Recently in Movies Category

Star-Crossed Cowboys: BROKEBACK MOUNTAIN

Michael Mirasol

on July 1, 2011 4:11 AM | Permalink | Comments (1) | TrackBacks (0)

Note: This is a reprint of my piece for Uno Magazine last February for Valentine season. In light of New York's recent recognition of same-sex marriages, I thought it would be good to revisit Ang Lee's 2005 masterpiece.

I hope you enjoy the video essay as much as I had fun making it.

What's the last great love story you've seen on film? I don't mean your typical "rom-coms" with contrived meet-cutes that rely heavily on celebrity star power. I'm talking about a genuine romance between two richly defined characters. If your mind draws a blank, you're not alone. Hollywood, along with much of the filmmaking world, seems to have either forgotten how to portray love affairs in ways that once made us swoon. Whatever the reason, be it due to our changing times or priorities, we might not see any significant ones for some time.

If there is any love story of this kind worth revisiting, it is Ang Lee's BROKEBACK MOUNTAIN, which just might be the most moving tale of star-crossed lovers for the past decade.

Not many people will remember the film this way, as its two lovers were hardly the kind seen before in major movie romances. Indeed, a story of two cowboys discovering a deep love for each other was bound to cause controversy. Who would dare take on such a subject? Were its motives exploitative? Political? A gimmick? Add in Ang Lee, the celebrated Taiwanese-born director known for ushering the new age of Sino-Cinema to Hollywood, and expectations could not possibly grow further.

But grow they did. Once the film won the Golden Lion at the Venice Film Festival, a prestige not taken lightly in film circles, interest surged. Countless raves and recognitions seem to follow, which should have been reassuring to the thoughtful moviegoer. But to many who still hadn't seen it, one could only wonder: Could a gay cowboy movie really be that good?

I remember seeing it for the first time in the UK, its audience awash in expectation. The crowd wasn't crackling with energy, but a feeling of hopeful delight was abundant, with smiles all around. I recall a trio of fellows in front of me good-naturedly ribbing each other once the lights went out.

As the film started, the tension was palpable. From all the press the movie garnered, people were dead silent. Once the two characters had their first moment of eye contact, though devoid of any real meaning, I could hear the slightest gasps among ladies in the audience. It's as if people were actively looking for that wanton look. But really for the first 30 minutes or so, it never came.

And that's what first impressed me. We don't catch them catching glances or meandering in awkward or clichéd moments of artificiality. We witness the intense rigors of ranching, braving storms, snow, and sheep. We experience the gorgeous but treacherous backdrop, which they toil with and against. We see them do their work and do it very well. Whether Ang Lee knew his subject was provocative or not, he soothes us into it. That's when I realized I didn't care so much whether they were attracted to each other. I cared about THEM.

And why do we care? Because of Ang Lee's clear commitment to strip his film's characters and story of any affectations. Of all his films, this is the one where his protagonists and events are laid bare. And due to the absence of any theatrics or stylistic gesturing, the film is able to retain a strong sense of authenticity, of deeply rooted human connection. Nothing here is pointed out or glossed over. The miracle and tragedy of Jack and Ennis' circumstance speak volumes.

Much has been made of how uncomfortable the film has made certain audiences, particularly heterosexual males, and that is understandable. But if it is any solace, the physical intimacy displayed here, like the movie itself, is never gratuitous. Their first night together plays out in a way most men might feel after a night when there's been too much to drink, and too much time without a woman. A mistake.

But their second tryst is a revelation, both to them and to us. Any mistake brings shame, and yet they both show an unmistakable longing for each other. If that moment was an eye-opener, their re-uniting after several years of being apart brings an undeniable sense of release. Reader, I was happy beyond belief when they were once again in each other's arms.

How did Ang Lee pull it off? For one thing, he was able to cast two of the most remarkable young actors at the time, known for their excellent work, and relatively untouched by the baggage of fame. With Jake Gyllenhaal and the late Heath Ledger, they helped create the two most memorable star-crossed lovers of all time.

We all know how Heath Ledger's role as Ennis Del Mar secured him a place in the pantheon of great screen performances, one so unique it caused Daniel Day-Lewis to honor it as "perfect." Here, he is a clenched fist, so coiled-up that words struggle to leave his lips. It is his damaged past, the "ghost in the room" as Roger Ebert described it, which damages any chance of living happily with his love. But he conveys with equal clarity, a fragile tenderness.

But we shouldn't overlook Jake Gyllenhaal as Jack Twist, the stronger of the two. It is he who is willing to sacrifice more for their happiness, imparting a sensitivity and forgiveness that any partner would want in a soul mate. His suffering may not be as deep as Ennis's, but it's just as painful.

Another factor that gives the film its beauty is its stunning scenery. Spanish cinematographer Rodrigo Prieto gives us the clearest and widest blue skies one could ever want and a glorious mountainous backdrop of flora and fauna that National Geographic would die for. There are vistas of sheep moving along the mountainside, looking like the lifeblood of nature's veins. Brokeback Mountain comes to symbolize love itself: A refuge from reality's cruelty.

Pair this imagery with Gustavo Santaolalla's guitar score, and you have the makings of an emotional reservoir. His twangs are spare, but with the movie, they are nothing short of sublime. You can almost listen to his notes echo through the mountainside. I didn't realize how affected I was until the day after. I purchased the soundtrack, and in the shower while listening to "The Wings," remembering Jack and Ennis, I wept.

Truth be told, Ang Lee is no stranger to stories of the heart. When you think about it, he's made them before. "Sense and Sensibility" and "Crouching Tiger Hidden Dragon" contain heartbreaking moments of love realized and unrequited. Try to listen to Li Mu Bai's final words to Yu Shi Lien and not be moved to tears.

If there is any common theme running through his films, it is a patience and willingness to understand characters struggling with their contextual norms. He weaves careful and affectionate portraits of misunderstood people, dealing with what is expected of them. Once asked in an interview whether a gay director would have been better suited to direct the film he replied, "I don't think it's important that you're gay. I think it's important that you're sensitive." That he has always been.

There will always be people who will no doubt criticize "Brokeback Mountain" as having a homosexual agenda, forever labeling it "the gay cowboy movie." But they're missing the point. It cares much less about promoting gay rights than about telling the sad tale of two people who have discovered each other, that they're not alone, and that they can't live without each other. They just happen to be men. If that isn't star-crossed, I don't know what is.

Though the film isn't a weepy, its final scene packs an emotional wallop that sums up how tragic it all ended. A dresser with two shirts: one Ennis's, the other Jack's; one embracing the other. A picture of the mountain: their haven and prison. No mountain out the window. A closet closed.

It gets me every time.

Ebertfest 2011: Day 3

Michael Mirasol

on April 30, 2011 4:16 PM | Permalink | Comments (2) | TrackBacks (0)

Note: This entry will be edited later on to include pictures (I hope).

"Black Dog" is a BAD mutha

I awoke this morning with 5 hours of slumber. Not bad compared to the previous day. My attempts to write at 2am earlier today were met with stiff resistance from my sleep-deprived stupor. I had hastily arranged the day before to have lunch at a BBQ joint unanimously raved by our local collegiate hosts: "Black Dog Smoke and Ale House." O I love Steak N' Shake, but one can only take so much of repitition, so it was time to explore.

I tweeted several Ebertfest tweeps to join me for lunch as I was going to try it no matter what. Replies were sketchy due to the great time we spent at Bentley's the night before (and in the wee morn). A friend had told me that many of the participants at today's first panel discussion, were beset with eyebags and hoarse throats. Two journalists still had to cover the Royal Wedding at 3am. One of them didn't sleep.

