Category Archives: Film Commentary

Film Commentary

Top Ten TFF2018 Mother-Daughter Movies

by HelenHighly

Of the 96 Tribeca Film Festival 2018 feature films, 46% of them are directed by women, the highest percentage in the Festival’s history. And there are 28 female-centric feature films. While the unofficial theme of TFF2017 might have been “Middle-East War Films (with a special focus on ISIS movies),” the TFF2018 unofficial theme seems to be “By and About Women.” #TribecaToo (ha). But no, these are largely not films about abuse or harassment (although there are a select few that do indeed brilliantly address those issues — Blowin’ Up and Netizens at the top of that list). But what struck me as I was watching my way through this year’s screenings is how many films deal specifically with the mother-daughter relationship. Some make that relationship the core subject of the film and others get around to that topic tangentially, and sometimes as an insightful way to end a story — giving context and emotional resonance to the rest of the film. Amazingly, none of these depictions seems clichéd or obvious or quite like any of the others. They each seem entirely unique and specific, while also touching on that archetypal dynamic that is central to every woman’s life.

If Freud were to weigh in, I guess he would say that we all are essentially talking about or to our mothers all the time. That may be true. In these films, we see the myriad of ways that our mothers were and remain key elements of our lives. So, here is a list of TFF2018 films with Mother-Daughter Themes:

Stop the Presses

After I wrote this article, I saw the movie, Egg, which is a sort of homage to Edward Albee’s darkly satirical Who’s Afraid of Virginia Woolf, while also directly examining issues of pregnancy, abortion, child-birth, adoption, surrogate mothers, and parenting.  Obviously, it cannot be left out of this list. Egg is a provocative and unflinching look at two couples and a surrogate; it lays bare the complications, contradictions, heartbreak, and absurdities implicit in how we think about motherhood. Helen Highly recommends it. Click here to read my full review of Egg.

Egg movie, at Tribeca
Egg movie, at Tribeca

1. Daughter of Mine

On the windswept coast of Sardinia, two women compete for the affections of 10-year old Vittoria. The child struggles to develop and understand her connections to both her troubled, alcoholic birth mother and her doting, overly-protective adoptive mother. The film poignantly displays just how immensely a girl will always want her mother. Director Bispuri holds nothing back – not the horrific cruelty nor improbable joy, not the selfishness nor selflessness that takes place between these three female characters.

Daughter of Mine, at Tribeca Film Festival
Daughter of Mine, at Tribeca Film Festival

2. Sunday’s Illness

In Spain, after Anabel hosts an opulent dinner, she is confronted by Chiara, the daughter she abandoned decades earlier. Chiara arrives with just one request — that she and her mother spend ten days together in a remote country cabin. This is a poetic study of maternal feelings wrapped in a suspenseful and unpredictable story. Not a cliché within miles and miles.

3. Island of the Hungry Ghosts

Christmas Island, Australia is home to one of the largest land migrations on earth — that of forty million crabs journeying from jungle to sea. But the jungle holds another secret — a high-security facility that indefinitely, and brutally, holds individuals seeking asylum. Meanwhile, local islanders carry out “hungry ghost” rituals for those who died on the island without receiving proper burial. In this haunting documentary tale, a trauma-therapist who works with inmates at the detention center also works to raise her two daughters with a semblance of understanding, yet without burdening them with the heavy cloud of suffering that hangs over the mysterious island.

Island of Hungry Ghosts

4. Virgins

Teenage Lana is languishing in her run-down hometown on Israel’s north coast — until an older, attractive writer arrives with tales of a mermaid sighting off the shore of the declining resort town, with the potential to change everything. Lana has been rebelling against her mother, who is struggling to keep her beach-front café from going bankrupt, and begrudgingly looking after her younger cousin. The convergence of events ultimately brings these female characters together in a boat on a stormy sea, at night, with an uncertain outcome. This is a coming-of-age tale like none other — told with deft elegance and nonchalant magic.

5. Mary Shelley

The experience of Mary Wollstonecraft Godwin’s whirlwind romance with the tempestuous poet Percy Shelley is a story that led her to create one of the most enduring works of Gothic literature – Frankenstein. While just 17 years old, Godwin runs away with Shelley, in a romantic crusade that turns ugly once she becomes pregnant with their child, who will soon die. Mary is haunted by the history of her own mother, who also had a passionate and defiant past, and who died soon after her birth. This literary tale reveals little-known details about this true story that is as much about mothers and daughters and abandonment as it is about monsters in the dark.

Mary Shelley, movie

 6. United Skates

Credited with incubating East-Coast Hip Hop and West-Coast Rap, America’s roller rinks have long been bastions of regional African-American culture, music, and dance. As rinks shutter across the country, a community of thousands battle in a racially charged environment to save an underground subculture – one that has remained undiscovered by the mainstream for generations. In this documentary that is both celebratory and sad, one of those who fights to maintain this multi=generational phenomenon is a single mother, living in the ghetto, who uses roller skating as a way to entertain her kids and keep them out of trouble. As access to dance-night at the roller rink becomes increasingly distant and difficult to find, this mother desperately travels farther and farther in order to bring her children to this experience that she believes might save their souls and their lives.

7. Duck Butter

Two women, jaded by dishonest and broken relationships, make a pact to spend 24 uninterrupted hours together, having sex on the hour.  This romantic, young-at-heart experiment intends to create a new form of intimacy, but it doesn’t quite go as planned. Among the upsets is the arrival of one young woman’s mother, who has an unexpected impact on the mood of the adventure and on the way these women begin to understand each other differently. In just a few potent scenes, we see that mother-daughter relationships are not always what we think they are, especially as seen by outsiders.

Duck Butter, at Tribeca

8. Yellow is Forbidden

Celebrated Chinese couturier Guo Pei is perhaps best known for designing the extravagant and intricate, gold gown that Rihanna wore to the Met Ball in 2015. But Guo’s quest to be recognized by the gatekeepers of Paris haute couture goes beyond the red carpet and taps into global power dynamics  and the perpetual tension between art and commerce. In between the glamorous and grueling scenes of this gorgeous documentary, we are told that Guo Pei learned embroidery from her grandmother. And woven into this movie like one thin golden thread is the relationship between Guo Pei and her traditional Chinese mother, who is virtually blind and has not been able to see any of her daughter’s masterful creations, nor understand most of what Pei is so ambitiously pursuing. The story of Pei’s ambitions has its own fascinating ending, but the film itself ends with mother and daughter embracing and crying. This is a fashion film, first and foremost, but the underlying message is “Never forget your mother.”

9. The Feeling of Being Watched

The Feeling of Being Watched

Journalist Assia Boundaoui directed, wrote, and stars in this revelatory documentary film that also features her family and her neighbors. Assia sets out to investigate long-brewing rumors that her quiet, predominantly Arab-American neighborhood outside of Chicago was being monitored by the FBI (starting well before 9/11), and in the process she exposes a surveillance program on a scale no one could have imagined. This stunning film explores the way that paranoia is an effective tool of control; the fear created by of an invisible watcher who sees you without your being able to see them has managed to silence the outrage of this abused community. As part of her work to unearth the truth, Assia goes on a mission to get her neighbors to sign a request to receive government information that has been collected about them, and she is met with surprising resistance. She is dismissed, shunned and even threatened. This is an important film about government abuse of power, and still it rests on a platform built from family; without the support of her mother, and the words, “I am proud of what you are doing,” Assia likely would not have persevered and succeeded in making this movie.

10. Amateurs

In this extremely odd but charming Swedish social comedy, local officials, in a bid to lure a superstore to their quiet hamlet, set out producing a promotional video about their town, only to find themselves disrupted at every turn by two female teens making their own rival film. Amateurs is a weird movie, and for me it was mostly compelling as an example of how various people “self-report” — how people go about telling their own stories. But another memorable aspect was the relationship each of the teenage filmmaking girls has with her mother. One mother is progressive and supportive of her daughter’s creativity, while the other is a “lower-class” immigrant who is more driven by fear and the desire to fit in and not make trouble. The bonds of teen friendship being what they are, the two girls do prevail in making their movie, but it is definitely worth noting the ways in which their different mothers make their marks on their daughters and influence their behaviors and perspectives — and not always in the most expected ways. This is a truly strange movie that feels long and is easy to lose patience with, but I did sit through it, and in the end the film laughs at you for staying with it, as you laugh along with the girls and the crazy-long movie they have made.


So, there ya go — Top Ten Mother-Daughter movies. But truly, these are only ten of the many-more Tribeca films that include this theme. I have not yet seen all the Tribeca films, so I cannot truly say that these are the actual best ten. But they are all worth a couple hours of your life, and definitely worth considering in terms of this timeless, symbolic, and resonant relationship.

Tribeca Film Festival

Tribeca Film Festival 2018 Curtain Raiser

What to See at Tribeca Film Festival 2018

by HelenHighly
Tribeca Film Festival 2018
Tribeca Film Festival 2018

It’s Spring in New York – the time for lovers…
of film, and narrative media of all kinds. The city’s cultural-cutting-edge gem, Tribeca Film Festival, takes place April 18 -29 and in keeping with its passion for What’s Next, this year’s 17th annual festival includes not only 99 Feature Films and 55 Short Films (from 39 countries), but also 35 Immersive (virtual reality) Experiences, 21 Tribeca TV presentations, 21 Tribeca Talks, and even Tribeca Games. If you’ve given up going to the movies and opted for streaming media in the comfort of your own home, this is the time to get off the couch and get with this extraordinary program. TFF is one of the few places you can still go to be surprised, provoked and inspired. It’s one of the few places you can go to feel your heart beat in synchrony with others who love what you love. But that’s not all.

Here is why Helen Highly recommends the TFF: Running through a field of bright and beautiful butterflies, you get a chance to catch-and-release a magical, fluttering experience that will soon fly away, never to be seen again. Tribeca is a true film festival; this is where new films and new media go to find distributers. Only at a festival such as Tribeca will you have the chance to see that brilliant little indie film or that gorgeous foreign film that will NOT find a distributer and after its brief few showings in incredibly-lucky NYC will return to its remote country of origin or its can on the shelf of unfunded films; it will NOT be coming anytime soon to a theater near you (and not even to your streaming library).

Not everything great gets picked up; distributers buy what they think will be profitable or what will reach their target market, or… who knows? But I can guarantee you that some of the most precious cinematic experiences and access to some of the most startling and thrilling and hilarious and profound and revelatory new worlds will be found only during this brief window of time – April 18 – 29 at TFF2018.

The press has been privileged to attend advance screenings of many of this year’s films, but our critical reviews are “under embargo” until the movie opens to the public. So, I am offering my just-guessing (wink-wink) guide to movies that Helen Highly recommends at TFF2018, organized by category:

Best of Fest

This is simply the best movie I’ve seen so far. (Sorry, I gotta say it.) A prison movie – not even a subject that would normally interest me, but… a great film is a great film. I will call this Shawshank Redemption of the new millennium. The thing is, this will definitely get a full, national release, so if you don’t see it now, you will get another chance. However, the unique thing the festival can offer is the documentary that was made as part of the research phase of the narrative film, which is an ideal companion piece. It’s a fascinating story, which Nick Paumgarten at the New Yorker details here. Sometimes raw and violent, sometimes beautiful and philosophical, this film ultimately is a slow-burn thriller. It’s got something for everyone:

Jeffrey Wright in O.G.
Jeffrey Wright in O.G.

 O.G.

Jeffrey Wright delivers a powerful performance as a maximum-security prison inmate named Louis, who, 24 years after committing a violent crime as a young man, finds himself on the cusp of release from prison, facing an uncertain future on the outside. He encounters Beech, a newly incarcerated young man who echoes Louis’ former self, and stirs instincts that had long been buried beneath his tough exterior. Beech badly needs a friend, although that friendship is not without dangerous complications.

Madeleine Sackler’s film is a taut prison drama that follows the seemingly mundane countdown of days before Louis’s release, until, almost imperceptibly, it transforms into a thriller, suddenly crackling with intensity. Filmed on location in an actual maximum-security prison with inmates participating as actors, the film lays bare, with remarkable realism, the very specific complexities of existing as an incarcerated man in America. Sackler’s background as an esteemed documentarian influences her first fiction film, a portrait of a proud yet regretful soul at a crossroads. This is a heart-pounding, suspenseful drama as much as it is an existential contemplation. O.G. is now available for download on HBO.

O.G. operates on many levels, as only the best films do. Its companion piece adds to the richness of this story:

It’s a Hard Truth, Ain’t It 

This is an affecting and enlightening glimpse at the stories of thirteen incarcerated men imprisoned at the Pendelton Correctional Facility in Indiana. Over a weeklong workshop inside the prison, filmmaker Madeleine Sackler  introduces the inmates to the art of filmmaking. She provides them with camera equipment so that they can interview each other, offering them a platform to tell their own stories. Sackler is also at Tribeca this year with O.G., a drama inspired by the work she did on this documentary.

In their testimonial projects, the men candidly share their personal histories and provide accounts of the crimes they’ve committed. Their stories are visualized through animated sequences, illustrated by Yoni Goodman, of Waltz with Bashir, providing the viewer with remarkable access into their inner worlds. The result is an insightful and vivid collection of individual experiences that elucidate the shared narratives of the 2.2 million people currently in prison in the United States.

Available for streaming on HBO. 

Documentary

Tribeca is known especially for its top-notch selection of documentaries. Some of these might turn up on PBS or HBO or Amazon or Netflix or Hulu, or even at your local art house, but… no guarantees, so get your brain stimulated while you can, with:

When Lambs Become Lions, Feature Documentary

I know ivory poaching sounds boring. But ivory poaching might be just the setting for this penetrating and dramatic story about the tension between honor and survival, loyalty and competition, tightly knotted with complex family relationships, in an environment both magnificent and deadly. This is a film you should definitely see because it might not get picked up for distribution, due to its seemingly dull subject. But don’t be fooled; this is cinema at its best. When Lambs Become Lions is one of the most impressively crafted documentaries I have ever seen. This is what every documentary aspires to be — constructed from authentic and vivid, real-life footage (forget talking heads), and in addition manages to be a compelling narrative tale that performs as a suspenseful, action-packed drama.

hen Lambs Become Lions, Tribeca documentary
hen Lambs Become Lions, Tribeca documentary

This work of vérité cinema takes us to the front lines of the poaching crisis through the intertwined stories of an ivory dealer and a wildlife ranger. In a Kenyan town bordering wildlife conservation land, “X”, a small-time ivory dealer, fights to stay on top while forces mobilize to destroy his trade. When he turns to his younger cousin, Asan, a conflicted ranger who hasn’t been paid in months, we see the ways that these two men have been working both for and against each other. With each on the edge of catastrophe, they both see a possible lifeline in the other.

The story itself is exciting, but equally exciting is the appearance of a new filmmaking talent – first-time feature director Jon Kasbe. Kasbe followed the film’s subjects with his camera over a three-year period, gaining an extraordinary level of access and trust as he became part of their everyday lives. The result is a rare and visually arresting look through the perspectives and motives of the people at the epicenter of the conservation divide.

New screenings for When Lambs Become Lions will be announced this Fall. To get the latest updates, visit their website.

United Skates, Feature Documentary

Credited with incubating East-Coast Hip Hop and West-Coast Rap, America’s roller rinks have long been bastions of regional African-American culture, music, and dance.

United Skates on HBO
United Skates on HBO

When America’s last standing roller rinks are threatened with closure, a community of thousands battle in a racially charged environment to save an underground subculture – one that has remained undiscovered by the mainstream for generations, yet has given rise to some of the world’s greatest musical talent. We learn that an entire Who’s Who of Hip Hop was born at the skating rink. The music in the film is tremendous.

