Chicago International Film Festival 51 - Initial Thoughts

Chicago International Film Festival 51 - opens this week!

The longest running international competitive film festival in the United States returns for its 51st edition, starting this week in Chicago. Opening night is Thursday, October 15 with the screening of the Italian film Mia Madre, directed by Nanni Moretti. 

I have seen this film and will review it soon. Here are notes on the first three films I have seen from this year's festival:

Breakfast at Ina's - directed by Mercedes Kane. This is an uncomplicated documentary about a lovely woman, Ina Pinkney, who managed Ina's, a breakfast restaurant in Chicago's West Loop, that became a local institution. The film covers the action of the final month - December 2013 - of the restaurant, which Pinkney was forced to close due to her health; she contracted polio in her youth and still suffers today from post-polio, as she has trouble walking. 

If this film is not as gripping as it should be, it is a very good and even-keeled look at Pinkney's life, which has had many ups and downs. The most engrossing part of this documentary has to do with Pinkney recalling her marriage in the 1960s to a black man; interracial marriage of course, being somewhat of a taboo at that time. Clearly, Pinkney's experience with this matter, both in Brooklyn where she lived at the time and soon after, when she moved to Chicago, shaped some of her outlook on life. 

This is a film with a good heart, as it keeps things simple, offering us Pinkney talking about her management style, the everyday travails of running a breakfast restaurant and her future. She comes across as one of the most genuine people you'll ever meet. 

Breakfast at Ina's will be shown on Sunday, October 18 at 3:30 PM; Thursday, October 22 at 12:00 PM and on Friday, October 23 at 4:00 PM

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How to Win Enemies - directed by Gabriel Lichtmann. The less said about this film, the better. This is a movie for the Facebook crowd, as the characters are two-dimensional at best, the actors are all young and look beautiful, the lighting is bright, with saturated images, and worst of all, a silly story with a puzzle. The puzzle has to do with one of the main characters being robbed of a good deal of money, but we never believe for a second that his life will be all that difficult. While the dialogue isn't embarrassing, neither is it particularly clever and it adds up to very little. This isn't a disaster, as it's moderately watchable, but there isn't much substance, style or wit to this very short (78 minutes only, thankfully) film from Argentina.

How to Win Enemies will be shown on Wednesday, October 21 at 5:45; Thursday, October 22 at 9:30 PM and Monday, October 26 at 2:45 PM.

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Other Madnesses - directed by Jeremy Carr. Much more ambitious than the previous two films I discussed, this is a harrowing look at an everyday citizen of New York City and how he views the horrors of the city. That makes Other Madnesses sort of an alternative version of Taxi Driver; clearly Carr was influenced by that seminal film when he made this work. A bus tour guide named Ed Zimmer (played by a somewhat gaunt and ghoulish-looking James Moles) charms tourists with his knowledge of Manhattan during the day (he is asked several times by tourists to have his picture taken with them - a nice touch), but is haunted by his nightmares, once he is back in his dingy apartment. The question the film raises on the surface level has to do with whether his visions are real or merely extensions of his fevered imagination. The film also asks us if we would do what Zimmer sets out to do - to right these wrongs. This is the first film directed by Carr and his imagery is often haunting - the first shot in the dark sets the proper tone for this film - and he takes time to slow the story down to give us an unusual relationship between Zimmer and a female tourist he meets on the bus named Lucya (nicely played by Natia Dune). While the film does not totally come to a full resolution, it is a fascinating journey into the hellish vision of one lonely man. 

Other Madnesses will be shown on Saturday, October 17 at 9:30 PM and on Monday, October 19 at 9:15 PM.

Note that all films will be shown at the AMC River East Theatres at 322 E. Illinois Street

Favorites from the Chicago International Film Festival

The President

Winner of the Gold Hugo as best Film of the 2014 Chicago International Film Festival

The 50th Chicago International Film Festival wrapped up its two-week run a few days ago and it was a smashing success! I attended the fest at the beautiful AMC River East theater complex and was amazed at the crowds on the weekend of October 17-19; the organizers were quite right in making the theme of this year's fest "Everybody Loves Movies," as thousands turned out to see the latest in world cinema. Founder and artistic director Michael Kutza and his team have made the Chicago Film Festival undoubtedly one of the finest in the United States.