As I proceeded to the pick up point a little before noon, Spencer Turkin informed me that Kenji Fujishima would be joining me. But soon enough we spotted Matt Zoller Seitz who we invited to join in. And thankfully we also spotted Kevin Lee waiting outside with Grace Wang. Apparently she had received my tweet just in time. Spencer's car was again not equipped to deal with my unplanned invitation, but he was nice enough to sit in the trunk of his 4x4 after knowing that Matt and I had already taken turns doing so for the past two days. His friend Bryce Jakobs did the driving.

It was a small joint with only a park bench right out in front on the sidewalk. But it was packed, even though we had arrived early to get seats. We had no choice but to sit outside, but the day was glorious, with the sun counteracting somewhat chilly winds. You could have called it a street picnic. The menu had a quite a variety and the service was brisk. Three of us ordered tacos, two had "burnt ends" (crisp beef bisket slabs in a sandwich), while I ordered the beef brisket.

Once the meals were all delivered, Matt Zoller Seitz commented first, or more accurately, loudly exclaimed: "Oh my God!" It was a favorable review to say the least, as those words would be repeated by nearly everyone at the table who tried these dishes for the first time. And they were roundly succeeded by the next four words: "This is SO GOOD!" I reached into my pocket to photograph these culinary marvels, only to my immense disappointment. I had forgotten my camera, which now answers why you dear reader are not seeing any pics. That'll be corrected later on today (I hope).

We thanked Spencer and Bryce for the recommendation and for helping to choose what to order, and off to Virginia theater we went, joking around how we would all be asleep in the theater because of how we stuffed ourselves. We took our seats for the day's first screening of "45365," a documentary focusing on the city of Sidney, Ohio, which resides on the zip code indicated by its title.

45365

The film was a stream of human moments, a collection of 500 hours of footage taken around Sidney during an entire year. Though it proceeds without a narrative arc, it contains scattered clips of multiple characters whose lives become clearer, more touching, and somewhat more universal in the film's progression. It starts out disjointed; almost scattershot, but you eventually sink in, identifying patterns in its multitudes, reflecting, "Yeah, life is really like that."

There are so many "travel" documentaries where a destination is highlighted by its "best" or most popular attractions, where we are told where we must go, what the people are like, or how the setting should be assessed. But "45365" never tells us what Sidney, Ohio is like, what we should think of its people, what makes it worth living in, or how popular it is. With its five "chapters" (each symbolized by a title's numbers), it merely watches, implanting itself into places and people's lives. It is more honest, more human, and more truthful than so many of its contemporaries. If you want to know what a true destination and its people are like, you should ask the film's directors, Bill and Turner Ross, to make a film about it.

Speaking of the two, their Q&A was one of the more interesting and lively of the festival. Both young men who seem to be truly devoted to their love of filmmaking than the profit that can be made from it, they noted how the festival was the largest reception they've had for the film, and the most intellectual give and take they've with an audience. The film currently has no distribution whatsoever and is described as essentially, "a black market movie." That's criminal. Whoever is reading this, please help them out if you can.

Me And Orson Welles

The night's next offering was the highlight of the evening; a movie that astonishingly brings back one of film's supreme figures: Richard Linklater's "Me And Orson Welles." The audience was packed with anticipation, especially to be in the same room with a great director such as Mr. Linklater. It tells the semi-fictional story of Orson Welles's legendary theatrical production of "Julius Ceasar," told through the eyes of actor Arthur Andersen, portrayed by Zac Efron.

The film is noted for a performance by Christian McKay, who plays the title character. His performance is so astonishing, so uncanny, that it feels as if Welles himself had risen from the dead. Welles famous diction, inflections, mannerisms, and bombast comes back to life. To even call it performance or an impersonation diminishes how wondrous it is. I could only describe it as a resurrection.

The movie itself is an embarrassment of riches. Its production design is exquisite. Its first rate cast gives no weakness. Its music evokes the classic American songbook. Its screenplay is witty and oh so smart. And its story aside from being one of the most insightful looks at a life in the theater, is also very very funny.

Its cast is populated with some of the best British theater actors working today, reflecting how much respect is given to the film's central play. The American actress Claire Danes emits a presence of quality and class whenever she is on screen. But what I also found quite notable was the revelation of Zac Efron as more than just a teenage star. He holds his own amongst the film's best performances, holding our attention, serving as our witness to the greatness of McKay's Welles. His noted physicality and grace adds a dimension to his representation of the confidence and innocence of youth. His character has the gusto and desire to be part of the arts, and the contrasting touching hesitation in the face of making and finding love for perhaps the first time. I hope we get to see more roles like this for Mr. Efron. He has the promise of a young unaffected Tom Cruise.

Richard Linklater's Q&A was the most sought after of the night, and he was very game and enthusiastic to participate (which seems to be on par for every filmmaker who has done so during Ebertfest). Not only did he answer questions, but he shot them out at the audience too in the form of the movie's trivia. Correct answers were rewarded with the movie's posters and soundtrack.

A Dinner Intermission and Rest

As the film's Q&A died down, the remaining audience started congregating near the stage for autographs with the director. We FFC members proceeded to have dinner, where I finally met with Claire as she spent most of the day going shopping with Krishna Shenoi's mom and sister. I told her she missed two wonderful films, but I don't blame her. The days can be grueling asking to hold our attentions in a cold theater for half a day. Many of us writing behind the scenes were starting to feel the effects of going on mostly adrenaline (some of us still working to cover the festival itself). Matt Zoller Seitz, who had left that afternoon, hadn't slept from the evening before, working to meet deadlines I'm sure many of the guests have.

After finishing dinner, we returned to the theater where I spotted Roger and asked him how he was doing since he himself had loyally attended every single entry so far. He nodded to me that he was fine, and to my surprise, he introduced me to Richard Linklater who was sitting next to him. I was unprepared, starstruck, and fumbling with my words. But I did tell him what great work he does. I was thankful for the moment.

Only You

The last entry of the night was Norman Jewison's "Only You," a film which both Roger and the director hold dear to their hearts. It tells the love story of two people who believe in romantic fate in different ways. Compared to many of the films at the festival, it was light and easy fare. I had seen the film before when I was in high school and enjoyed it quite a bit watching through more innocent eyes. But I admit as I started the film through its first 20 minutes, that I was becoming discouraged.

It felt overly manipulative and quite maudlin as it started. But because of the film's extremely charming characters, particularly Marissa Tomei and Bonnie Hunt, they hold our affection. And by the time Robert Downey Jr. enters the story as Ms. Tomei's polar attraction, all is forgiven. It also helps when you have the stunning presence of Italy, with its Venetian waterways, Tuscan Siena vistas, and Coastal mountainside of Positano. It's a European traveler's wet dream.

I was surprised how film was still able to win me over despite the passage of time. I was enthralled with the film's quiet strength in the belief of its themes. It sticks to its premise and bravely delivers. The earliest of film romances were never afraid to do so. This throwback won me back.

The film's Q&A took a while to begin, but that's because Roger himself wanted to present his dear friend Mr. Jewison to the audience himself. I was also very happy that my fellow FFC member and friend Olivia Collette got the chance to participate on the panel alongside one of her heroes. She never thought she'd get to do it when Ebertfest began, but when Chaz found out, she let her have her moment. Thank you Roger and Chaz!

The Day's End

The panel ended and we all proceeded to Mid-Fest party held on Green Street near our hotel. Many of the festival prized guests, including Richard Linklater and the Ross brothers Bill and Turner. I myself was too pooped to stay long. But I dropped by to say high and grab a bite just to keep myself going. It was a nice night with friends new and old. Krishna got to meet Mr. Linklater who is one of his favorite directors.

Joseph (the dude behind @ebertfest) and me. The only two Pinoys here!