United Skates, at Tribeca 2018
United Skates, at Tribeca 2018

United Skates takes a deep dive into the vibrant and celebratory world of African American roller skating. The opening sequence displays dancing on skates that is as athletic and raucous as roller derby and is more delightful and entertaining than I could have imagined. The film by Dyana Winkler and Tina Brown is thrilling to watch and important to understand. It’s a slice of American life that we are lucky to witness, as it seems to be quickly and unfortunately dying out.

United Skates is now available for streaming on HBO.

Blowin’ Up, Feature Documentary

When a woman leaves her pimp, it’s called “blowin’ up.” (“You can’t just walk away; you get beat up and stuff,” and by “stuff” she means things worse than you want to contemplate.) In Blowin’ Up, director Stephanie Wang-Breal zooms in on an experimental court in Queens that focuses on advocating for, rather than prosecuting, women brought in on prostitution and human trafficking-related charges, encouraging them to exit “the life.” In this courtroom, after they complete a series of mandatory counseling sessions, defendants see their charges sealed and dismissed. As the film illuminates the setbacks and triumphs they confront during this process, it also reveals the external pressures (including racial bias and immigration policy) that channel these women, some of the community’s most vulnerable, into prostitution.

With unparalleled access to the inner workings of the court and the diverse women behind this unusually compassionate approach to criminal justice, Wang-Breal captures the tenuous and complex ecosystem that has developed in and around this particular Queens courtroom. A shocking ending, straight from the very latest current events, reveals just how real and fragile this ecosystem is. Despite its topic, this is actually not a depressing movie. It is in large part inspiring. And the harshest parts will outrage you more than depress you, which is a good thing.

Recent 2019 current events about human trafficking in the U.S. — and reports that it is now among the worst in the world — have brought Blowin’ Up into the spotlight again, so it’s made a new tour of screenings around the country. For the latest updates on a screening near you, or to request a screenings, go to the Blowin’ Up website.

International Film

Foreign-film narratives are often my favorites, because they tend to have a subtlety and sophistication and an evocative sensibility that is rare to find in American movies. You will want to see:

Virgins, Israel

Bad title; it’s a mermaid movie. And it’s fantastic. Actually, it’s mostly a sweet and salty coming-of-age story, entangled with both magic and every-day desperation, set in a beautifully bleak and barren landscape, with mesmerizing performances, all of which by comparison make the Oscar-nominated movie Lady Bird seem like cliched drivel. To quote Annie Dillard, this film “looks like miracle itself, complete with miracle’s nonchalance.” 

Virgins, at TFF2018
Virgins, at TFF2018

Teenage Lana whiles away the hours in her hometown Kiryat Yam, a run-down beachside community on Israel’s Mediterranean coast. She hangs out with a trio of shiftless boys, keeps an eye on her precocious cousin Tamar, and dreams of an impending move to Tel Aviv, all while waiting for the moment when her mother’s café finally bankrupts her family. But the sudden arrival of an attractive writer, Tchipi, may present a solution for both boredom and bottom lines: In between sparkling sexual tension, he spins a local myth into a news report of a mermaid sighting offshore—bringing people back to the city’s beaches. Now, the locals just need to turn this mermaid mania into an event big enough to bring hope and excitement back into their lives.

With deft elegance, director Keren Ben Rafael delivers a small but expansive and absolutely not over-wrought narrative feature debut movie, which feels impossibly true, melding elements of fantasy and simple, honest, naturalism.

Virgins is now available for streaming on Amazon Prime.

Sunday’s Illness, Spain

Like the recommended film above, this is another mother-daughter movie, and there are several in this year’s Festival, but all quite distinct. Whereas Virgins evokes magic out of ordinary, drab existence, Sunday’s Illness presents existence as a tinted veil of memory and emotion, evocative of mystery and potential danger, difficult to understand and impossible to predict. It’s a gorgeous movie, and it tells an alluring and suspenseful tale.

Sunday's Illness at Tribeca 2018
Sunday’s Illness at Tribeca 2018

From the outside looking in, Annabel (Susi Sanchez) would seem to have everything. She’s a successful businesswoman. She has a wealthy husband, and a place in society. But she also harbors a secret in her past, and one day, while hosting an opulent dinner party, that secret comes to call. After the dinner, Annabel is confronted by Chiara (Barbara Lennie), a member of the catering staff and the child Annabel abandoned over thirty years prior. The daughter, who was eight years old when her mother left, isn’t interested in money. She has a single, unusual request – that Annabel spend ten days with her in a remote house in the mountains, and then she will leave her alone forever, or so she claims.

Written and directed by Ramon Salazar HoogersSunday’s Illness is an eerily dreamlike, sensuous meditation on an unconventional maternal bond. Featuring exquisite, austere compositions, wonderful performances from Sanchez and Lennie, and a script that allows silence to speak as loudly as words, Sunday’s Illness is a remarkably assured, consistently surprising mother-daughter drama.

Sunday’s Illness is available on Netflix.

Nigerian Prince, Nigeria

Technically, this is not actually a foreign film. But it’s made by a Nigerian-American and takes place and was shot in Nigeria, fully capturing a very foreign place. Nigerian Prince offers a snapshot of a world not often seen on film, introducing the reality behind all-too-familiar junk-mail scams. These scams have touched all of us, in one way or another, and we can’t really fathom what it is on the other side of the world that produces them and brings them into our American lives. This debut feature from writer-director Faraday Okoro breathes cinematic life into characters that have previously only lurked in the shadows of the American imagination.

Nigerian Prince at TFF2018
Nigerian Prince at TFF2018

When troubled American teenager Eze is sent away to his mother’s native Nigeria against his will, he quickly finds himself entangled in a dangerous web of scams and corruption, with his magnetic con-artist cousin Pius as his guide. This film, anchored by uniformly strong performances, seamlessly blends thrilling sequences of elaborate deception and dramatic tension with surprising moments of humor, making it much more than a fish-out-of-water tale. Newcomer Chinaza Uche is particularly brilliant as Pius, his confidence and cunning matched only by the sadness underlying his performance.

And the film itself is a remarkable feat, shot on location in Lagos and finished in just under 12 months. It’s a feature film that often feels like a documentary. The intensity certainly feels real, and you will sincerely worry how these dramatic circumstances will end.

For a longer review about Nigerian Prince and more about the Untold Stories program that helped fund it, in addition to another new film, Lucky Grandma, click here. 

Nigerian Prince is now available for download on Amazon Prime, among other streaming sites.

By and About Women

Of this year’s 96 films, 46% of them are directed by women, the highest percentage in the Festival’s history. And there are 28 female-centric feature films, which of course should be exciting news for everybody. It’s a bit strange that in today’s day, movies by and about women are considered to represent “emerging voices” that need to be championed. I will assume that Helen’s readers are more Highly conscious and don’t need to have explained to them why these films are going to be some of the freshest and fiercest and smartest. It’s truly a tough pick, but here are three of my favorite female films from TFF2018. Never mind, I can’t pick only three. Here are five:

Daughter of Mine, Feature Narrative

Yet another mother-daughter movie, this one also defines its own territory. Vittoria, a shy 10-year-old girl, spends the summer on the windswept Sardinian coast with her loving-but-overprotective mother Tina (Valeria Golino). Vittoria begins to suspect that the local slut and feckless, town drunk, Angelica (Alba Rohrwacher), is her actual birth mother, a revelation that upsets her innocent childhood existence. When financial difficulties force Angelica to leave town, she asks Tina if she can spend some time with Vittoria before she goes. Tina reluctantly agrees, setting off a dramatic summer during which the young Vittoria finds herself torn between two imperfect mothers. The film poignantly displays just how immensely a girl will always want her mother.

Daughter of Mine, Tribeca
Daughter of Mine, Tribeca

Director Laura Bispuri’s return to Tribeca—three years after her Sworn Virgin took home the festival’s Nora Award for best female director—gives us another powerhouse film, an intimate three-hander about the bonds we make, break, and are born with. Bispuri holds nothing back – not the horrific cruelty nor improbable joy, not the selfishness nor selflessness that takes place between these three female characters.

Daughter of Mine is now available on Amazon Prime.

Nico, 1988, Feature Narrative

Danish actress and musician Trine Dyrholm delivers a high-voltage performance as Christa Päffgen—better known as Nico, the Andy Warhol darling and one-time chanteuse of the Velvet Underground. At the outset of Nico, 1988, Nico is approaching 50, tumbling down the slopes of drug addiction, and desperate to regain custody of her son. Her manager, Richard (John Gordon Sinclair), sensing her need for purpose, sets her on a tour across Europe; back on the road, she’s equal parts tenacious, manic, and erratic.

Nico, 1988 at Tribeca
Nico, 1988 at Tribeca

Writer-director Susanna Nicchiarelli gives us an unapologetic portrait of a woman who never cared about being pretty or nice; she is the antithesis of traditional female virtue. Nicchiarelli blends a tangible reverence for her subject with dark humor, crafting a riveting examination of a fragile artist constantly pushed to perform. The audience is witness to the anguished and scattered psychology of Nico’s final years. With precision, care, and grit, Nicchiarelli and Dyrholm capture the inner turmoil of a fearless icon, artist, and mother struggling to reconcile the consequences of her tortured life.

Nico, 1988 is available for streaming on Amazon Prime and Zudu.

Tiny Shoulders: Rethinking Barbie, Feature Documentary

I will call this the most irresistible movie of the Festival – about that doll well known to all of us, whom we so love to hate. Since her debut nearly 60 years ago, Barbie has been, at turns, a fashion idol and a cultural lightning rod, in constant conversation and conflict with the ideals and aspirations of women and girls in every era. Tiny Shoulders tells the unlikely history of the Barbie figure, as it also explores our ideas of beauty, female stereotypes, and women’s social progress, all reflected back by an 11.5-inch doll.

Barbie Dolls
Barbie Dolls
More than just a history lesson, the film goes behind the scenes at Mattel, where Barbie is undergoing a new transformation in order to better reflect today’s more diverse perspectives on body image and beauty ideals. We meet the women who are designing the new Barbie(s), and watch their dedicated and grueling effort to preserve and rejuvenate an iconic brand, while meeting the world’s expectations. Featuring interviews with Gloria Steinem, Roxane Gay, Peggy Orenstein, Mattel insiders, and cultural historians, Andrea Nevins’ engaging and enlightening documentary brings the doll that 98% of the world can recognize, into new focus, positioning her as the ever-evolving mirror of feminism in America and around the globe.

Tiny Shoulders: Rethinking Barbie is now available on Hulu.

Lemonade, International Narrative

Ioana Uricaru’s understated directorial debut, depicts one 24-hour period in the life of Mara, a young Romanian mother and nurse who moved to the United States several months ago for work and has already become accustomed to the “immigrant” struggles and frustrations that are part of the fabric of her life in America. The film focuses on a series of encounters, both mundane and astonishing, both indignities and quiet triumphs. Each encounter with an American man, whether her immigration officer, her new husband, her doctor, a police officer, or her lawyer, begins with optimism and determination, offers some reward, and ends with either abuse or exploitation. And this is all just one day in her life.

McQueen documentary
Lemonade, at Tribeca 2018

Despite its narrow focus, Lemonade gestures to the widest, all-too-relevant themes of the ways in which immigrants are treated as “other” in this country, the ways in which they are especially vulnerable to the dangers of modern American life and the infuriating unfairness of a national bureaucracy. And yet, we see the extraordinary lengths to which Mara will go to live in America and have her son go to school here. We see the resilient, relentless spirit that keeps immigrants alive in America. But, in today’s day, will that be enough to thrive? Can Mara make it? It’s a simple story told with clarity and dispassion. It’s the story of a person (likely an “invisible person”) who you encounter every day. It’s worth watching.

Check Netflix and Amazon Prime for streaming available in your country.

Woman Walks Ahead, Feature Narrative

Based on true events, Woman Walks Ahead (A24/DirectTV) stars Jessica Chastain as Catherine Weldon, a widowed Brooklyn-based artist who journeys to North Dakota in the 1880s, with the intention of painting a portrait of the legendary Sioux chief Sitting Bull. Upon arrival, she encounters hostility and roadblocks at every turn, especially in the form of male soldiers who believe that her liberal sensibilities have no place in the Wild West. Sam Rockwell gives a stand-out performance as a U.S. Army Officer who becomes Catherine’s greatest adversary. It isn’t until she is welcomed into the chief’s world that she realizes there are larger issues at stake than merely capturing his image for posterity. And yet, Sitting Bull comes to realize the symbolic and fateful importance of that portrait.

Woman Walks Ahead offers a stirring look at an unlikely friendship, the importance of fighting for what is right, and the beginning of a movement. It tells a little-known story of a courageous woman and a key moment in American history. Director Susanna White delivers a lush, wide-screen, big-sky, American-landscape picture. It’s a pleasure to watch and an inspiration to take home with you.

Woman Walks Ahead is available for streaming on Amazon Prime.

Woman Walks Ahead
Woman Walks Ahead

Comedy

There are not usually a lot of comedies at Tribeca. But when they are there, they are often very good. In 2016, one of my favorite films was the comedy My Blind Brother (now available on Amazon Prime and iTunes). This year, one of my favorite films is another comedy:

Song of Back and Neck, U.S. Narrative

This film follows Fred (Paul Lieberstein), a hapless man, on a journey to find a cure for his chronic back pain. Along the way, he discovers a very unusual talent and unexpected love, and that his emotions may have been the cause of his pain all along. The core joke is that when Fred goes to an acupuncturist, the needles in his back vibrate like tuning forks and make music. This is an odd-ball comedy. But that key joke introduces an amazing array of music into the film – from classical to folk to punk. Helen Highly anticipates the excellent soundtrack (if it ever were to be distributed). You could almost call this a music movie. And the romantic comedy component is unconventional enough to be fun and unpredictable. It’s wry, smart comedy, despite how strange the story sounds. And the film has a lot of heart, too. Plus, it has an unexpected and excellent ending, and endings are usually the hardest part of a movie to get right. The ending of this movie will make you laugh and clap and cheer.

Song of Back and Neck
Song of Back and Neck

In addition to staring in the film, Lieberstein (best known for his work on The Office) also directs and produces. And he delivers a weird, wacky, utterly delightful film.

Song of Back and Neck is available for streaming on Amazon Prime.

Fashion

Yeah, I’m giving fashion it’s own category. Three excellent fashion films to see. If you’re interested in art or artists, these films are for you too.

For more on all these fashion films, plus a few more from last year, with more trailers, and where to see them now, check out my “Fashion Films from Tribeca” article.

Yellow is Forbidden, Feature Documentary

Recognition from Paris’s Chambre Syndicale de la Haute Couture is considered the apex of the fashion industry, and Chinese designer Guo Pei is determined to reach it. With a remarkable eye for detail and exquisite blending of visual art forms, veteran documentarian Pietra Brettkelly captures Guo’s drive, artistry, meticulousness, and acumen, from the designer’s emergence on the international scene—when Rihanna wore her hand-embroidered canary yellow gown to the Met Gala in 2015—through her remarkable 2017 show “Legend,” presented at La Conciergerie, in Paris.

Yellow is Forbidden
Yellow is Forbidden

Along the way, Brettkelly reveals the myriad opposing forces that confront Guo’s ambitions: those of tradition versus modernity; acceptance versus prejudice; and ensuring a thriving business versus pursuing more expensive and exclusive techniques. She also highlights the pressures China’s economic and political rise places on its individual artisans—as Guo puts it, “I’m a designer, not a nation.” Nevertheless, Guo thrives amid these challenges, establishing herself as a singularly capable and uncompromising warrior for her art. With loving fidelity for Guo’s work, Brettkelly depicts both the process and the fashion itself, resulting in a timely examination of what it takes for an outsider to earn acclaim from one of the West’s most redoubtable institutions.