There are so many films shown during the two weeks, that's it's impossible to see everything. Please keep that in mind as I write about my personal favorites from the fest, as I realize I missed out on some films that were highly praised. But I did try and make an effort to see many different types of films, be they dramas, comedies, shorts and documentaries.

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The President (Georgia, France, U.K., Germany) - directed by Mohsen Makhmalbaf. This film was awarded the Gold Hugo as the Best Film of this year's festival; bravo to the jury for selecting such an original, provocative film! In an unnamed country (perhaps Georgia or a neighboring land), a dictator must flee for his life after the military overthrows his government. The president sees his wife and daughters off to the airport in the nick of time, but stays to fight for his regime along with his five-year old young grandson. At times funny, but mostly chilling, the film focuses on the desperate measures the former ruler must go through just to survive from one day to the next, as soldiers are out to capture him, dead or alive, for a large ransom. 

Director Makhmalabaf masterfully brings an immediacy to the story, beautifully capturing small moments so well, as when the president and his grandson must pass themselves off as street musicians, with the young boy wearing a cardboard box while performing an impromptu dance. I have not seen other films by Makhamalabaf, but based on this single work, it is clear that he is an extremely talented director, one who understands the spatial boundaries of the screen (his compositions are at once beautiful and sadly heartbreaking). He has been called one of the leaders of the Iranian New Wave; this movie along with A Separation (director, Asghar Farhadi), which was awarded an Academy Award as Best Foreign Film in 2012, offer proof that some of today's most remarkable films are being made by directors from Iran.

Stockholm (Spain) - directed by Rodrigo Sorogoyen - A look at a chance affair at a bar between a young man and woman that turns into much more than a one-night stand. A very intelligent screenplay by Isabel Peña and Sogoyen that offers three dimensional characters who each practice their own particular dance; he (Javier Periera) will do anything to impress this woman, while she (Aura Garrido) is quite unsure of herself as well as his motives, yet feels drawn to him. This is such an impressive study of a male-female relationship that is only rarely seen in Hollywood; this is not a "meet cute" film that major studios routinely produce. Great work by the two principal performers, especially Garrido.

Human Capital (Italy) - directed by Paolo Virzi (review here). A look at the excesses of the rich in northern Italy, set in the current day economic crisis of the country. The film is told in four chapters, as there are multiple viewpoints of a tragic roadside accident that sets the story in motion. Each chapter also provides insight into the emotions of the various characters, most of whom are not happy with their current lot in life. Beautifully written, directed and acted (the entire cast is first-rate), the film has received numerous awards in Italy; I believe it can also be a critical success in America (and perhaps even relatively popular at the box office).

Fearless (United States) - directed by Ted Kotcheff - A splendid short film (26 minutes) that deals directly with the question of the quality of life. An aging actress sees a young man outside her estate who is ready to kill himself; she challenges him and invites him in for tea, provoking him with questions about why he would do this. During their time together, we discover that she also has problems with her current existence; clearly her glorious past as a movie star is a thing of the past. An engaging performance by Fionnula Flangan; sensitive direction by the 83-year old Kotcheff and an insightful script by his daughter Alexandra. In its brief running time, the film treats serious questions about life and death with greater complexity than many feature films. Highly recommended.




Sand Dollars (Dominican Republic, Mexico) - directed by Israel Cardenas and Amelia Guzman. A dream-like film about the relationship of two women, one a young native of the Dominican Republic and the other a European in her 70s. The older woman (an outstanding performance by Geraldine Chaplin, who is not afraid to display her 70 year-old appearance) feels alive again with the tenderness shown to her by her young lover, while the young woman is attracted to her older companion, if only for the fact that she has money. This is a film of wishes and hopes, and while some of these desires are dashed, the characters have an eternal outlook that things will work out for them. Chaplin was awarded the Silver Hugo as Best Actress in this year's festival.