Krishna and Pablo speaking with Richard Linklater

Pablo, Russell, Kale (Pablo's host), Tom Dark, and Olivia

Going back to the hotel, my new friend Pablo Villaca mentioned to me how he wish it didn't end. I had a wide smile not because it was funny, but because it was true. I felt exactly the same way the same time last year. Those new to this were beginning to have these same thoughts dawn on them.

I told him how I felt for him while he told me there's always next year. If I could come back every year, I would.

Ebertfest 2011: Day 2

Michael Mirasol

on April 29, 2011 4:42 PM | Permalink | Comments (3) | TrackBacks (0)

After 3 hours of sleep, we headed to the day's "Meet N' Greet" (lots of "N's" over here), where the Roger Ebert's Far Flung Correspondents, his "Ebert Presents" members, and his Ebert Club members could gather for some warm chit-chat to start the day. We don't get a lot of free time once the day's events start going, and Day 2 was definitely a busy one.

Randy Masters and Tom Dark. We differ in opinions, but they're kind souls.

It was a family reunion of sorts. I was so happy to see all the familiar faces from last year, as well as new friends this year. With breakfast nearby, Roger asked every attendee to introduce themselves. I spent time with Randy Masters and Tom Dark, two Tweeps whom I come to disagree with sometimes heatedly over politics. But in person, they are very kind souls. Being with them reminded me, how being faceless on the web can be dehumanizing. I'll never let that get in the way of our friendship again.

It was also great to finally meet the movie minds of Roger's show "Ebert Presents." When I found out that Ignaty Vishnevetsky landed the job a few months ago, I felt immensely happy for him, and I was glad to get the chance to share that with him. Yes he's quite tall, and must get tired of all the height comparisons with his cohost Christy Lemire. But he's quite ethusiastic, fun to speak with, and witty. We need more young critics like him.

As many of us were lining up to meet with "the man," I spent some time with Krishna Shenoi and his family. Most of us following the festival know that he is the youngest of Roger's Far Flung Correspondents. What I didn't know and had found out about a day ago is that his father had recently passed away earlier this year. His mother had told my wife that she was doing this for him; for his happiness. There's absolutely no question that while here, he's in bliss.

The love circle was ending, and it was off to one the first panels of the day: "Far Flung Correspondents: International Perspectives in Film Criticism." It was moderated by my dear friend and fellow FFC Omer Mozaffar who made the time despite his crazy/hectic teaching schedule. His expertise wasn't in doubt, he was in his element, and he was knocking his punch lines out of the park. If you're reading this Roger, Omer should be a permanent fixture in Ebertfest.

If you're reading this Omer, I'm not trying to bury you with more tasks. :)

Every member was given time to speak and share, as we discussed the perspectives of our film communites in our home/root countries, and the our interconnectedness in today's internet age. Pablo Villaca spoke for Brazil, Ali Arikan for Turkey, myself for the Philippines and a bit of Malaysia, Krishna for Dubai and India, Gerry for Mexico, Olivia Collette for Montreal and much of Quebec, and Anath White for Southern California. We answered a few questions from the audience, which was rapt in attention (thanks to Omer mostly).

Though we enjoyed the panel, Pablo spoke to me about something gnawed at him, which was what I had felt for some time as well. The audience was packed, but it contained hardly any students (kind of shocking being held on University grounds). The younger generation is becoming more and more uninterested in the serious assessment of film today, and it showed. We both plan to talk more about in the next few days, hopefully toss some ideas that might draw more youth into the festivities for the succeeding years. It's something my host Spencer Turkin has been trying to address, as evidenced by his help in organizing the screening of "American Movie" a few days ago. If you have any ideas/suggestions to help out, please comment below or at Roger's blog, or at the Ebertfest website.

Now it was off for lunch. Once our host Jake picked my wife and I at the entrance, he also told us that Ali, Kevin Lee of Doc Films, and Matt Zoller Seitz would coming along. We were already seated inside, and when the rest of the group came, I realized to late that someone would have to sit in the trunk just as I did the day before. Before I could volunteer, Matt hopped in the caboose. Being a fellow trunkster, I introduced myself and chatted away with him. He was more than game and quite gracious as we talked about the comparisons between writing film critique in the US and in South East Asia. Not quite the scenario I imagined when talking with one of the best critics out there, but it was kind of splendid.

We gathered in our usual spots at the Virginia theater (which is neat since you don't have to worry about your seat taken), and soon enough Iggy was introducing the audience to "Umberto D," one of the essantial Italian Neo-realist films. He could barely contain his enthusiasm in trying to prepare the audience. I had seen the film previously so I admit to dozing off several times due to lack of sleep. But don't let that deter you from seeing. Contemporary audiences may find it slow, but it's a film that completely requires empathy. It has an exactness and deliberate style that sometimes gets missed due to its straightforward documentary-like approach in telling its story. But look closely and you'll see a film that was crafted with great craft and precision. And hell, it has a dog that no one can resist.

The film's Q&A had an inspired panel member selection. It featured Paul Fierlinger, the famed animated filmmaker behind "My Dog Tulip," another great movie involving a dog. The panel was highlighted by a debate (mainly between Ali and Paul) whether the film's setting was during World War 2 or its postwar period (regardless whether it was made in the 1950s). Ali made the final convincing arguments in the end, which would result in inside jokes extending to later screenings that night, and I suspect long into today's as well.

The next screening was the film I just mentioned: "My Dog Tulip" an animated memoir inspired by the book of the same name written by J. R. Ackerly. Directed by husband and wife animated team of Paul and Sandra Fierlinger, it depicts a colorful, thoughtful and surprisingly poignant document on a man's relationship with his dog. If any, it might be THE dog lover movie. With its rough sketches and pastels, it feels like a loving sketchbook exploding into life. I wouldn't mind calling it the best animated film of last year.

If we were grading which Q&A panel was the best at this year's festival, this one with Paul and Sandra was clearly the best, as he gave his thoughts about his films, recalled his hilarious first meetings with Christopher Plumber (who narrates the film from start to finish), or from his experiences with his own dogs throughout his life. Some people might think it was too much information. Sure, but they were great stories.

Pablo and Russell (Olivia's "husband unit")

Off to dinner right before the last screening, and it was here that I got to know Russell, Olivia's "husband unit," a lot better. He's a fun chap in every sense of the word. He's British without any of the pretense, and like Olivia, he's kind of a joy to talk to. I also became closer with Pablo, especially when I discovered our common passion for the work of Satoshi Kon. He is remarkably intelligent and passionate when it comes to films, and knows how to make you laugh quite well. This was a great moment with new friends.

Back to the Virginia we went. And just when I thought we wouldn't be surprised anymore, we were. Chaz told us that all of the Far Flung Correspondents, as well as the staff of "Ebert Presents" would be introduced upon our return, and introduce us she did. It was nice seeing the newbies experience for the first time. It's funny how that stage has become a "familiar place" though it's probably the only stage I'll know about for some time.

The last screening of the night, which was "Tiny Furniture," a much talked about indie film ever since its screening at the South By Southwest Film Festival. For all of the positive buzz it seems to be receiving, I couldn't help but dislike it intensely. Oh I did recognize its merits: its rich and genuine characters, it authentic feel with its New Yorker milieu, its newly college graduate sensibilities and filmmaking style which is precise and well framed.

But it was boring. Deadly boring. It's characters are aimless, which is rightly so because the film is exactly about the aimless state many young people feel at a certain point in there lives. As one coming from my background in South East Asia, the entire exercise feels like a pointless churning out of trivial "White People Problems." It is a very American, very indie, and on that level it can be admired. It feels entirely authentic and is carefully constructed, especially in its final scene. But for me, it's characters and methods are too effective in making me feel how repulsive such shallowness is, regardless of its truth. I suspect that for many non-Americans it will be viewed as trite.

The screenings were at last over, but the night was not. Olivia made the fantastic suggestion of going out to a karaoke bar, as she and Russell spotted one the day before. Word soon spread, and soon enough, almost every Ebertfest guest was at Bentley's.