Click here to watch the trailer for Yellow is Forbidden

The Gospel According to Andre, Feature Documentary

André Leon Talley—unmistakable in his regal stature, his fiercely original way with words, and his incomparable historical knowledge of couture—has been a fixture of the fashion world for more than 40 years. A mentee of the legendary editor Diana Vreeland, Talley called Vogue home for years; he served as news director, creative director, and, finally, editor-at-large, until 2013. As he drifts effortlessly from the front row at fashion weeks across the globe to television appearances and New York Times assignments, one begins to wonder how such an original as Talley came to be.

In Kate Novack’s film, the viewer is invited back to his childhood in Jim Crow-era North Carolina. His beloved grandmother, Bennie, raised him, schooling him in decorum, religion, and, unsurprisingly, how to dress, sparking an early and powerful love for all things fashion. This led him to New York City, where he battled—and continues to battle—both racist and homophobic assumptions about black men in the industry. Novack pulls back the curtain on this towering icon, revealing new and vulnerable moments with Talley—as well as hilarious ones—as he discusses his storied career and the women who helped him achieve it.

McQueen, Feature Documentary

Beginning with his modest upbringing in London, Lee Alexander McQueen quickly ascended the ranks of the international fashion world. After graduating from Central Saint Martins and establishing his eponymous label, McQueen became head designer of Givenchy at age 27 and went on to win the Fashion Awards’ (then the British Fashion Awards) prize for British Designer of the Year four times. His theatrical runway shows and daring designs existed on the cutting edge of ’90s fashion, his controversial and confrontational work earning him equal attention from fans and detractors alike. At the same time, he also forged a friendship with the influential stylist Isabella Blow, cultivating an intimate relationship that would last until her death in 2007. As McQueen’s star rose, so did the pressure, and accompanying anxiety, to constantly strive for ever greater heights of genius.

McQueen documentary
McQueen documentary

Ian Bonhôte and Peter Ettedgui’s documentary tells McQueen’s story through the testimonials from his closest friends and family. Featuring personal archives extending back to the earliest days of his career, as well as dynamic footage of his most boundary-pushing shows and creations, McQueen offers a portrait of the tortured but inspired auteur’s work and persona.

Click here to see the McQueen Documentary Trailer.

But Wait There’s More

I know this seems like an awfully long list of movies, but compared to the ginormous collection at TFF2018, these really are just the tip of the iceberg. And I haven’t even discussed all the other narrative media at the festival. I’ll just add two more notes:

The whisper is that this is The Year of the Short at Tribeca — both short animations and short films. It’s an impressive list and I have barely started watching them myself, but I highly encourage you to check out the Shorts Lineup — billed as “short films, major stories.”

Love, GIlda at Tribeca
Love, GIlda at Tribeca

And then, the big pictures of the fest are the Opening, Centerpiece, and Closing films. This year, the Opening Night film is Love, Gilda– a Gilda Radner documentary. The Centerpiece film is the world premiere of Drake Doremus’ sci-fi romance Zoe, starring Ewan McGregor, Léa Seydoux, Rashida Jones, and Theo James. And they are closing the festival with the world premiere of The Fourth Estate, from Oscar-nominated director Liz Garbus, which follows the New York Times‘ coverage of the Trump administration’s first year. Those are all movies that will not disappear, but Tribeca offers you the opportunity to be among the first to see them.

 

 

 

Violent-Young-Men Movies: “The Dinner,” “Sweet Virginia,” “Super Dark Times,” and “The Gray State”

Violent-Young-Men Movies: Teenage Sociopaths Are Everywhere!

by HelenHighly

The fresh batch of films coming out of Tribeca2017 seems to have a violent teenage psychopath every time you turn around. What turns our young men into crazy killers? At the same time as a slew of documentaries and true-life tales are depicting the courage and moral fortitude of actual young men around the world, responding to terrorism and war with bravery – going to extraordinary lengths to save lives, we get a bunch of “thriller” films that depict American young men as narcissistic psychopaths who revel in bloody violence. On one hand there is City of Ghosts, Dabka, and When God Sleeps, for starters – peace-seeking films about heroism abroad, and on the other is The Dinner, Super Dark Times, Sweet Virginia, and even The Gray State, all featuring violence-obsessed middle-class Americans. Is there a cultural connection? Helen is Highly contemplating the significance of this, while I write some short reviews of these Tribeca thrillers:

Shahin Najafi in WHEN GOD SLEEPS. Photo credit: Khelghat.
Shahin Najafi in WHEN GOD SLEEPS. Photo credit: Khelghat.

I’ll start with The Dinner, directed by Oren Moverman – an intelligent thriller, starring big-names Richard Gere and Laura Linney, which is a well-made, well-balanced film that is an adaptation of the Herman Koch bestseller (first published in the Netherlands in 2009 but now smoothly re-made into an all-American tale). The film begins as a kind of Who’s Afraid of Virginia Woolf-ish gentil sit-down between two well-dressed and well-mannered couples, and with smart editing and sophisticated structure, it skillfully reveals the violent underpinnings to this story. The film’s layers and complexity make it engrossing. I also will say here that the performances are all stellar, including the other two leads, Steve Coogan and Rebecca Hall. And the cinematography is top-notch, which adds to the startling revelations and juxtaposition of civility and brutality.

This may be the most thoughtful of these violent-young-men movies, with a serious and nuanced nod to the challenges of mental illness. But that mental illness does not belong to the violent young man whose horrific actions are at the center of the tale. Is the teenage son turned into a violent sociopath by his father’s badly-controlled rage, despite being otherwise surrounded by a supportive and nurturing family, and an especially close relationship with his mother?

Steve Coogan as Paul Lohman, Richard Gere as Stan Lohman, Rebecca Hallas Katelyn Lohman, and Laura Linney as Claire Lohnman in THE DINNER. Photo courtesy of The Orchard.
Steve Coogan as Paul Lohman, Richard Gere as Stan Lohman, Rebecca Hallas Katelyn Lohman, and Laura Linney as Claire Lohnman in THE DINNER. Photo courtesy of The Orchard.

Is that really how sociopaths are built? And if not, then… what? I guess the teen boy could have inherited some mental illness from his father, but the father’s behavior is closely detailed and scrutinized, while the son shows no early signs of imbalance – until this one spectacular act of terror. I left thinking that was the weak point of an otherwise intelligent movie. Maybe I am underestimating the suddenness with which severe mental illness can manifest. But the movie does not fill in the blanks, so I am left to contemplate just another ordinary, brutal teenage boy.

FYI, it is no spoiler to tell that there is deadly violence in this film, because the true story is about if/why/how the parents will deal with it and/or cover it up. This is not an original idea. We have seen the likes of it before in films such as The Deep End, where a mother and/or father struggle with the moral issues involved in parenting a murderer. Still, Helen does recommend this film (leaving out the Highly), if you are in the mood for a literate and complex family-drama / crime-thriller.

BUT: Back to my larger topic. That’s one violent-boy-culture movie. Now the next:

Sweet Virginia: This movie is as thoughtless and superficial as The Dinner is layered and complex. As I said in my mini-review, Director Jamie M. Dagg delivers a Cohen-Brothers-wanna-be movie that fails miserably (and I mean miserably literally – wretched to sit through). I don’t care about any of the characters, and Christopher Abbott is no Javier Bardem. Calling the pacing lethargic is kind. And the lighting is bad too (annoyingly dark, since I guess the filmmakers couldn’t manage to portray emotional darkness).

Jon Bernthal as Sam and Chris Abbott as Elwood in SWEET VIRGINIA. Photographer: Jessica Gagne.

The odd thing is that this movie does take time, during its dull and sluggish storyline, to give us some specific detail about the predator – his father, his mother, his personal troubles and dreams. And it still adds up to a big, empty nothing. (And at some point it is suggested that all that info was false anyway.) No insight. No appeal. Just a young guy with a gun who cares not who he kills or why. The epitome of Violent Boy Culture.

Unfortunately, when I watched this film, I was not able to obtain my always-preferred end-seat, so I was stuck in the middle and therefore trapped; I had to sit this movie all the way through. Otherwise, I would have bailed by the halfway mark. Helen Highly recommends that, if you go, you have a good escape route.

Super Dark Times: There seems to be something inherently menacing about teenage boys – rural-suburban teenage boys in particular. In the opening scenes of this movie, directed by Kevin Phillips, we see our key players demonstrate how over-sexed, aggressive, uneducated, bored, and rude they are. They have a callous curiosity about death. I guess these are the type who kill cats for fun. But these boys don’t do that; they kill people instead – “friends” in fact. It starts out as a single-death accident that they decide for-no-good-reason-other-than-stupidity to cover up. Then things get out of control.

Actually, this film could have been a sensitive coming-of-age tragedy. The young actors are quite good and there are inklings of emotional depth. But the filmmakers went for the thrills and gore instead. There is no apparent rhyme or reason. This serial killer is just… another kid next door who develops a taste for blood. It’s dark times; get ready for the end of the world. I would call this genre a 90’s chiller.

Owen Campbell as Zach, Charlie Tahan as Josh, Max Talisman as Daryl, and Sawyer Barth as Charlie in SUPER DARK TIMES. Photo by Eli Born.

And, now that I think about it, the movie starts with … I think… an enormous, bloody and dying moose sprawled out on a classroom floor at middle school. The way the director shows it, we first see a vague bloody carcass on the school floor (can’t tell what it is and assume it’s a person), with police and students gathered around, in horror. This raises to mind the mass shootings around the country at numerous schools… an association that is brought to the audience’s mind and then discarded and totally ignored for the rest of the film. We never see or hear of that moose ever again. Kevin Phillips, please meet Anton Chekhov (re gun in the first act).

And finally: A Gray State, a documentary directed by Erik Nelson and executive produced by Werner Herzog. This is a completely fascinating film and astoundingly true tale that takes you on a wild ride with surprising twists and turns, even if you already read about this story in the news. In 2010 David Crowley, an Iraq war veteran, aspiring filmmaker and charismatic up-and-coming voice in fringe politics, began production on his fictional film Gray State. Set in a dystopian near-future where civil liberties are trampled by an unrestrained federal government, the film’s crowd-funded trailer was enthusiastically received by the burgeoning online community of Libertarians, Tea Party activists and members of the nascent alt-right. In January of 2015, Crowley was found dead with his family in their Minnesota home. Their shocking deaths quickly become a cause célèbre for conspiracy theorists who speculate that Crowley was assassinated by a shadowy government concerned about a film and filmmaker that were getting too close to the truth about its aims.

The documentary carries appropriately weighty seriousness, but it also shrewdly includes a touch of macabre humor – a kind of delightful brutality, which illustrates a component of this violent-young-men mentality. The movie is meticulously thorough and fully investigates the why and what and how of the story (which is perhaps a conspiracy wrapped in an enigma). It’s a film within a film, a documentary with a thriller structure, which I love, when it’s done right, which it is here. I won’t get into the quicksand of outlining the plot, but I will mention that it also takes place in American, middle-class, suburbia, with nice homes, in a Minnesota town actually called Apple Valley.

David Crowley, self portrait, October 2014, two months before murders. Film still from A GRAY STATE. Photo credit: David Crowley.
David Crowley, self portrait, October 2014, two months before murders. Film still from A GRAY STATE. Photo credit: David Crowley.

And whatever way you look at it (and the film offers a range of mind-boggling and emotionally charged perspectives) … no matter the tragically true earnestness of the film, it ends with a double-murder-suicide by a young man. It’s a thoughtful film that addresses the Violent Boy Culture head on, at the least, and goes well beyond to explore the glamorization of the military, especially to boys, and the paranoid “they’re coming to get you” belief system that has run rampant in this country. Click here to watch the infamous trailer to the film within the film, which had a seductive appeal to many other violent young men.

The documentary also suggests legitimate mental illness as a possible contributing factor to Crowley’s bloody end (although… not every mentally ill teen necessarily turns into a killer). But if you really want to consider what is wrong with our young men, this is a good movie to see. And it’s easy and almost entertaining to watch.

Click below to see the “viral” trailer that attracted so many military-obsessed young men:

I have not seen all the films at Tribeca this year, and not even read about all of them, so there are likely even more than these few films that are based on Young Male Predators. In fact, there is one in particular that I can think of, which definitely fits this “genre” of Violent Young Men in new American films, but I don’t want to give a spoiler by revealing that the male lead is a killer. But let’s just say… yet another thriller with a young male killer (this time with religious undertones). But, it feels like I see one of these Violent-Young-Men movies every day, and I’m sure it says something sad and dangerous about American society. I can only add, that by my count, there are even more films this year about young heroism (in societies not-American). Unfortunately, it’s the spooky movies that follow you home and haunt you.

 

 

“Get Me Roger Stone” Film Review: Get Your Hate On!

Get Me Roger Stone: Get Your Hate On!

by HelenHighly

Hey, all you angry progressive liberals, this is your film – to engage your rage. Hey, all you angry lovers of noble and decent democracy, this is your film – to reinforce your sense of injustice. Hey all you morally conscious idealists who imagine a level political field and fair play, get ready to get your hate on! And ALSO all you Republicans, and Libertarians, and you stubborn Trump-defenders: this film is full of quotable, self-satisfying defenses sure to infuriate your naïve, liberal friends who love to hate on you. There is something for every political animal in this movie. And animal may be the key word in that sentence. Because Get Me Roger Stone, a documentary directed by Morgan PehmeDylan Bank, and Daniel DiMauro,  explores the ruthless beast of modern American politics (and its vicious political operatives, especially the notorious Roger Stone). And yet it’s also a bit of a fun romp. The film’s world premier is at the Tribeca 2017 Film Festival, and it debuts May 12 on Netflix.

BIG NEWS 2018 (click): Get Me Roger Stone Documentary Filmmaker Linked to Trump Russian Collusion Story

Roger Stone in GET ME ROGER STONE. Photo credit: Barbara Nitke/Netflix.

Calling Roger Stone a scoundrel would be like calling the Dalai Lama a nice guy. But be careful before you start getting outraged, because this guy LOVES to be hated. The film begins with Donald Trump giving his acceptance speak at the Republican National Convention (a scary-dark speech, according to many), where he assured America that only he alone could fix what was broken with the system. (“The American Dream is dead. But I will bring it back.”) And there is a shot of Roger Stone, sitting in the shadowy stage wings, watching, with a self-satisfied smile. Donald Trump has never seemed so naïve. After watching this movie, you actually might feel sorry for him. You think Trump was Putin’s puppet? Roger Stone insists he was the puppet master.

That’s what is “fun” about this film. It’s made by guys who Stone himself mocks as “liberal

roger stone tux
Roger Stone is a Roger Stone production.

filmmakers who can’t be trusted,” even as he cheerfully allows them to follow him around, and he sits down (posed theatrically beside a martini) and “confesses” all his delightfully evil doings. “I was a jockey looking for a horse,” Stone says, “and Trump was a prime piece of horseflesh.” Ouch. No wonder Trump finally fired him. Trump doesn’t like to be upstaged, and Roger Stone could steal the screen from Jack Nicholson and Robert Deniro combined. Someone in the film calls Stone a “bodybuilding dandy,” and that’s the least of it. Roger Stone puts the sin in sinister. (For a comprehensive guide to all of Roger Stone’s egregious acts, click here.)

