Review: 'My Father and the Man in Black'
Some believe that "superstars are not born, they are created." Director Jonathan Holiff explores this statement in the documentary, My Father and the Man in Black, a film about his overbearing father, Saul Holiff, and his relationship with the legendary Johnny Cash. Jonathan documents his quest to find out more about his father and his experience as Johnny's manager, revealing the ups and downs of Cash's career and the effect it had on Saul's life.
Holiff is described as the man behind the success of Johnny Cash. From day one, Holiff is shown as a natural born leader, like Cash. The two men got along so well because they were both incredibly strong, yet guarded, whose similar alpha-male nature made opening up impossible. In the entertainment industry where image is everything, Holiff wanted his to be perfect. The stress of achieving perfection while working non-stop with Johnny eventually took a toll on Holiff, who succumbed to taking his own life. On top of that, Saul didn't even leave a note for a young, hurt Jonathan.
Following the death of his father, Jonathan begins to investigate who his dad really was. The film picks up steam when Jonathan takes the audience into his family's storage unit and uncovers hundreds of never-before-published letters and audio recordings, taped phone calls, and diaries from his father documenting Saul's personal demons and troubles he had with Johnny. From Cash's pill-fueled near overdoses in 1960 to playing at Folsom and San Quentin Prison, and through his conversion to a born-again Christian in1970, Jonathan leaves no stone unturned as uncovers how his father was there to pick up the pieces.
It feels like the film was made as more of a cathartic and emotional release for Jonathan as opposed to him wanting the world to know about the life of Saul Holiff.
My Father and the Man in Black is unique in its form because it plays like more of a docu-drama; While incorporating archival footage, it also includes re-enactment scenes and voice-over narration throughout the film. This switching in direction keeps the audience engaged, although it borders on the side of slightly confusing and distracting.
As director, producer, writer, and actor, Jonathan Holiff wears many hats in this film. However, his attempt at the one-man-band approach doesn't quite hit the nail on the head. At times, the film seems to shift gears from its unbiased, historical accounts of events to obvious venting at his late father. It feels like the film was made as more of a cathartic and emotional release for Jonathan as opposed to him wanting the world to know about the life of Saul Holiff.
In any case, if you're a fan of Johnny Cash, this documentary is definitely worth a watch. Even if you're just a music buff, this film gives a further and unseen perspective into the life of Johnny Cash- the good times and the bad times, no holds barred.
https://www.youtube.com/watch?v=jtovAxxPo2Q
The Beatles' Official Secretary Shares All in 'Good Ol' Freda'
*This documentary is special to me in more ways than one; but most importantly, it was the first film I screened for CINEMACY back in July 2013. It set the bar for the type of content I wanted to cover and share with you.
Freda Kelly was your average teenage girl in 1961; she went to school, was shy around boys, and enjoyed hanging out with friends and discovering the “latest” musical talent. One night, she happened to see a band that changed her life forever. That band was The Beatles, at the time just a local Liverpudlian group hoping for their big break. Smitten with the boys, Freda literally jumped on the bandwagon and became their official secretary. As history reflects, the Beatles stayed together as a group for 10 years, although Freda was onboard for 11. In Good Ol’ Freda, director Ryan White explores the untold stories of Beatlemania, and Freda shares her personal experience for the first time in 50 years.
The transition from small town band to worldwide success is documented through Freda’s stories. She recalls working for Brian Epstein and how devastating it was to deal with his death. Her stories about Paul, John, George and Ringo are so engaging and funny; she does a great job of personifying these icons and showing that they really were just “average” boys. The archival footage paired with original recordings and songs from the group is exciting to see on the big screen, any Beatles fan would agree.
"Genuine" is the best word to describe both Freda and this film because, up until now, Freda has kept this past life a sort of mystery to her friends and even family.
Some of the documentaries’ best moments come from Freda's days at the Beatles Headquarters as she recalls outlandish requests from fans. A fan once sent her a stick of gum for one of the boys to chew on and send it back, which she did. From cutting pieces of material from their clothes to collecting their hair after a haircut, Freda did everything she could to satisfy the frenzy of Beatles fans.