Rachael Harris (of NATURAL SELECTION) and Ali

Everyone had their humiliating and humorous moments. Robbie Pickering, the director of "Natural Selection" can rap like there is no tomorrow. Spencer and his friends kept the vibe bouncing through each performances. Ali's went "Footloose." And even Chaz got into the act with "Rapper's Delight." More unforgettable moments. I pray there'll be more to come.

Ebertfest 2011: Day 1

Michael Mirasol

on April 28, 2011 3:57 PM | Permalink | Comments (6) | TrackBacks (0)

The day began somewhat cloudy as Claire and I decided to go for a walk before meeting up for lunch with Ali Arikan, Kenji Fujishima, our host Jake, and Mrs. & Mr. Valero. Ali being of prodigious apetite set the date clearly longing for some Steak N' Shake, asking us to swear to two double steakburgers when the time came. He nearly got me to go for it, but I would settle for just one "Royale" with a junior milkshake later on. Have you seen how big the "regular" shakes ones are? They tower on the table daring you to finish them. I quiver at the thought of the "large" one.

I used to worry about what to talk about once we would meet up at the pickup point. My concerns were soon deflated. As soon as we entered Jake's 4x4 we chatted away like there was no tomorrow. I sat in the trunk voluntarily by the way. But it was still more roomy and comfortable than economy class on my United Airlines flight.

I was telling my host Jake about one of my last experiences at an Ebertfest Steak N' Shake, when we were staked out by the local news crew after Roger Ebert tweeted where we would have lunch. And guess what happened the moment all of us had entered the premises? A camera man brought in his gear. Once I saw the tripod, I quickly uttered, "This has to be a joke." I can find no evidence that he was behind this, but I'm watching you Rog (two-finger point)!

We had a blast. The reporter wanted to interview those Far Flung Correspondents who had been at last year's festival. So Gerry went first, Ali second, and me last. Gerry and I had the exact same reaction when Monica asked us what it was like: "Awkward." But of course, you know who handles it like a pro. -->

We got to know our host Jake and fellow tweep Kenji a whole lot better. They're both down-to-earth chaps who are here for the first time. Jake's got two weeks left to graduate while Kenji is helping cover Ebertfest for the Wall Street Journal. It goes without saying that they're very much welcome (as long as they foot the bill next time). ;)

We all returned to our quarters to rest up for an hour or so before heading to the Opening Gala, which is held annually at the University President's House. And it was there at last we all got to meet the new blood so to speak. Kartina Richardson stood out, looking to be the most fashionable among us correspondents, other than myself (groan). Pablo Villaca, one of Brazil's most esteemed film critics, made his appearance. The ever fun Olivia Collette arrived with her "husband unit" from Montreal. And most notably Krishna Shenoi arrived with his mom and sis from Dubai, looking amazed and humbled by it all, which is understandable since he is the youngest of our lot at 17 (sorry Wael!). Earlier in the day, Krishna went to see the curriculum that the University was handling, perhaps being nudged by Roger to come study here. Whatever his decision is, you can see his mom's pride beaming.

It was great seeing the old familiar faces who decided to come back once more. Aaron and Troylene Ladner had come back once more from New Jersey. The ever mellow (offline anyway) Tom Dark was warm as ever, as I was genuinely glad to speak with him again (more on that at a later date). Mary Susan Britt was justly cited by Rog and Chaz for her heroic efforts to get Ebertfest up and running. Nate Kohn who has been with Rog since Ebertfest's start was also there, and it was nice to see him and Christy once more. And Michael Phillips, who I was certain wouldn't remember a fan like me, did. I told him that I missed his presence on TV. Still trying hard not to act like a fan.

The gala is generally formal but friendly affair, with several Campus figures opening the festivities by citing Roger and Chaz Ebert's contributions to the program. Roger arrived last, which you could tell by the number of camera flashes going off. His eyes were ebullient as he gave his opening remarks through "Alex" on his macbook. And Chaz followed it through by introducing this year's guests, including us FFC (shyly accepting applause), all of whom were happy to participate. Through it all I kept on trying to introduce newcomers to the vets, so much so that I repeated myself several times. I can't help it; it's worth it to see all the "freshmen" being warmly welcomed.

Once the gala ended, it was off to the Virginia Theater. Still looking more beautiful than any movie theater I've been to. The FFC tended to consolidate towards its usual spot (front, left side). Sitting there once more, I began to miss some buddies who had not yet arrived or wouldn't be coming, specifically David Bordwell, Seongyong Cho (South Korea) and Wael Khairy (Egypt). Some others will be arriving at later times/dates, but I can't help but hope that we get to see each other again.

The Roger and Chaz carried out the Festival introductions, Ebertfest finally commenced with Fritz Lang's towering cinematic masterpiece "Metropolis." This screening however was special, as it featured the rediscovered version found in Argentina in 2008, which was thought to be lost for good. You could identify which portions of the film were unearthed by the vertical lines etched within the celluloid. These new sections to the remastered whole give the film a fluidity of pacing that seemed stunted in previous versions. But seeing it on the Virginia's theater is an experience in itself. And once paired with the awesome soundtrack interpretation by the Alloy Orchestra, it becomes indelible, as if it weren't already. Its standing ovation was inevitable.

Film historian Kristin Thompson introduced the film and explained why it makes perfect sense for this lost version to be found in Argentina. And together with Michael Phillips, Ignaty Vishnevetsky and the Alloy Orchestra, they moderated the film's Q&A session.

The second and last film of the night was Robbie Pickering's "Natural Selection," which itself seemed to be an unnatural selection for Ebertfest.

Films that haven't found distribution or are brand new typically do not get selected by Roger. But this film, as pointed out by Chaz earlier in the evening, struck him so deeply that he demanded the film be shown at Ebertfest after his panel had seen it at the South By Southwest Film Festival, where it had won multiple awards. These instructions came at a time when all screening schedules had already been set.

It was worth it. It features a new filmmaking talent in Robbie Pickering who is supremely confident in his abilities, adroitly switching between polished beauty and grounded sensibility; wacky fun and kind sensitivity; religious satire and genuine empathy. It's a film that knows how to balance its assets and hardly ever steps wrong. It also features fantastic performance by its entire cast, but none better than that of Rachael Harris, a comedic actress who plays her part without mockery or malice. I absolutely loved it.

The film's Q&A was handled by Michael Phillips, Matt Zoller Seitz, and the film's visiting guests, with Mr. Pickering swearing enthusiastically as Ali rightly described, "like a drunken sailor." It was a long give and take between artist and the audience with many laugh out loud moments, including details of "filming porn" which was crucial to the storyline. As it went on, I discovered that the "Oregon Boys" were back. Hopefully not playing hooky allegedly like last time.

As the final panel was winding to a close, I went over to Roger, to let him know what an incredible start it was to the fest, and that it would be tough to follow up on. But like they say, he sure knows how pick 'em.

Back to Ebertfest, Just in the Nick of Time

Michael Mirasol

on April 27, 2011 7:23 PM | Permalink | Comments (4) | TrackBacks (0)

Another year, another Ebertfest visit. It all seems just like yesterday coming back here to Champaign-Urbana via Chicago. I had spent the last week or so in the Windy City, getting a chance really to take it all in. Visiting it last year was great, but kind of empty without someone to share it with. So this year is all the more special with my wife Claire at my side. It also helps that she'll be the designated photographer.

I forgot how big Union Station's Great Hall is. I revelled in it for a while recalling "The Untouchables." Funny how an area where most passengers come to relax housed a memory of almost unbearable tension.

