''CHICAGO'' LITE

Well Cinethusiasts, we are thick into the flicks of December. I had a chance to see ROB MARSHALL'S much-hyped, follow up to his multi-awarded film, CHICAGO. This one is also based on a popular Broadway musical and it's called NINE. Since, it is a musical, I thought it might be time for another song parody, which will also tell you how I felt about the flick.

...AND SO WITHOUT FURTHER ADO...
...MR. MUSIC, PLEASE...

CHICAGO LITE (SUNG TO THE TUNE OF ALL THAT JAZZ)

COME ON WEINSTEIN'S
WE'RE GONNA MAKE A FLICK-
CHICAGO LITE

WE'LL USE PARTS OF CHICAGO,
CABARET AND ALL THAT JAZZ-
CHICAGO LITE

STACK THE DECK
WITH BIG STARS WITH BIGGER PARTS
EYE CANDY FROM THE VERY START
IT WAS A BIG BROADWAY HIT
BUT IT HAS NO GREAT SONGS
IT'LL BRING TO MIND
A MOVIE SO FINE,
IT'S, CHICAGO LITE

SO, IS IT AS GOOD AS CHICAGO? - NEIN!!!

...UNTIL NEXT TIME MON PETIT CINEMEN

T.T.F.N.

AWESOME AVATAR

Well, my Cinefollowers, last week was a banner one for yours truly. I was able to see a truly great film, that was a treat for all the senses. That was JAMES CAMERON'S AVATAR. Not since I saw the first STAR WARS, have I been so dazzled by a movie.

This film of course is CAMERON'S much-ballyhooed, directorial follow-up to his last flick, does anyone remember a modest effort called, TITANIC?

Every time, CAMERON, does a film, he reinvents the medium. AVATAR, is no exception. The film reputedly has a negative cost of $200,000,000, well it certainly seems to be all up there on the screen. I saw the film in 3-d and it simply blew my mind. CAMERON, fills the frame with imagery, that I have never, ever seen before. The battle scenes at the end are simply breath-taking and you will be blown away. Apparently, for this film, CAMERON, invented his own camera, I wouldn't be surprised.

In addition to all the visual razzle dazzle, the film does have a good story, (a trademark of a CAMERON film). SAM WORTHINGTON, must be singled out for holding his own among the synthespians, and of course, it's always nice to see SIGOURNEY WEAVER, on screen.

If you want to see a treat for both the head and the heart, get thee post haste to your nearest multiplex and check out AVATAR, you'll be glad you did.

Until we meet again...

T.T.F.N.

''FIDDLER'' ON THE BLOG

Good day, all my Cineflotilla, I hope to be assaying the latest JAMES CAMERON'S opus, AVATAR, tomorrow and so for today, let's go to the theatre and discuss FIDDLER ON THE ROOF, starring HARVEY FIERSTEIN.

Now, you have to understand up front that FIDDLER and I, have a very rich tradition, (sorry, I couldn't resist), together. I have now seen, the musical three times and that includes Stratford's fabulous production with BRENT CARVER. I have played the role of TEVYE, myself twice - the second time I also directed - so, it is a property very near and dear to my heart. When I heard that it was coming to Toronto and it would be TOPOL'S farewell engagement as TEVYE, I was beside myself with excitement.

O.K. now we fast forward to a few weeks, before the production. The press announces that TOPOL, is injured and will not be playing TEVYE, in Toronto. You may ask, who did they get to replace him? I'll tell you - HARVEY FIERSTEIN, who played TEVYE on broadway.

So, how was HARVEY? We all know that he got fabulous reviews on broadway, however, much of a voice he does not have - it sort of sounds like he gargled with ground glass - that said, he was magnificent. He made the most of the voice he has and it has a great ensemble as well.

TIME FOR A DIGRESSION...

Why is it that whenever, I go to live theatre, there is one person in front of me, who does not laugh, cry or even genuflect once during the entire production, but looks back at me every time I do, with disgust, (sir, if you were to take the pickle out of your ass, you might enjoy the production and lighten up). As for me, the tears usually start at the beginning and abate around the time when ANATEVKA ends.

BUT I DIGRESS...

The entire production, was wonderful, and the director-choreographer, SAMMY DALLAS BAYES, recreated JEROME ROBBIN'S legendary, choreography, including those show-stopping bottle dancers. Those that should be singled out for praise are SUSAN CELLA, as GOLDE, TEVYE'S long-suffering wife. MARY STOUT, as YENTE, (you know, not every woman is a yente), DAVID BRUMMEL as LAZAR WOLF and ERIK LIBERMAN, as MOTEL.

We all know the plot of FIDDLER, (the story is self-explanatory, the music is delightful..). This was one of the most delightful productions I have ever seen and it was a real delight, from start to finish.

Until we meet again mon cherie...

T.T.F.N.

''UP, UP AND AWAY"'

Well, my Cinebuddies, I finally saw an Oscar-worthy, flick and I have to say it was a really good one. The film in question was that new one by that recent cinematic wunderkind, JASON REITMAN, called, UP IN THE AIR. There, is already serious Oscar-buzz for the film and its star GEORGE CLOONEY, who gives a remarkable performance.

CLOONEY, plays a man whose agency is hired by other companies to do the firing of their employees. He is a benevolent hatchet man, and he will fly wherever he has to, to deliver the bad news. He thinks his life is pretty orderly and neat and he has flying down to a science, but he is about to have a rude awakening...

The supporting cast is also wonderful which in addition to charter members of REITMAN'S rep company, JASON BATEMAN, J.K. SIMMONS, has fabulous performances from, VERA FARMIGA, ANNA KENDRICK and MELANIE LYNSKEY. As well, all the people who are fired on screen, are played by real people who were really fired, in this way their reactions ring true.

Now, on to CLOONEY. he is truly a revelation, in a role that requires him to be in turn, cocky, aggressive, funny, sexy, and very vulnerable, yes vulnerable.

REITMAN, does yeoman's work as director and after only three films has become one of Hollywood's best helmers. Like CLOONEY, this film is also by turns, funny, sexy, sad, and finally contemplative.

It is truly one of the best of the year and highly, recommended.

Until we meet again, sweetheart...

T.T.F.N.

2012: IT'S THE END OF THE WORLD AS WE KNOW IT...

Well, my Cinefolks, I finally saw a new flick. you can probably guess, what it was: ROLAND EMMERICH'S 2012. As it turns out, at the same time I have been reading the hilarious book called FORBIDDEN BROADWAY: BEHIND THE MYLAR CURTAIN by GERALD ALESSANDRINI and MICHAEL PORTANTIERE, based on the legendary show that pokes fun at the great white way. Yours truly, is no stranger to the art of parody and so I thought I would do one this week in honour of the film, I saw and because its fun. So, with apologies to my favourite broadway composer, STEPHEN SONDHEIM, may I present for your amusement...

DISASTER TONIGHT

(SUNG TO THE TUNE OF ''COMEDY TONIGHT'')

SOMETHING FAMILIAR ,
SOMETHING THAT'S SIMILAR,
SOMETHING FOR EVERYONE -
DISASTER FILM TONIGHT!

CITIES EXPLODING
OTHERS IMPLODING
SO MUCH FOREBODING -
DISASTER FILM TONIGHT


NOTHING THAT'S SUBTLE
SOMETHING ABOUT FATE

AS FOR THE SCRIPT -

IT'LL JUST HAVE TO WAIT

BIG BUDGET EPIC
THE REST IS JUST TEPID
SOMETHING FOR EVERYBODY -
DISASTER FILM TONIGHT

WOODY H. RANTS
AS PRES. GLOVER TRIES
CHEW ON YOUR POPCORN
AS MILLIONS DIE

A LITTLE ''TITANIC''
ASTOUNDING FX GIGANTIC
EVERY DISASTER FLICK ROLLED INTO ONE
BANALITY'S IN ORDER -
BOMBASTIC MUSIC
DID I MENTION JOHN CUSAK
COMEDY TOMORROW -
DISASTER FILM TONIGHT!



-FIN-

(THAT'S FRANCAIS FOR T.T.F.N.)