Human Voice -La Voce Humana - (Italy) - directed by Edoardo Ponti. Another short film (25 minutes), this a magnificently filmed telling of the Jean Cocteau eponymous short story in which an elderly woman (Sophia Loren) talks to her lover on the phone one final time, painfully realizing that she will never see him again. Loren, who was 79 years old when this was filmed (she recently turned 80) is brilliant in this role - you'd have to say that this ranks among the finest works of her career. There is an urgency in her voice and such primal emotions on display- she takes your breath away with this performance! Her son Edoardo tenderly directs this tale, while the brilliant cinematography is by Rodrigo Prieto, who is one of the finest directors of photography working today (recent credits include Argo, Babel and The Wolf of Wall Street). His deeply saturated blues and reds in the apartment scenes add irony to the film's plot and his compositions of the actors set against the Napoli seaside is stunning. I can't imagine the Academy nominating a short film for cinematography, but it would be a worthwhile nomination; I don't know if I'll see a more beautiful and professional job of cinematography this year (note, this was shot on film stock, not digitally). But perhaps the film will be nominated for an Oscar in the Short Film category; I would love that, as it would allow a good-sized audience to see this gorgeous film!

The Look of Silence (Denmark, Indonesia, Norway, Finland, UK) - directed by Joshua Oppenheimer. This is Oppenheimer's companion piece to his 2013 documentary The Act of Killing, which told the story of a select few of the individuals that committed brutal government-approved murders in Indonesia in the 1960s. While that film recreated the deeds of those individuals, The Look of Silence concerns itself with the story of the brother of a young man who was one of the victims. He confronts the murderers and asks them if they feel any remorse. Like the first film on this topic by Oppenheimer, this is a devastating film. One final note: many of the end credits - especially for assistant directors - read "anonymous"; clearly many of Indonesia's citizens are reluctant to talk about this terrible period in their recent history.

Magician: The Astonishing Life and Work of Orson Welles (United States) - directed by Chuck Workman. An excellent documentary about a true genius of cinema, this film is a great introduction to the work of Welles - theater as well as film - and will be appreciated by devotees of Welles. My full review will appear in December when the film hits theaters, for now, you can read my interview with Workman about this film here.

Birdman (United States) - directed by Alejandro Iñarritu. A highly original movie about an actor who has left his superhero days behind and is now tackling his first Broadway work, adapting, directing and starring in a dramatic play. He asks himself often in the film if he is crazy to do this; his life complicated by several others in his immediate family and in the play. (I'll write a full review in a few days.) Great lead performance by Michael Keaton, who was awarded the Founder's Award from the festival for his work in this film. 

I've Seen the Unicorn (Canada) - directed by Vincent Toi (full review here). A film for the dreamer in all of us set amidst the world of thoroughbred horse racing in the small nation island of Mauritius. We follow the trials of an owner and a jockey who desperately want to win the country's biggest race; we also learn the story of a young boy who will do whatever it takes to become a jockey in a few years. A delightful film - only 60 minutes in length - full of simple pleasures as well as exciting race scenes.

Algren (United States) - directed by Michael Caplan (full review here). A heartfelt tribute to the famous Chicago writer, the champion of the dispossessed. Beautiful photos from the 1940s, '50s and '60 shot by Art Shay illustrate the life and times of Nelson Algren. There are many wonderful stories in this documentary, told by famous writers and directors such as William Friedkin, John Sayles and Philip Kaufman.

Other films I enjoyed included: 

Maestro (France) - directed by Lea Fazer

Joy of Man's Desiring (Canada) - directed by Denis Coté

The 100 year old man who jumped out the window and disappeared (Sweden) - dir. Felix Herngren

The Divide (United States, short film) - directed by Ashley Monti

Tir (Italy) - directed by Alberto Fasulo

I would think the Chicago Film Festival team would have a difficult time topping themselves next year, but I'm quite confident they'll be up to the task. Here's to the 51st Chicago International Film Festival in 2015!

Oliver Stone - In Person - Chicago International Film Festival

(Photo ©Tom Hyland)

Oliver Stone was in Chicago on Sunday to talk about two of his films - Natural Born Killers (1994) and Alexander (2004) - that were bring shown in their director's cut to audiences. 

Stone spoke after the first film and before the second, commenting on questions primarily about Natural Born Killers. He commented on how much he had to trim to please the film board ("155 cuts, 155 f****g cuts!"). He also noted that Warners Brothers, his distributor, was not thrilled with the film, so instead of waiting until the fall for its premiere, they "dumped it" (Stone's words), opening the film on a traditionally slow weekend in August. "We broke box office records for that weekend," Stone noted.

