Schedule change for May 1 - 8

Due to a scheduling conflict, the CineVerse calendar for the first two weeks of May has been changed. "City Lights" is now slated for May 1, and "Waitress" has been moved to May 8. Please make a note of this change. You can view/download the revised May/June schedule at http://sdrv.ms/14JTceX.

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Windy City Confidential

Film noir's golden age lasted from 1941 to 1958. But it didn't die there--several movies since have invoked the spirit and style of noir effectively. Case in point: “L.A. Confidential” (1997; 138 minutes), directed by Curtis Hanson. It's coming to a CineVerse screen near you on April 24, as chosen by Peggy Quinn.

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Back to the future...

"Forbidden Planet" offered 1956 audiences an interesting glimpse at man's potential for progress as well as devolution as he reaches for the stars. CineVerse reached for answers regarding this Cold War futuristic classic last evening, and here's what we found:

HOW WOULD THIS FILM HAVE BEEN CONSIDERED GROUND-BREAKING, INNOVATIVE AND AWE-INSPIRING FOR ITS TIME, ESPECIALLY AS A SCIENCE-FICTION MOVIE?

·       Unlike contemporary sci-fi flicks, this one didn’t look cheap: It was the biggest budget science fiction film ever attempted to date, and its lavish production values, CinemaScope widescreen canvas and cutting-edge special effects shamed many sci-fi pictures of this era, which were very popular in the 1950s.

·       The story is also quite intelligent and adult, unlike many of the kiddie-minded, cartoonish and comic book-like tales being made into popular sci-fi cinema at this time: this is a narrative that combines the best elements of Shakespeare with Freud and even Greek mythology:

o   The tale is a loose retelling of “The Tempest”: Morbius is like the magician Prospero and daughter Altaira is like Miranda; Robby is like Ariel; the Id monster represents Caliban; and the Earthmen soldiers stand in for the play’s shipwrecked Milanese dignitaries. In the play, one of the shipwrecked men falls in love with Miranda.

o   The movie espouses Freud’s theories on the Id, which is one of three parts of our psyche, the one that represents our basic, most instinctual drives and urges

o   The story also harkens to the Greek myth of Bellerophon, the demigod son of Poseidon who commits hubris by trying to fly Pegasus to Moutn Olympus to reach the Gods, only to be thwarted and broken by Zeus. Morbius was a crew member of the Bellerophon, the first ship to visit Altair IV.

·       This film takes us away from our familiar frames of reference and indulges our species’ collective sense of wonder:

o   This is the first sci-fi movie in which human beings are shown traveling in a space ship that they made and that is set completely on another planet far away from Earth.

o   The sets, costume designs, and props are also not derivative of earlier sci-fi films—even down to the robot, which is much more detailed, visually fascinating and personable than any robot previously depicted in cinema.

·       The movie employs a musical score that is entirely electronic and experimental; there is no classically constructed music performed by an orchestra.

·       This movie had a direct influence on landmark science fiction entertainments: without the influence of Forbidden Planet, it’s possible Gene Roddenberry wouldn’t have conceived of “Star Trek,” Kubrick would not have created “2001,” and George Lucas may not have made “Star Wars”.

IN WHAT WAYS DOES FORBIDDEN PLANET APPEAR DATED AND AS A PRODUCT OF ITS TIMES, THE MID 1950S?

·       Like many other sci-fi stories and films of the Atomic age and the Red Scare 1950s, it’s meant to be a cautionary tale: a lesson about what could result when humans meddle in God’s affairs; the overreaching of the Krell and Dr. Morbius, who tamper in knowledge and powers that are God-like, are meant to echo the creation and dangers of the nuclear bomb.

·       The film is not very socially or culturally progressive: there are no minorities cast, and the nubile young daughter is really more of a sex object who is expected to be an obedient daughter or love interest than an independent woman

·       Unlike future science fiction movies, like 2001: A Space Odyssey, Forbidden Planet is at its root pessimistic in its outlook: yes, it is encouraging that future generations here visit the stars and distant planets, but the overarching theme seems to be that mankind may be overstepping its boundaries and doomed to the same fate that befell the Krell race; the advanced science of the Krell is seen as blasphemously worshipping false idols, which God-fearing mortals should have no purpose for.

WHAT THEMES DOES THIS PICTURE ATTEMPT TO EXPLORE?

·       Can man responsibly wield his tools—whether it be magic or technology?

·       If you could command absolute power, how would you use it against your enemies?

·       How far has mankind truly progressed from the jungle, despite his inventions, innovations and scientific discoveries?

BESIDES “THE TEMPEST,” WHAT OTHER WORKS OF FILM OR LITERATURE COME TO MIND WHEN VIEWING “FORBIDDEN PLANET”?