In the film, we learn of Roger Stone’s associations with the likes of Richard Nixon, Ronald

Roger Stone's tattoo of Nixon
Roger Stone’s tattoo of Nixon

Reagan, Alex Jones, Paul Manafort and even the almost-iconic Roy Cohen, whose name is “synonymous with demagoguery, fear mongering, and intimidation.” Cohen was once Trump’s lawyer, btw, and he’s the one who introduced Stone to Trump. It was a match made in … heaven. (Stone would lobby for “hell,” just to increase the drama, but he personally is in paradise as the center of this movie.) He himself says, “Better to be infamous than never famous at all.” And someone else explains, “Roger Stone was a pure Roger Stone production.”

In the film, we hear Roger Stone called, “a sleaze ball,” a “malevolent Forrest Gump,” “evil,” soulless,” “reprehensible,” the original “dirty trickster,” “crazy and wrong and racist,” – all from respectable mouths. And every accusation is demonstrated and validated with rock-solid evidence from recent political history, including direct acknowledgements from some of his co-conspirators. And Stone is entirely unapologetic. Roger himself seems to delight in detailing his own, dark and nefarious power-plays. Its almost like he’s using this expose’ to further fuel his own mythology.

Still, there is no getting around what a truly malignant cancer this man’s life has been, and the serious damage he has done to America (even if you voted for Donald Trump). And this movie succinctly covers the timeline from when the Republican Party was known for its Eisenhower-esque straight-laced earnestness to the “new alt-right,” who fights dirty in order to win at all costs, and who believes that “morality is a synonym for weakness” and deserving of contempt. And there is Roger Stone, a part of every step along that vile timeline, loving you for hating him for personally forging that trail, or so he wants you to believe. It is highly likely, or at least quite possible, that Roger was a mere leech, clinging to and sucking the blood from a much larger beast. Or, if he’s right (and he has a successful track record to boost his credibility), he’s a genius and we’re his lucky sucker-beneficiaries. I am reminded, for some reason, of Bob Dylan’s famous line:

“Everybody must get Stoned!”

In this film, Bob Dylan gets his wish. But overall, it’s a grim reality, and frightening, if you stop to think about it, and these filmmakers manage to make it watchable by playing on its inherent Hollywood charisma, which was of course crafted by Roger Stone himself. It’s a political documentary operating as a horror film (or is it the other way around?) And you even get to hear Roger enumerate what he has defined as the Four Stages of Fame, as well as his list of Roger’s Rules. And if you are at all holding onto any hope that the worst of Donald Trump were “misstatements” by him or “fake news” by others, it’s definitely worth watching this film that will very logically and convincingly cut away any sense of faith or hope that you have.

Trump with Young Stone and Old Stone
Trump with Young Stone and Old Stone

Not really worth paying $17 or more to see in the movie theater (as you’ve seen much of it play out recently on the TV news), but definitely watchable on Netflix. Have some booze handy, to help numb the pain, but I promise you that this film tells the story of a train wreck from which you will not look away. There are no suggestions for remedying the problem, only a bleak-to-the-point-of-absurdity view of the sad state of our union. At the least, it will give you lots of topics to talk about at the water cooler.


It’s not over yet. In today’s New Yorker, regular contributor Jeffrey Toobin, who is also interviewed extensively in the film Get Me Roger Stone, and contributes some of the most amusing comments, now writes a detailed article about the film and the Stone-Trump-Nixon connection. Helen’s review is Highly impulsive, but if you want the nitty-gritty from an insider expert, click here to check out Toobin’s article.

BIG NEWS 2018 (click): Get Me Roger Stone Documentary Filmmaker Linked to Trump Russian Collusion Story

Tribeca 2017 Reviews: What to See and Skip: Helen Highly Brief

Tribeca 2017 Glimpse: What to See and Skip: Helen Highly Brief

by HelenHighly

I am working on some of my typically long, in-depth essays about several of the films that are being screened at Tribeca Film Festival 2017, but I thought I’d post a short and sweet overview / glimpse that might be of use to people in New York who may actually be choosing which films to see. At the least, here’s a brief taste of mini reviews of several of this year’s flicks:

Favorites So Far:

A film still from CITY OF GHOSTS. Courtesy of Amazon Studios.

City of Ghosts: “There is a death threat against me on a social media channel… that belongs to ISIS.” — spoken by the actual guy who is in this film even as he is still fearing for his life and mourning the murders of his forced-into-activism comrades. A feature documentary directed by Matthew Heineman. The fearless citizen-journalists of “Raqqa is Being Slaughtered Silently” (RBSS) risk their lives on a daily basis to document and expose the atrocities of the Islamic State in their home city of Raqqa, Syria.

I think this may be the best film of the festival. It features the actual young men in the middle of this story – no re-enactments. This is the real thing. It’s both a powerful story and a tremendously well-made film. It shows you first-hand how “whoever holds the camera is strongest,” and the real war against ISIS is being fought online. This is what a documentary should be – important and captivating and thought-provoking and shocking and inspiring. It will leave you breathless, and less horrified at how low humans can go than you are proud of how great humans can be in the face of adversity. There are many films coming out now from or about the Middle East, but City of Ghosts is a Must-See.

Abdi (Barkhad Abdi) and Jay (Evan Peters) waiting to interview a pirate in DABKA. Photographer: Jasyn Howes.

Dabka: A feature narrative, based on a true story, directed by Bryan Buckley. This tells the story of rookie journalist, Jay Bahadur (played beautifully by Evan Peters), who has an inspiring chance-encounter with his journalist idol (played by Al Pacino, in a smart performance that is a refreshing reminder of what an excellent actor he is). There are many reasons to admire this film, but one personal point of appreciation is the emphatic way that Al Pacino yells, “Fuck Harvard!” (just saying) Anyway: This young, crazy-ambitious wanna-be-journalist uproots his life and moves to Somalia looking for the story of a lifetime. Hooking up with a local fixer, he attempts to embed himself with the local Somali pirates, only to find himself quickly over his head. Yet his risk-taking adventure ultimately brought the world an unprecedented first-person account of the pirates of Somalia (that the major news outlets were literally afraid to cover) and influenced international politics with its genuine insight into real life in Somalia.

It’s the kind of film I love – about being a writer, and also about living a daring life. Plus, it reinforces the belief that I have long held – that people should not be judged by their governments, or by the radical extremists that terrorize them into submission (before going on to terrorize others).

Ittetsu Nemoto in Nagoya, Japan. Film still from THE DEPARTURE, directed by Lana Wilson, 2017. Photo credit: Emily Topper.

The Departure: A feature documentary directed by Lana Wilson. The film offers an intimate portrait of one quietly extraordinary man – a modern-day Buddhist priest renowned for counseling and saving the lives of suicidal people. But this priest, suffering from heart disease and supporting his wife and young son, risks his life carrying the heavy emotional load needed to support those who no longer want to live. Not the least bit maudlin or depressing, this film poetically explores what it means to be human and to be alive. One of my favorite lines from the film: When confronted with a woman who feels her life has no meaning, he says “Does a river have a meaning?”

These You Can Skip:

Dog Years, with Burt Reynolds, playing an aging movie star unable to accept his increasing irrelevance, who is forced to confront… blah blah blah. The only thing interesting about this movie is that Burt Reynolds is “playing” a role and pretending to be someone other than himself. Otherwise, painfully cliched and horrifically adorable. Dear Burt: Two words – Sunset Boulevard. Unless you can deliver a dead guy floating in a swimming pool (rather than a chubby, tattooed hipster chick who needs boyfriend advice more than Gloria Swanson needs her close-up) … give us a break.

Take Me and Hounds of Love. See my other article about two films-to-miss that feature blondes bound in basements.

Vic Edwards (Burt Reynolds) and Ariel Winter (Lil) share a moment at McDougal’s Pub in DOG YEARS. Photo by Bob Franklin.

Sweet Virgina, a Cohen-Brothers-wanna-be thriller, with just-plain-bad lighting and a lethargic pace, that has not-even-close-to-Tarantino blood-soaked violence that is too boring to even be gruesome. Christopher Abbott is no Javier Bardem. And… do I really need to say more about beautiful blondes (not yet bound in basement, but certainly at risk)? I will say that the one bit I enjoyed is the Lyle-Lovett-ish ugly/sexy rodeo-rider history of the male hero. (A longer review in part of my “Violent-Young-Men Movies” article.)

Super Dark Times: No

More Quick Yeses:

Aardvark: Yes

The Dinner: Yes (A longer review in part of my “Violent-Young-Men Movies” article.)

When God Sleeps: Yes

AlphaGO: Yes

Chuck: Surprisingly, yes!

Buster’s Mal Heart: Oddly, yes.

A Gray State: A deeply, darkly, disturbing YES. (A longer review in part of my “Violent-Young-Men Movies” article.)

“Clive Davis: The Soundtrack of Our Lives” – That’s Entertainment!

by HelenHighly

The opening night film at Tribeca Film Festival 2017 was Clive Davis: The Soundtrack of Our Lives, directed by Chris Perkel – in his directorial debut. The new film premiered at Madison Square Garden, followed by a live performance by several of the musical greats featured in the film – Aretha Franklin, Jennifer Hudson, Earth Wind & Fire, Barry Manilow, Carly Simon, and Dionne Warwick. Quite a splashy opening for “downtown” Tribeca. First question is always: Why is this the opening night film and is it justified? I have previously found fault with such choices, because they are often made with profit-making motives taking precedence over artistic merit or relevance of subject, but in this case, I am surprised to report: Yes, this was a good choice, and worthy.

A young Clive Davis

Helen Highly Recommends this film despite some red-flag causes for concern. First, the film, named Soundtrack of Our Lives, is based on the Clive Davis autobiography titled Soundtrack of My Life. When a documentary biopic is essentially written by the subject, one does not expect much serious investigative journalism, and honestly, we do not receive much (or any) investigative reporting, nor shocking revelations or even new insights. There are not even any fresh, gossipy tales. But I will concede that just because there is no groundbreaking news in this film… well, sometimes really good entertainment is more the right answer than “real art.”

“He discovered Earth Wind & Fire – not the band, the elements.” – Bill Maher

I might snidely refer to this as a “fan film,” with nothing but laudatory gushing, and no teeth, but what stops me is the immensely true statement in the press release, calling this movie “ceaselessly entertaining;” this is truly a joy to watch. And what becomes interesting is that the biggest fan in this film is the protagonist himself; he became the all-time greatest music man by being one of the all-time great fans of his musical clients. This is a story of a truly legendary man with “golden ears,” who touched nearly every stage in the history of modern American music, in a story that largely takes place in New York City, which is important in qualifying the film as appropriate for opening the Tribeca Film Festival –a quintessentially a New York institution. Clive Davis’ Arista Records was the center of New York life at a critical time in the development of the city and its artists. At one point in his career, Clive was being pushed out of Arista – the company he created and built, and in this movie, we hear Carly Simon speak about that, saying:

 “Taking Clive Davis out of Arista is like taking Manhattan out of New York.”

Hell, even one of the most tough-minded and beloved New Yorkers, the profound, “punk poet laureate” and truth-speaking goddess of rock, who penned the anthem “People Have the Power,” Patti Smith, is in this movie, expressing admiration and gratitude to Clive Davis. And we get to hear her sing, “Because the Night.” Right there – that’s worth the price of admission.

Patti Smith
Patti Smith

And here is the bottom line: MUSIC! Lots and lots of lots of fascinating and spectacular and wondrous and truly historical and genuinely joyous musical footage by seemingly all of America’s greatest musicians and singers. And really, who needs to know if Clive Davis had any seedy sexual or corrupt business encounters in his career? Who needs an understory to be dug up? This is more than a tribute film; this is a Legacy Movie. And Man, this man has created a legacy to define the word legacy.

Clive Davis and Janis Joplin
Clive Davis and Janis Joplin

The first shot in the movie is of Janis Joplin singing. That surprised me! I really had no idea that it was Clive Davis who “discovered” Janis Joplin. In fact, last year I wrote rather in-depth commentary about a documentary about Joplin, Janis Joplin: Little Girl Blue, which Helen still Highly Recommends, and that film talks about how Janis joined Big Brother and the Holding Company, and when she played with them at the Monterey Pop Festival in 1967, her rendition of “Ball and Chain” made her an instant sensation (and in my words, “blew the collective minds of the audience.”) But that movie did not mention that Clive Davis, the newly-named head of Columbia Records – a lawyer (from NYU) who essentially came out of nowhere, with no musical background, to be handed that title, was in the audience (wearing white pants and a tennis sweater, if anyone doubts his good-boy, straight-guy image), and he signed Janis to a contract the next day – Clive’s first artist.

In this movie, unlike in the Janis doc, we actually get to hear Joplin sing that all-time-great rendition of “Ball and Chain,” as well as “Piece of My Heart.” In this film, Clive describes how “she was hypnotic,” and “I felt my arms tingle,” and most importantly, how he recognized Joplin – and rock ‘n roll – as a musical revolution – far ahead of some important others who wrongly predicted that rock ‘n roll would be a short-lived trend and who were still focusing their attention (and backing) on traditional, middle-of-the-road music.

Clive Davis and Whitney Houston
Clive Davis and Whitney Houston

The movie ends with the death of Whitney Houston, who we all know was “almost like a daughter” to Clive. We get to read a heartbreaking letter he wrote to Whitney, trying to persuade her to get help for her addictions. And we also get to see Clive first introducing Whitney on The Merv Griffin Show, when she was a mere child. The rise and fall of Whitney Houston to some extent serves as the arc of the story of the film, and it adds some needed gravitas. I thought they handled her story with appropriate sensitivity and yet didn’t get too bogged down in it.

Clive Davis and Bruce Springsteen
Clive Davis and Bruce Springsteen

But, sentimentality aside, the true story of Clive Davis’ life is the story of five decades of American music – from the 60’s to hip-hop. The list is crazy-long – not just stunning for whose career was touched (and made, or re-made) by Clive Davis, but for who the filmmakers got to appear in this movie and what musical footage they were able to include. The list starts with Janis Joplin and includes Simon and Garfunkel, Steven Tyler of Aerosmith, Santana, Blood Sweat & Tears, The Kinks, Barry Manilow, Bruce Springsteen, Aretha Franklin, Dionne Warwick, Brooks & Dunn, Bob Dylan, Chicago, Carly Simon, Whitney Houston (of course), The Thompson Twins, Sean “Puffy” Combs, and even the Grateful Dead. Yup, Clive was determined to be the guy who would finally bring some commercial success to this cult-band. And he did. And there is Bob Weir (!) talking about it.

The Grateful Dead, 1970
The Grateful Dead, 1970

And then there is Barry Manilow. Who knew Barry Manilow was ever sexy or seemed hot? Well, apparently, he was, in the old days – after Clive found him and persuaded him to sing some songs he didn’t write himself so that he could make some hits. There is a clip of Barry Manilow singing “I Can’t Smile Without You,” and watching it, I myself could not stop smiling.

Barry Manilow
Barry Manilow

There is also an amusing clip of Bill Maher, who says of Clive, “He discovered Earth Wind & Fire – not the band, the elements.” Ha! And what is so much fun about this movie is that there is a film clip of almost everyone who was anyone, including some real gems of little-seen musical footage. They pulled together an impressive list of Who’s Who to do interviews for the documentary, but they smartly chose to cut those interviews into short quotes, squeezed in between a relentless songbook of great music. So, while there is actually no “story” per se, the movie is fast-paced and bright and uplifting – all about the tremendous potential and love and enthusiasm that Clive Davis saw and recognized and felt and brought to the world.