He mentioned how that film was eerily prophetic in its depiction of media coverage of violence in America and that set him off on a typical Oliver Stone rant about the media and how they treat stories in our country. "They (the media) create the bad guy, they simplify everything." 

Natural Born Killers is an extremely violent film and the director had his say about media coverage of murders and other atrocities. "We instill violence (in this country)." 

He also talked about the insistence of the media covering violent stories and the qualities that these broadcasts instill in some people. Commenting on the mass murders in Columbine and other cities over the past decade, Stone said, "I think if I grew up in a suburb with a mall, I'd shoot somebody."

I laughed as did many of the audience; Stone emphasized he was not serious, realizing of course, how anyone who has a twitter account can take someone's words out of context.

Over the past few years, Stone has been working on a lengthy documentary for television called The Untold History of the United States. "I'm very proud of it," he said. He recommended this series to the audience as a way of realizing for ourselves how screwed up our country is and how often our government has lied to us. "We have problems exercising the democratic rights we're supposed to have."

Agree or not with his take on these issues, you've got to admit that Oliver Stone is honest and fearless in his comments. To my way of thinking, there are too many individuals who are ready to criticize others, yet have little to offer. Stone volunteered to serve in Vietnam, so he was a first-hand witness to that sad time in our country's history. He had the courage to make Salvador and JFK and also make a brilliant film Nixon that was both a Shakespearean look at the downfall of a leader as well as an introspective look at the political crises that have defined Washington, D.C. for the past several decades.

I don't always concur with him, but thank goodness for a breath of fresh air such as Oliver Stone.

Chicago International Film Festival 50! - a Preview

The Look of Silence

The 50th Chicago International Film Festival will begin soon - who would have thought back in the 1960s that this event would have a 50th birthday celebration? But here we are, with opening night on October 9, featuring the premiere of Miss Julie, the latest film from Liv Ullman.

As this is the 50th festival, the organizers have put together an excellent array of films as always, but to honor this milestone, they have lined up an all-star collection of talent who will appear. Directors such as Oliver Stone, Taylor Hackford, Bob Rafelson and Ullmann will be in town for various events (Stone will appear at the screening of his director's cut of Natural Born Killers and Alexander: Ultimate Edition, both on October 12).

Among the films I'm most looking forward to is The Look of Silence, directed by Joshua Oppenheimer. The director, who gave us the mesmerizing documentary The Act of Killing, which told the story of a few of the individuals who masterminded the government-sanctioned killings in Indonesia in the 1960s, has now made his followup to that film. This opus is about the brother of a victim who is still troubled by these events so much that he confronts one of the killers who bragged about his actions in that first film. I can't wait to see what Oppenheimer brings us with this work.

The Imitation Game, which won the People's Choice Award at this year's Toronto International Film Festival, is a story of justice denied. Directed by Morton Tyldum and starring Benedict Cumberbatch, the film details the true story of Alan Turing, a brilliant British mathematician who was a member of the team that broke the German Enigma code that helped turn the tide in World War ll. His work was celebrated, but a few years after the war, he was prosecuted for committing homosexual acts. Given Cumberbatch's marvelous screen acting these past few years, I'm very interested to see this work.

Magician: The Astonishing Life and Work of Orson Welles, directed by Chuck Workman, is a documentary about the genius filmmaker, who turned Hollywood on its head in the 1940s and '50s. The film traces his life from his childhood and includes thoughts on Welles from such cinematic luminaries as Martin Scorsese, Steven Spielberg and Peter Bogdonavich. For years, Workman made short films that were shown at the beginning of the Academy Awards telecasts; these shorts were beautifully made, displaying a love for the cinema that too often was missing during those broadcasts. I can't wait to see how Workman approaches the life of Orson Welles.

Another documentary I am looking forward to is Algren, about famed Chicago author Nelson Algren. Directed by Michael Caplan, the film incorporates interviews with artists inspired by his work; there are also many Art Shay photographs from the 1950s and '60s.

Of course, as this is the Chicago International Film Festival, there will be a good deal of local talent on display, including numerous short films created by Chicago film students. One of the feature films that will premiere is St. Vincent, directed by Ted Melfi and starring Illinois natives Bill Murray and Melissa McCarthy.