THAT'S WHY HE'S THE ''KING''

You're probably wondering at this point, my loyal readers, when yours truly, THE CINEMAN, will be able to give his CINEPINION, again. It won't be this week, because, I have recently finished the latest STEPHEN KING, tome, UNDER THE DOME and as THE TUBES were wont to say: ''she's a beauty.''

When I say that this is a magnum opus, its true in so many ways. It is over 1000 pages, but not one of these, is superfluous. It is a true masterpiece, and definitely his best book in my humble opinion.

The story is simple enough. A small town in Maine, is all of a sudden one day, covered by a seemingly invisible dome. The novel tells how the denizens of this town, cope with this remarkable occurrence. To say anymore, would spoil a truly great and satisfying reading experience.

What makes this book so wonderful is how KING, makes his characters, seem like real people. I felt like I was part of this community as I read about how they deal with the dome. There are a great compliment of heroes, villains and fools.


For those old enough to remember, it put me in mind of that great TWILIGHT ZONE, episode, THE MONSTERS ARE DUE ON MAPLE STREET, but, it also contains echoes of, LORD OF THE FLIES, THE STAND and (believe it, or not), THE SIMPSON'S MOVIE.

It is a stunning achievement and a in some ways a summing up of many themes found in KING'S oeuvre, while still being wholly original.


Until next time..

T.T.F.N.

THE GLORY OF ''SEVEN STORIES''

This week, my Cinefolks, I was going to have a review of ROLAND EMMERICH'S latest uberdisaster, 2012, however, I have not seen it, as of yet. Instead, let's go to the live theatre, for a look at MORRIS PANYCH'S SEVEN STORIES.

I have to admit, that until recently, MR. PANYCH, was below my radar, with regards, to his theatrical credits and achievements. That was until I saw a production of his play, VIGIL, which was a delightful, black comedy, starring BRENT CARVER and MARTHA HENRY. Once I started to investigate PANYCH'S credits, I became aware just what an accomplished, playwright and director, he really was.

This production, of SEVEN STORIES, was celebrating its 20th anniversary and starred its original protagonist, PETER ANDERSON. To appreciate, this play, it helps to be familiar with the theatre of the absurd, and some of it's most celebrated playwrights: PIRANDELLO, IONESCO, BECKETT and PINTER. As well, one should be aware of the artist RENE MAGRITTE, whose influence on the piece, is felt in the production design, costumes and thematic aspects of this theatrical work. As well, it can't hurt to know that 70's landmark comedy series, LAUGH IN (really).

So, what's it all about ALFIE? You see, there's this dapper chap, who is standing on the top of a seven story, (get it)? building and appears to be about to jump, only to be interrupted by the wacky denizens of this edifice. Except, for ANDERSON, the actors get to essay multiple parts, and run the gamut of emotions, from A-Z.

Its a very enjoyable work, that works on multiple level and I have to admit I frequently laughed out loud. Like all the best theatre, it makes one laugh, but also think. Just some of the themes touched on by this farce: alienation, conformity, suicide, aging and others. The cast is top notch and it is a great ensemble. They are all fabulous and deserve to be mentioned by name: DAMIEN ATKINS, CHRISTOPHER HUNT, MELODY A. JOHNSON and REBECCA NORTHAM. Kudos to all.

Until next time...

T. T. F. N.

A TALE OF TWO MUSICALS

Well, Cinemammals, today for your delight and general amusement, I have 2 films for you. The first is the much-ballyhooed, MJ flick, THIS IS IT, directed by KENNY ORTEGA the second is PIRATE RADIO, directed by RICHARD CURTIS. Now, these movies, really aren't musicals, in the strictest sense of the world, but they'll have to do until ROB MARSHALL'S NINE, comes out.

Alright, now I'll be honest with you. I thought the MICHAEL JACKSON, film, THIS IS IT, - which is composed of rehearsal footage for his concert tour, which as we all know never happened, was nothing more than a naked ''cash grab,'' and that I would shun it the way I would the new SARAH PALIN, memoir, (she's a rogue, like I'm a squirrel).

I have to say, I was wrong.

It is a fantastic film. His dancing alone is worth, the price of admission. One forgets, what a phenomenal, dancer he was. His body is so fluid, he is like rubber. Also, to see the joy on his face as he dances is so wonderful and of course, so sad. The editors do a fantastic job, of combining the footage into a seamless, coherent whole and I was enthralled throughout.

Now, from the sublime...

On to PIRATE RADIO. Now, let me preface my remarks, by stating that it's director and co-writer, RICHARD CURTIS, has been involved with some of my favourite entertainments. From BLACKADDER, to FOUR WEDDINGS AND A FUNERAL, to NOTTING HILL, to one of my personal faves, LOVE ACTUALLY, he has always provided smart, funny entertainment. With this film, he has provided a kick-ass soundtrack, but not much more.

Even surrounded by members of his usually reliable, rep company: BILL NIGHY, RHYS IFANS, EMMA THOMPSON, as well as yeoman's work from PHILIP SEYMOUR HOFFMAN, PIRATE RADIO, founders on the seas of banality. To be honest, I did laugh a few times at this tale set in the 60's about a pirate radio station in Britain, that provided rock n' roll, in those repressive times, from a boat in the water. Also, I'm sure KENNETH BRANAGH, had fun as the scrooge-like Government toady, who tries to shut the operation down. One reviewer likened it to a sub-par ''carry-on,'' movie, I'll second that emotion. It is too long, padded with too many music montage shots of grooving teens and nuns and not enough funny!!! Better luck next time MR. CURTIS.

And as for next time..

T.T.F.N.

STARING AT AUGUST OSAGE COUNTY

Folks, today I have a double-bill for your enjoyment. I saw a fabulous play and a really wacky movie. Firstly, the play: I had the privilege to see some of the finest acting I have ever encountered, in the Pulitzer and Tony-award winning Broadway hit, AUGUST OSAGE COUNTY, by TRACY LETTS, starring ESTELLE PARSONS, in a bravura tour de force performance.

This is a theatre piece that puts the fun, in dysfunctional. Just some of the topics this play tackles: suicide, pedophilia, incest and adultery, and that is just act one, of a 31/2 hour show!!!

PARSONS, essays the dowager of a southern clan, which has more problems than heinz has sauces. Throughout, the course of the evening, many truths will be told and many lives will be ruined, leading up to a shattering denouement. To say anymore, would ruin the fun. Let me just say that the ensemble cast, is in every way as dazzling, as Miss PARSONS.

Now, on to the film, my cinephiles. This has got to be one of the most off the wall flicks, I have ever seen. The title of the film is called: THE MEN WHO STARE AT GOATS, which is the auspicious debut of GEORGE CLOONEY'S writing and producing buddy, GRANT HESLOV.

This movie has a fantastic ensemble cast: GEORGE CLOONEY (how did they ever get him)? EWAN MCGREGOR, JEFF BRIDGES (the dude lives)!!! and KEVIN SPACEY.

The plot, such as it is, is apparently based on the true story of an experimental United States army that did experiments in mind control and stuff like that, during the BUSH, era. It really doesn't matter, what the plot is, because like the best shaggy dog stories, half the fun is how it all unfolds and unfold, it does.

As. for it being funny, let's just say there was a real possibility that I might have choked on my popcorn (isn't that how all movie critics, want to go)?

However, I did survive to see another movie and so until next time, fellow LEBOWSKI'S:

T.T.F.N.

HE'S THE (ALT)MAN!

Good Morning film fanciers. Well, yours truly is hoping to see a new film today - and we hope it will be, SPIKE JONZE'S WHERE THE WILD THINGS ARE. Fortunately, I do have something to write about. I have recently, finished reading a fantastic new film book: ROBERT ALTMAN: THE ORAL BIOGRAPHY, by MITCHELL ZUCKOFF.

This is one of the best film bios I have ever read. It was engrossing, it was entertaining and it sure was gossipy. Best of all, it was not a hagiography, but it was a ''warts and all,'' portrait of one of the greatest directors of our time. Best of all, because it's an oral biography, it features pretty much anyone who knew or worked with, ALTMAN.

