“Paris 36” Is Song-and-Dance Memoir
Reviewed by Shirrel Rhoades
Back when the Atlantic Shores was more than a memory, I saw “Moulin Rouge” there, that surreal Nicole Kidman - Ewan McGregor musical about a Parisian nightclub.
“Paris 36” (original French title: “Faubourg 36”) – the musical drama that’s playing at the Tropic Cinema – reminded me a bit of that … and a half-dozen other movies.
Pigoil (Gerard Jugnot) and his friends work at Chansonia, a down-on-its-luck music hall in a quaint suburb of Paris. There’s Jacky (Kad Merad), known as The Prince of Impressionists, despite his audience-groaning attempts at sounding like a duck or a frog. And Milou (Clovis Cornillac), the young firebrand stagehand who didn’t serve in the Red Army as he claims. And Douce (Nora Arnezeder), the beautiful young chanteuse that men are attracted to like flies to honey. Even the reclusive Radio Man (Pierre Richard), a mysterious character who is drawn out of his self-induced musical seclusion by events. And Galapiat (Bernard-Pierre Donnadieu), the Fascist property owner who’s induced by Douce’s beauty to let this striking troupe of performers take over the failing music hall.
It’s mindful of “Hear My Song“ without the magical realism. Or “Mrs. Henderson Presents” without the wartime setting. Or “Le Crime de Monsieur Lange” without a printing house backdrop. Or a “Cinema Paridiso” that’s about live musical theater.
At its simplest, “Paris 36” is a tragic love triangle that leads to saving the Chansonia music hall. But the subplots add loving texture: Pigoil trying to reconnect with Jojo, his accordion-playing son. The long-forgotten collaboration between Monsieur TFS and Douce’s mother. Jacky’s transition from bad jokester to successful song-and-dance man. And the political backdrop of the SOC Fascists who oppose the striking Communists.
Although set in 1936’s pre-WWII Paris, this is more a musical than a period piece. Many of the Busby Berkeley-like numbers are performed by the cast itself. The songs are bouncy, even if the translations have that odd Parisian emotional disconnect.
This subtitled musical drama was written and directed by Christophe Barratier, whose parents were theater performers. As he said of his previous film “The Chorus” (“Les Choristes”): “My film is autobiographical, but I was more comfortable setting it in the past, so it became a universal fairy tale.”
But it’s really a fairy tale with a political twist. 1936 was the year of the Popular Front in France, when factory occupations by workers spread across the country like a red tide.
Yes, Barratier’s story is a tad derivative and stereotypical. But you’ll be promised a happy ending with this feel-good movie that one viewer described as “Paris By the Numbers.” Musical numbers, that is.
srhoades@aol.com
[from Solares Hill]
Friday, May 15, 2009
Friday, May 8, 2009
Week of May 8 to May 14 (Mann)
What’s on at the Tropic
By Phil Mann
Disney’s EARTH follows three animal families: polar bears, elephants and humpback whales through a year of their lives, full of births, babies and brio. I rarely say this about movies at the Tropic, which tend toward the R ratings, but the G-rated EARTH is a movie that you’ve got to see with your kids. With its emphasis on cubs and calves, and the overwhelming nature-wide pull of parenting, they’ll look up to you in a new way.
The March of the Penguins back in August 2005 was one of the Tropic’s most popular movies ever. With EARTH, the theater is aiming to serve that same audience. The perfect family outing. By the way, this one’s got penguin’s too, but not in the starring roles.
Also in a departure from their usual fare, the Tropic is picking up the blockbuster political thriller STATE OF PLAY from its opening run at the Regal mall-plex. Russell Crowe is a star investigative reporter solving, among other things, the murder of a Congressional researcher. She was having an affair with her boss – so what else is new – and a giant corporation’s stolen briefcase is also part of the mix. A scruffy Crowe gets Rachel McAdams (Mean Girls, Married Life) for a sidekick, and Helen Mirren for his tough city room editor, so all the pieces are set for a battle between the forces of good and evil. STATE OF PLAY has been called “refreshingly grownup” (Salon) and “an absolutely riveting state-of-the-art ‘big conspiracy’ thriller” (Charlotte Observer). Along with EARTH, it’s part of the Tropic’s regular summer series. The theme seems to be: summertime and the viewin’ is easy.