At one point, Simon Cowell, a star-maker in his own right, says, “Deep down we all wanted to be Clive Davis – to turn a singer into a superstar.” Clive could miraculously pick the truly special songs and singers, and he could turn them into chart-topping hits and all-time-greats. With his renowned passion and perfectionism, and a modest amount of magic, Clive served as a conduit between us and the talents of artists that even they had not recognized. Tired of Donald Trump depression? Go see this joyful film! It will renew your faith in humanity.


News: There is so much great music in this film, it’s no surprise that Apple has purchased the Clive Davis Documentary Soundtrack of Our Lives

Take Me

“Take Me” and “Hounds of Love” Film Reviews: Blondes-Bound-in-Basement Movies

Take Me and Hounds of Love:
Blondes-Bound-in-Basement Movies

by HelenHighly
Take Me
Blonde Bound in Basement, in Take Me

There are two films I’ve seen so far at TribecaFilm Festival 2017 that have very significant similarities – they both center around a pretty blonde woman getting kidnapped, tied up, stuffed into someone’s basement, and abused. Both are also directorial debuts, btw. One is called Hounds of Love, an Australian drama written and directed by Ben Young. The other is called Take Me, an American film written by Mike Makowsky and directed by Pat Healy (who also plays the leading role). That movie lets the audience figure out if it is a crime thriller or a slapstick farce.

Sorry, but I walked out on Hounds of Love after the first scene (blonde bound in basement), thinking I could just as easily go home and watch an episode of Law & Order SVU (which I loathe). It started with some nubile young women playing tennis at an outdoor tennis court, with a couple parked in a car nearby lasciviously watching, while creepy music played.  Couple offers naive girl a ride home on such a hot day, which she hesitantly accepts, and cut to terrified and brutalized blonde bound in basement.  That’s where I cut out. Okay, so that’s a totally biased non-review based on only one scene. But… go watch it at your peril.  Variety insists that “brave audiences will be rewarded,” although I also see the word “harrowing” in the first paragraph, along with “serial killer.” Apologies again, but I cannot even bear to read the full review.

From Hounds of Love: She looked better in her tennis outfit.

But I will write a review of the other blonde-bound-in-basement film, Take Me. I will start by saying that I’ve always hated stories (usually comedies) that are based entirely on one simple misunderstanding or single sentence that goes unsaid. All the ensuing anguish and supposed hilarity is based on someone not saying or doing the obvious thing at the obvious time. Usually this takes the form of overstretched “irony” – when the audience knows something that the characters don’t. And then we must wait and watch as they stumble around and figure out what they really should have known from the start.

emojiC'mon

Well, Take Me manages to do the same annoying thing, but with suspense instead of irony – leaving the audience waiting to find out something that, in the end, we realize was something that never would have happened, even in the “comical” world that the movie is presenting. Helen Highly objects to this type of cheap trick. If you’re going to withhold information in order to create suspense, then it should be something of substance, or at least something that makes sense.

And SPOLIER ALERT: There is no such thing as a spoiler alert when the story is already rotten. But still, I will not tell how the movie ends. I will only tell where it falls apart (which is pretty much at the start).

So, I’m going to say the magic words that would have made this story impossible, and as a result rendered this awkward and distasteful tale completely impotent. We know everything we need to know from the first scene, and if the writer/director would have used the least amount of common sense in allowing that scene (and its related ones) to play out as they reasonably would have, these two words would have spared us all from a frustrating and grossly unpleasant 84 minutes. Are you ready?

Here are the unspoken and unwritten words: Notarized Signature.

The first scene takes place in a bank, where Ray Moody (Pat Healy) is trying to get a business loan for his “wacky” (hideous) business of abduction-for-hire. Yes, he kidnaps people upon their request for therapy and/or amusement – whatever the customer wants. For example, we later see Ray brutally kidnap a fat guy, tie him up and berate him as Ray force feeds the willing abductee twelve giant sloppy cheeseburgers. This is a “therapy” scenario where, in theory, the horror and disgust of the experience will scare the fat guy thin and make him never want to eat a juicy cheeseburger again.

But back to the very first scene – the bank scene. The very reasonable and not-at-all slapstick loan officer conducts a logical interview with Ray Moody, including asking about a lawsuit against him in another state in which there was some terrible misunderstanding between Ray and one of his kidnapped clients. Ray assures her that his business practices are now entirely professional, fully legal,  and carefully regulated, and that would never happen again.

Cut to his new client who wants Ray to break protocol and kidnap and then physically hurt her – just for fun, we guess. She wants to be slapped. (Aaaah, I guess that then qualifies this movie as slapstick comedy?) Ray objects, because that could be misconstrued as illegal. He insists, with a false sense of integrity, that he does not do physical harm (only psychological torture). But she entices him by offering him lots of money, which we know he needs because he did not get the bank loan. Thus, Ray reluctantly agrees to kidnap and hold this woman for nine times longer than his normal limit (3 days vs 8 hrs) and to hurt her physically (very dangerous territory). One would assume — having just watched that bank scene — that Ray would prepare with not only due-diligence but extreme-diligence in vetting this client, protecting himself, and keeping everything lawsuit-free.

And yet…. the big point of suspense that drives this entire movie is whether or not this woman (Taylor Schilling) truly wanted to be kidnapped and slapped around or if she and Ray have been tricked, which would make her a true victim and him a true criminal. Is she brilliantly playing her designated part when she begs for mercy and insists that she never invited this incident? Or is she sincere when she pleads with Ray to investigate the supposed client, which she swears is not her? Ray calls her phone number, but it’s been disconnected. Uh-oh. Ray shows her the contract that she signed and faxed to him. She responds by writing out her true signature, which looks nothing like the signature on the contract. Oops! Has Ray been punked? Or is she a mastermind wanna-be victim?

Take Me: Is he an idiot or an idiot?
Take Me: Is he an idiot or an idiot?

Well… honestly, this film was so unfunny and uninteresting that I couldn’t care less. But still… how could I not think to myself that this whole quandary would never have existed if Ray had only asked for a notarized signature on his contract?  Then he’d know for sure who was hiring him. And, after all, his practices had been challenged before, and he had learned his lesson and assured the bank’s loan officer that now he took every precaution — every precaution except the most obvious and simple one, apparently. Sigh.emojiSigh

Ray is hapless but not stupid. (We know he is hapless because he wears a bad wig with no embarrassment. Just one example of how painfully not funny this movie is.) But he clearly is educated and comes from a good family with a lovely suburban house. He puts an awful lot of effort and apparent expertise into executing his kidnappings (and has even done psychological research), as well as advertising them on his own self-designed website, and in his attempted funding of his business, which included an oddly practical and professional presentation at the bank.

Why wouldn’t he put the bare minimum of effort into the “paperwork” of this especially risky and lucrative project? It’s the internet age. He doesn’t do a background check on his kidnapping client? But forget that; why wouldn’t he at least get an assurance of a legitimate siemojiArghgnature from his client on the contract that would be the one thing that defines him as a businessman and not a violent criminal? The supposed “comedy” of this movie is that he is actually a businessman who only seems like a criminal. And no, that’s not a spoiler; that’s the premise. So… he should do business like a businessman! Get a friggin authorized signature on your contract for your authorized kidnapping!

Here is my point: Ray would know to get a notarized signature. He definitely would know that. I can only assume that it’s the young and inexperienced writer of this movie, Mike Makowsky, who does not know about such things, and he lets his ignorance be the vehicle for driving this movie. Not good.

I could easily object to the offensive nature of the subject matter of this movie. But I’m not even gonna go there, because first it needs to be a movie, and it’s not. Helen Highly takes offense at the faulty execution of a self-proclaimed thriller that does not understand how suspense should operate.

But, if you doubt me… you go ahead and watch this movie to find out iemojiNof this blonde chick really wanted to be tortured or if someone else wanted to have her tortured. The press release asks the audience to wonder: Is this a crime thriller or a slapstick comedy? Helen Highly declares it is neither; it is just a waste of time (and a poor excuse for having a beautiful blonde bound in the basement).

Follow-Up Advice:

  • When making important contracts with strangers, always have the signature notarized.
  • Just on general principle, stay away from films that center around some pretty blonde woman being beaten up.
  • And please please you film PR companies: Stop calling every would-be psycho-thriller “Hitchcockian.” Just casting a blonde lead does not make a director Hitchcock. And using cheesy, weak “suspense” also does not make a director Hitchcock. Have a little respect.

 

Bright Lights: Carrie Fisher and Debbie Reynolds

Carrie Fisher & Debbie Reynolds Obituary & “Bright Lights” Film Review

Combo Obituary & Film Review:
Bright Lights: Starring Carrie Fisher and Debbie Reynolds

by HelenHighly
Bright Lights: Carrie Fisher and Debbie Reynolds
Bright Lights: Carrie Fisher and Debbie Reynolds

In the HBO documentary, Bright Lights: Starring Carrie Fisher and Debbie Reynolds, a film that depicts the most famous (and most notorious) mother-daughter duo of all time, which debuted at Cannes and was also presented at the 2016 New York Film Festival, Carrie Fisher, weary from the ongoing self-examination (and public scrutiny) of a complicated life that included fame from birth, bipolar disorder, addiction, sensational stardom in her own right, impressive amounts of both accomplishment and ridicule, and a spectacular array of variously disastrous and glorious events, all survived with her renowned wit and tenacity…  Carrie Fisher says “You know what would be really good? To get to the end of my personality and just lie in the sun.” Carrie Fisher died unexpectedly yesterday – 12/27/16, at the age of 60, and I take comfort in believing that she has finally gotten to the end of her personality and is now somewhere lying in the sun and resting in peace. There is no one who deserves that more. (Heart-wrenching update: Debbie Reynolds has now died from a stroke, just one day after her daughter died from a heart attack. Reynolds was a singer, dancer and actress who started her career as a teenager.)

It’s a mother and child reunion, as Carrie’s ex would say.

Carrie Fisher
Carrie Fisher: Once She Was Beautiful

In the film, Bright Lights, directed by Alexis Bloom and Fisher Stevens, Carrie Fisher and her mother Debbie Reynolds are shown to live next door to each other – in memorabilia-packed homes worthy of preservation by the Smithsonian Institute – and seem to have genuinely and lovingly overcome their many adversities and, most importantly, their adversarial relationship with each other. Both iconic women, with fame spanning from Singin’ in the Rain to Star Warssix decades on stage and screen, have lived in the spotlight all their lives, including the film Postcards from the Edge, which was based on Carrie Fisher’s best-selling semi-autobiographical book about her rocky relationship with her mother (in which the two are appropriately portrayed by another two showbiz legends, Meryl Streep and Shirley MacLaine, respectively). And yet in this documentary film, Bright Lights, Carrie and Debbie open up in surprisingly candid and casual ways. It is a rare and wonderful look into the hearts and day-to-day lives of two genuine Greats and also two genuine Train Wrecks who have an unbreakable bond. And now, after their deaths, this film is the best possible tribute to both of them. It is sort of a love letter they wrote to each other.

Carrie Fisher Debbie Reynolds
Carrie Fisher with Her Mother Debbie Reynolds

Plus, it’s hilarious! Don’t even think for a minute about sappy or overly-laudatory. In truth, I was expecting more painfully clever and self-deprecating self-analysis, of the kind that made up Fisher’s 2008 memoir and then live show, Wishful Drinking. But this film is something else altogether. It is touching without being maudlin and it is uplifting without being pretentious. It is outright JOYFUL. It is a sort of montage – out of order, without narration (but with lots of fresh interviews), that bounces through a bounty of colorful, lively, glamorous, quirky, and musical moments, which add up to something oddly inspiring. When is the last time you saw a movie that made you glad to have lived every difficult, distressing moment of your life? This is it.

The film is laden with quotable quips. It film opens with old 16-mm family-movie footage and Debbie Reynolds insisting that Carrie had a happy childhood. “I have the films to prove it,” she says. Carrie suggests that maybe the footage is fake: “I don’t buy it.” Debbie replies, “You never bought anything I said.”

Carrie Fisher as a child with her mother Debbie Reynolds
Carrie Fisher as a child with her mother Debbie Reynolds

At one point, Debbie muses, “I should have married Burt Reynolds. I wouldn’t have had to change my name, and we could have shared wigs.” Ha!

Later, Debbie – age 83 at the time of filming, tells how she still cannot give up show business; it is her life, even though she can barely make it through each performance. She describes how one show literally left her lying on the floor. Carrie adds, “but in a good, dignified movie-star way.” Debbie justifies with, “The only way to get through life is to fight.” Carrie explains,

“Age is horrible for all of us, but she falls from a greater height.”

The fact that Carrie Fisher has died before the wide release of the film by HBO and just one day before her mother is a bit of a stunner. Because much of the film is about the increasing fragility of Fisher’s mother, Debbie Reynolds, and how they are both dealing with the impending end of that still-singing life. The final moments of the movie document the two as Reynolds is about to receive the 2014 Screen Actors Guild Life Achievement Award, and how her weakening health puts her live attendance at the show in jeopardy. Fisher, with breaking heart, goes to great length to make the live appearance happen.

Carrie Fisher and her mother Debbie Reynolds
Carrie Fisher and her mother Debbie Reynolds

And not only that, Carrie joins her mother on stage and sings. She shows her beautiful voice, which earlier in the film Reynolds had bragged about and revealed how much she loved, after which Fisher confessed that it was her big act of rebellion – to not make a career of singing, as a way of frustrating her mother. But there they are on screen, in their truly golden years, singing together, and it is marvelous.

Helen Highly Recommended this documentary when she first saw it at NYFF2016, but now more than ever it’s a must-see. Perhaps HBO will decide to present it sooner than its original March air-date, due to these recent deaths. (Update: HBO has announced that the film will air next week!) But it is a triumphant testimony to the power of love to overcome adversity and pain. These women did it. If they could, perhaps we can too.

I link now to the essay I wrote about Carrie Fisher last year, titled “Carrie Fisher and The Star Wars Review I Couldn’t Write.” I had been assigned to write a movie review of the new Star Wars movie, but I realized I had nothing to say about it. I did, however, have some thoughts about Carrie Fisher’s body and how she had aged. I kept those thoughts between me and my friend who accompanied me to the movie… until I read about the huge twitter war that had erupted over all the tweets about Carrie Fisher’s body, and her reaction to those tweets, followed by a New York Post article that brought the petty but ongoing battle to the main stage and gave it national attention. The episode turned into a feminist cause.

In my essay, I spoke at times directly to Carrie, (If you will only click your heels three times, you will see that you had already won this twitter war before it began), and I would have loved to know that she read my comments, although I doubt she did. But that essay seems more relevant now than at the time I wrote it. It is a kind of career review and tribute to Carrie Fisher – a nod to her wit and nobility, as well as her brilliantly imperfect humanity.

The Beloved "Star Wars" Trilogy
The Beloved “Star Wars” Trilogy

I will finish with another quote from Bright Lights, in which Carrie references her ongoing battle with her weight. “My question is, if you die when you’re fat, are you a fat ghost, or do they go back to a more flattering time?” Carrie, I think you will be a bright and dazzling ghost, no matter the size. You will always be remembered and always be loved. That much I know. And I hope your ghost will be at peace, lying in the sun. Debbie Reynolds: I can see you already, singing in heaven.

Read: Carrie Fisher and the Star Wars Review I Couldn’t Write

Watch the Bright Lights documentary trailer:


News: Debbie Reynolds has died of a stroke, just one day after her daughter Carrie Fisher died of a heart attack. All of our hearts are broken! Read about it here.

News: HBO has announced the film will air next week.