We arrived a few hours early, just to wander around. As we lined up to board the 393, Claire spotted two familiar faces. It was Gerry Valero and his wife Monica from Mexico! I went over to surprise him and gave them hugs. They arrived just in the nick of time, as Gerry told me their plane landed nearly two hours late. Could it have been from the rain? I think so, as coming into Chicago, we couldn't see the top of the Sears Tower due to thick fog (Yeah I know it's Willis Tower, but only on paper).

The trip took just over two hours, and as we arrived we were greeted by Spencer Turkin, the same fellow who hosted me last year. Boy did he look different.

I won't be posting any before/after pics but Spence lost a lot of weight (around 60 pounds) and looked great! Compared to my own pathetic attempt (about 7 pounds since the same time last year), I have to get crackin'. Though something tells me I'll be complaining about it once more next year.

On the way to the Illini Union, he mentioned how the Midwest had been hit by tornadoes in the past few weeks. Illinois hasn't been spared, but luckily none have come near Champaign-Urbana. It's somewhat unnerving when you turn on the TV and their are tornado warnings on several channels cautioning you to stay tuned. Hopefully the weather will cooperate in the next 5 days.

So far, the climate here has been comfortable. Finally we can walk around without three warm layers of clothing like we did in Chi-Town. The University of Illinois campus is still as I remember it. Brown rustic buildings. Abundant greenery. Cobblestone streets inviting us for walks everywhere.

But first, I was starving. Once we registered our room, we headed out into the campus-town. And as usual, there was an avalanche of bread wherever I looked. America is sandwich heaven, which is kind of a nightmare for my diet (but hell I'm on vacation). Went for pizzas. I learned never to order the large sized drinks here. Since the last one we ordered at an AMC theater came in the form of a small colosseum.

I discovered that Spence had helped organize a free movie screening in the evening for the benefit of Illini students to participate during Ebertfest (we need more guys like him). The film shown was "American Movie," a documentary (unseen by me) which chronicles the making of the indie horror film "Coven" by Mark Borchardt. I wasn't able to start the screening because of dinner. But as Claire and I arrived at the auditorium, Spence told me I had go participate in the film's panel since Ali Arikan's flight was delayed in Chicago. Ebertfest hasn't even started and theyre already stressing me out.

I couldn't help out because I hadn't seen the doc, but I was assured it was ok and I didn't need to go up there (whew!). We grabbed a few seats close to the stage and low and behold, Ali appeared, just in the nick of time. He told me later on that he hadn't even gotten his room yet, just dropping his bags with reception to make it (there's commitment for you kids).

Ali joined Illini alum Eric Pierson on the stage, and low and behold, Mark Borchardt himself sat between them to share his experiences. I didn't know anything about Mark before the panel, but he's quite a character. During the Q&A with several students, you could see his enthusiasm and good naturedness, with answers usually coming in triplicate ("Totally. Totally. Totally.") always finishing with "man." Three words crept into my mind listening to him: Stream of Consciousness. Sprinkled amongst his ramblings were little nuggets of real depth, intelligence, and appreciation. The students who came to see him seemed to recognize that, never being disrespectful.

After it was over, I introduced Claire to Ali. Hugs all around. Spence introduced a fellow host named Jake, which I'm sure we'll get to know much better in the next few days. Ali invited us for drinks, but we just had dinner and had to retire. Knowing what Ali went through (an 18 hour travel), I would want to get smashed too. Anyway, there'll be lunch the next day; enough time to meet up with the rest of the gang who'll be there.

Off Claire and I went back to finally rest. Just in the nick of time.

Greatest Endings - 2001: A SPACE ODYSSEY

Michael Mirasol

on April 4, 2011 6:51 PM | Permalink | Comments (0) | TrackBacks (0)

Note: I wrote these musings as a contribution to Nick Duval's (@flickpmonster) collection of Cinema's Great Last Scenes and Endings. Check them out to see the rest of the entries!

It begins with an elderly man on what appears to be his deathbed. His surroundings convey a bareness of clinical classicism, while his eyes betray a presence in the room. He reaches out in frailty towards a towering black monolith, perfect in its form, its authority, and its indifference. And as we stand in awe of its imposing equanimity, we come to discover that the elder is now an infant, but of a very different sort. Encased in a sac of light, aglow as a halo, undisturbed, unperturbed, and aware. Two perfect beings now inhabit the room. And from the once human perspective, we zoom into the monolith, with Zarathustra starting to speak.

Is the monolith an alien intelligence, satisfied with our progress, content to trigger our next evolutionary step? Is the monolith death, who has come to usher man to a new kind of existence? Is the room what humanity knows, and the monolith the unknown? As we ponder these very human concerns, we can't help but feel humbled by their use in Stanley Kubrick's incredible interpretation and amalgamation. All within just the first half of this final scene (perhaps the greatest of all final scenes), which ends with even more power and haunting indelibility.

We are back in the infinity of space, the moon in sight, panning slowly to Earth. As our home comes to full view, another glowing celestial seems to be nearing beside it. It is the starchild, gazing at it, gazing at us. And as Richard Strauss's "Also Sprach Zarathustra" booms its climax, we ponder once more. What thoughts lie behind those baby blue eyes. The answer may lie in the music; the prophet has come to speak to mankind.

NAUSICAÄ OF THE VALLEY OF THE WIND (****)

Michael Mirasol

on August 20, 2010 2:56 AM | Permalink | Comments (3) | TrackBacks (0)

There is a point in Homer's "The Odyssey" where Odysseus is washed ashore from a shipwreck. In his desperation, a young woman comes to his aid, rescuing him from his end. She was Nausicaa, lover of nature, and eventually serving as a mother of his rebirth.

In Hayao Miyazaki's first masterpiece "Nausicaa of the Valley of the Wind" he heralds a protagonist of similar inspiration, whose own odyssey and heroism would also take on Homeric proportions.

The film's story takes place in a dystopian timeline where human civilization appears to be in its last throes. A vast toxic jungle envelops the land, teeming with monstrous insects, hostile to anything that disturbs the expanse. A few kingdoms remain, at war with the jungle and each other. One remaining beacon is the Valley of The Wind, a peaceful and prosperous feudal community, seemingly protected from the jungle by its bordering forest and strong winds.

The Valley's princess, Nausicaa, is a free spirit and genuine "renaissance man." Puzzled by the jungle's nature, she frequents its depths for resources and answers. Aside from mastering flight, she's also a ferocious warrior when need be. But what truly defines her is her uncanny rapport and devotion to all living things.

One day she is visited by Lord Yupa, a noted Valley resident revered for his wisdom and unparalleled swordsmanship. He has returned from his search for a prophesied savior only to return with grim news.

That same evening a massive airship crashes near the valley, attacked by an insect swarm. Having come from the neighboring jungle, it brings spores which threaten the Valley's forest, as well as an uneasy cargo.

The Valley soon learns that its ominous load is a prize sought by warring kingdoms, one of which lays siege to the Valley. This leads to various adventures, escapes, revelations, and locales of staggering creativity. Ranging from underground caverns, to heart of the toxic Jungle, and even to the very stratosphere.

The film is considered to be the first of Miyazaki's works to showcase his strong environmental inclinations. In every film since he has made his case for man to grow closer to nature as a return to the olden days. He does so with positive reinforcement, hardly ever resorting to demonizing, moralizing, or sermonizing. Here, the toxic jungle isn't so much an inhospitable realm as it is a fearsome marvel of nature. It's huge arthropod denizens never come off as oozing grotesques, but wondrous (though scary) creatures. The film's largest creations, the ohmus, are wholly original, and are almost proof that the eyes are the window to the soul.

Miyazaki's refusal to narrow down conflict to two or even three sides is refreshing, and quite admirable considering its target audience. The film's story does concern good versus evil, but they aren't manifested in simplistic ways. Each populace has its own motivations. Each conflict has its reason. Wars exist among man and against nature. Several stakes exist. Even death is hardly out of bounds. For much of the film, there is no one problem/solution. But despite this moral complexity for an animated film, it all fits Miyazaki's big picture, and in the end we see it.