But don’t think they’ve gone all soft on you. The George digital theater continues to put the emphasis on art and foreign film.
Winner of best documentary awards at festivals from Big Sky to Woodstock, IN A DREAM is the documentary story of Isaiah Zagar, an eccentric artist who has devoted himself to covering 40,000 square feet of Philadelphia with his unique mosaics. It “abounds in visual pleasure” affirms the New York Times, but it also plumbs the depth of Zagar’s relationship with his wife and the difficulties of holding together a family dominated by such a man.
JUST ANOTHER LOVE STORY is a noir thriller from Denmark, nominated for ten and winner of two awards at the Danish Oscars. The hero, Jonas, is a happily married a crime scene photographer until a series of events slides him into a double life with amnesiac Julia, who thinks he is her fiancé. The premise may be a bit hard to believe, but once you go with it, you’re in for a great and frightening thrill ride. “An affecting, mordant comedy about male midlife crisis in its most extreme form,” says Salon.com.
And there are three classic movies this week: Alfred Hitchcock’s VERTIGO and the famous noir mystery D.O.A. for Saturday matinees, and Fellini’s AMARCORD on Monday night.
As they are fond of saying, the films are always hot at the cool Tropic.
Full schedules and info at TropicCinema.com.
Comments, please, to pmann99@gmail.com.
By Phil Mann
Disney’s EARTH follows three animal families: polar bears, elephants and humpback whales through a year of their lives, full of births, babies and brio. I rarely say this about movies at the Tropic, which tend toward the R ratings, but the G-rated EARTH is a movie that you’ve got to see with your kids. With its emphasis on cubs and calves, and the overwhelming nature-wide pull of parenting, they’ll look up to you in a new way.
The March of the Penguins back in August 2005 was one of the Tropic’s most popular movies ever. With EARTH, the theater is aiming to serve that same audience. The perfect family outing. By the way, this one’s got penguin’s too, but not in the starring roles.
Also in a departure from their usual fare, the Tropic is picking up the blockbuster political thriller STATE OF PLAY from its opening run at the Regal mall-plex. Russell Crowe is a star investigative reporter solving, among other things, the murder of a Congressional researcher. She was having an affair with her boss – so what else is new – and a giant corporation’s stolen briefcase is also part of the mix. A scruffy Crowe gets Rachel McAdams (Mean Girls, Married Life) for a sidekick, and Helen Mirren for his tough city room editor, so all the pieces are set for a battle between the forces of good and evil. STATE OF PLAY has been called “refreshingly grownup” (Salon) and “an absolutely riveting state-of-the-art ‘big conspiracy’ thriller” (Charlotte Observer). Along with EARTH, it’s part of the Tropic’s regular summer series. The theme seems to be: summertime and the viewin’ is easy.
But don’t think they’ve gone all soft on you. The George digital theater continues to put the emphasis on art and foreign film.
Winner of best documentary awards at festivals from Big Sky to Woodstock, IN A DREAM is the documentary story of Isaiah Zagar, an eccentric artist who has devoted himself to covering 40,000 square feet of Philadelphia with his unique mosaics. It “abounds in visual pleasure” affirms the New York Times, but it also plumbs the depth of Zagar’s relationship with his wife and the difficulties of holding together a family dominated by such a man.
JUST ANOTHER LOVE STORY is a noir thriller from Denmark, nominated for ten and winner of two awards at the Danish Oscars. The hero, Jonas, is a happily married a crime scene photographer until a series of events slides him into a double life with amnesiac Julia, who thinks he is her fiancé. The premise may be a bit hard to believe, but once you go with it, you’re in for a great and frightening thrill ride. “An affecting, mordant comedy about male midlife crisis in its most extreme form,” says Salon.com.