From his earliest days, ALTMAN, showed a flair for directing. He started off in television and then moved on to industrials, (where he had already started using his trademark overlapping dialogue), and finally to film. His first big film, was of one of his biggest: MASH. We find out in this section from various players, how that he was not, the first choice to direct the movie, how both ELLIOT GOULD and DONALD SUTHERLAND, tried to get him fired from the flick - you see he was spending too much time concentrating on the background characters - they didn't realize his genius back then. These background players, would go on to do many film with him, as his ''rep'' company. Ironically enough, while MASH, was nominated for many Academy Awards, including, Best Picture, it would only win for "best-adapted " screenplay.

ALTMAN, would go on to direct some of the greatest films of the 20th century: MCCABE AND MRS. MILLER, NASHVILLE, THE PLAYER and SHORT CUTS.

The book reads like a who's-who of Hollywood: WARREN BEATTY, JULIE CHRISTIE, PAUL NEWMAN, CAROL BURNETT, TIM ROBBINS, LILLY TOMLIN, MERYL STREEP, to name just a few. Of course we also hear from his film favourites: BUD COURT, JOHN SCHUCK, SHELLY DUVALL, KEITH CARRIDINE, PAUL DOOLEY, RENE AUBERJONOIS, et al...


He had a tempestuous life as his wives and children attest to. He was a larger than life, and he loved to party, drink and toke. To him life was a party and he certainly did. The book also documents how he could he could be quite cruel at times and his neglect of his kids, though they did work on his films (his son, actually made alot more money, than him, for writing the lyrics to the MASH SONG: SUICIDE IS PAINLESS.

It is really an incredible read and alot of fun to boot.

until next time..

T.T.F.N.

FABULOUS FASHIONISTA FLICK

Hidiho, movie masters, well this week, I went to see something a little off the beaten track and you know what - it was goooooood. I went with the missus (hereafter, to be known as MRS. C. - C IS FOR CINEPINION). What I saw was THE SEPTEMBER ISSUE, directed by R.J. CUTLER, who is the director of that fine flick, behind the scenes of the CLINTON campaign, THE WAR ROOM. This time we're behind the scenes with editor- in-chief of VOGUE, (ANNA WINTOUR), as she assembles the September 2007 edition, their biggest one in history.

My wife, has been eagerly awaiting this film, and since VOGUE, is her bible, the way that VARIETY, is mine, I thought she would be the ideal person to interview, about the film, so here goes...

MR. C. : What was your overall impression of the movie?

MRS. C. : I thought it was very slick and well-edited. I did not think there was a dull moment, in the whole movie.

MR. C. : I have to agree and concur with you there. It received a zero, on my personal schluffometer.

MRS. C. : I was also pleasantly surprised at all the men in the audience.

MR. C. : And some of them were straight.

MRS. C. : Good one .

MR. C. : How do you think Ms. Wintour, came off in the film?

MRS. C. : She came off, very guarded, very professional and strictly business. As opposed to her right hand person, GRACE CODDINGTON, who is the creative director, of the mag.

MR. C. : Yeah, I thought GRACE, was much more boho, more of a free spirit.

MRS. C. : Yeah, and WINTOUR, was humourless. But, the movie showed how they needed each other, and really relied on one another.

MR. C. : What else did you like about the doc?

MRS. C. : It really looked, behind the scenes, at the creative process, involved in putting a fashion mag together.

MR. C. : Cutler, was obviously granted full access.

MR. C. : And may I add, the clothes

MR. C. : The stores... Oh, I thought we were doing the theme for GREEN ACRES.

MRS. C. : Wouldn't it be more appropriate, to do the theme for HAPPY DAYS?

MR. C. : Good one MRS. C.

MRS C. : You're welcome Arthur.

MR. C. : Getting back to the film - any last words?

MRS. C. : Yeah, for once, something I had highly anticipated, didn't disappoint.

MRS. C. : Yeah, kind of like PORKY'S 12, where they finally got the formula right.

MRS. C. : You and your PORKY'S 12.

MR. C. : GOOD NIGHT MRS. C.

MRS. C. : GOOD NIGHT MR. C.

...AND UNTIL NEXT TIME...

T.T.F.N.

ZANY ZOMBIES

Hi film fanciers, my name is TALLAHASSEE, you may know me better as WOODY HARRELSON, and you may have seen my punim on CHEERS, or maybe at your local picture show in THE PEOPLE VS. LARRY FLINT, or WHITE MEN CAN'T JUMP. Currently, I'm starring, in a new flick: ZOMBIELAND, directed by a very talented feller, named RUBEN FLEISCHER.

Now, this flick is more fun than a bag of possums covered in molasses. You see, in this ole film, there has been an epidemic of sorts, which has turned the populous into flesh-eating zombies. There's a few of us human critters left and we're all trying to get back to our home, just like that Dorothy gal in that Oz, film. Our names reflect where we're tryin' to get.

There's me, my buddy, COLUMBUS, he's played by that actor feller JESSE EISENBERG, who seems to specialize in playin' the virgin type. He has all these rules ya see, for stayin' alive. Then, there's also some females, as well. There's WICHITA, who is played, by EMMA STONE (I thank that COLUMBUS, is a little sweet on her), and her sister LITTLE ROCK, who is played by ABIGAIL BRESLIN, thass right, LITTLE MISS SUNSHINE, herself. There's also a surprise, big shot star type, as well, but I ain't tellin' you who...

Anyways, this film is lotsa fun, the zombies are gross, but kinda cute, in a grotesque, kinda way. this is a real popcorn movie, with thrills, chills and even a little skin for you teen fellas. This director is making his debut, behind the camera and he does, a bang-up job. I give this film five twinkies, and say go see it.

In closin' I'd like to give you some friendly advice, ya gotta shut up or nut up, ok?

That Cinepinion dude will be back next week to review, LAW ABIDING CITIZEN. So, until then, as he would say:

T.T.F.N.

DAMNED! FINE! FILM!

Welcome, Film Fans, to another stellar CINEPINION. I have to say that I saw a real crackerjack movie this week and I'll give you a hint: it wasn't, AIRPLANE! Everyone give up? Alright, I'll tell you, since you asked, so nicely: it was, THE INFORMANT! directed by STEVEN SODERBERGH.

This movie, is based on a true-story and features a stellar, performance by MATT DAMON - it was one of those stories that prove to be, stranger than fiction.

DAMON, plays Mark Whitacre, who is works as VP for the Agra-business giant ADM (ARCHER, DANIELS, MIDLAND), in the American Midwest. He soon becomes a whistle blower, who becomes involved with the FBI to put the kibosh, on his company. In classic movie fashion, he wears a wire, and becomes a spy against his firm. However, all is not all that it appears to be, with family man, Whitacre...

As mentioned, DAMON's tour de force performance is Oscar-worthy, as he runs the gamut of emotions. At times he is proud, scared, arrogant, paranoid - and sometimes within the same scene.

Unlike, other whistle-blower, movies, (THE INFORMER, comes to mind, for example), THE INFORMANT, is largely played for laughs. It features a supporting cast of comedians (RICK OVERTON, ALAN HAVEY and even THE SMOTHER BROTHERS). Contributing to this farcical tone, is the wonky score, by MARVIN HAMLISCH, which has to be heard to be believed.

DAMON, is in almost every scene and is also heard in a non-sequitor filled, voice-over. It's a talky-film, but it is not boring! In other words, unlike the film SURROGATES, starring BRUCE WILLIS ( about which, I will say nothing else), it is a zero on the schluffometer, in other words, I didn't fall asleep, at all.

Next flick ( I hope): ZOMBIELAND.

T.T.F.N.

THE BOYS ARE BACK IN TOWN

Yes, cine maniacs, it finally happened, I saw my first post-TIFF flick and it was excellent. I mentioned at the end of last week's posting, that I had planned to see, TETRO. Well, there's an expression that says something about the best laid plans of, mice and men, long story short, it was no longer playing. However, all hope was not lost. There was a film I had wanted to see, earlier in the summer and it was still playing!!! That film is this week's subject: THE BOYS: THE SHERMAN BROTHERS' STORY, directed by GREGORY AND JEFFREY SHERMAN, (who are, interestingly enough, their respective sons).

This movie is one of the best docs, I have ever seen. It tells the story of the SHERMAN BROTHERS, who were the in-house tune smiths for the WALT DISNEY company, during its heyday, when it was run by ole WALT himself. They are also two of the most prolific musicians in music history, as well. A partial list of their accomplishments takes us down, movie memory lane: MARY POPPINS, THE JUNGLE BOOK, BEDKNOBS AND BROOMSTICKS, and CHITTY, CHITTY BANG, BANG (which is not a DISNEY, film, although, people think it is , because, DICK VAN DYKE, was in it and they did the music and lyrics).