Finally, there will also be several classic older films that will be screened - some famous, others not so well-known. Why Be Good? is a 1927 film starring top box office draw Colleen Moore; here is your chance to see this film that was thought lost. Also showing at the fest will be Jamaica Inn (1939), one of Alfred Hitchcock's least known works; this starring Charles Laughton and Maureen O'Hara. Hitchcock expert John Russell Taylor will appear at this screening and will also appear at a special showing of the 1954 George Cukor classic A Star is Born, which has been restored to its original length and digitally remastered.

I can't wait for the festival to begin, as I know there are many films I want to see. Judging from the entire list of films (click here), there should be something special for every film lover! Congratulations to founder and artistic director Michael Kutza for five decades of tireless promotion of cinema in Chicago!

My Best of the Fest - The Top Seven

The 47th Chicago International Film Festival ended it fifteen-day run last week, but I'm still catching up on some of my reviews. Several of these will appear in the short run, but for now, here are notes on my favorite films from the fest (top seven in order of preference):

We Need To Talk About Kevin (UK) - director: Lynne Ramsay
A haunting, mesmerizing film about the relationship between a teen-aged boy and his parents. I love the way Ramsay slowly reveals the chilling details of the plot as well as the dreamlike manner of the flashbacks. This is a superbly directed film that might have been excessive in lesser hands. Tilda Swinton is brilliant as the mother who struggles to learn the strange behavior of her son.


Once Upon a Time in Anatolia (Turkey) - director: Nuri Bilge Ceylan
A visual treat with stunning cinematography by Gokhan Tiryaki, this is the story of a murder investigation that takes us through the remote landscapes of Turkey. The first half of this 150 minute work takes place entirely at night, often in very long shots with sounds of footsteps, car engines and clipped dialogue in the background, while the second half takes place during the day, as the search is finalized and we head back to town. Along the way, we watch in fascination as the police along with a prosecutor and doctor share their inner thoughts about the immediate work as well as their private lives. The length of this film is perfect - it is never slow moving - and lets us discover for ourselves what this world is all about. Co-Winner of the Grand Prix at Cannes.


Miss Bala (Mexico) - director: Gerado Naranjo
Director Naranjo tackles the subject of the drug wars in contemporary Mexico, basing this film upon a real-life incident of a young woman who was kidnapped and forced to deal with a vicious gang. This is a highly entertaining thriller that balances moments of brutal honesty (shootouts on local streets) as well as total artificiality (a beauty pageant the young woman enters) with equal aplomb. This is certain to fuel the discussion of the terrible tragedies that have been suffered by too many of Mexico's people.


Into The Abyss (Germany) - director: Werner Herzog
Herzog's outstanding documentary about the effects of a triple homicide on several individuals, ranging from the family of the victims to the police who investigated the crime to the convicted parties as well. Herzog was actually granted the right to interview one of the killers on death row, a mere eight days before his execution and this short sequence is one of the highlights of the film. Yet the most gripping interview may be with the woman whose mother and brother were victims of this senseless crime. Herzog is clearly against the death penalty, yet the film is not a cry to banish this punishment in America, but rather a beautifully balanced work that is dedicated to the victims. Gripping from start to finish.

The Kid With a Bike (Belgium) - director: Jean-Pierre and Luc Dardenne
Just under 90 minutes, this is a remarkably direct look at the life of an 11-year old boy who has been abandoned by his father. The young boy Cyril (Thomas Doret) rebels against adults, even the hairdresser Samantha (Cécile de France) who takes him in on weekends and helps restore his shattered psyche. The two leads are both gifted performers and the Dardennes' telling of this story is an enlightening look at the fears and pleasure of youth - and adults - as they mature in their understanding of life and each other. Co-Winner of the Grand Prix at Cannes.


Le Havre (Finland/France) - director: Ari Kaurismaki
A witty, sometimes droll, sometimes heartwarming fable about a middle-aged shoe shine who helps a young African refugee to freedom. Kaurismaki does not make speeches about the problem of refugees, but instead weaves a marvelous story about the kindness of humanity at large. Every character, even the smallest roles, are perfectly written and fleshed out by the actors. Winner of the Gold Hugo for Best Film at the Chicago International Film Festival.