"Genuine" is the best word to describe both Freda and this film because, up until now, Freda has kept this past life a sort of mystery to her friends and even family. She didn’t want her past to overshadow who she is today, which is why she kept all of her Beatles memorabilia (worth over thousands of dollars) neatly tucked away in her attic. The only reason why she even agreed to make the film, she explains, is to show her grandson one day so he knows what a full life she had “before the memory box goes completely.”
If you’re a fan of The Beatles, then Good Ol’ Freda is a must see; it's a fantastic story with heart and quirk without seeming gossipy. It highlights the evolution of the group through the eyes of the one who was there through it all; the challenges, the tours, the iconic breakthroughs and the momentum of success from the greatest band in history.
https://www.youtube.com/watch?v=LqO3DIaKTXM
Kristen Bell and Mamie Gummer on 'The Lifeguard' [WATCH]
The Soho House in West Hollywood is the location. The stars of the new independent film The Lifeguard are set up in one of the overly air-conditioned rooms, hot tea in hand and blanket in lap. We introduce ourselves and begin. Kristen Bell and Mamie Gummer are the beautiful leads in Liz W. Garcia’s feature film directorial debut The Lifeguard (review up now). We talk about working with Liz, getting into character, and the experiences of losing their childhood rooms to change or in Mamie’s case, it being kept as a time capsule.
'The Lifeguard' Review: Kristen Bell Gets Slightly Scandalous
Kristen Bell and Mamie Gummer tackle the independent genre in The Lifeguard, the feature film debut from writer/director Liz W. Garcia. The film centers on Leigh (Kristen Bell), a 29-year-old New York City girl struggling with that age-old question, “what am I doing with my life?” An impulsive decision brings Leigh to quit her job as a reporter at the prestigious AP and head back to her childhood home in Connecticut to live with mom and dad. In what appears to be a regression back to her former teenage self, she takes up her old job as a lifeguard in a gated community center, and this is when the trouble starts.
Kristen Bell and Mamie Gummer on ‘The Lifeguard’ [WATCH]
As an audience member, you wonder at what cost is she willing to hold onto her youth? Leigh’s arrested development puts her in a vulnerable position when she begins flirting with Jason (David Lambert), a 16-year-old rebel skater boy who smokes pot and ditches school. His appeal is easy to see and for Leigh, it’s just the attention she needs to feel young and beautiful.
For Kristen Bell, it’s a darker, twisted side we see as she sheds her “good girl” image to play Leigh.
Mamie Gummer and Martin Starr play Leigh’s childhoods friends and they become extremely uneasy about her relationship with Jason. Their disapproval causes Leigh to hit rock bottom; she moves out of her parent’s house and feels like “little girl lost,” which is something the audience can relate to in one way or another. Acknowledging that she is out of control, she realizes that maybe clinging onto youth isn’t as romantic as she thought.
The Lifeguard is not groundbreaking cinema or a heavy-handed story, but it succeeds in showcasing great performances from its actors. For Bell, it’s a darker, twisted side we see as she sheds her “good girl” image to play Leigh. Gummer impresses as high school vice principal Mel who tries to be the voice of reason while struggling with personal issues between her husband (Joshua Harto) and herself. Lambert breaks away from his “Disney” image and plays Jason with edge and intrigue. So, if you’re looking to watch an easy film with that independent flavor and slightly scandalous subject matter, The Lifeguard may be just the film.
https://www.youtube.com/watch?v=x92mfhWERew
'Abigail Harm' Review: Surreal-ness in Subtlety
If you're looking for the next surreal-indie-art film, look no further than Abigail Harm. Living in isolation in New York City, Abigail (Amanda Plummer) is a 50 something, single woman living the simple life; No husband and no children, only an ailing father and a dead mother. Reminiscent of an older looking Miranda July, Abigail makes her living by reading stories to the blind. The film opens with Abigail charismatically reading a passage from "Into the Looking Glass" to one of her clients (fitting for a woman who spends her days feeling like an outsider). With a daily routine of going to and from clients' homes, she is never seen by anyone- literally, all her clients are blind- and she longs for love and companionship.