And there are three classic movies this week: Alfred Hitchcock’s VERTIGO and the famous noir mystery D.O.A. for Saturday matinees, and Fellini’s AMARCORD on Monday night.
As they are fond of saying, the films are always hot at the cool Tropic.
Full schedules and info at TropicCinema.com.
Comments, please, to pmann99@gmail.com.
Just Another Love Story (Rhoades)
“Just Another Love Story” Plays Mix-’Em and Match-’Em
Reviewed by Shirrel Rhoades
There was a recent news report about a young woman who was in a coma following a van crash that killed her four friends. Parents were told that their daughter survived, while others received word that their children were dead.
However, there was a mix-up of identities between one of the victims and the girl in the coma.
You can imagine the confusion when she woke up.
There’s a new Danish film at the Tropic Cinema that tells a similar tale – but with a twist of its own. “Just Another Love Story” (“Kærlighed på film”) is anything but.
Jonas (Anders W. Berthelsen) lives a mundane existence as a family man saddled with a wife and two kids. But his life takes an intriguing turn when he’s inadvertently involved in a car accident with a woman named Julia (Rebecka Hemse). Feeling guilty that she suffered head injuries, he goes to visit her in the hospital – with bizarre consequence. Suffering a memory loss, she mistakes Jonas for Sebastian (Nikolaj Lie Kaas), her cool new boyfriend who was supposed to be flying in from abroad to visit her.
What would you do if your life was a drag?
Well, our guy Jonas decides to go along with the mistaken identity and pass himself off as her boyfriend. After all, that’s the crux of this mix-’em and match-’em movie plot.
This film has overtones of the Sandra Bullock romantic comedy “While You Were Sleeping.”
However, this is more of a thriller than a comedy.
Described as “Hitchcock meets Bergman,” the film takes on a sinister tone when the real Sebastian shows up.
Writer and director Ole Bornedal milks it for all it’s worth, this tale of a man assuming a brand new identity by posing as an amnesiac’s boyfriend. Yet, reality must eventually intrude and as Bornedal puts it, “One day the truth comes knocking at the door.”
My wife is particularly fond of movies where someone assumes an all-new identity. “American Success Company,” “American Dreamer,” “Desperately Seeking Susan,” and “Don’t Tell Her It’s Me” are among her favorites.
Sometimes I wonder who she is.
srhoades@aol.com
[from Solares Hill]
Reviewed by Shirrel Rhoades
There was a recent news report about a young woman who was in a coma following a van crash that killed her four friends. Parents were told that their daughter survived, while others received word that their children were dead.
However, there was a mix-up of identities between one of the victims and the girl in the coma.
You can imagine the confusion when she woke up.
There’s a new Danish film at the Tropic Cinema that tells a similar tale – but with a twist of its own. “Just Another Love Story” (“Kærlighed på film”) is anything but.
Jonas (Anders W. Berthelsen) lives a mundane existence as a family man saddled with a wife and two kids. But his life takes an intriguing turn when he’s inadvertently involved in a car accident with a woman named Julia (Rebecka Hemse). Feeling guilty that she suffered head injuries, he goes to visit her in the hospital – with bizarre consequence. Suffering a memory loss, she mistakes Jonas for Sebastian (Nikolaj Lie Kaas), her cool new boyfriend who was supposed to be flying in from abroad to visit her.
What would you do if your life was a drag?
Well, our guy Jonas decides to go along with the mistaken identity and pass himself off as her boyfriend. After all, that’s the crux of this mix-’em and match-’em movie plot.
This film has overtones of the Sandra Bullock romantic comedy “While You Were Sleeping.”
However, this is more of a thriller than a comedy.
Described as “Hitchcock meets Bergman,” the film takes on a sinister tone when the real Sebastian shows up.