Did you know Carrie Fisher was on the cover of Rolling Stone — twice?

Carrie Fisher in Rolling Stone
Carrie Fisher in Rolling Stone magazine

More About “Command and Control”: Arms Race in Space

Command and Control Film Commentary Part 3:
Masters of Space

Continued from “Helen’s Own Highly Explosive Nuclear Crisis,” inspired by the documentary film Command and Control, by Robert Kenner and Eric Schlosser

by HelenHighly

This bomb is not from my childhood. This bomb is in the future, and it’s heading straight toward us all. It’s vast and more deadly than anything that has come before. I’m talking about real-life star wars – an arms race in outer space. You think that’s a joke? Think again: the militarization of space. Consider this quote from General Joseph W. Ashy, the former Commander-in-Chief of the U.S. Space Command – a statement he made to Aviation Week and Space Technology in 1996:

“It’s politically sensitive, but it’s going to happen. Some people don’t want to hear this, and it sure isn’t in vogue, but absolutely we’re going to fight in space.” He explains further, “We’re going to fight from space, and we’re going to fight into space. That’s why the U.S. has development programs in directed energy and hit-to-kill mechanisms. We will engage terrestrial targets someday – ships, airplanes, land targets – from space.”

To appreciate the threat, and the secrecy surrounding the threat, we need to go back for a little more history. Wikipedia again:

“’The Outer Space Treaty’ …was opened for signature in the United States, the United Kingdom, and the Soviet Union on 27 January 1967, and entered into force on 10 October 1967. …The Outer Space Treaty represents the basic legal framework of international space law. Among its principles, it bars states …from placing weapons of mass destruction in orbit of Earth, installing them on the Moon or any other celestial body, or otherwise stationing them in outer space. It exclusively limits the use of the Moon and other celestial bodies to peaceful purposes and expressly prohibits their use for testing weapons of any kind, conducting military maneuvers, or establishing military bases, installations, and fortifications. The treaty also states that the exploration of outer space shall be done to benefit all countries and shall be free for exploration and use by all the States,” and that “outer space, including the Moon and other celestial bodies, is not subject to national appropriation by claim of sovereignty, by means of use or occupation, or by any other means.”

Got it? That’s the official international law about outer space. The United States was one of the three key players who initiated it – back in 1967. But now read this, from Third World Traveler:

“On November 1, 2000 the General Assembly of the United Nations voted to reaffirm the Outer Space Treaty – the fundamental international law that establishes that space should be reserved for peaceful uses. Almost 140 nations voted for the resolution entitled ‘Prevention of an Arms Race in Outer Space.’ It recognizes ‘the common interest of all mankind in the exploration and use of outer space for peaceful purposes,’ and declares ‘that prevention of an arms race in outer space would avert a grave danger for international peace and security.’

Only two nations declined to support this bill – the United States and Israel. Both abstained. For the United States, the issue goes way beyond missile defense. The U.S. military explicitly says it wants to ‘control’ space to protect its economic interests and establish superiority over the world.

“Several documents reveal the plans. Take ‘Vision for 2020,’ a 1996 report of the U.S. Space Command, which ‘coordinates the use of Army, Navy, and Air Force space forces’ and was set up in 1985 to ‘help institutionalize the use of space.’ The multicolored cover of ‘Vision for 2020’ shows a weapon shooting a laser beam from space and zapping a target below.

“The report opens with the following: ‘U.S. Space Command – dominating the space dimension of military operations to protect U.S. interests and investment. Integrating Space Forces into warfighting capabilities across the full spectrum of conflict. A century ago, Nations built navies to protect and enhance their commercial interests by ruling the seas,’ the report notes. ‘Now it is time to rule space.’

The medium of space is the fourth medium of warfare-along with land, sea, and air,” it proclaims on page three. “The emerging synergy of space superiority with land, sea, and air superiority will lead to Full Spectrum Dominance.”

The Air Force publishes similar pamphlets. Nuclear power is crucial to this scenario. ‘In the next two decades, new technologies will allow the fielding of space-based weapons of devastating effectiveness to be used to deliver energy and mass as force projection in tactical and strategic conflict,’ says ‘New World Vistas: Air and Space Power for the 21st Century,’ a 1996 U.S. Air Force board report.

“The PR. spin is that the U.S. military push into space is about ‘missile defense’ or defense of U.S. space satellites. But the volumes of material coming out of the military are concerned mainly with offense – with using space to establish military domination over the world below.

“Even the Council on Foreign Relations – usually characterized as centrist, has come on board. In 1998, it published a booklet entitled ‘Space, Commerce, and National Security,’ written by Air Force Colonel Frank Klotz, a military fellow at the Council. ‘The most immediate task of the United States in the years ahead is to sustain and extend its leadership in the increasingly intertwined fields of military and commercial space. This requires a robust and continuous presence in space,’ says the report. …The U.S. government is pouring massive amounts of public money – an estimated $6 billion a year, not counting what is secretly spent – into the military development of space.”

For the record, unlike all the other info I have presented in my Command and Control film commentary series, the above text comes from a website that is not owned and operated by the U.S. government, and I have not fully fact-checked its veracity. Thus, it is perhaps not as shockingly, without-a-doubt true as all the other information I have reported. So… you may be suspicious of it, as you wish (and investigate further as you see fit).

But, in conclusion, I will end this seemingly endless essay, that started with a review of the Command and Control movie, with this stunning and absolutely legitimate quote from Nobel Peace Prize Winner and Secretary-General of the U.N. from 1997-2006, Kofi Annan:

“Above all, we must guard against the misuse of outer space,” Kofi Annan said as he opened the 1999 U.N. conference on space militarization in Vienna.

“We must not allow this century, so plagued with war and suffering, to pass on its legacy, when the technology at our disposal will be even more awesome. We cannot view the expanse of space as another battleground for our Earthly conflicts.”

But, in only the first quarter of the new century, that is exactly what the U.S. military is doing.


Click here to read Helen’s synopsis and review of the Command and Control documentary.

 

“Command and Control” Commentary Continued: Helen’s Own Highly Explosive Nuclear Crisis

Commentary Part 2: Command and Control film by Kenner and Schlosser

A Nuclear Bomb Explodes in My Childhood

by HelenHighly
A Man on the Moon: The Space Age
A Man on the Moon: The Space Age

I was “a space-age baby.” That’s what my mother wrote in my baby album. I grew up being told the story of when we were in the hospital after she gave birth to me: There was this amazing few minutes when all the infants were left alone, even if they were crying, and all the nurses and mothers (along with millions of other Americans) turned to the TV to watch The First American be Launched into Space. It was a spectacular, patriotic event, and my father helped to make it possible.

First American in Space
First American in Space
My Life Is Good. My Life Is Fine.
My Life Is Good. My Life Is Fine.

This was May 5th 1961 – 4 days after I was born – birthed under the very same sky in which Alan Shepard made glorious history. I was born into the glamorous realm of NASA’s Cape Canaveral, where my father worked, and where America’s bright future was being engineered. Later that same month in 1961, President Kennedy would announce the ambitious goal of sending an American to the moon. This was the Space Age; America was conquering the cosmos. What a great time to be born.

My Dad Was a Rocket Scientist
My Dad Was a Rocket Scientist

I grew up saying “My father was a rocket scientist.” Ha! He never talked about the details, and I was only a baby at the time anyway. But as I grew older, I always knew that those days at NASA were my father’s glory days. Being part of that program meant so much to him. He was not a religious man, but … somehow NASA was that miraculous concept that was larger than us all – some mix of Wondrous Possibility and Great Human Achievement and American Patriotism and… The Right Stuff.  He was a believer.

FYI, The Right Stuff is a 1983 American, dramatic film about the seven pilots who were selected to be the astronauts for Project Mercury, the first manned spaceflight by the United States. The film goes behind the prepackaged image of unblemished saints we knew through the media to find imperfect human beings who were actually even more heroic when seen in full light. In 2013 the film was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant.”

The Right Stuff movie poster
The Right Stuff movie poster

1983, the year The Right Stuff was released, was the year I graduated from college. I recall phoning Dad to talk about the film. My father was notoriously difficult to please and stubbornly, perhaps excessively, patriotic. (He disliked the TV show M∗A∗S∗H for being disrespectful to the U.S. military and making light of America’s mission.) So I thought to myself, after seeing The Right Stuff, that my father would finally be happy that a Hollywood movie presented the American space program as so courageous and heroic. What did Dad think of the movie? Well, he was offended by the depiction of the astronauts as anything other than absolute, through-and-through American patriots.

How about Apollo 13,  the 1995 film by Ron Howard, starring Tom Hanks (two indisputably all-American figures)? In this movie, which depicts a true event from 1970, the spacecraft malfunctions, putting the lives of the three astronauts on board in jeopardy, and NASA devises a brilliant-under-pressure strategy to return Apollo 13 and its astronauts safely to Earth. My father’s take: “There was that one character at Command Center who was a naysayer and had a bad attitude; that is inaccurate. That man did not exist and no one like that would ever have worked for NASA. Every single person who worked there, down to the janitors, were nothing but proud to be there. And no one had a cynical attitude; these were the best and the brightest. It is un-American to suggest otherwise.”

Apollo 13 movie poster
Apollo 13 movie poster

Well, those were fictionalized accounts of history, and my father was not only a purist but a scientist at heart. He did not appreciate the artistic necessity of creating dramatic conflict, which (he was correct) likely did not accurately depict the precise details of what happened. So, although he seemed somewhat dogmatic, I acknowledge (and am proud) that he himself was truly an unwaveringly honorable man. He did not entertain doubts about his principles; he lived a life of relentless integrity and commitment. So, was it too much for him to expect others to do the same? My father was a man who did indeed deserve true respect, and it was understandable that he would perceive others as matching his own image.

“It is Highly Likely that Helen was less of a space-age baby and more of a weapons-of-mass-destruction baby.”

Command and Control is a documentary that has been meticulously researched by a proven truth-teller. Coincidentally (it seemed), I learned from the movie that there was another major aeronautic event that occurred the same year of my birth. Almost no one knew about it (no one outside of the government), because the information was kept classified until 2013. At that period in 1961 – The Cold War in full swing, the United States had B-52 bombers in the air 24 hours a day, ready to emojiWhoaattack the Soviet Union. On January 24, 1961, a B-52 bomber that was carrying two nuclear bombs developed a fuel leak and broke apart mid-air over Goldsboro, North Carolina, dropping its bombs in the process. The size of each bomb was more than 250 times the destructive power of the Hiroshima bomb.

B-52 Bomber
B-52 Bomber

Five of the six arming mechanisms on one of the bombs activated. In other words, every safety mechanism on the bomb failed, except one simple “arm/safe” switch (a flip-switch, like a light switch). If that switch had been on the equivalent of “on” when the bomb hit the ground, a thermonuclear explosion would have destroyed much of North Carolina and spread lethal radioactive fallout that would have killed most of the citizens of Washington, Philadelphia and New York. Btw, that type of safety switch was later found to be defective in other weapons. In fact, the same switch was found to be in the “arm” position on the second bomb that fell that day, although some other lucky accident prevented that bomb from detonating.

B-52 Drops its Bombs
B-52 Drops its Bombs

Thus, the nearest America had come to a nuclear catastrophe was not the Cuban Missile Crisis of 1962, as my parents had told me it was, vividly recounting the experience of our family living so close to the enemy at such a dangerous time. The far closer nuclear catastrophe was an undisclosed incident the year before, when America’s own bomb almost detonated over our own country. Plus, three airmen did die during this incident. Schlosser has been credited with unearthing this “lost” bit of history, which is now being made into its own movie. Kenner includes the incident in his film to further illustrate one of his core messages, which is that we are so much better at creating complex technological systems than we are at controlling them.

Only Rocket Science... Not War
Only Rocket Science… Not War

I wonder what my father would have said about that story and its implications, if he had known about it. It didn’t occur to me that my father might have known about the B-52 bomber incident when it happened. Why would he? How would he? That was the military – not NASA.

Okay, technically, my father was not actually employed by NASA. He worked for Martin Marietta (now defunct, having merged with Lockheed Corp). They were an aerospace contractor company that worked for NASA and were responsible for building the Titan missile. I mention this because both of those names –  Martin Marietta and Titan – had been buried 50-years-deep in my memory and only popped up recently when I heard them mentioned in this movie.

Titan II Blasts Off
Titan II Rocket Blasts Off From its Underground Silo

It was the name Martin Marietta that struck me first. Where had I heard that before? “Oh! That was the company my father worked for at Cape Canaveral. That makes sense because, ya know, those aerospace contractors get around.” And then, as I was recalling that detail, I also remembered … “Isn’t Titan the name of the rocket Dad worked on? Well, that’s obviously a coincidence (or maybe I just remember it wrong), because Dad’s Titan was early 60’s in Florida and this film takes place in 1980 in Arkansas.”

(pause) “But wait. I do remember the name Titan. So…why would the emojiDuhAir Force be ‘stealing’ a name from NASA? They are completely separate parts of the U.S. Government; one is military and the other civilian. I mean, this is not like some pop star naming her new song the same as some old song. This is the United States government. You’d think they’d keep careful track of stuff like that.”

Sidebar: On the subject of re-using old names, what is up with this … trend? … where a new movie uses the name of an old movie, and it’s not a remake? There were at least three films in the TFF this year that come immediately to mind. I’m looking at you Detour, Magnus, and Untouchable. Well, that stuff seems to be no biggie in the entertainment world, but … NASA?

Helen Highly Hurting
Helen Highly Hurting

So I went home and did a little Googling. And in the process…
a series of nuclear bombs exploded in my childhood. 

Thus, now I am telling:

Helen’s Highly Upsetting Spin-Off Documentary: Contradict and Conspire

I Thought I Knew But I Didn't
I Thought I Knew But I Didn’t

This much history I knew:  As written by Wikipedia, “President Dwight D. Eisenhower established the National Aeronautics and Space Administration (NASA) in 1958 with a distinctly civilian (rather than military) orientation, encouraging peaceful applications in space science.”

But when I started looking, it was not at all difficult to find evidence that contradicted that widely-believed statement and also seemed to implicate my father in misrepresenting his role. I now realize that he, in fact, did not work for NASA; he worked at NASA for the U.S. Air Force.

1st Bomb: NASA was never truly a civilian organization, nor was its purpose peaceful.emojiWhatThe

2nd Bomb: The space race and the arms race were essentially the same thing, and they both were largely a response to Sputnik.

3rd Bomb: The Titan missile, which my father helped develop while working at Cape Canaveral, was first and foremost created as a delivery mechanism for nuclear warheads (not as a booster for manned space capsules), and it played a key role in the U.S./Soviet arms race well into the 80’s.emojiNoooo

4th Bomb: It is Highly likely that Helen was less of a space-age baby and more of a weapons-of-mass-destruction baby.

The first bomb that hit me came from NASA’s own website, in detailing the background of the agency:

“The two sources of the U.S. space program were the military services and the National Advisory Committee for Aeronautics (NACA). Charted by Congress in 1915, NACA was authorized to ‘supervise and direct the scientific study of the problems of flight.’

The final meeting of NACA, before being absorbed into NASA.
The final meeting of NACA, before being absorbed into NASA.

“After World War II, NACA began moving into new fields. The Committee authorized work in such new fields as rocket propulsion, nuclear propulsion, hypersonic flight, and exploration of the upper atmosphere. While NACA was conducting research programs in the upper atmosphere, the [military] services were exploring the military uses of space. …The Cold War atmosphere revived interest in ballistic weapons. Specifically, by 1953… scientists and the Air Force… had concluded independently that an intercontinental ballistic missile (ICBM) was technically feasible. In early 1954… [it was] recommended that the United States undertake an ICBM program on a highest-priority basis. By the end of 1955, all three [military] services had ballistic missile programs: The Air Force was developing Atlas and Titan ICBMs.”