It takes a deep wisdom and understanding of youth to be able to carry out this vision. To know that children will grasp and want to grasp his story and ideas. Miyazaki accomplishes this not only by his storytelling techniques, but also through his visual artistry. Like the very best of Japanese animation, there is a warmth and softness to his illustrations (thanks to his pristine watercolor motifs) that make it almost effortless for viewers to accept and acclimatize to what unfolds on the screen. It allows for his characters and narrative to "breathe" (and breathe deeply), with moments of contemplation and authentic feeling taking hold. Compare this to his contemporaries who have to rely on cutesy gimmicks, frantic pacing, or glitzy style to draw in audience interest.

But its "what" he illustrates that captures our hearts as well as our minds. Much of anime in the past 20 years has concentrated on a utopian future, filled with technological wizardry and innovation, which is abundant in Japanese culture. But Miyazaki tends to look back instead of looking forward, inward instead of outward, looking at treasures of futures past that might have been. Like most of his films, his timeline here isn't technological, but pastoral, with people relying more on each other and the Earth. He favors gorgeous green panoramas usually near blue bodies of water. He is in love with flight with his heroes soaring through the sky, representing our dreams of breaking through our limitations. We sense his hope in women more than men, believing them to be the key to humanity's progress as opposed to man's history of violence. These creeds and themes are held dearly and instinctively by the young and hopeful, and its Miyazaki's ability to convey these naturalistic ideas through his visual imagination, which makes him unique.

And his imagination. My God is it breathtaking. Only Pixar has been able to rival Miyazaki's creative energies in forming entirely new sights, sounds, and stories with each subsequent film. But Pixar is a collection of talent (all of whom pretty much worship him), while Miyazaki is a singular force. While even the greatest of directors have to rely on cast and crew to carry out their visions, Miyazaki pretty much IS the film. He might be the closest thing to the idea of an "auteur" which filmdom has.

Yes I effuse praise for Hayao Miyazaki, but to write about his films can only lead to discussing the marvel that is the man. No other animator has produced such an admired body of work in the past 30 years, nor has influenced so much of its workings. And in the world of animation "Nausicaa of the Valley of the Wind" is one of its brightest stars, giving birth to Studio Ghibli and its priceless body of work. It is the seminal Miyazaki film, breathing wonder, tenderness, and life into worlds where we'd all like to live in.

HUD (****)

Michael Mirasol

on August 13, 2010 12:09 AM | Permalink | Comments (0) | TrackBacks (0)

The 60s were a rough transition for America. Major shifts seemed to be occurring in every fabric of society from civil rights to sexual mores. The worsening course of the Vietnam war fueled distrust in political institutions. Women's rights highlighted a breaking from oppressive traditions. The old seemed to be fading away more radically than ever before.

Like the era it was made in, "Hud" was a key shift. As film critic Emmanuel Levy correctly puts it, it is "a transitional film between the naive films of the early 60s and the more cynical ones later in the decade." Though it plays as a compelling drama of small town life and family tribulation, through its lens of father-son conflict, it also captures the angst in the loss of authority, the gap between of two different generations, and an elegy for the good ole' days.

Based on the novel "Horseman, Pass By" written by that marvelous writer of the contemporary west Larry McMutry (best known for "Lonesome Dove"), "Hud" chronicles the hardships of the O'Bannon family, headed by its elderly patriarch Homer (Melvyn Douglas). He owns a cattle ranch and runs it with the help of his son Hud (Paul Newman), and Hud's wide-eyed nephew Lonnie (Brandon De Wilde). While the O'Bannon boys run the ranch, their housekeeper Alma Brown (Patricia Neal) runs the household.

The film draws much of its power from its relationships, told mainly through Hud's exploits and conversations. A drunk and a womanizer, he can't help but switch from ranch hand to ladies man any chance he gets. Though he is weak with vice he possesses a certainty and a bravery that doesn't quite cross into foolishness. He's sly and not shy.

His father Homer is almost always on his case, and a model of calm unrelenting virtue, which might not be a virtue itself. He harbors a disappointment and bitterness in his son, which may seem apparent to Hud and to us, but goes deeper. Lonnie on the other hand is a true innocent who likes being with Hud because he's the closest thing to being a father figure and a big brother rolled up into one.

One day Homer finds one of his cattle dead, leaving both he and Hud puzzled as to the cause. Both find out soon enough that it is the worst thing that could happen to their way of life. It only brings out the ugliest in both their bitterness towards each other and ethical questions on how to cope with what is to come.

These doubts along with the animosity between father and son reflected the uncertainty of the times "Hud" existed in. Though the story seems to be set in the 50s with its careful attention to rural Americana, it only enhances an elegiac mood of a passing era, which Homer fully embodies. And as his soul seems to wither, his ranch transforms slowly and sadly in step, from buzzing to barren (pictured in gorgeous black and white by legendary cinematographer James Wong Howe). Melvyn Douglas plays him with a authentic dignity that is felt throughout his performance, regardless of how simplistic or vague his characterization is. Even with a simple sing-along moment, he finds away to bring out his heart.

Though Homer might be the counterpoint which Hud plays against, but it's his relationship with Lonnie which helps us sympathize with him. Brandon De Wilde completely conveys a guilelessness which we can't help but reminisce on and care for. We relate to how he admires his grandfather, as it reflects our own hopes in acquiring the wisdom of our elders. But we also understand why he gravitates to Hud as he seeks a fellow exuberant spirit. When we see Hud take Lonnie under his wing, hesitantly revealing secrets, we understand him. Without Lonnie, Hud would be nothing but an ingrate.

Another one of the film's treasures is Alma Brown who arouses desire. Ideal in Lonnie, carnal in Hud. Played by the late Patricia Neal, she provided a refreshing change from the primped up cowboy beauties of the 50s (e.g. Angie Dickinson in "Rio Bravo") and provided a glimpse of the earthier female personas yet to come (e.g. Claudia Cardinale in "Once Upon A Time In The West"). But before or since, has there ever been a tougher or more memorable female character in a contemporary Western than Alma? She shows sensuality without trying to be sexy. She marks interest in Hud without revealing weakness, and her no-nonsense approach was ahead of its time. She more than held her own against Paul Newman, which only adds to her and the film's appeal.

And of course we have the inimitable Paul Newman whose role here would cement his place in the Hollywood firmament (and supply him pretty much a dry run for his most famous role of "Cool Hand Luke"). It should be said the novel portrayed Hud as a man without merit. But here, with grace and gravitas, he supplies Hud with inklings of a soul. We understand why he went wrong, find an hint of where he may have gone wrong, and realize that inflexible nobility can produce its equivalent opposite.

Paul Newman was said to have been shocked that so many viewers felt for Hud O'Bannon instead of viewing him as a villain. Though many people see him as Alma rightly called him, "a cold-hearted bastard," he's more than that. "Hud" as a character of his time embodied a new ethos (right or wrong) longing to break free from old norms and seeking acceptance. As a film, it marked the entry of a new type of Western, one that was more intimate, more cynical, and more authentic than those before it.

Ebertfest: Day 5

Michael Mirasol

on May 7, 2010 9:29 PM | Permalink | Comments (8) | TrackBacks (0)

Note: Based on draft written on April 26, 2010.

It was quarter to 8 yesterday morning. I had just sent an email to the FFC inviting everyone for "brunch" at Steak N' Shake since Wael was the only one who had yet to go. It was Ebertfest's last day, the last screening was at noon, and some of us would be leaving as soon as it was over. It was now or never.

I put my sad thoughts off for a moment as I headed to Steak N' Shake for one last time. Wael, Seongyong, Grace, and Tom are were there to meet me at the hotel entrance. Jerry (Gerardo) wasn't able to get the email while Omer needed his rest. Omar met us there later on.