One night, a wounded man (Will Patton) appears in her apartment. After dressing his wounds, he repays her by offering her the chance to not only be loved, but fall in love. Intrigued by his claim, the man continues to explain to Abigail the secret. Based on the Korean folklore "The Woodcutter and the Nymph," the man explains that if Abigail was to take the robe of a man, he will follow her forever. That man would hypothetically be a "victim to love." Cut to- Abigail entering an abandoned building and finds a man (Tetsuo Kuramochi) bathing. Seizing her opportunity, she takes his robe and sure enough, he becomes hers.
With a daily routine of going to and from clients' homes, she is never seen by anyone- literally, all her clients are blind- and she longs for love and companionship.
Abigail Harm is, at the core, a story about loneliness and the humanistic desire to be loved. Cinematically, it has that beautiful Terrance Malick look of surreal-ness in subtlety. Multiple long takes enhance Plummer's incredible raw talent, she plays Abigail with such heart. Director Lee Isaac Chung is a genius in creating this fairytale-like world in a seemingly realistic environment. For a woman who reads to people for a living, the film is overly quiet; there is not a lot of dialogue, mostly ambient sounds and score.
With roots deep in folklore, it could have been easy to pass this story off as cheesy or insincere, but it's not. It's a thinker, which is the only way this film could have been done successfully. Abigail Harm is more than just a film, it's an art piece and an experience.
https://www.youtube.com/watch?v=_jJfumiMcZo
'Spark: A Burning Man Story': An Insider's Look at This Festival Phenomenon
Imagine suddenly realizing that every decision you've ever made in your life could be wrong. By the “default” world’s standards, the subjects in Steve Brown’s documentary have seemingly lost it all; from day job to life partner, these people come across as social rejects. But imagine going to a place and discovering your true self and purpose on earth, realizing that art, self-expression, and music are the true ethos of existence.
This place is Black Rock City, NV, where thousands gather every year to experience a life free from the confines of the “real world.” In Brown’s documentary SPARK: A Burning Man Story, he captures the intense journey of three artists each struggling with their own challenges and triumphs during the 2012 Burning Man festival.
The film follows Katy Boynton, a former nanny who has a change of heart after attending a previous Burning Man festival. Even though she was being evicted from her apartment and making extra cash by cleaning out garages on the side, Katy realizes her true passion is welding. She has no regrets about quitting her day job as she sets out to create her own piece of art for Burning Man 2012. The process of constructing the 12 foot tall piece, and leading up to it's eventual installation, is a great story of perseverance and humbleness.
Chances are, I may never make it out to an actual Burning Man event, however, this documentary makes me feel like I’ve already been there.
Enter- Otto von Danger, a former marine, who feels betrayed by the “institutions” he risked his life to defend, and in turn, expresses his anger and frustration through art. The doc shows the construction of his brainchild, “Burn Wall Street”- large wooden buildings meant to replicate New York City’s financial district, (ex. “Bank of Un-America”) which eventually burns to the ground during one of the nights at Burning Man.
Finally, Jon La Grace is a Burning Man organizer who left his wife a few years back when he accepted that he was gay. He realized that material things in life were meaningless to him after attending Burning Man for the first time, and it's changed his life for the better. Since then, he’s become one of the lead organizers of the theme camps as well as a fan favorite.
Brown and co-director Jessie Deeter do a great job of capturing the spirit and phenomenon that is Burning Man in SPARK: A Burning Man Story. The artists we follow along the way were perfectly selected, each are unique characters that bring to light something we as an audience member can take away once the movie’s over. Chances are, I may never make it out to an actual Burning Man event, however, this documentary makes me feel like I’ve already been there.
https://www.youtube.com/watch?v=V4ZNUZDuaH4
'Prince Avalanche' Shows There’s Always a Chance for New Beginnings
Director David Gordon Green made a very interesting decision when making Prince Avalanche- he gambled. After previous successes with major studio films like Pineapple Express and The Sitter, Green wanted to get his "indie-cred" back, and so he made Prince Avalanche in secret. On his own, Green contacted his actor friends Paul Rudd and Emile Hirsch, and with their blessing, Prince Avalanche commenced production. In fact, no one knew about the project until it had already wrapped.