The interesting thing, about these two, multi-award winning composers (including 2 academy awards), is that when they weren't working together, they were virtual strangers. As well, their respective families never saw each other. Of the two, Richard (or Dick, as is he is more commonly know), is the more outgoing of the two. He is the music composer, or if you will, the PAUL MCCARTNEY, to Robert's (or Bob's ), JOHN LENNON. Like LENNON, Bob, the lyricist, is more reserved and introverted. The movie tries to show why they are, the way they are. While, they were both soldiers during World War 2, Dick, never really saw any action. On the other hand, Bob was interred in a concentration camp and bears those horrifying scars, to the present day.

I did not realize, how emotionally- affected, I would be by this film, but let's just say that copious tears, were shed during the course of this film, and not just on screen. The SHERMAN'S, are responsible for some of the most wonderful songs ever written: A SPOON FULL OF SUGAR, SUPERCALIFRAGILIS (you know the rest), CHIM CHIM CHE'REE, STEP IN TIME, FEED THE BIRDS, LET'S GO FLY A KITE, HUSHABYE MOUNTAIN, just a name a few in their catalogue.

The talking heads this film contains all attest, to the brothers' genius: HAYLEY MILLS, DICK VAN DYKE, JULIE ANDREWS, ANNETTE FUNNICELLO (in a heart-breaking appearance, she reveals how they wrote some of her greatest hits), ALAN MENCKEN, BARBARA BROCCOLI, (whose father produced, CHITTY CHITTY...), CAMERON MACKINTOSH (who produced, MARY POPPINS, on stage), JOHN LANDIS and many others.

The most fascinating part of course, is the brothers' estrangement. It shows how they were thrown together by fate. They are two people who would never have associated with each other, if they weren't work-partners, even if, they were brothers. Earlier clips show how close together the two brothers were, (they came from a musical family and their dad, who was also a musician, kept the brothers together). When they are reunited at the Broadway, premiere of MARY POPPINS, Dick, is hoping for a reconciliation with Bob, which never really happens.

As, we see them in later years, Bob, has moved to England. He is frail and concentrates on his painting, (he is quite good) and Dick is still spry and playing piano and performing.

The film works on so many levels: the inner-workings, of DISNEY under DISNEY, a look at the music business and of course, the story of two brilliant, albeit radically different brothers. It is however, directed by their sons, so there is hope for future, family reconciliation.

So, until next time, as they say in the biz..

T.T.F.N.

BOOK ME DANO

Hello, kino keeners, everywhere. Well, that was certainly the TIFF Film Fest, that was. I really enjoyed giving you a daily slog ofa blog during TIFF, but now it's time to resume a weekly posting. Now, since we're so close, I have a confession to make: I have not (that was for all of you who enjoyed all the bold type, during Festapalooza), repeat not, seen a film since TIFF. Now, I'll wait a sec while you all pick-up your collective jaws, off the floor. O.K. I feel better, now that I have come clean to you. I feel cleansed and a little tingly all over (perhaps, too much detail, Mon Amie).

So, you're probably wondering, what this week's talk will be all about. Those of you, who read the title of this week's posting, may have a better idea: it's about books.

Those who know me, know I have a number of other passions: food, theatre, music and for those familiar with movable type - books. I read about a book a week and have always been a voracious reader (I also, as it turns out, work in a bookstore, so you could say that maybe it's an "occupational hazard'').

I have just finished reading MACKENZIE PHILLIPS's memoirs, HIGH ON ARRIVAL. Now, I have to mention at this point, that I had been keen on reading this tome, as soon as I heard it was being published, well before the current controversy. That aside, I must say it is a harrowing portrait of her drug addiction and her tortured relationship with her dad, JOHN PHILLIPS, of the rock group, THE MAMAS AND THE PAPAS.

SIDEBAR: In this book, ms. PHILLIPS, alleges that she carried on an incestuous relationship with her father, which lasted ten years. This of course, has made the headlines and she is currently doing the talk- show circuit. Now, unfortunately, John, is no longer alive to defend himself, against these allegations, which have been denied by two wives - and confirmed by two siblings...

Years ago, one of the most incredible autobios I ever read was by JOHN PHILLIPS, himself and if you want to read an engrossing story of addiction, you have to check out his book, PAPA JOHN.

This new book is a well-written one, which documents what it's like to be a child star (those of you who are old enough will remember Mackenzie, from AMERICAN GRAFFITI, and from ONE DAY AT A TIME.

Mackenzie writes about how her dad was emotionally distant and was too busy living ''la vida loca," as the decadent rock star, then to be a good father. Her descent into drug use is graphic and enlightening. It is like a trip down the rabbit hole, and at times it seems as if there was, no escape. One of the things that kept her going was family. First, her immediate family and then her own husband and son.

Now, to the question at hand: what about the revelations? They are very tastefully handled by the author I thought - as tastefully, as such subject matter, can be handled. She is brutally honest about all aspects of her life and it must have been very painful, yet cathartic to write about, these experiences. She always felt distant from her father and in some strange way, this brought them closer, though of course, certainly not in the way she wanted. She says in her book, that she knows that these revelations, will be very hard for her family, but she hopes, they will help other incest victims. It probably, wasn't easy to come forward, but it was very brave, I thought.

Next week, back to the movies: FRANCIS FORD COPPOLA's family saga, TETRO.

T.T.F.N.

Daily Riffs From TIFF - Wrap-up

Well, Cinephiles, everywhere, TIFFAPALOOZA, is over for another year. Once the smoke has cleared and the popcorn has been cleaned up, all that's left is the awards. In the spirit of this event (and to scoop the actual event), I present the first annual CINEMAN'S TERIF TIFF AWARD WINNERS:

1) BEST FILM: A SERIOUS MAN
(RUNNER-UP: BAD LIEUTENANT PORT OF CALL NEW ORLEANS)
2) WORST FILM: ENTER THE VOID
(RUNNER(S) UP: ANTICHRIST & MY SON, MY SON, WHAT HAVE YOU DONE?
3) BEST ACTOR: PAUL BETTANY in CREATION
4) BEST ACTRESS: PAPRIKA STEEN in APPLAUSE
5) BEST DOCUMENTARY: DANIEL ELLSBERG THE MOST DANGEROUS MAN IN
AMERICA
Well, Film fans, as they say in the business of show, that's a wrap. I've enjoyed entertaining and enlightening you on a daily basis, during TIFF 2009. I'll be returning to a weekly blog, as soon as I see a new flick. Knowing me, that won't take too long.

T.T.F.N.

Daily Riffs From TIFF - Day 8

Well, movie maniacs, we're down to our last few flicks, where has the time gone? Today, I saw a total of 3 films, one pretty-good, one fan-damtastic and one sucked sewer water. Now, on with the films...

Okey fine, our first film is called THE DAMNED UNITED, and was directed by, TOM HOOPER, who had a film at the 2004 TIFF, called RED DUST, starring, HILARY SWANK.

This film, starred 2 of my favourite actors: MICHAEL SHEEN, (who my wife and I were lucky enough to see on Broadway, as, AMADEUS), and should have been Oscar-nominated, along with FRANK LANGELLA, in FROST/NIXON, and TIMOTHY SPALL, who is always fab and who could forget him as the slimey Beadle in SWEENEY TODD.

This is the 4th or 5th film that SHEEN, has done with writer, PETER MORGAN, who could forget his unforgettable turn as TONY BLAIR in STEPHEN FREAR'S THE QUEEN. In this film, which is based on a true story, SHEEN plays the role of, BRIAN CLOUGH, the coach who led the British, football/soccer team Leeds United on to victory. SPALL, plays his eager assistant. CLOUGH, is a cocky-bugger, and SHEEN, marvelously captures him in all his vainglory.

Now, maybe, its because it was early in the morning, or because I'm not a huge sports fan - though, I did love EIGHT MEN OUT, SEMI-TOUGH, BULL DURHAM and TIN CUP - but, I was not completely engaged by this film, that's politesse for, I fell asleep. Now, to be fair to the film, my cinematic cohort loved it and he said to make sure I mentioned that in my review. Dully-noted cohort.