Wael enjoyed his meal greatly as we all shot the shit so to speak. Mostly commenting on how it was all ending. Once we finished we headed to Virginia theatre for the Festival's finale in SONG SUNG BLUE, a documentary about Mike and Claire Sardina, song revivalists famous for performing the works of Neil Diamond and Patsy Cline respectively.

The movie reminded me of HOOP DREAMS but for singing impersonators. It shows this loving couple and their passion for music and performing. We see the tragedies that befall Mike and Claire's family in ways only life can supply. We see them at their most irresponsible, their most fragile, their bravest, and their best. Does the film have a happy ending? Does any life have a happy ending? All that is to be said is that they lived life on their terms for good or bad. Whether they triumphed or not is up for debate. What is undeniable is that they persevered.

I remember when Roger introduced Claire Sardina at the Festival's opening gala. She was the last person on his roll call of guests. She confirmed her attendance by shouting out way in the back that "I'm right here!" As Chaz asked her to come up to the podium, Claire made her way very slowly. I was unaware of her background, not knowing if she was injured or sick. Roger, he himself a bit frail, went and walked to receive her. As they hugged midway, applause.

And what a marvelous reception Claire received after her film's screening. Though OKURIBITO might have been the festival's best show-stopper, SONG SUNG BLUE was the appropriate climax, as the crowd showed their appreciation. Tom Dark was right, Rodge sure knows how to pick 'em. After thanking her well-wishers, Claire said she would perform three songs, and the crowd was on its feet through all of them.

The film's Q&A with the film's director Greg Kohs was remarkable, as Claire noted of his persistence and concern as he started out as a fan and ended up pretty much as family, becoming the proverbial "fly on the wall" witnessing everything good, bad, and ugly. He spent more than 10 years detailing their story. Some of the great documentaries of our time, such as HOOP DREAMS and the 7 YEAR UP files have required as much if not more. It was time well spent.

After the close, Carol Iwata came up to us and mentioned that Roger and Chaz wanted to meet with us, particularly those who wouldn't be in Chicago for the next few days, to spend a fond farewell together. Where else? Steak N' Shake (D'oh!).

It was probably my 4th or 5th time there (I've lost track). I even got tweets criticizing me for destroying my diet as I have a "Twibbon" supporting Jamie Oliver's Food Revolution. Hey even Jamie indulges himself sometimes, and I'm never going to have burgers like these when I get back to Malaysia (heck, I won't be having any at all). So for all those naysayers, spare me.

It was time to say goodbye to some of those that spent time with us at the Festival. Those Oregon kids who went to every screening made us proud. Yes, I'm talking about you Dana Henson, Bret Bynum, Mike Millan, and Tyler Henson of Marshfield High School. If there's any right way to play hooky, you guys did it. Two other youngsters who we came across often were Sean Kelley and Danielle Williamson. They were both very nice and polite. Whenever you see kids like this with a genuine interest in film, good films at that, our hearts can't help but feel there is hope for the moviegoing future.

Jackson Savage, my newfound fan of the FFC, is astoundingly intelligent and astute for a 15-year old. When Omer, Grace, and I heard that he found SYNECDOCHE, NEW YORK good for his "emotional evolution," we were, as Roger would likely call it, gobsmacked. His mom brought him to Urbana-Champaign from their hometown of New Mexico. He might be going to Europe for vacation. Two life-shaping experiences which can only do him good. She did a good job.

Evan Cohen was another great help to us FFC. A very energetic volunteer for the entire week, he was one of many who helped shuttle our butts all over the campus. A pretty funny guy with a passion for performing himself. I kept on thinking of a young Conan O'Brien (not the hair!). Hey, that's how he started!

Grace and Ali had to go to the local airstrip to catch their return flights. So it was a round of hugs for them. The rest of us headed to Steak N' Shake. Roger and Chaz soon followed as we took our sweet time savoring the moment. It would only get sweeter as Grace came through the door saying that her flight was delayed. So I consumed my first Guacamole Double Steak burger with a Banocolate (banana and chocolate) milkshake, as if it were my last meal. Seongyong had to go as his flight was leaving. Grace had to go back to the airport to check her rescheduled flight. As it ended, hugs all around. Picture poses all over. Trips back to the hotel.

Grace came back to the Union as her flight was delayed until the next day. Tom and Omer had said their goodbyes driving back to their cities. Wael, Grace, Jackson Savage and me had one last dinner together at the worst Chinese restaurant in college town existence (I blame their indecisiveness!). But at least as Jackson headed home, we three had some final stories together. As I bid them farewell, I head to Chicago the next day with Jerry and Monica for my private moments. One last one in Champaign-Urbana.

Last. That's the word that strafes my heart. My newfound friends echoed my sentiments: We don't want this to be over. We can't believe it's over. This incredible gift that Roger gave us, not just the opportunity to meet him, be with him, see great movies, and attend parties for free. That's just icing. The feast was having this foreign family which spoke the same language: our mother tongue of film.

I have never been able to speak with such eloquence and abandon about my love of movies and all that comes with it, to people who understand and intuit what I mean, without having to clarify. I have never felt this way with my best friends or my dearest family members. In film ideas, I connect to Seongyong, who has trouble with his English, even more so than with my wife.

This is one of the best gifts Roger has given me, and I cling to it feverishly. Those close to me sometimes ask why I tweet so much. I tell them it's my link to the world of film, and my new friends who I have been searching for all my life. Those twitter followings and followers might as well be fishhooks into my psyche, for which I am gladly a masochist. I don't know when I'll ever get the chance to experience this treasure again, but now that I've tasted it, I won't let it go.

Roger, thank you in many ways for bringing me home. I'll be back.

Note: Next Ebertfest-related post will be the last: Epilogue and Remembrances.

Ebertfest: Day 4

Michael Mirasol

on May 6, 2010 4:00 PM | Permalink | Comments (6) | TrackBacks (0)

Got up around 8 to get ready for a breakfast get-together at an apartment Roger and Chaz were staying at. We FFC were told to meet at the front of The Illini Union before getting there. And who did I see there? Lo and behold my dear friend Wael Khairy.

How odd it is to say that. I had met him just last night, but feel that I've known him all my life. I gave him a big brotherly hug, exclaiming, "You made it!" All week each of us kept on mentioning with each memorable moment, "If only Wael were here to see this." But everyday we would here from Chaz that there was still a chance he could make it. Last night we were told he would, and we were really happy that the far flung correspondents would all be here.

At last night's party, I asked him if he had gotten any sleep, as my own journey to get here involved 19 hours of travel time and 10 hours of stop over time. He told me that he hadn't slept in more than 24 hours and was exhausted. But it didn't show. I'm sure he was happy, but he looked more in stunned disbelief. I could only smile knowing how much happier it was going to get for him.

Only a select few were invited for breakfast, but it felt just as packed as last night's party. Though there were people all around, it felt a lot more intimate. Something about mornings seem to bring out the warmest among us during Ebertfest. Probably because we had our rest.

Grace and I would chat more about Asian cinema with David Bordwell. Two other Michaels, Barker and Tolkin, seemed to be wheeling and dealing. Two Kims, Morgan and Voynar, both immensely readable film bloggers, were seen chatting it up (the former showcasing one of her beautiful coats). Tom Dark got a chance to mix it up with Charlie Kaufman, and told me a very nice story revealing just how nice a man Mr. Kaufman really is. Carol Iwata, Roger and Chaz's, personal assistant, got to showcase her "Midwestern Japanese" with Mr. and Mrs. Takita and their translator, with funny results.