Titan I ICBM
Titan I ICBM

Kaboom. It was the date that hit me.

Helen Highly Shocked

The U.S. Department of the Interior’s website spelled it out: “In October 1955, the Air Force contracted with the Glenn L. Martin Company [later Martin Marietta] to produce a new ICBM called the Titan. It was the first in a series of Titan rockets and was an important step in building the Air Force’s nuclear deterrent strategy.” So, the Titan missile was being developed by the Air Force (not NASA), before NASA even existed.

From Rockets’ Red Glare to Mushroom-Cloud

It is interesting to note why and how rockets, in particular, became military instruments. This is something else I recently learned while sitting at my computer.

Star Spangled Bombs
Star Spangled Bombs

Another result of a Google search was an article on the Smithsonian’s Air & Space website titled, “The Rockets That Inspired Francis Scott Key.” This is a bit of a tangential sidebar, but it is worth noting that the word “rocket” has been associated with U.S. warfare for as long as we have been a country, and it is included in our national anthem. The article is short and worth reading, but for our purposes, it clarifies that the rockets to which Francis Scott Key referred were little more than fireworks, not at all like modern missiles.

The Flag Was Still There
The Flag Was Still There

“Propelled by gunpowder, rockets had a range of barely a few hundred feet and were wildly unpredictable in flight… The kind fired against Fort McHenry on September 13 and 14, 1814… carried an incendiary mixture” intended to start a fire inside the fort. So, no one was going to destroy an entire civilization with those. Those relatively innocuous and sparkling “rockets” make me think of the romantic “sky rockets in flight” from the 70’s pop song “Afternoon Delight.”

The H-Bomb
The H-Bomb

It was during World War II that America advanced to building a fantastically lethal bomb – the atomic bomb. But, due to the weight of an A-bomb, there was little prospect of them being carried by rockets. However, a DOI website explains, “in 1949, when the Soviet Union developed its atomic bomb, America responded with an even more powerful weapon — a thermonuclear device that used a small atomic trigger to initiate a fusion reaction in hydrogen isotopes. Successfully tested in 1952, the H-bomb seemed to guarantee America’s nuclear superiority.” The H-bomb was not only more powerful than the atomic bomb, but also much lighter.

Then, in August 1953, the Soviets exploded their own H-bomb. And, it was revealed that the Soviets were making considerable headway with a missile development program that was based on German expertise obtained after WWII; years ahead of U.S. expectations, the Soviets were creating the world’s first intercontinental ballistic missile. ICBMs are missiles with a minimum range of more than 5,500 kilometers (3,400 miles). With an ICBM, the Soviets would not need to fly a plane (such as a B-52 bomber) over U.S. territory in order to drop a bomb on our country. U.S. military experts became extremely worried that the Soviets could soon deliver the H-bomb via an ICBM.

The Race Was On!
The Race Was On!

For the first time, the Soviets seemed poised to surpass the United States in military might, and the race was on. To match the newly revealed Soviet missile programs, President Eisenhower made the U.S. ICBM programs a top priority, and to gain intelligence on the Soviet R&D effort, he did the same with the U.S. spy satellite program. Because it now planned to use reconnaissance satellites in the near future, the U.S. had to modify its policy on the peaceful use of space. What started out as “nonmilitary” became “nonaggressive.”

On January 7, 1954, President Eisenhower delivered his first State of the Union address to the Nation. After declaring that “American freedom is threatened so long as the Communist conspiracy exists in its present scope, power and hostility,” the President outlined his plans for defending the Nation against that threat. “We will not be aggressors,” he said, “but we . . . have and will maintain a massive capability to strike back.” In June of that year, Vice Chief of Staff General Thomas D. White ordered the Air Research and Development Command “to proceed with the development of an ICBM at the highest speed possible, limited only by the advancement of technology in the various fields concerned.”

From Rockets’ Red Scare to Sputnik

The U.S. Department of the Interior (DOI) eloquently details what happened next: “On October 4, 1957, the Soviet Union successfully launched into orbit the world’s first artificial satellite, Sputnik.

Sputnik
Sputnik

Ham radio operators in the eastern United States turned their dials to lower frequency bands and anxiously listened as the 184-pound Sputnik emitted a mechanical ‘. . . beep . . . beep . . . beep . . .’ while passing overhead. Other radio operators quickly recorded the broadcast and, within hours, Americans in their living rooms heard Sputnik’s transmission via radio and television news flashes. The message seemed to confirm America’s worst fears: The Soviets had technologically surpassed the United States and gained supremacy of outer space. In the United States, one headline proclaimed: ‘U.S. Must Catch Up with Reds or We’re Dead.’

Arms Race = Space Race
Arms Race = Space Race

“In truth, the significance of the successful launching was not so much Sputnik, but the huge Soviet rocket that hurled the satellite into space. With Sputnik… the Soviets demonstrated the ability of their SS-6 launcher to propel a missile toward a target thousands of miles away. Four years earlier, the Soviets exploded the H-bomb. Now, the frightening prospect of a Soviet missile delivering a nuclear bomb to an American city in less than an hour revived what some called a ‘Pearl Harbor atmosphere’ throughout the United States.”

Intense Fear
Intense Fear

My father had repeatedly told me stories about Sputnik. I grew up hearing about the dark shadow it cast over America – the demoralization and trepidation it caused, and the dangerous shift in world power that it represented. Suddenly, it began to make sense to me that for the rest of his life, my father was a militant Commie-Hater (which was unusual for an east-coast Jew). He was endlessly passionate about the threat of the Soviet Union. He was even a semi-supporter of McCarthyism.emojiTrustNoOne

(He said he thought McCarthy was misunderstood, and his fears were accurate even if his techniques went too far. Communist propaganda was infiltrating America through movies and TV, my father believed, which is why he taught us, his children, to think analytically and independently – to understand the principles of logic in order to discern the truth.)

The Russians Beat Us Into Space
The Russians Beat Us Into Space

But my father never explained that he had a personal connection that fueled his passion – that he had lived and worked in the heart of the fight against a very-tangible Red Threat. He never mentioned that NASA was the center of that fight. Aaah… tectonic plates began shifting underneath me.

The website continues: “Within six months after Sputnik, the Nation’s space research and development budget mushroomed from an average half billion dollars a year to more than $10.5 billion.” That’s twenty times more money, flying at supersonic speed into the arms race.

Better Dead Than Red
Better Dead Than Red

Next up in this explosive timeline: The U.S. government needed to scramble to offset the Sputnik humiliation and associated media frenzy. The Vanguard rocket was intended to be the first launch vehicle the United States would use to place a satellite into orbit. But it was still a highly experimental system. It wasn’t ready. Nonetheless, the government decided to push the Vanguard into speedy completion and launch. On December 6, 1957, with the whole world watching, the Vanguard exploded on its launch pad.

Curiously, this historical detail my father never mentioned to me. I may have once heard about it in a movie, but the name “Vanguard” didn’t mean anything to me. But now I know: This disaster became a symbol of failure for the U.S. space program.

The Russians Beat Us Into Space
Symbol of Failure for the U.S. Space Program

Remember, at this point, the U.S. space program was a combined but generally uncoordinated effort between the multiple military services and NACA. And the government contractor in the center of it all –the company that had built Vanguard and was building the Titan, was The Martin Company, which later became Martin Marietta, and would employ my father, and would build the Titan II, which was that missile that exploded in Arkansas in 1980. In learning these details, I couldn’t help but notice the remarkable continuity between the pre-NASA and NASA eras.

Back to 1957: The Sputnik launch and the Vanguard fiasco were tremendous blows to U.S. prestige, and the events generated significant fear and outrage among the American public and its political leaders. President Eisenhower, bowing to Congressional and public pressure, recognized the need for a centralized space program and policy.

Thus Came NASAemojiWord

These are the events that birthed NASA. NASA was created in direct response to the rocket that put the 184-pound Sputnik into orbit, giving it profound military potential. NASA was the result of the failed U.S. military infrastructure that seemed incapable of keeping up the space race, which I now understand was the same thing as the arms race.

command space race

The Air University, which is “the Intellectual and Leadership Center of the Air Force,” writes on its website: “To avoid the difficulties experienced with Vanguard, which many blamed on faulty management and lack of unified direction, the government created a new agency to solidify national space policy” – NASA.

Even Wikipedia cannot fail to mention the relationship between Sputnik and NASA: “The National Aeronautics and Space Act of 1958 is the United States federal statute that created the National Aeronautics and Space Administration (NASA). The Act, which followed close on the heels of the Soviet Union’s launch of Sputnik, was drafted by the United States House Select Committee on Astronautics and Space Exploration and on July 29, 1958 was signed by President Eisenhower. Prior to enactment, the responsibility for space exploration was deemed primarily a military venture, in line with the Soviet model that had launched the first orbital satellite.”

“‘Civilian’ and ‘military’ are not the same as ‘peaceful’ and ‘non-peaceful.’Kaboom!”

NASA and the DOD: Governmental Incest

The original 1958 act charged NASA with conducting the aeronautical and space activities of the United States “so as to contribute materially to one or more of the following objectives:” Most of the listed objectives emojiSoBoringsay what we all have believed is true about NASA – “expansion of human knowledge,” “peaceful and scientific purposes,” yada yada. But then, if you keep reading, you find “The making available to agencies directly concerned with national defenses of discoveries that have military value or significance,” and “The most effective utilization of the scientific and engineering resources of the United States, with close cooperation among all interested agencies of the United States in order to avoid unnecessary duplication of effort, facilities, and equipment.”

So… that says, essentially… NASA does the research and shares it with the military. And there should be no duplication of efforts, which means that whatever militarization of space that “national defenses” want, they simply must ask NASA to do it, so as not to be redundant. Thus, calling NASA a civilian organization is a very limited description of its original charter, which only loosely and ambiguously separated it from the military. And even that slippery, original charter lasted about ten minutes before it was challenged by the Air Force and revised by Congress.

Air University Air Command confirms, “Within its original charter, there was only a vaguely defined relationship with the military. Congress, on the other hand, envisioned a strong military role in space and wished to modify NASA’s relationship with the military. To this end, Congress created the Civilian-Military Liaison Committee, to coordinate NASA and Department of Defense (DOD) activities and keep NASA and the DOD ‘fully and currently informed’ of each other’s space activities.”

NASA’s website explains further: “Neither the Administration bill nor the Space Act settled the matter of one national space program or two. Once it became clear that the agency would be civilian controlled, Department of Defense officials dropped overt opposition to NASA, instead concentrating on making it respond to their needs. The Air Force found NASA something it could live with; top officials saw the agency as merely NACA enlarged and somewhat strengthened but still responsive to Air Force interests and a convenient location for noncompetitive military projects. …At the same time, the Administration bill contained emojiWTFalmost nothing about coordinating military and civilian programs and provided no solution for the jurisdictional conflicts that were bound to arise” and essentially “negated the distinction between civilian and military programs.

Elsewhere, NASA’s website details: “The military space program moved through overlapping phases from 1959 to 1961. First, the most promising ARPA (Advanced Research Projects Agency) projects were turned over to the [military] services; the Air Force was made responsible for ballistic missile development in 1959, for military space development generally in 1961, and for military support of NASA in 1962.” command kennedy

So, yes, despite President Kennedy’s publicly promoting a vigorous, non-military aerospace program and placing the weight and prestige of his office squarely behind the national goal of a manned lunar landing, he also in that same year “assigned to the Air Force responsibility for research, development, test, and engineering of Department of Defense space development programs.” And those programs were taking place at Cape Canaveral, using the same launch pads and test sites, and to the general public, they had the same look and feel as Peaceful NASA.

In fact, it turns out that the location itself reveals the incestuous relationship between NASA and the Air Force. Cape Canaveral (known as Cape Kennedy from 1963 to 1973 – in honor of President Kennedy’s promise of peaceful space exploration) was not even the true home to NASA that it seemed to be. In his book Florida Warplanes, Harold Skaarup writes, “Cape Canaveral Air Force Station (CCAFS) is an installation of the United States Air Force Space Command’s 45th Space Wing, headquartered at nearby Patrick Airforce Base. Located on Cape Canaveral in the State of Florida, CCAFS is the primary launch head of America’s Eastern Range… The Cape Canaveral AFS Skid Strip provides a 10,000 foot runway close to the launch complexes for military airlift aircraft delivering heavy and outsized payloads to the Cape.

Missile Row at Cape Canaveral
Missile Row at Cape Canaveral

“Several major American space exploration ‘firsts’ were launched from CCFAS, including the first U.S. earth satellite (1958), first U.S. astronaut

Launch from Cape Canaveral
Launch from Cape Canaveral

(1961), first U.S. astronaut in orbit (1962), first two-man U.S. spacecraft (1964), the first unmanned lunar landing (1966)…” etc etc. “Air Force crews launched missiles for NASA from CCAFS. …Titan missiles were launched from the site… and launch pads along the coast became to be known as Missile Row in the 1960s.”

So… the home of NASA was within an Air Force Base and was largely operated by the Air Force. And just as human incest carries the danger of birthing unhealthy children, this relationship birthed a highly dangerous and enormously unhealthy offspring.

On another page of NASA’s vast website, it reports: “What were the elements comprising the NASA-DOD relationship? In at least four ways their interests impinged on each other: common technologies; NASA’s continuation of NACA’s support of military aeronautics; NASA’s overwhelming dependence in its early years on the launch vehicles and ground support provided by the Air Force; and the persistent attempts by the Air Force to investigate the military applications of space. …As to common technology, there is no discontinuity between civilian and military R&D. …A launch vehicle is only a modified ballistic missile, and it cannot be overstated that NASA relied on vehicles successfully developed by the Air Force between 1954 and 1959, notably the Atlas, Thor, and Titan ballistic missiles in their original or modified versions. …Indeed, few areas of NASA’s R&D were without military application. …The transformation of NACA into NASA did not affect its role in supporting research for the military, except to blur the distinction between support and coordination.

I could go on and on. The evidence that is available is extensive, widely emojiMikeDropreported, and amazingly consistent. But perhaps the most shocking and succinct statement that defines the relationship between the military and NASA was again on NASA’s own history website: “It is as well, then, to set aside preconceptions. ‘Civilian’ and ‘military’ are not the same as ‘peaceful’ and ‘non-peaceful.’” Kaboom!

The Titan Family: My Titan Family

Titan_Missile_Family
The Titan Missile Family

Okay, so NASA and the Air Force were incestuous siblings pretending not to be married. But what about my father? Before seeing the Titan II depicted in Command and Control, it never occurred to me to check the dates of when my father worked at Cape Canaveral and what exactly was happening there at that time. But, as Wikipedia documented, “the Titan rocket family was established in 1955, when the Air Force (not NASA) awarded the Glenn L. Martin Company a contract to build an intercontinental ballistic missile, the Nation’s first two-stage ICBM and the first underground silo-based ICBM.”

Just for fun, watch this video of a Titan I LAUNCH FAILURE. It’s spectacular. (In this case, no one was killed.)

It seems my family was its own sort of “Titan rocket family,” and maybe I was a Titan-rocket baby. Wikipedia further explained, “The Martin Company realized that the Titan I could be further improved and presented a proposal to the U.S. Air Force (not NASA) for the Titan II, which would carry a larger warhead over a greater distance with more accuracy and could be fired more quickly. The Martin Company received a contract for the new missile in June 1960” – at the exact time my family was living in Florida and my Dad was working at Cape Canaveral.