On to the next flick my film friendos, this was truly something special, some nutty, wacky, (homage to CARSON), wonderful stuff. It was WERNER HERZOG'S BAD LIEUTENANT: PORT OF CALL NEW ORLEANS (can that be a longer title)?

Now, I'm sure you're like me and you we're rather upset when you heard that they we're doing a remake of ABEL FERRARA'S BAD LIEUTENANT. Why you were probably asking yourselves, would they do that, it was perfectly fine and twisted the first time. It's the same reaction I had, when I heard that Hollywood was currently doing a remake of SAM PECKINPAH'S masterpiece, STRAW DOGS with KATE BECKINSALE, of all people. I have to say that I share the opinion of SISKEL and EBERT, who argued that they should remake the bad films, not the good ones. That said, this is not so much a remake as a new adventure and it is fabulous. HERZOG, himself explained the film's unwieldy title: Producer EDWARD PRESSMAN, owned the rights to the original film's name and wanted to use it and NICHOLAS CAGE, had wanted to work with HERZOG, for sometime, but would only do a film set in New Orleans, from whence, he hails.

Now, on to the film. CAGE plays a cop who... Trust me, the plot does not matter. Let me just say that CAGE, gives one of his most OTT, performances, I have ever seen. He doesn't just chew the scenery, he devours it whole and spits it out. He is out there man, and it is a wonder to behold.

Now, on to the dialogue, according to HERZOG, CAGE, improvised alot of his lines. There is one line, that those privileged few who saw the film will never forget. It is during a drug bust and amidst much gun play. CAGE is heard to say as a drug gangsta is shot: shoot him again, I can still see his soul dancing, how's that for a movie line, film fans? The film hurtles along at a breakneck speed and it is a wonky delight.


Can it possibly, be that the same WERNER HERZOG, who, directed my next film, MY SON, MY SON, WHAT HAVE YOU DONE and that it was produced, by the DAVID LYNCH. Personally, I would rename the film: WERNER AND PETER, WERNER AND PETER, WHAT HAVE YOU DONE?

This film, which has a really fine cast like WILEM DAFOE, MICHAEL SHANNON, GRACE ZABRISKE et al... really sucked. It was an incoherent, boring, annoying mess (Don't sugar-coat it for us cineman, how did you really feel)? The less said about this film the better...

This would turn out to be my last TIFF flick, tomorrow wrap-up and reflection.

until then..

T.T.F.N.

Daily Riffs From TIFF - Day 7

Welcome to the seventh day of TIFF, this was certainly not going to be my day of rest. The action began at 11:00 in the blessed ayem and the film was one I was really looking forward to: THE INVENTION OF LYING, starring and co-directed by someone I consider one of the funniest men on the planet, RICKY GERVAIS (and MATTHEW ROBINSON).

Well, folks can you say, lunchbag letdown, because that's what this movie was for me. Oh, it certainly started with promise. The premise sounded hilarious. it is about a world where everyone tells the truth, regardless of the consequences. GERVAIS, plays his sad everyman, who achieves success and wins the girl, by being the only man who can lie. Now, you're probably saying to yourself but, cineman, this is just like LIAR, LIAR, exactly the only difference is, that, that movie was funny. Now, my credo is thrill me, chill me, just don't bore me, this movie did. The movie basically, is just an extended series of riffs, based on this one joke premise. However, this movie does answer the question, can a flick, with such gifted co-stars as, JENNIFER GARNER, JONAH HILL, JEFFREY TAMBOR, ROB LOWE, (even throw in, TINA FEY, for good measure), suck, it can and did. The audience seemed to be having a good time, with this film, which leads me to ask the burning question: just which movie, were they watching.

Alright, now on to movie deux of the day, or for those of you counting, movie #16, in total. This movie had recently won best screenplay, at Venice, it was LIFE DURING WARTIME, directed by that lovable oddball, TODD SOLANZ. This film is a sequel of sorts, to the director's earlier film, HAPPINESS, and has characters from that movie, played by other actors (why?- I don't know). This film has an excellent cast: ALLISON JANNEY, MICHAEL LERNER, CIARAN HINDS, ALLY SHEEDY, et al. I could tell you what this movie is about, but I fell asleep. On to the next...

The next film was a real treat, by one of my favourite directors: FRANCOIS OZON'S LE REFUGE. OZON, is Festival favourite, and I have mostly enjoyed his oeuvre, over the years. Such films as, UNDER THE SAND, 8 WOMEN, SWIMMING POOL and 5 TIMES 2.

Well, this film did not disappoint. It is the story of two junkies: MOUSSE (ISABELLE CARRE), and LOUIS (MELVILLE POUPAD). After one injection too many, LOUIS, is dead, leaving MOUSSE, alone and pregnant, with his baby. While his mother insists she has an abortion, MOUSSE, decides to carry the child to full-term, and escapes to her country house, her refuge, if you will. This is where the film gets interesting. She is visited by the brother of her lover, whose name is PAUL (LOUIS-RONAN CHOISY). Tentatively, at first, a slow affection develops between the two characters and one of them is gay.

The pastoral country-side is gorgeous. and CARRE, gives a stunning multi-faceted performance. She is the rare, kind of actress, whose inner thoughts you can read just by looking at her face. The movie, which albeit, is a little slow at times, arrives at a satisfying conclusion.

It's hard to believe, that there's only a few more days of TIFF, but it's true. Still, more films to come, so keep checking this blog for more film updates.

T.T.F.N.

Daily Riffs From TIFF - Day 6

Hello, movie lovers everywhere and welcome to the 6th day, of the Festival of Film. Today, yours truly, had a later start - my first film was not until noon. Unfortunately it would also become, my first time, I left a film early, in a long time.

The film that was to have this "dubious," distinction was called, ENTERING THE VOID, directed by GASPAR NOE.

Now, a number of years Mr. Noe, had an interesting film at the Festival, which was called, IRREVERSIBLE. This movie was the story of the rape and murder of a woman, but the gimmick was, that it was shown in reverse-order, a la MEMENTO. Now that was an interesting film, though the graphic rape scene was incredibly disturbing and the movie itself, uber-violent.

When I heard that NOE, had a new film at Cannes, I got excited and hoped it would come to Toronto. Well, my friends, I'm sure you know what they say about 'don't wish for what you want...'

This movie was an incoherent mess, about a guy who's messed up on drugs in Japan and gets killed by the Police in a club and...who cares? Noe, uses a subjective, camera to represent the protagonist and then there's all these KUBRICK-like light effects and strobes. After about an hour of this ordeal, I fell asleep and my chum suggested, we boat - so, we did. So, if at a certain time in the future, this wretched crap is released and someone suggests you enter, ENTER THE VOID - DON'T!!! In other words, AVOID, at all costs, ENTER THE VOID.

Now my second film was a rush, and was a very pleasant surprise, after GASPAR's ghastly garbage. The movie was called APPLAUSE, and it was part of the DISCOVERY program. This film was from Denmark and was directed, by MARTIN PIETER ZANDVLIET.

The star of the film, is PAPRIKA STEEN, who is the MERYL STREEP, of Denmark. it is the story of an actress, who has just spent a year in rehab for alcoholism, which cost her custody of her children. Her husband is remarried and she seeks to reconnect with her kids. Now, what makes this film so interesting and multi-layered, is that we see excerpts from a play the actress, was involved with, EDWARD ALBEE's WHO'S AFRAID OF VIRGINIA WOOLF? The text of the play seems to "bleed," into the life of this woman, who as good as she is onstage, offstage, she is an emotional wreck. STEEN, gives a bravura, tour de force performance, and runs the full range of emotions: sad, sexy angry, crazy, menacing etc. The camera never leaves her face and she has no where to hide. It is heartbreaking towatch her, as she tries tentatively to reach out to her children, who see her as a virtual, stranger. I told miss STEEN, that I loved her performance and that I would do all I can to promote this film in my blog. Mission accomplished.