I got to meet AP film critic Christy Lemire for the first time, and told her how very much I admired her moviegoing efforts involving her very first three month old son Nicholas. We compared notes, noting that when me and my wife had our first born, we stopped going to the movies completely for 2 years. I also got to meet Betsy Hendrick, Roger's very close friend and one of the major patrons of his film festival. She's very a warm and kind lady, frequently chatting with us whenever she had the chance. I'd say her enthusiasm for the FFC was as deep as Roger's. Without her, none of this would would have been possible.

It was nice seeing my fellow FFC mingling around. Picture-taking abounded. Vincent P. Falk's wordplay even more so. Ali Arikan was working the room like a pro, making a naughty photo-op remark that left me in stitches. Roger introduced his sketching prowess by showing his illustration for this year's Ebertfest logo as well as another used in for the Hawaii Film Festival. But the highlight of the morning was seeing Wael finally meeting Roger. I felt so much for him.

So it was time to go for the day's first of four screenings. Four. All I could think was whether I would be able to get through all of them. I was intent on doing so, since tomorrow only had one screening and I could get my rest then. As Chaz started the day's proceedings we knew what would come next. Wael got introduced to the audience who knew of his quest to attend Ebertfest. The crowd roared, Wael was enraptured, the circle was complete.

We started off with I CAPTURE THE CASTLE, an adaptation of Dodie Smith's novel of the same name, which tells the tale of an eccentric family, struggling with 1930s life in an old English Castle, as seen through the eyes of its protagonist, Cassandra.

It didn't work for me. I consider myself an anglophile, but something within me just kept on seeing it as contrived, a quality that kept me from fully buying into its emotional conflicts. It isn't a bad picture, and many times it can be entertaining and even touching, but I couldn't fully accept it having seen many works of the same nature yet better telling. Perhaps it would have worked better for me if I had read the novel.

Fortunately, the film's Q&A gave me some hope. IndieWire film critic Lisa Rosman mentioned how much she loved the film, noting that it shows a teenager actually dealing with love for the first time. So many film these days tend to show young people knowing exactly how to deal with this important moment (or not knowing how to deal with it all), but very few try and show those who are unsure, and how they navigate its questions. Listening to her, I think I need to see CASTLE once more.

Nell Minow, also known as Beliefnet's Movie Mom, moderated the panel. She's another wonderful movie soul that I've met here. For the past day or so she has sat in the same row that me, Omer, Omar, and Seongyong sit at, and she's always been game when we all start sharing our opinions. She's also a real blast when she really dislikes a film. Don't get her started on LOVE HAPPENS.

The next film shown was VINCENT: A LIFE IN COLOR which chronicles the life of Vincent P. Falk, Chicago's literally "colorful" character known for his striking suits, stealing the spotlight from TV shows to the Chicago marathon.

I saw Vincent at the Illini Union a day before the festival started. I recognized him right away and told the hotel manager, "That's the suit guy!" When I was introduced to him at our Meet N' Greet two days ago, I have to admit that I was a bit uncomfortable. He was always popping corny jokes and shouting "Oooooooh!" with some witty retort. But then I had already pre-judged him, thinking he was mentally challenged.

Then I saw the film, which completely changed the way I feel about him now. The film's director Jennifer Burns goes to remarkable lengths to show his background, profiling his upbringing, family, friends, work, and love of showmanship, revealing someone who has found, as Billy Crystal would say, "that one thing" to being happy. Despite being totally blind in one eye, and near as much with the other, he made his living comfortably as a programmer, which explains how he can afford all of his suits.

I was quite moved by the movie and mentioned to Jennifer afterwards that I thought her film was such a gift. I also told her I was guilty of the very biases which the film brings up, and greatly appreciated what she and Vincent did. When I got the chance to see Vincent, I told him the same, said that I was sorry, and that I'd never pre-judge anyone like that again. We chatted a bit and he told me that he specialized in COBOL. I told him I used to program in that language too. What are the chances of two COBOL VIPs at Ebertfest?

Two down, two to go. The third film was James Mottern's TRUCKER, which tells the story of Diane, a lady truck driver, played Michelle Monaghan, who hauls sixteen-wheelers for a living. She prefers to live a solitary life, with responsibility solely to herself, which clashes with the realities of her dying ex-husband, her estranged son, and a blossoming relationship with a longtime friend. Next to Tilda Swinton's portrayal of JULIA, Michelle's performance was the most fearless of last year.

There are a lot of pretty girls in Hollywood who need to play the same tired old roles mainstream Hollywood expects of them. Very few are willing to take on challenging parts which can possibly spoil their marketability and eventual financial success. Which makes Michelle Monaghan's turn here all the more remarkable. One of Hollywood's loveliest ladies, most people remember her for roles in MISSION IMPOSSIBLE 3 or MADE OF HONOR, yet miss out on her work in NORTH COUNTRY and GONE BABY GONE. Though she has done impressive work in the last two I mentioned, they both give no inkling of her range and depth which she displays in TRUCKER. She's earned one more fan in me.

Finally a dinner break, but no food for me just yet. I've just been informed that there'll be a "Post-fest" party, so I might as well eat there instead. I get to interact with Omar Moore a bit more and realize how much energy he has. Before Roger named him one of the FFCs, he was already blogging movie reviews at his website The Popcorn Reel, while maintaining law and photography practices. I find him a valuable resource when it comes to the inner workings of Hollywood since he has the insider access. Did I mention that though he works in L.A., he resides in S.F.? Which means his daily air-commute takes more time than it has to. Yet, talking with him reveals no such weariness. His accent is James Bond suave but his gestures are demonstrative. This is one dude I'll miss once this event is over.

Ah, the final screening of the night: BARFLY. A semi-autobiographical film about a few days in the life of poet/author Charles Bukowski. It's a truly American film in that it captures the grungy, booze-filled aura of seedy bar towns of Los Angeles, a subculture of America that I am quite unfamiliar with. The sunken, desperate air which permeates the film cannot sink Mickey Rourke's character of Henry (the Bukowski persona), whose intoxicated outlook feels strangely blissful.

The film has to be seen to be believed, as most films about alcoholics I've seen tend to be depressing. And to some extent BARFLY is depressing, but not in Henry's company. Its director Barbet Schroeder, who thankfully made it to Ebertfest, was a great admirer and eventual friend of Charles Bukowski, and it shows in his loving yet unflattering light of his protagonist. Henry is bloodied, intoxicated, and sometimes lost, but at the same time, wistful, content, and yes, happy.

After the Q&A it's one final stop to Betsy Hendrick's home for the final Ebertfest party, and of all the gatherings we've had, it was the most packed. And the throng was of course nearest the dining table, where those small burgers were heavenly (Angus beef!).

I met a couple who were trying to get their documentary film made about a World War 2 veteran who served in the Pacific. I offered them my contact details in case they needed any help finding resources in the Philippines. A met Troylene Ladner and her husband Aaron who also helped sponsor the Festival. But mostly I hung around my FFC friends, feeling most comfortable around them. I had a nice long chat once more with Tom Dark about family, kids, and his horses. Yes, he raises horses on his ranch (he's got the hay in his 4x4 to prove it).

I got the chance to catch Betsy and thank her for her hospitality, before I headed back to the hotel at around 3am. God bless her for helping this day become a reality.

« Miscellaneous | Main Index | Archives | Philippine News »

Recently in Movies Category

Star-Crossed Cowboys: BROKEBACK MOUNTAIN

Ebertfest 2011: Day 3

Ebertfest 2011: Day 2

Ebertfest 2011: Day 1

Back to Ebertfest, Just in the Nick of Time

Greatest Endings - 2001: A SPACE ODYSSEY

NAUSICAÄ OF THE VALLEY OF THE WIND (****)

HUD (****)

Ebertfest: Day 5

Ebertfest: Day 4

July 2011: Monthly Archives

Categories

Monthly Archives

Who I Read

Search

Twitter

About this Archive