·       Joseph Conrad’s story Heart of Darkness

·       Dr. Jekyll and Mr. Hyde, a split personality as personified by Dr. Morbius, who can create Robby the robot and a scenic oasis in the galactic wilderness, but also conjure up the Id monster

·       The TV show Lost in Space

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More good movie gab coming in May/June

If you enjoy what CineVerse has to offer, you're going to want to mark down many dates on the calendar over the next two months. The May/June CineVerse schedule is now ready for prime time and available for viewing by clicking here or visiting http://sdrv.ms/14z1fLz.

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Speaking about "Speech"

Last Wednesday, CineVerse couldn't stop talking about "The King's Speech," the 2011 Best Picture Oscar winner that left many a viewer, well, speechless. Highlights of that discussion are as follows:

WHAT IS THE SECRET TO THIS FILM’S SUCCESS? WHAT MAKES IT WORK AS WELL AS IT DOES?

·       It’s a period piece and costume drama like we’ve seen before, but it’s different:

o   it demystifies the monarchy by bringing us into the private, warts and all life of a member of the royal family;

o   we get to know him on a first-name basis and spend private moments with him, making him more likeable and human and sympathetic as opposed to being stuffy and inaccessible; class barriers are shattered

·       It’s essentially a “buddy picture” that capitalizes on the “bromance” elements of bonding and friendship formed between King George VI and therapist Lionel Logue.

·       It forces us to focus on an otherwise trivial and unimportant little historical footnote instead of the front page news that is hinted at and glossed over in the film

o   you could easily make several movies about how Britain is swept up into World War II, or how brother Edward renounced his throne to marry the woman he loves;

o   instead, “The King’s Speech” spotlights a speech impediment and the relatively inconsequential event of the monarch having to address his subjects via the radio prior to the outbreak of war

·       The performances by Colin Firth, Geoffrey Rush and Helena Bonham Carter do most of the heavy lifting in this picture; the casting of the 3 leads is absolutely crucial, and the filmmakers nailed it with these 3 actors

·       The inspired choice of using the stirring second movement of Beethoven’s 7^th Symphony during the actual speech at the conclusion was dead-on genius: it’s a perfect marriage of music, story and performance, and the majesty of Beethoven’s peerless music gives gravitas to the entire scene.

·       It tells, essentially, a timeless fable we’re familiar with: Pygmalion, where a shrewd teacher tries to completely remold an impaired subject

WHAT IS INTERESTING ABOUT THE VISUALS USED: THE FRAMING, ANGLES, AND LIGHTING ESPECIALLY?

·       Unlike many other historical dramas that employ soft lighting effects, this picture uses harsher light to “spotlight” the real people and the challenges they faced; the result is a more modern look and deeper emotional effect

·       Extra-wide lenses were used to help slightly distort the King’s perspective, express his discomfort and depict the oppressive environments he inhabited; consequently, we see longer, tighter, sometimes more claustrophobic shots that underscore Albert’s feelings of being trapped

·       Most of the picture was filmed indoors utilizing narrow, oblong spaces, hallways and corridors, and tight confines; compare this to many historical dramas where ample spaces are shot; in his review of the film, Roger Ebert suggested: “I suspect (the filmmakers) may be evoking the narrow, constricting walls of Albert’s throat as he struggles to get words out.”

·       The filmmakers sometimes use off-center compositions to suggest emotional as well as spatial distance between characters; consider the scene where Albert is bunched up on the side of a couch at the margin of the frame when he first meets with Logue

·       In some shots, the camera was placed extremely close to the actor’s face(s) to record the raw emotion in their expressions. The film’s cinematographer, Danny Cohen, said in an interview: “If you put a lens 6 inches from somebody’s face, you get more emotion than if you’re on a long lens 20 feet away.”

WHAT THEMES ARE EXAMINED IN THE KING’S SPEECH?

·       The importance of communication, the simple but awesome power of the spoken word, and how the spoken word is the great equalizer among all classes

·       The relationship between the organic (the human voice) and the synthetic (technology, embodied by microphones, loudspeakers, phonographs and radios

·       The relationship between technology and humanity, two forces often shown in contrast and opposition to each other in this movie; the microphone in some shots symbolizes a cold, detached, impersonal and dehumanizing tool, yet it holds the key to getting the message across effectively to the masses

OTHER MOVIES BROUGHT TO MIND BY “THE KING’S SPEECH”

·       The Queen

·       My Fair Lady / Pygmalion

·       The Young Victoria (2009)

·       The Iron Lady (2011)

·       Mrs. Brown (1997, about Queen Victoria)

OTHER WORKS BY DIRECTOR TOM HOOPER

·       John Adams (HBO miniseries)

·       Les Miserables (2012 musical)

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Life before "Star Wars"

Long before "Star Wars" or even "Star Trek," the best depictions of sci-fi fantasy you could hope to see onscreen were rare big budget films like “Forbidden Planet” (1956; 98 minutes), directed by Fred M. Wilcox. Join CineVerse on April 17 for this fun futuristic feature, chosen by Dan Quenzel. Then, stick around, as we'll preview the May/June CineVerse schedule following the discussion.