Writer and director Ole Bornedal milks it for all it’s worth, this tale of a man assuming a brand new identity by posing as an amnesiac’s boyfriend. Yet, reality must eventually intrude and as Bornedal puts it, “One day the truth comes knocking at the door.”
My wife is particularly fond of movies where someone assumes an all-new identity. “American Success Company,” “American Dreamer,” “Desperately Seeking Susan,” and “Don’t Tell Her It’s Me” are among her favorites.
Sometimes I wonder who she is.
srhoades@aol.com
[from Solares Hill]
Earth (Rhoades)
Disney’s “Earth” Is a Family Affair
Reviewed by Shirrel Rhoades
The new Disney nature documentary called “Earth” is being released on Earth Day 2009. But given its focus on three animal mothers, you might think of “Earth” as a Mother’s Day movie.
Narrated by James Earl Jones, you’ll meet an Animal Crackers array: Migrating flocks of geese, bears on ice floes, seals doing underwater gymnastics, belly-sliding penguins, stampeding goats, bouncing baby ducklings, mincing monkeys, and lapping lions – just about everything short of ten lords a-leaping.
Covering one year in the life of the creatures who share our planet, you will follow the adventures of three families of polar bears, elephants, and humpback whales.
The cinematography is eye candy, so dazzling you don’t dare blink. There are so many how-did-they-get-that? shots that you’ll barely believe your eyes. It reminds me of those old Disney True-Life Adventures, except this time shot in Hi-Def with all the technological tricks of modern-day filmmaking.
Directed by Alastair Fothergill and Mark Linfield, the same team who gave us the Emmy-winning “Planet Earth” BBC series, this is the first in a new line of Disneynature films.
However, “Earth” is more than a nature film. It’s a celebration of life on this planet.
srhoades@aol.com
[from Solares Hill]
Reviewed by Shirrel Rhoades
The new Disney nature documentary called “Earth” is being released on Earth Day 2009. But given its focus on three animal mothers, you might think of “Earth” as a Mother’s Day movie.
Narrated by James Earl Jones, you’ll meet an Animal Crackers array: Migrating flocks of geese, bears on ice floes, seals doing underwater gymnastics, belly-sliding penguins, stampeding goats, bouncing baby ducklings, mincing monkeys, and lapping lions – just about everything short of ten lords a-leaping.
Covering one year in the life of the creatures who share our planet, you will follow the adventures of three families of polar bears, elephants, and humpback whales.
The cinematography is eye candy, so dazzling you don’t dare blink. There are so many how-did-they-get-that? shots that you’ll barely believe your eyes. It reminds me of those old Disney True-Life Adventures, except this time shot in Hi-Def with all the technological tricks of modern-day filmmaking.
Directed by Alastair Fothergill and Mark Linfield, the same team who gave us the Emmy-winning “Planet Earth” BBC series, this is the first in a new line of Disneynature films.
However, “Earth” is more than a nature film. It’s a celebration of life on this planet.
srhoades@aol.com
[from Solares Hill]
Friday, May 1, 2009
Week of May 1 to May 7 (Mann)
What’s on at the Tropic
By Phil Mann
It’s time to have a good time at the Tropic.
THE GREAT BUCK HOWARD stars Colin Hanks as Troy Gable, the somewhat clueless assistant to a faded Vegas “mentalist” magician (think Amazing Kreskin) who gives the movie its title. Hanks is the son of Sir Tom, and you may recognize him as the priest who secretly lusts for Peggy Olson in TV’s award-sweeping Mad Men. But it’s John Malkovitch in the title role who owns the movie.
This doesn’t pretend to be a great film, just a good time. As we segue into summer, it’s time for some light fare, and Buck Howard provides it. As USA Today says, it’s “a nostalgic, easygoing Capra-esque comedy that should appeal to both youthful and older audiences.” The love interest – a movie like this has to have one – is Emily Blunt, who also happens to be the co-star of the very popular SUNSHINE CLEANING being held over for a third week on the Tropic screens. Don’t worry, Ms. Blunt’s relationship is with young Troy, not with the old magician. She’s the publicist who’s trying to help Troy revive Buck’s career.