One more film would bring my tally up to 14. That film was called, WAKING SLEEPING BEAUTY, and was directed by DON HAHN, and produced by PETER SCHNEIDER. This documentary looks at the WALT DISNEY COMPANY, in the 80's, which was a was a period of transition for the company. The film documents the struggle of the old guard at the company, which was represented by such films as SNOW WHITE, PINOCCHIO, and SLEEPING BEAUTY, and the new mavericks, which was represented by a young, TIM BURTON, who worked on the wildly-expensive flop, THE BLACK CAULDRON.

At the executive-level, there were plenty of changes going on, as well. RON MILLER, was out as President, and in came MICHAEL EISNER, who in turn brought in JEFFREY KATZENBERG. This was a period in which it was thought that animation might be dead and led to some of DISNEY's greatest successes: THE LITTLE MERMAID, THE LION KING T ALADDIN, and of course its greatest triumph, BEAUTY AND THE BEAST (still the only animated film, nominated for Best-Picture at the Academy Awards).


Mr. HAHN, who is an animator at the studio said that most of the film's was made up of found, footage. We get to see snippets from various animated features (really cool on the big screen), as well as interviews with the personnel, who were eyewitnesses to the goings on at the company. We are also given a blow by blow account of the internecine battles between Messrs. EISNER, KATZENBERG, and WALT DISNEY's nephew ROY DISNEY. The film is interesting gossipy, and a sheer-delight.

During the Q&A, we learned that we had just seen a world premiere, (parts of it had been shown at Telluride). I suggested that it would be a great addition to our HOT DOCS, program. The filmmakers agreed.

Well, today more flicks, so more reviews, (funny how it works out that way).

T.T.F.N.

Daily Riffs From TIFF - Day 5

Well gang, as the song goes, I'm 'back in the saddle again.' Yesterday, I got back to my ole film self and saw 4 films - well. I did sleep through one, so make that 3 full films. Once again, I'm proud to report than I'm 3 for 3, (it's like deja vu, all over again).

The first film of the day, I am proud to report is personally, one of the most - anticipated films of the Festival, and I must say, one of the funniest flicks I have ever seen. It is the new movie from those two truly, twisted brothers, JOEL & ETHAN COEN and it is called A SERIOUS MAN.

SIDEBAR:

A short note to the TIFF programmers, fabulous Festival, as always, but, there are 3 films of that Festival, that have very similar names: the ones I'm writing about are: A SERIOUS MAN, then there is, A SINGLE MAN, as well as, A SOLITARY MAN, (confusing? you betcha). This similar movie nomenclature puts me in mind of the summer, that Hollywood had 3 pics with similar monikers: there was MY SCIENCE PROJECT, WEIRD SCIENCE, as well as REAL GENIUS. People were so confused by the 3 similar titles, that they did not go to see any of them. Which leads me to ask the programmers, where is the movie: A SERIOUSLY SINGLE MAN? (I'm just asking...).

Where was I? Oh, yes. THE COENS. Well, I have to say that, A SERIOUS MAN, is hilarious, especially if you're Jewish (which I am). I was laughing from beginning to end and some scenes I was laughing so hard, that I was gasping for breath and tears were coming to my eyes. This is a personal film, for the COENS,' that is said to be autobiographical, about their childhood. True or false- and lets not forget that FARGO, was prefaced with the comment: 'based on a true story,' (they later admitted, that they made the whole thing up) - it is wonderful.

The movie, is set in Minnesota, and is the tragicomic story of one LARRY GOPNIK, (brilliantly played by an actor named, MICHAEL STUHLBARG, ( I hadn't heard of him either, but the cast is largely made up of unknowns, in addition to such able farceurs as RICHARD KIND, (MAD ABOUT YOU, SPIN CITY), ADAM ARKIN, (NORTHERN EXPOSURE), and GEORGE WYNER, (SPACEBALLS, and a zillion tv shows, usually playing a lawyer). The rest of the cast is assembled with such finesse and care, that it puts one in mind, of a WOODY ALLEN movie. It is 1967,and this LARRY GOPNIK, is facing such tumult in his life, that he might consider changing his name to "JOB" GOPNIK, (hey that's kinda catchy). It is his son's Bar-Mitzvah and if that's not nerve-rattling enough, at the same time, he is eagerly awaiting to find out, if he will be granted tenure at his school and his wife wants a divorce. Throw into this mix an Aryan gun-toting neighbour, several Rabbis, stoned Hebrew students, and The Columbia Record Company (don't ask), and you have a delicious mix. Also, as a bonus, at the end of the movie, you'll understand the significance, of the story of, 'The Goy's Teeth,' (or will you)?

Now if you're having trouble understanding some of the terms, I am using in this review, you may have a little trouble with the movie. It is probably the most "Jewish," Hollywood movie, I have seen since, FIDDLER ON THE ROOF. It is filled with Yiddish and Hebrew and some of the names of the characters are hilarious in and of, themselves.

I don't want to give to much more away and spoil the fun. Needless, to say it was definitely a highlight of the Festival and I eagerly await seeing it again, upon its commercial release.

My next film was a rush only. It was called THE SECRET IN THEIR EYES, it is a Argentinian-Spanish film, directed by one, JUAN JOSE CAMPANELLA and I slept through almost all of it.

Next...

My next film was a real sleeper. It is a British film called, THE DISAPPEARANCE OF ALICE CREED and was stylishly directed by J. BLKESON, his first feature. It is a twisty thriller, in the tradition of THE USUAL SUSPECTS, and SEXY BEAST - both of which I saw at the Film Festival, incidentally - and it is the story of a kidnapping and its aftermath. The cast only has three actors, but they all acquit themselves, admirably. ALICE, is played by GEMMA ATHERTON, who you may have seen in CASINO ROYALE. The two kidnappers are well-played, by MARTIN COMPSTON and EDDIE MARSAN, who you may have seen in MIKE LEIGH'S HAPPY GO LUCKY. I really shoudn't tell you more and I have been sworn to secrecy by TIFF programmer, CAMERON BAILEY.

It was fabulous and I do recommend you see it yourselves, when it opens.

My last film was a documentary and one I had been looking forward to, called, HUGH HEFNER: PLAYBOY, ACTIVIST, REBEL, and it was directed by Toronto's own academy-award winner (ARTIE SHAW: TIME IS ALL YOU'VE GOT), BRIGITTE BERMAN. It was a very engrossing doc, perhaps a little diffuse in its focus. The film had some great interviewees talking about Hef, and his impact on the 20th century: GENE SIMMONS, GEORGE LUCAS, TONY BENNETT, RAY BRADBURY, SUSAN BROWNMILLER, BILL MAHER, DICK GREGORY ( if you don't know some of these names, do go to "google" and educate yourself.

The film had some fantastic archival footage, as well and it was exhaustively compiled by the director. The director said the first assemblage was 7 hours, so she must of had an incredible amount of material to work with. She was granted unlimited access to Hefner and an interesting image of him does appear on screen. He is a real contradiction in terms: he's been called a "chauvanist," because of the Bunnies, but, he was also at the forefront of civil rights, calling DR. MARTIN LUTHER KING JR., his friend, (in fact King's last published article was in PLAYBOY). His Jazz festival is second to none and he is a humanitarian supporting various philanthropic ventures.

The film is a chronological bio of Hugh Hefner and covers all the familiar targets: the start of the magazine, the PLAYBOY phoilosophy, the PLAYBOY clubs. The Bunnies, The Mansion, The Parties et al..

I did learn some things about the man that I didn't know and I the whole it was an engrossing if overlong experience.

The film premiered on the weekend, with Hef in attendance and the director said that he loved it and has shown it on "movie nights."

I asked the director if anyone refused her request for an interview? She said just 2: GLORIA STEINEM, who posed as a bunny, to write her famous expose and JULES FEIFFER, who felt he'd been interviewed enough in the past.

That was certainly a great day, but I'm sure, as they say, the best is still yet to come.

T.T.F.N.

Daily Riffs From TIFF - Day 4

Greetings, cinephiles everywhere (and you know who you are). Today, was a quiet day on the film front, though tomorrow does promise to be much busier. The one film I did see was definitely a curio: it was AIR DOLL, directed by HIROZAKU KORE - EDA.

WARNING: PLEASE BE AWARE THIS REVIEW MAY CONTAIN MANY PUNS, SOME OF WHICH ARE REALLY GOOD AND OTHERS WHICH ARE NOT. CONTINUE TO READ THIS REVIEW AT YOUR OWN DISCRETION.