Rudd (This is 40) and Hirsch (Into the Wild) play Alvin and Lance, respectively, two men struggling with individual emotional issues. Alvin is high-strung and stuffy while Lance is immature and reckless and throughout the film, the guys discover that they can learn from each other. The film opens on a deserted highway, miles from any city or town, with its surroundings burned to the ground. Alvin and Lance appear with equipment geared to paint traffic lines down the interstate highway and from there, the film takes off.
The roles of Alvin and Lance forced Rudd and Hirsch out of their comfort zones, which was appreciated by the audience. Both characters were written as performance-driven pieces and are engaging to watch on-screen. This "Odd Couple" dynamic between Rudd and Hirsch is, I believe, some of their best work as actors. There are only four speaking parts in the entire film and about 90% of them come from Rudd and Hirsch, which would have made the film incredibly painful if they were not being 100% genuine.
I have to hand it to Green: the way he executed the film, this "slow and steady wins the race" mentality gives this indie drama its niche.
The story takes it's time to develop and while it's not the most energizing film to watch, it is visually striking. The camera acts as the audience, the shots are not contrived or forced, but rather simple and melodic. It's as if the camera is purely observing the moment as opposed to creating it. The beautiful cinematography by Timothy Orr should win awards- it makes even the most barren landscape look desirable. Aided with the perfect soundtrack from Explosions in the Sky, Prince Avalanche can be regarded as a visual work of art.
Prince Avalanche would have made a fantastic short film, but as a feature, my only critique is that it seemed to drag a bit. Although I have to hand it to Green: the way he executed the film, this "slow and steady wins the race" mentality gives this indie drama its niche. The slow storyline also works with the environment of the film, a burned down forest in the middle of Texas is going nowhere fast, just like Alvin and Lance. As the forest begins to bloom again throughout the film and nature rejuvenates, it's a reminder to the characters that no matter what loss or devastation one faces, there's always a chance for new beginnings.
https://www.youtube.com/watch?v=gJGEu268KvI
'I Give It A Year' is Not Your Average Romantic Comedy
Boy meets Girl + They fall in love + They get married= Happily ever after. This is the formula many romantic comedies use when writing a screenplay, and for the most part it works. But when the screenwriter's past work includes Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan and Bruno, you know this is not going to be your average romantic comedy.
I Give It A Year tells the story of Nat (Rose Byrne) and Josh (Rafe Spall), a newlywed couple who are beginning their transition into married life. What starts out as a promising future quickly goes downhill. The couple lives in London: Nat works at a PR agency and Josh is a freelance writer. A wandering eye from Nat leads to romantic love interest Guy (Simon Baker), her American client who also shows signs of liking her. While Nat spends her days removing her wedding ring to work (read: flirt) alongside Guy, Josh works (read: hangs out) with his friend, and ex-girlfriend, Chloe (Anna Faris).
Clearly a struggle between thinking with one's heart vs. one's head, Nat and Josh both agree to try to make their marriage last for one more year. While working on their relationship, the humor comes into play in the way these characters are so obviously in love with another person. In a failed attempt, Guy tries seducing Nat during a business meeting by filling the conference room with white doves and a single violinist. The doves poop on her blouse, and while she is upset on the surface, it's obvious that she wishes she could just rip off her blouse off and jump his bones.
We all saw it coming, but it still makes for a laugh or two.
Meanwhile, Josh takes Chloe with him to get a girl's perspective on a set of lingerie he is planning to buy for Nat. The awkwardness that ensues is classic; Chloe tries on a sexy pink and orange lace set and Josh can't help but stare at her boobs. We all saw it coming, but it still makes for a laugh or two.
I Give It A Year is a very mainstream film for director Dan Mazer, which was his intention. "I wanted to do something that was a bit more mainstream and yet which still had the ability to be edgy and a bit shocking," he says. "I am getting older... there comes a point where you don't want to be shocking for shocking's sake. Funny is funny." While I agree with Mazer's logic, I can't quite commit to saying this film is a comedic milestone. It does push the envelope at times- Anna Faris's threesome sex scene was completely awkward and one of the best scenes in the film. The ending seemed to be a varied version of that "Happily Ever After," but unique in it's own way. I Give It A Year may not be that "summer fun for the whole family" type of movie, but if you're looking to break the ice on a first date, I'd say it's the perfect film.
https://www.youtube.com/watch?v=Od8DhL1hyfw