anonymous.
Mary and Max become pen pals, bond over their shared love for chocolate, bizarre anecdotes from their isolated lives and amusing insights into the world they struggle to fit into. Both have come across something neither ever had: a friend.
Despite this, Mary & Max has no Hollywood magic and predictability. As the story unfolds through the ‘70s to the ‘80s and ‘90s, unexpected afflictions occur. Mary’s inapt boyfriend dumps her, her parents die, other disasters befall each. Max is diagnosed with Asperger’s Syndrome [a form of autism]. Mary determines to find a cure.
Mary & Max is a touching exploration of human foibles, a poignant look at life’s afflictions: loneliness, obesity, sexuality, anxiety, agoraphobia, autism, kleptomania, alcoholism, psychiatry, sexual and religious differences, trust and death. At first we feel detracted by the outré look and dread surrounding of these grotesque clay-made characters, but as they open their hearts, we are captivated by the brilliant and subversive story and the tragic-comic side of life.
As misunderstandings get patched up, the two resume confidences about forgiveness and imperfections. If their world is imperfect, so too are those who inhabit it. It becomes important to mend what has been broken. When Mary finally enters Max’s desolate NY room, she restores the bond which has tied them throughout the years in a long rewarding friendship.
Hilarious, poignant Mary & Max is impregnated with kind of humour and sadness that draws us all in. (88 mins.)
You're free to speculate as you wish about the philosophical and allegorical meaning of the film... Stanley Kubrick
And so mavens, with Kubrick's come-hither invitation, feel free to surf the Web at will, questing for 2001: A Space Odyssey meaning. Kubrick never spelled out his own.
2001 is the original seminal epic big-budget sci-fi movie. Before you check out this site: (http://www.underview.com/2001.html,) make sure you've hours to spare.
Everything basic is at: http://en.wikiquote.org/wiki/2001:_A_Space_Odyssey
Some vintage classics, neglected and forgotten, take a generation to come of age. Citizen Kane released in 1941, only garnered critical acclaim after WWII. The Wizard of Oz (1939) became a classic only with the arrival of NBC coloured television (1956). Casablanca (1942), didn't become iconic until the 50s when the Brattle Theatre in Harvard Square played it during exam week, a tradition that still endures.
2001: A Space Odyssey got mixed reviews from NY know-it-all smartpants reviewers, who knew everything there was to know about movies. Pauline Kael (New Yorker) called it a monumentally unimaginative movie. Stanley Kauffmann (New Republic) wrote, a film that is so dull, it even dulls our interest in the technical ingenuity for the sake of which Kubrick has allowed it to become dull. Renata Adler (NYT): ..somewhere between hypnotic and immensely boring. Variety called it: Big, beautiful, but plodding sci-fi epic…A major achievement in cinematography and special effects, 2001 lacks dramatic appeal to a large degree and only conveys suspense after the halfway mark. Andrew Sarris (Village Voice): one of the grimmest films I have ever seen in my life…2001 is a disaster because it is much too abstract to make its abstract points. John Simon: a regrettable failure, although not a total one. This film is fascinating when it concentrates on apes or machines…and dreadful when it deals with the in-betweens: humans.
Check out: http://www.kubrick2001.com/ Scientists speculated for Kubrick (and Arthur C Clarke) what computer technology would be like in 2001, generally optimistic that machines with HAL's capabilities could do any work a man can do. Forty years on, only a few technical details of 2001: A Space Odyssey have dated. Pan-Am no longer flies; we don't yet have space stations nor interplanetary vehicles. And yet the film's views on human evolution, nuclear war, technology, artificial intelligence, extraterrestrial life, seem as asture now as then. While the film is scientifically inaccurate in minor details - natural language processing, lip reading and even commonsense reasoning for example - you will spot laptops and notepads, used to view news broadcasts from Earth.
Arthur C Clarke: ...we set out with the deliberate intention of creating a myth. (The Odyssean parallel clear in our minds.) Quite early in the game I went around saying, not very loudly, "M-G-M doesn't know this yet, hut they're paying for the first $10,000,000 religious movie." I might mention that we have recently discovered-this was quite a shock--that there is a Buddhist sect which worships a large, black, rectangular slab. The analogy of the Kaaba has also been mentioned; though I certainly never had it in mind at the time, the fact that the Black Stone sacred to the Muslims is reputed to be a meteorite is a more than interesting coincidence.
***
OK, for another perspective on 2001: A Space Odyssey and the vasstness of space, this one is a stunner! Go to http://www.youtube.com/watch?v=HEheh1BH34Q&feature=fvsr
J. Paul Higgins Review 