Just think, an awesome magic show wrapped up in a comedy. Two for one.
SHALL WE KISS? is the new comedy from Emmanuel Mouret, who has been called a French Woody Allen. Like Mr. Allen, M. Mouret stars in the film, as a dork who asks his best, and married, woman friend to gin up his libido. With its charming characters, easy-going dialogue, and a plausibly absurdist premise, it’s easy to see the Allen-esque parallel. Should they or shouldn’t they…. I can’t give the answer away except to say you’ll be surprised. Guess you’ll just have to come and share the fun while you find out.
As usual, the Tropic’s program is rounded out with a provocative mix of revival films. For Saturday matinee the new Alfred Hitchcock in hi def series continues with TOPAZ, starring John Forsythe and Philippe Noiret, a spy thriller with a missiles in Cuba theme. If you’re lusting for bigger stars, how about Elizabeth Taylor, Van Johnson and Walter Pidgeon. They star in the other Saturday matinee flick, THE LAST TIME I SAW PARIS. Set just after World War II, and based on an F. Scott Fitzgerald short story, Babylon Revisited, the movie also features Eva Gabor. Nostalgia fans, take your choice.
The Monday Night Classic surely deserves the label this week. It’s Francois Truffaut’s first film, THE 400 BLOWS. This emotionally gripping story of a troubled adolescent, somewhat based on Truffaut’s own life, is credited with launching the French New Wave in 1959. The New York Times reviewer, Bosley Crowther was prescient in observing that the film “brilliantly and strikingly reveals the explosion of a fresh creative talent in the directorial field.” Not to be missed.
And the next afternoon brings the last of this season’s superb TUESDAY’S WITH ART series, this week featuring the Swiss artist Roman Signer. The film is the delightful “Signer’s Suitcase: on the road with Roman Signer,” and the discussion as always will be led by Deborah Goldman and Joel Blair. Thanks to them, and to Mike Dively for his sponsorship of this series.
Full schedules and info at TropicCinema.com.
Comments, please, to pmann99@gmail.com
[from Key West, the Newspaper]
By Phil Mann
It’s time to have a good time at the Tropic.
THE GREAT BUCK HOWARD stars Colin Hanks as Troy Gable, the somewhat clueless assistant to a faded Vegas “mentalist” magician (think Amazing Kreskin) who gives the movie its title. Hanks is the son of Sir Tom, and you may recognize him as the priest who secretly lusts for Peggy Olson in TV’s award-sweeping Mad Men. But it’s John Malkovitch in the title role who owns the movie.
This doesn’t pretend to be a great film, just a good time. As we segue into summer, it’s time for some light fare, and Buck Howard provides it. As USA Today says, it’s “a nostalgic, easygoing Capra-esque comedy that should appeal to both youthful and older audiences.” The love interest – a movie like this has to have one – is Emily Blunt, who also happens to be the co-star of the very popular SUNSHINE CLEANING being held over for a third week on the Tropic screens. Don’t worry, Ms. Blunt’s relationship is with young Troy, not with the old magician. She’s the publicist who’s trying to help Troy revive Buck’s career.
Just think, an awesome magic show wrapped up in a comedy. Two for one.
SHALL WE KISS? is the new comedy from Emmanuel Mouret, who has been called a French Woody Allen. Like Mr. Allen, M. Mouret stars in the film, as a dork who asks his best, and married, woman friend to gin up his libido. With its charming characters, easy-going dialogue, and a plausibly absurdist premise, it’s easy to see the Allen-esque parallel. Should they or shouldn’t they…. I can’t give the answer away except to say you’ll be surprised. Guess you’ll just have to come and share the fun while you find out.