Alright, so this film was part of the "masters" program and it certainly was "masterfully" directed. As for the story, well...

To give a blow by blow description, (oh. oh here they pun), the film is about a lonely, Japanese man who acquires an air doll, for rest and recreation and how one day it magically comes to life and becomes a 'living doll.' She soon goes out on her own to see the big city. The film seems to want to deal with such weighty issues as life and love and mortality, but in my opinion, it was just alot of hot air. I must say that DOONA BAE, does an excellent job as the ''airhead'' and her sense of wonder at her environment is very palpable. It also has some of the most gorgeous cinematography, I have ever seen in a movie. The film also has an appropriate dreamy quality, although it did tend to drag on and on.

However, the best thing about movies like this is how we are exposed to another culture and how they live from day to day. So in conclusion and to clear the air (last one, I promise), It did have alot of good things in it, but on the whole it was a little long and overly simplistic. Tomorrow more reviews (and hopefully, less puns).

T.T.F.N.

Daily Riffs From TIFF - Day 3

Greetings, my film fans and welcome to the third day of TIFF. Today, yours truly, only managed to see one film, however it was a powerful one. I had intended to rush PEDRO ALMODOVAR'S latest CRUZ missile, BROKEN GLANCES, but as they say, the spirit is willing but, the flesh is weak. As a result, my first flick was CITY OF LIFE AND DEATH, directed by LU CHUAN.

This movie, depicted the Rape of Nanking, which took place in December 1937, during the Japanese invasion of China, was a very timely selection after seeing the Ellsberg film. This was a truly, harrowing film and its being shot in black and white, lent it a documentary-like verisimilitude. The director's depiction of the battle scenes, were some of the most brutally realistic ones I have ever seen and can be compared with the best of KUBRICK, PECKINPAH and SPIELBERG. CHUAN'S camera captures the total horror of war and its utter devastation on people and property and he marshals his extras as compellingly as SERGEI EISENSTEIN. He has a masterful use of montage and puts the viewer, right into the picture. That said, this movie seemed to have been made as a ''propaganda'' piece, as the Japanese are depicted as bloodthirsty savages, without so much as one redeeming quality. The question then arises: can a propagandist film be art? One film that should be considered in this debate, is LENI RIEFENSTAHL'S TRIUMPH OF THE WILL, which is considered in some circles both.

The ''rape'' of the title refers to the raping of the of the Chinese women, by the Japanese soldiers. The movie also reveals a little known fact that the Chinese women offered themselves as voluntary prostitutes to slake the Japanese lust.

The movie only concentrates on a few characters on both sides, in order to personalize the story, for the viewer. It was ultimately too long, but it did provide for a sobering experience, proving, once again, the utter destruction and futility of war.

I had intended to rush my next film, THE ART OF THE STEAL, a documentary directed by DON ARGOTT, but alas, it was not to be.

Today, I have my brother's nuptials and some business-related activities, so I will only be able to squeeze in one film. Monday, I should be firmly ensconced in the ''cinematic'' saddle again and I hope to see three or more.

Goodbye for now and enjoy your weekend my movie mates.

T.T.F.N.

Daily Riffs From TIFF - Day 2

Well, my friends, today will go down in history as one of the finest film festival days, yours truly has ever, had. For you see today I was 3 for 3.

But first, lets talk about the ayem. I didn't have a movie, before 3:00 today, and when I got downtown, I was a might peckish, for some grub. My cinema cohort, suggested that we try CAPLANSKY'S, newly ensconced at Bathurst and College. I was skeptical, as my previous deli doings with them, had been less than satisfactory, but decided to give their new venue, a try. Well, gang it was a glorious success. Those who know me, know that I love food and those who really know me, know that I love deli. Those who are my confidantes, know that my favourite deli item is KISHKA. For those of you who are uninitiated in the 'culture of kishka,' I guess the closest food item to it, I've been told, is HAGGIS (but, not quite). Anyways, kishka comes from a private part of the cow (no, not that one). I consider my self quite the kishka aficionado and this, was damn good kishka. It had a wonderful, smoked meat gravy. So, the kishka, combined with a smoked- meat sandwich and world-class fries, made for a sumptuous meal.

But I digest...on to the films.

My first film today, and for those counting, this was my third film altogether, was the one chosen as TIFF's opening night gala: JON AMIEL'S movie, CREATION, starring, PAUL BETTANY and JENNIFER CONNELLY. Now Amiel had directed one of my favourite mini-series, of all time - THE SINGING DETECTIVE, written by the late, great DENNIS POTTER. This movie is concerned with CHARLES DARWIN (played by BETTANY, in an Oscar-worthy performance), and the elements that went into his writing his landmark tome: 'The Origin of the Species. The movie is beautifully shot, and features great performances by non-actors (especially by MARTHA WEST, as his late daughter), and various animals. The movie had great buzz, from its gala appearance last-night and the theatre, was filled to the rafters. Now, admittedly, the film was a little slow and my Caplansky's cohort and I, did nod off a little. However, its cumulative power was incredible and I was moved to tears. When I asked the first question, during the Q&A, with the director, I was almost, too-choked up to speak. I did manage to tell the director, how much I admired DETECTIVE, and his current film. I also loved the music and highly-recommend this film.

Now, film #2, for the day was truly something special indeed. It was also, a true highlight of my TIFF, experience. The movie was a documentary, a genre both myself and my wife enjoy very much, and we have seen some fine ones over the years in Toronto. The movie was called THE MOST DANGEROUS MAN IN AMERICA: DANIEL ELLSBERG AND THE PENTAGON PAPERS, from co-directors JUDITH EHRLICH and RICK GOLDSMITH. Ellsberg, had worked the Pentagon and had been in Vietnam, as a soldier. He became gradually, disillusioned over time with the war and over-time gained access to information at the Pentagon, about how various presidential administrations, had deceived the American people, about their involvement in the Vietnam war. Ellsberg made copies of these so-called 'pentagon papers,' (which came to over 7,000 pages), and leaked them to the New York Times. For doing this, he became a man hunted by the FBI, and ended-up on Richard Nixon's fabled, 'enemies list.' We hear Nixon on his White House tapes, castigating Ellsberg and the press. The U.S. government tried to block The Times publication, of the papers, but once it was picked-up by other newpapapers, with Ellsberg's instigation, they were unable to stop the truth. Ellsberg himself, who took a big chance my leaking this document, was tried and acquitted and became a prime anti-Nam advocate. When Nixon then tried to have his "plumbers," break into Ellsberg's psychiatrist to retrieve some confidential documents as well, as the Watergate hotel, the seeds of the President's destruction were planted. The archival footage this film contained was staggering, especially, the footage of Vietnamese kids and the film played out like a great thriller. However, the piece-de -resistance was still to come. When the directors came back for the inevitable Q&A, they introduced Daniel Ellsberg and his beloved wife of many years, Patricia, to thunderous applause and a well-deserved standing ovation. I was honoured to ask the first question. I commented what an extraordinary and very-engrossing movie they had made. I told Ellsberg, that he was my new "hero" and he was very touched, I had also noticed the name of one of my favourite filmmakers, Errol Morris, amidst the credits and I asked the Filmmakers if they had seen THE FOG OF WAR. In this phenomenol film, the late ROBERT MCNAMARA, became the first government official to admit that going into Vietnam was "wrong." The female half of the docu-team said she had seen the film and that she used it in the documentary film course, she taught. The best was yet to come I got to ask Ellsberg, as the film crowd dispersed how it felt to have been able to bring down a president, he said it felt, pretty good. We also met his lovely wife and I said to her, that behind every great man is a" great," woman. Ellsberg signed my film-book which I now cherish and he and my wife seemed to get along great and he gave her a hug, which thrilled her. I commented how it's wonderful how involved Ellsberg is in politics (his wife noted he had been arrested for over 70 acts of civil-disobedience,) - Thoreau, would be proud. It was very appropriate to see this film on September 11th. It was all-in-all, an amazing experience. I told Mr. Ellsberg I would plug this movie on my blog and so I have.