The Last Rites of Joe May (USA) - director: Joe Maggio
A look at a proud, decent man in his 60s who is seeing his role in life diminish, but who wants to do one more great thing in his life. Dennis Farina portrays the title character and it's the performance of his life. Writer/director Maggio populates this sensitive and kindhearted film with honest characters in real-life moments, with scenes of simple dialogue about the people the characters deal with on an everyday basis. Along with his cinematographer Jay Silver, Maggio presents Chicago as a synthesis of neighborhoods filmed in bleak grays and blues during the chill of winter; there are no glossy skyscraper or lakefront images in this film. In the process, it's arguably the most visually honest film ever made in Chicago.


Other films I was impressed with include: All Me: The Life and Times of Winfred Rembert, a fascinating documentary about the unique art of a black man from rural Georgia who suffered through the racial strife of the 1960s; The Return of Joe Rich, a funny and intelligent look at the Chicago mob that unites today's wiseguys with those of decades past; Cairo 678, a nicely written piece about sexual harassment in modern Egypt and Wild Bill, a quirky and smart film about a father who has to care for his two teen-age sons after being away for several years in prison.


I'll get back to regular reviews with the next post. I want to take this opportunity to thank Kate McMillan and Brie Dorsey for their help in arranging several interviews with some of the directors of these films. They made my job a lot easier and more enjoyable!

Hugo Awards - Chicago International Film Festival

The Hugo Awards for the best films of the 47th Chicago International Film Festival have been announced. Here is a brief list:

Le Havre

International Feature Film Competition


Gold Hugo to Le Havre (Finland/France) - director Ari Kaurismaki

Silver Hugo to Cairo 678 (Egypt)

Silver Hugo for Best Actress to Olivia Colman in Tyrannosaur (UK)

Silver Hugo for Best Actor to Maged El Kedwany in Cairo 678 

Silver Hugo for Best Screenplay to Joshua Marston and Andamion Murataj for The Forgiveness of Blood (US/Albania)




New Directors Competition


Gold Hugo to The Good Son (Finland) - director Zaida Bergroth

Silver Hugo to Volcano (Iceland/Denmark) - director Runar Runarsson



Founder's Award - presented to that one film across all categories that captures the spirit of the Chicago International Film Festival for its unique and innovative approach to the art of the moving image. This year's Founder's Award goes to The Artist (France)

The Artist

The Last Rites of Joe May - Chicago Film Festival

You may have met someone like Joe May at one point in your life. He's a helluva guy, but don't tell him that- he thinks he's just a regular fella. He does the right thing, bottom line, even if his actions may get him in trouble. He's also one of the most memorable characters you'll see this year in film and you'll remember him for a long time, thanks to a dazzling performance by Dennis Farina.

The Last Rites of Joe May was written and directed by Joe Maggio, who also performed those tasks for Bitter Feast (2010) and Paper Covers Rock (2008) among others. For Last Rites, Maggio has created a character that we feel for from the start; in his sixties, Joe May is being released from the hospital after a seven-week battle with pneumonia. But apparently Joe forgot to tell his landlord, who thought he either died or moved away, so the landlord has thrown all of Joe's belongings away and has rented his apartment to a single mother named Jenny (Jamie Allman). She's not exactly doing great financially, as we see her pilfer the small orange juice containers that her patients at a nearby hospital don't consume. She's raising a young daughter named Angelina (Meredith Droeger), who never knew her father.

The individual stories of these three slowly start to intertwine, as Joe agrees to share the apartment with Jenny and Angelina, as he will pay part of the rent each month. Now that Joe has a place to stay again, he can go back to his old friends and try make a few extra bucks. He's been a small time crook, fencing watches and radios on the street, but in his heart, he believes he can truly make a lot of money, if only the right situation comes along.

 

                            Photo by Jay Silver

Meanwhile, we learn that Jenny has a boyfriend who beats her from time to time. When Joe sees him for the first time, he tells him to leave or he'll call the cops. Trouble is, he's a police detective, so there's little that Jenny or Joe can do to stop him. All Joe can do is try and comfort her, but that's not an easy thing for a rough and tumble guy like him. In one scene she asks him if he would hold her, to which Joe replies, "I don't think that's a good idea."