It’s interesting that Wikipedia includes details that would have meant nothing to me unless I had seen the movie Command and Control, which

Titan II RFHCO (Rocket Fuel Handler's Clothing Outfit)
Titan II RFHCO (Rocket Fuel Handler’s Clothing Outfit)

makes painfully clear the repercussions of the “improved” features. “The Titan I, whose liquid oxygen oxidizer must be loaded immediately before launching, had to be raised from its silo and fueled before each launch. The use of storable propellants enabled the Titan II to be launched within 60 seconds, directly from its silo. Their hypergolic nature made them dangerous to handle; a leak could (and did) lead to explosions, and the fuel was highly toxic. However, it allowed for a much simpler and more trouble-free engine system than on cryogenically-fueled boosters.” Yes, that “(and did)” is part of the Wikipedia article, not my own addition, and it does not refer to the accident featured in Command and Control. Another quick Google search just brought up this chilling account of a Titan II accident that occurred in 1965, where “55 civilian men returned from lunch to missile silo 373-4. By 1:10 p.m., 53 were dead.”

Another Titan II Disaster
Silo Without Wheat

That explosion was caused by a different type of “benign neglect” – a term the government uses to differentiate the problem from a design flaw, as if to suggest they are less accountable or the problem is less serious. But we learn in Command and Control the scope of the disaster that can be caused by a fuel leak of storable propellants in a missile that launches from inside an underground silo – the exact feature that made the Titan II “better” than the Titan I.

So, let’s recap: All these years I had believed that my father was a part of America’s noble mission of exploring the universe. This belief was crumbling. However, as part of this personal investigation, I checked with my brother, who reminded me that before working for (at) NASA, my father had worked as an engineer at a radio station. It’s possible he went to Florida to help design an audio system of some sort. But still. Even if so; it sure seems as if that audio system would have been connected to the larger project that was taking place at the time. He himself told us that he worked on the Titan. My father was (almost certainly) helping to build a missile for a nuclear bomb – a delivery system for weapons of mass destruction. This was earth-shaking news to me (no pun intended).

The Gemini: Capsule Manned with Helen’s Hope

The Gemini Manned Space Capsule
The Gemini Manned Space Capsule

But wait. There was something else; maybe there was still hope I was wrong. I remembered the name Gemini. My father also told us he worked on the Gemini, which was definitely a manned space mission. Right? Once again, my next blow came from NASA itself, on their website:

“Gemini was an early NASA human spaceflight program. Gemini helped NASA get ready for the Apollo moon landings. Ten crews flew missions on the two-man Gemini spacecraft.” (Yes!) “The Gemini missions were flown in 1965 and 1966. NASA designed the Gemini capsule for this program. The Gemini capsule flew on a Titan II rocket.” (Oh no.) “The two-stage Titan II was originally a missile. NASA made changes to the missile so it could carry people.” Ack! It was only later that the Titan missile was adapted for use in space exploration. Sheesh! My family was well gone from Florida by 1965.

Hold on. I found some more details about the research and development phase of the Gemini project, which would have taken place prior to the launch date; maybe that is what my father was doing at Cape Canaveral. “When… approved on 7 December 1961″ (already after I was born, but… let’s see) “much of the groundwork had already been laid…The Manned Spacecraft Center (MSC) itself was not going to build spacecraft, booster, target, or paraglider. In line with the practice pioneered by the Air Force after World War II, NASA relied on private firms to develop and produce most of its hardware. The first priority, even before getting the project office fully in order, was putting the spacecraft under contract and making arrangements with the Air Force for booster and target vehicles.”

command spacecraft

Further defining the contracts: “The choice clearly fell to the McDonnell Aircraft Corporation, which had not only developed and was building Mercury but had also been an active partner in drawing up the new design. The company’s president, James S. McDonnell, Jr., signed the contract on 22 December [1961].” Um… that is not the contractor that employed my father.

However: “Although NASA could deal directly with McDonnell for emojiInterestingspacecraft development, launch vehicles were another matter.” The report continues: “The program belonged to NASA but… the Air Force, acting as contractor, would see that NASA got its Titan II and launch vehicles.” Okay, that brings in the Titan II and the Air Force.

Reading on: “The ‘NASA-DOD Operational and Management Plan’ of 29 December 1961…  assigned launch vehicle development – Titan II – to the Los Angeles-based Space Systems Division (SSD) of the Air Force Systems Command.” Oops. That means the work was done in L.A., not Florida, where we lived.

Continuing: “The ‘Operational and Management Plan’ assigned two other major functions to the Department of Defense, with SSD acting as agent… One required SSD to oversee the modification of launch facilities at Cape Canaveral, Florida, to meet the needs of the new program.” Okay, this is where my father worked. “The other involved SSD in the support of program operations – launching, tracking, recovery –  along the same lines already worked out for the Mercury program… On 26 January 1962, the plan was endorsed as a working arrangement between NASA’s Office of Manned Space Flight and the Air Force Systems Command by the heads of the two agencies.”emojiICannot

Well, now we are into 1962, which means my father has already been at Cape Canaveral for several years. Doing what? Not working on the Gemini project, apparently, because it had not yet started.

“NASA Headquarters juggled its fiscal year 1962 research and development funds to come up with $27 million, which it allotted to MSC (Manned Spacecraft Center) for Titan II on 26 December 1961. As soon as notice came that funds were on hand, MSC wired SSD that work on the Titan II could start. SSD told the Martin Company’s Baltimore Division to go ahead on 27 December.”

Okay! Now we’re getting somewhere. Because my family moved toemojiYES Baltimore at some point during or after 1962. Suddenly, the timeline was coming together. Now at least that explains why (likely) we moved to Baltimore; my Dad did indeed work on modifying the Titan II for use in the Gemini program. So, his depiction that he worked for a NASA space-exploration program was almost certainly accurate.

BUT that does leave the entirety of his time in Florida unaccounted for. Dad! I want to pull you from the grave and shake you, and make you emojiWhatHappenedexplain! What could I be misunderstanding, or overlooking? I concede: No, I am not applying the thorough rigor and multiple years of research that Eric Schlosser used in his book. (I simply don’t have the time or resources. Although, already I have delayed delivery of this article by over a month, due to my continuous stumbling onto more and more evidence that seems to support my disturbing realization about what my father did while at Cape Canaveral, where I was born.) Sorry, Dad; I could be making a statement that is imperfect. But, based on my best understanding at this time, I am going ahead and saying:emojiICantEven

I am not as much a space-age baby as I am a weapons-of-mass-destruction baby.

Color me mind-blown.

Maybe I shouldn’t judge so harshly. Maybe I should view my father as a patriot. The Red Threat was real and he was part of the solution, even if a few (or many) people (Americans) died accidental deaths. All is Fair in War. Except the story doesn’t end there. The saga continues.

The Patriotism Syndrome

When I was in the 6th grade, my father helped me build a model of the solar system, complete with revolving and rotating parts, for my science command solar systemproject. It was a terrific father-daughter bonding experience. And it reinforced my belief that my Dad, who had worked for NASA, knew all about outer-space, which was so cool. I mention this because my relationship with my father was so closely connected to this image of himself that he persistently presented – an idealized, altruistic, cosmos-conscious man who believed in high-minded principles such as “knowledge for the sake of all mankind.” He was nothing like a war monger. He was thoughtful. He was measured.

In fact, the one item I have saved all these years as a memento of my father is his slide rule. (Totally true; I do not have a typical keepsake such as a watch or a gun – which he never owned btw, but I kept his slide rule.) command slideruleI remember how, after dinner, my brother and I would do our homework at the dining room table while my father worked on his engineering studies. I cherish that picture of him, in his white business shirt with pocket protector, black frame eyeglasses, sitting with us at the table, emojiHomesickcarefully calculating with his slide rule, which we were not allowed to touch because it was “a precision instrument – not a toy.” He was that kind of guy – respectful of slide rules, dedicated to the reliability of numbers, and a father who helped his daughter with her science projects.

That solar system project would have been 1973, well after Dad’s beloved Titan missile had been adapted for use in the space-exploration program. At that point, my family was living in Maryland, and I now understand that it was NASA and Martin Marietta’s part in the Gemini project that brought us there. However, those days were behind us; my father no longer had any association with NASA, and he was working an entirely unrelated job. (sad snigger) After he left NASA, where I now know he helped build nuclear missiles, my father took a new job working in….   wait for it….   the nuclear power industry. What a coincidence!

emojiDohYup, my Dad worked for Calvert Cliffs nuclear power plant. He had explained to me that when he worked for NASA, he was the kind of engineer that specialized in meeting government regulations. He was a Quality Engineer who was experienced at maintaining compliance with government contracts. And so, he told me, this made him especially qualified to work in the nuclear energy industry, which also had a lot of government-regulated standards. This made sense.

OR, this also makes sense: He had just finished working on a nuclear missile, so it was an easy transition into nuclear power. Duh. Of course, I never made that connection, until now. And maybe I am wrong and making more assumptions. And it doesn’t really matter how or why he got into nuclear energy. What matters is what he told me versus the truth. And so this section of the story deals with misinformation, which brings us back to the movie, Command and Control, which also looks quite a bit at that subject.

The System Didn’t Work

5th Bomb: The system didn’t work; the “conspiracy theorists” were right; and my father must have known and didn’t tell.

china syndrome poster
The China Syndrome movie poster

In 1979 I was a senior in high school. A movie called The China Syndrome was released on March 16, 1979. In this fictional drama, Jane Fonda plays a TV reporter who finds what appears to be a cover-up of safety hazards at a nuclear power plant. The plot suggests that corporate greed and cost-cutting had led to potentially deadly faults in the plant’s construction. My father, as by now you might imagine, was not a fan of the film. In fact, he was so outraged by its “un-American” theme and spreading of what he considered to be dangerous lies, that we were forbidden to see the movie. And he went even further; we were forbidden to see any movie involving Jane Fonda, who my father deemed to be a traitor to her country. (Okay, yes, he was influenced by Jane Fonda’s anti-war shenanigans, but this film was beyond the pale.) No one who lived “under his roof” would in any way support that “enemy of the State.”

Twelve days after The China Syndrome hit movie theaters, the nuclear reactor at Three Mile Island, Pennsylvania suffered a partial meltdown – the worst accident in the history of U.S. commercial nuclear power plants. The incident was rated a five on the seven-point International Nuclear Event Scale. No one was hurt, but the Three Mile Island incident helped propel The China Syndrome into a blockbuster.

Three Mile Island Nuclear Power Accident
Three Mile Island Nuclear Power Accident

My father could not have been more irate. He declared again and again: “No one was hurt! The system worked!” He insisted that “the system” was designed to protect Americans from every possible type of accident or attack. Some type of problem occurred at Three Mile Island but the fact that no one was hurt PROVED that the system worked. There had been no real danger. And anyone who suggested otherwise was not only wrong but traitorous.

emojiAreYouForRealSee, this is the voice I keep hearing over and over in my head – my father so vehemently insisting that nuclear power was absolutely, unequivocally safe, that NASA was absolutely, unequivocally heroic, and that he knew the truth, because he worked on the inside.

And yet, in a 2009 article, Victor Gilinsky, who served two terms on the Nuclear Regulatory Commission, wrote that after Three Mile Island, it took five weeks to learn that “the reactor operators had measured fuel temperatures near the melting point.” He further wrote: “We didn’t learn for years – until the reactor vessel was physically opened – that by the time the plant operator called the NRC at about 8:00 a.m., roughly half of the uranium fuel had already melted.”

Several state and federal government agencies mounted investigations into the crisis, the most prominent of which was the President’s Commission on the Accident at Three Mile Island, created by Jimmy Carter in April 1979. The commission consisted of a panel of twelve people, specifically chosen for their lack of strong pro- or anti-nuclear views. The commission released a completed study on October 31, 1979. The investigation strongly criticized the NRC (among other organizations and corporations) for “lapses in quality assurance and maintenance, inadequate operator training, lack of commemojiYIKESunication of important safety information, poor management, and complacency.” The heaviest criticism concluded that “fundamental changes were necessary in the organization, procedures, practices and above all – in the attitudes of the NRC and the nuclear industry.” The report stated that the actions taken by the operators were “inappropriate” but that the workers “were operating under proceduresemojiWhy that they were required to follow, and our review and study of those indicates that the procedures were inadequate” and that the control room “was greatly inadequate for managing an accident.”

I just don’t understand why Dad would have continued to insist to his own family – to his children whom he had diligently taught to respect the Truth, that nuclear power was … well, none of the things written in that report.

In 1983, the year I become a college graduate, another relevant movie was released.

Silkwood movie
Silkwood movie

Silkwood was inspired by the true-life story of nuclear-whistleblower Karen Silkwood, who died in a suspicious car accident while investigating alleged wrongdoing at the Kerr-McGee plutonium processing plant where she worked. And it was not flagrantly un-American Jane Fonda who played the lead role, but America’s finest and perhaps most credible actress, Meryl Streep, who won an Academy Award nomination for her role (as did the film’s director, Mike Nichols). Factual accuracy was maintained emojiOhNothroughout the script, with some incidents exactly parallel to the real life experiences of Karen Silkwood. One scene in particular involved the activation of a radiation alarm at the plant. Silkwood herself had forty times the legal limit of radiation in her system.

In real life, Silkwood’s death was vindicated in a victorious 1979 lawsuit, Silkwood v. Kerr-McGee. The jury rendered its verdict of $10 million in damages to be paid to the Silkwood estate (her children), the largest amount in damages ever awarded for that kind of case at the time.

My father never wavered. Nuclear power was safe. All other accounts were false. I can only assume that he believed his loyalty was the honorable thing to do.

And so this brings me back to Command and Control, which states about the Titan II incident, “The command nuclear explosionstory received a good deal of attention at the time. It was covered by the nightly news, made headlines in our major newspapers. But the Pentagon was adamant that there was absolutely no way the warhead on the Titan II missile could have detonated. The press didn’t challenge that assertion. The story was soon forgotten. And we now know that the Pentagon’s reassuring words were a lie.

Did my father not know about the monumental incident involving his Titan missile? I can’t believe he didn’t know the truth. And his not telling would have been consistent with the same type of repudiation and secrecy that were his response to the nuclear power accidents about which he surely knew.

KeepQuiet1
Image from the documentary film Keep Quiet

Perhaps my father himself was a victim of “the system” he so heartedly defended. As with the young men who were at the center of the incident depicted in Command and Control, and also with the young men depicted in another war-related documentary at Tribeca, National Bird, (available on Amazon) and I will even add in another stunning Tribeca documentary, Keep Quietwhich tells the true story of young political firebrand and virulent anti-Semite who became vice president of Hungary’s far-right extremist party when he was only in his mid-twenties, and then discovered that he was actually Jewish (also available on Amazon), it seems that all countries and political establishments use the romantic ideals of patriotism, the charismatic persona of heroism, and perhaps most importantly, the spiritual sense of unity and belonging to something greater than oneself, to indoctrinate young citizens into service and loyalty that includes a dangerous component of silence and denial.


emojiDealWithItSo: it’s time for me and everyone else to shake off this denial and face the harsh reality. For starters, seek out and see Command and Control. (It is currently available on Amazon and on Google Play Movies and TV.)

And then, I have one more bomb to share – yet another Google find. This bomb is not from my childhood. This bomb is in the future, and it’s heading straight toward us all. Click here to read the final part of this commentary: Arms Race in Space

Click hear to read Part 1 of this saga — my review of the movie Command and Control.