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A film worth talking about

Another recent best picture Oscar winner comes your way on April 10 to CineVerse, in the form of a World Cinema Wednesday special from the United Kingdom: “The King’s Speech” (2010; 118 minutes), directed by Tom Hooper, chosen by Rose Krc

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R.I.P. Rogert Ebert

Perhaps the greatest film critic of all time passed away today: Roger Ebert has succumbed to cancer at age 70.

While I did not often agree with Ebert's opinions on certain movies or the star ratings he would give particular films, what I greatly respected about the man was the thorough degree to which he dissected every movie he wrote about, the passion he had for his job, and the way he supported his stances with examples, research and cogent explanations. Unlike so many other movie reviewers out there who simply offered synopses of plots and trivial filler, Ebert write essay-length treatises on movies and progressed the art of film criticism with his sharp intellect, elaborate explorations and eloquent writing style.

I once had the opportunity to see Ebert and former TV show partner Gene Siskel live and up close. They were introducing a trade show presentation, and their bickering-brothers act--even if it was carefully rehearsed for our group--was absolutely hilarious. Not only did Ebert excel as a writer, but he had real gravitas as a TV personality.

I recall watching he and Gene in the early "Sneak Preview" era days on WTTW channel 11 and being enthralled by their encyclopedic knowledge of cinema, their stalwart convictions, and their innate ability to sift the bad from the good and call a spade a spade. I was actually proud that the nation's two most prominent film scribes came from Chicago.

I highly recommend virtually any of Ebert's film criticism books, especially "The Great Movies," "Your Movie Sucks," and "Awake in the Dark." And, while it will no longer feature any new Ebert reviews, www.RogerEbert.com boasts a treasure trove of outstanding essays, blog postings, and reviews.

Thumbs up to you, Roger. You will be sorely missed.

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Gentlemen, start your analyses...

CineVerse took the wayback machine to 1947 last evening and journeyed through "Gentleman's Agreement," an important message picture of the era. Here are some of the major conclusions of that group discussion:

HOW WOULD THIS FILM HAVE BEEN GROUNDBREAKING AND EYE-OPENING FOR 1947 MOVIEGOERS?

·       It was reportedly the first major expose on anti-Semitism by a Hollywood film, and is the first mainstream movie that uses the word “jew.”

·       According to movie reviewer Richard Gilliam: “Before World War II, there was an unspoken rule in Hollywood that anti-Semitism could only be hinted at or passingly referred to, even when the film was about an act of anti-Semitism. For example, watch the 1937 Oscar-winning Best Picture The Life of Emile Zola and see if you would notice that Captain Dreyfus, the French soldier who is wrongfully convicted, is Jewish. Gentleman's Agreement broke the barrier and allowed films to admit that racial and ethnic prejudice is more active in our society than we may want to admit.”

·       While the plot and actions that occur in the film aren’t shocking, they do force viewers to ask bigotry related questions about themselves: what would they do in a particular character’s situation? How would they treat Green, or react if they were Green?

·       It doesn’t pull any punches: it tackles the issue head without soft-selling it, although by today’s standards, the film is pretty tame.

·       The movie is bold in that it actually names names of public figures and prosperous communities that were known for being anti-Semitic and restrictive to Jews

·       This was a risky career move for Gregory Peck, whose agent feared it would damage his client’s career; Cary Grant had earlier turned down the role.

·       This movie helped launch the cycle of social message films tackling racial problems that were released over the next few years, including: Pinky (1949); Home of the Brave (1949); Intruder in the Dust (1949) Devil’s Doorway (1949); Broken Arrow (1950); The Lawless (1950); “Viva Zapata” (1952); and Apache (1954)

HOW IS GENTLEMAN’S AGREEMENT STILL RELEVANT AFTER ALL THESE YEARS, AND HOW IS IT DATED AND BENIGN?

·       While society has arguably improved as far as racial inequalities and bigotries against ethnicities, many minorities are still discriminated against and held in low esteem: you can substitute the anti-Semitism in this film with homophobia and have a template for a decent remake today

·       This movie’s historical context may be more relevant today than the actual subject matter it examines; in other words, this film is possibly more important as a historical footnote, being a groundbreaking movie for its time, than as an evergreen morality tale that subsequent generations can learn from

·       The film’s time period, sociocultural milieu, character types and situations aren’t very applicable to modern times, making it more of a curious artifact than a topical social message picture for the 21^st century.

OTHER FILMS THAT ADDRESS THE ISSUE OF ANTI-SEMITISM

·       The Life of Emile Zola (1937)

·       Crossfire, also released in 1947

·       School Ties (1992)

·       Liberty Heights (1999)

·       Focus (2001)

OTHER FILMS BY ELIA KAZAN

·       A Tree Grows in Brooklyn

• A Streetcar Named Desire
• Viva Zapata!
• On the Waterfront
• A Face in the Crowd
• East of Eden
• Splendor in the Grass

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