Joe however does start to look after Angelina, tucking her in bed at night and chatting with her at breakfast. She's thrilled to have a father figure in her life and she asks if Joe will have breakfast with her the next morning and the one after that. It's a simple scene, but a critical one in the film and it's one of several moving moments.

There are several factors as to why this film captures our attention from the first frame. Much of the credit goes to Maggio for his script, which has a honest ring to it and is never forced. Every character, from the three major players to the ones with small roles, talk just like you'd expect them to. This is a street drama at its most basic, taking places in the ethnic restaurants, alleyways and neighborhood bars of Chicago and it sounds just right. One other note about the script: Joe May swears a lot in this movie and he'll swear at anyone. It's not for shock value - it's just the way he's talked for most of his life and it's part of this character's charm as well as a good deal of the film's humor. There is one line that Joe May yells at a cabdriver (I won't give it away) that is one of the funniest lines I've heard in a film in years - you may fall out of your seat when you hear it!

The visuals are another reason why this film is so strong, so realistic. I've lived in Chicago my entire life and I love the look of this film. This is not about the lakefront or tall buildings - only the tops of skyscrapers are visible in a couple shots - but rather the snow-covered streets of Halsted Street in winter time. There's a cool, blue tone to the cinematography which fits the visuals perfectly and gives the film a bit of a bleak look. There are several marvelous shots here; the two I loved the most are the #8 bus on Halsted under a viaduct on a windswept snowy evening, while the other has Angelina and Joe swinging a pole around on their roof in order to scatter his pigeons in flight, as they are released from their coops. This last shot is quite hypnotic as well as being lovely to look at; it's also a tender moment between Joe and Angelina, as their affection for each other grows.

I've read, by the way, that Dennis Farina himself had a major influence in having this movie shot in Chicago. The film was originally scheduled to be shot in New York City, but Farina, a native Chicagoan, asked Maggio about doing it in his (Farina's) hometown. Once Maggio and his team scouted out some of Chicago neighborhoods, the decision was made to film in Chicago and a few minor script changes were made.

So a first-rate script and just-right visuals (as well as an impressive bare-bones original score by Lindsay Marcus) are among the strong points of The Last Rites of Joe May, but above all, it is the performance by Dennis Farina as the title character that ties everything together. I've always liked Farina for the honest emotions he displays in his roles - everything about his work has been just right. He looks perfect for the part with his thick grey hair and time-worn face and he finds a nice balance between quiet frustration and explosive bursts of temper. It is quite proper to use the cliché that he was born to play this part, but it's entirely accurate in this case. Dennis Farina is simply great as Joe May and for my money, it's the performance of his career.

Honestly written and acted, The Last Rites of Joe May is primarily a quiet film about a man who only wants to continue doing things as he's always done them. It is a wonderful piece of work and one that I highly recommend.



The Last Rites of Joe May is a Tribeca Film that was the opening presentation at the 2011 Chicago International Film Festival on October 6. It opens in New York City on November 4 and at the Gene Siskel Film Center in Chicago on November 25.

Covering the Chicago International Film Festival

 

The 47th Chicago International Film Festival opens this Thursday, October 6 and runs through Oct. 20. I've got a media pass and will begin to see my first films of the festival at special media screenings starting on the 5th. 

 There are a number of films I'm looking forward to seeing, most notably A Dangerous Method from David Cronenberg, Into The Abyss from Werner Herzog and The Last Rites of Joe May, shot in Chicago and starring Chicago native Dennis Farina and directed by Joe Maggio.

I'm hearing some great things about several movies at the festival representing many countries around the globe. These include Miss Bala from Mexico, Kid With a Bike (Belgium) and Sleeping Beauty (Australia) to name only three.

There will be a number of filmmakers present during the festival and I'll do my best to interview a director or two. I'm really looking forward to the event with Haskell Wexler, one of the greatest cinematographers to ever work in Hollywood - he won two Academy Awards - and also an influential director, best known for Medium Cool (1968).

I'll get my first post up in a day or two and will update this blog quite often during the next two weeks, as I watch the newest releases from some of the world's finest filmmakers.