My last film was a Canuck flick - I do like to support the home industry too. The movie was called, SUCK directed and starring ROB STEFANIUK, who had directed and starred
in PHIL THE ALIEN, a few years ago. SUCK, was a blast, as it told the story of a rock-band, who gained and notoriety, by being bit by vampires. The best part were the cameos: ALICE COOPER, CAROLE POPE, IGGY POP, HENRY ROLLINS, MOBY and local fave, ALEX LIFESON. The cast was eclectic to say the least: JESSICA PARE DAVE FOLEY and MALCOLM MCDOWELL. It was smart, it was funny and it was "Canadian," - of all things.

Well, that was my amazing day. tomorrow more films and wonderful experiences, at TIFF 2009.

T.T.F.N.

Daily Riffs From TIFF

Well, Gentle Readers, TIFFAPALOOZA 2009, is off to a flying start and as promised I will be giving you a blow by blow description, of all the films assayed, by your intrepid (and soon to be extremely sleep-deprived), reporter.

Today, was the first day of the festival and I saw a total of 2 movies. for me this is considered a "light" day, but as The Carpenters sang: 'We've only just begun.' My first film was one I actually had to rush,because I didn't get it on the first go round. It was a real winner and a great way to start off the festival with a "bang." Unfortunately. the second film which I had been greatly anticipated, was more of a "whimper." More on that one, later.

First, the good news: LONE SCHERFIG's film called AN EDUCATION, is a sheer delight, with a real star-making performance by its ingenue-star, CAREY MULLIGAN. With a wonderful script by NICK HORNBY, and stellar support from PETER SARSGAARD and the great ALFRED MOLINA (who as one audience member put it, has never 'sucked' in a film). The story takes place in a drab suburb of London in the early sixties and is based on a memoir by LYNN BARBER. Mulligan plays a savvy student an all-girls school, who plans to rise up out of her working class background and go to Oxford. Her plans are derailed by a charming, yet somehow sinister rogue played by Sarsgaard, (who acts with a very convincing English accent), who sweeps her off her feet and over to Paris. Mulligan projects some of the gamine quality, of a young Audrey Hepburn, and carries the film on her capable shoulders with great aplomb. It is very enjoyable and a guaranteed crowd-pleaser.

...on the other hand...

My second film was the latest film from that daring, 'dogma' darling: LARS VON TRIER. It is called ANTICHRIST, and it, unlike Mr. Molina - IT SUCKED!!! Let me start off by praising Mr. Von Trier, before I proceed to bury him. I have always been a big fan of his oeuvre, always looking forward to his next offering. For instance, I thought that BREAKING THE WAVES, which won the Palme d'or at Cannes, the year it was made, was a masterpiece. As far as this film is concerned, it is certainly a "piece" of something. This is Von Trier's "stab" at making a horror film and oh, 'the horror, the horror...' To be fair he seems to be grappling with some big themes: good and evil, innocence and "paradise" lost, sex and guilt etc. You see WILEM DAFOE and CHARLOTTE GAINSBOURG, play a couple, whose young son falls out of a window, while they are making love, the wife is wracked with guilt and so they go into the woods and...ohhh, never mind, it doesn't really matter. The themes are lost amid all of Von Trier's artsy-fartsy imagery. The movie was only partly redeemed by the performances of the two leads, who really give it their all (and I mean "all" in two very brave performances. Oh, and let's not forget the gutsy performance by the fox with the bell (huh)? It all becomes exceedingly violent, thoroughly unpleasant and really not one whit scary. Better luck net time Mr. Von Trier.

But, on to (hopefully), bigger and better things, as day 2 beckons and so does my pillow. Good night Gentle Readers, everywhere.

T.T.F.N.

Getting A Lift From TIFF

Well, Gentle Readers, TIFF 2009, will soon be upon us and on Thursday it will be time to say: Gentlemen start your projectors...

I hope to be screening between 20-25 films myself and have daily reports for you right from the cinematic battlefield itself. The Festival is such a whirlwind, that I hope this blog will help me to crystallize the experience from myself and my fellow bloggites.

There is one thing that I do have to sound off on and that is the hue and cry over TIFF selecting Tel Aviv for its CITY to CITY program. Apparently, some filmmakers- John Greyson for one, have withdrawn their films from competition and others such as Ken Loach, and Jane Fonda have expressed their displeasure, that Tel Aviv was chosen for this accolade. They call Israel an 'apartheid' state and how dare it be highlighted at TIFF. This of course is complete 'hogwash,' what it really is, is another thinly-disguised example of anti-semitism, rearing its ugly head. It was Jimmy Carter- who was probably high on peanut fumes - who gave Israel, this moniker. He said that he knew this label would stir up a storm of controversey - no shit, Sherlock. The only 'apartheid' state that existed was in South Africa, which now thankfully is a thing of the past. Israel is no more 'apartheid,' than Mississauga is. Also, why is it that some Palestinian film-makers have not joined the boycott by pulling their films. This whole brouhaha has definitely put a damper on this years event.

But, on to happier thoughts. TIFF is just a few days away and by all indications it should be a banner year. See you at the movies.

T.T.F.N.

A Few Riffs About TIFF

Well Gentle Readers, welcome to entry number three in my wide world of blogging. As we all know, TIFF 2009, will soon descend on our fair city and yours truly is as excited as all get out. As per usual, I will be taking off the entire time, to thoroughly enjoy the full filmic experience. My experience with the festival goes back more than 20 years, back to the halcyon days when it was known as the Festival of Festivals. Over the years, I have had many wonderful experiences at the festival: seeing wonderful, challenging films for starters. I have met celebrities, as well as many interesting journalists, from around the world. I have had the privilege of attending as an 'insider,' as an industry member. I enjoyed all the parties, press screenings and hanging out with my friends in the hospitality suite - I even had a drink named after me(cool). These days, I'm there to see the movies and as always it seems to be a bumper crop: new films from the Coen Bros., Almodovar, Von Trier, Herzog, Haneke et al. I hope to do a daily blog for you my GR's and keep you all apprised of all the films and attendant hoopla. The festival just gets better and better - and bigger and bigger - each year. So on September 10, come with me to the movies, my cinematic cohorts.

T.T.F.N.

'PULP HITLER' OR 'RESEVOIR NAZIS'

Hello, gentle readers and welcome to blog deux. Well, as promised this blog will be all about Quentin Tarantino's latest flick, 'Inglorious Basterds.' This is the film that Tarantino has always dreamed of making, his magnum opus, his Citizen Kane, if you will. However, before I digress further, let me answer the 'burning' question: is it any good? Well, myself and my intrepid cohort loved it. As most of you know from all the hype and glory, that the film has generated, it is about an elite band of Jewish soldiers, led by Brad Pitt (who is quite good, with limited screen time), who are after Nazi scalps, or is it? While you do see the 'basterds' in action, acquiring those said Nazi scalps (in excruciating detail), they really are not the central story of the movie. The flick is basically about the blowing up of a German cinema, that is showing a Nazi propaganda film, attended by Messrs Goebbels, Himmler, and ole Adolph, himself. You see this Jewish woman Shoshana is running this kino, after escaping a family massacre on her farm and... It's Tarantino, so of course half the fun is getting there.

At this point I must mention an actor who plays SS officer Colonel Landa. His name is Christoph Walz, now I want you to remember that name, because you will be hearing it again around Oscar time. Mr. Walz, has already won an award at Cannes for his performance and it is in the tradition of the great movie baddies of all time - Hans Gruber of Die Hard, Heath Ledger's Joker, hell, even throw in Darth Vader, for good measure, this dude is baaaaaad - which for the film and filmgoer is really good. Besides, speaking a myriad number of languages, Landa is by turns solicitous, unctuous, menacing and downright terrifying. Unfortunately, he seems to be the only one taking the movie seriously. I have to say that I haven't laughed at a movie this much in a long time. Don't get me wrong, it has some of the most violent scenes ever put on celluloid, but it is also hilarious. Tarantino is the master of combining, the gruesome and the humorous and this movie certainly walks a fine line.

Tarantino mostly shot the film, at the famed Babelsberg studios, where those great Dietrich films were shot. He is aided immeasurably, by his ace d.o.p. Robert Richardson, whose shot the best of the Oliver Stone films. The film of course has Quentin's classic off-beat dialogue, sharp editing and bravura set pieces. As I hoped Tarantino, has come through and saved the summer for me and you.