As usual, the Tropic’s program is rounded out with a provocative mix of revival films. For Saturday matinee the new Alfred Hitchcock in hi def series continues with TOPAZ, starring John Forsythe and Philippe Noiret, a spy thriller with a missiles in Cuba theme. If you’re lusting for bigger stars, how about Elizabeth Taylor, Van Johnson and Walter Pidgeon. They star in the other Saturday matinee flick, THE LAST TIME I SAW PARIS. Set just after World War II, and based on an F. Scott Fitzgerald short story, Babylon Revisited, the movie also features Eva Gabor. Nostalgia fans, take your choice.
The Monday Night Classic surely deserves the label this week. It’s Francois Truffaut’s first film, THE 400 BLOWS. This emotionally gripping story of a troubled adolescent, somewhat based on Truffaut’s own life, is credited with launching the French New Wave in 1959. The New York Times reviewer, Bosley Crowther was prescient in observing that the film “brilliantly and strikingly reveals the explosion of a fresh creative talent in the directorial field.” Not to be missed.
And the next afternoon brings the last of this season’s superb TUESDAY’S WITH ART series, this week featuring the Swiss artist Roman Signer. The film is the delightful “Signer’s Suitcase: on the road with Roman Signer,” and the discussion as always will be led by Deborah Goldman and Joel Blair. Thanks to them, and to Mike Dively for his sponsorship of this series.
Full schedules and info at TropicCinema.com.
Comments, please, to pmann99@gmail.com
[from Key West, the Newspaper]
Two Lovers (Rhoades)
Joaquin Phoenix’s Split Personalities
Reviewed by Shirrel Rhoades
How many of you caught Joaquin Phoenix’s bizarre appearance on the Late Show with David Letterman? You can watch it on YouTube if you missed it. Ben Stiller even parodied it on the Academy Awards telecast.
Wearing a bushy Hasidic beard, Phoenix mumbled his way through the Letterman interview like a man on heavy drugs. Ol’ Dave concluded the one-sided session by saying, “Joaquin, I’m sorry you couldn’t be here tonight.”
This from a guy who had been nominated for an Oscar as Best Actor for his portrayal of Johnny Cash in “Walk the Line.” You’d think he could have convincingly played the part of a guest on a TV talk show.
Goes to prove the dichotomy between actors and the roles they play. We see them on-screen as articulate characters, but in real life they have no script to follow.
Despite his awkward personal persona, Joaquin is arguably one of our finest young actors. Remember him in “Gladiator,” “Hotel Rwanda,” and “We Own the Night.”
He gives a subtle – albeit downer – performance in “Two Lovers,” the drama that’s still playing at the Tropic Cinema.
“Two Lovers” introduces us to a depressed young man (Phoenix) who lives with his parents and works in their Brighton Beach dry cleaning business. Mom and Dad would like to see him marry a nice Jewish girl (Vinessa Shaw), but he has an eye for the pretty blonde shiksa (Gwyneth Paltrow) who lives in the apartment across the way. As it turns out, being embroiled in a dead-end affair with a married man, the girl of his dreams is more screwed up than he is … if that’s possible.
Written and directed by James Gray (“Little Odessa”), this is a bleak drama with a predictable ending. Even so, it’s an acerbic character study that’s worth the 110 minutes of your attention.
Isabella Rosellini plays the all-seeing Jewish mother who worries about her son. Moni Moshonov is the father who would like to merge dry cleaning concerns through a convenient marriage.
Joaquin Phoenix lets you see inside his psyche, like an Amazing Transparent Man. But in the end, there’s not much inside the Jewish dry cleaner who longs for what he cannot have.
He and Gwyneth Paltrow play well against each other. But the characters’ self-defeating actions make me want to call them “Two Losers” rather than “Two Lovers.”
srhoades@aol.com
[from Solares Hill]
Reviewed by Shirrel Rhoades
How many of you caught Joaquin Phoenix’s bizarre appearance on the Late Show with David Letterman? You can watch it on YouTube if you missed it. Ben Stiller even parodied it on the Academy Awards telecast.
Wearing a bushy Hasidic beard, Phoenix mumbled his way through the Letterman interview like a man on heavy drugs. Ol’ Dave concluded the one-sided session by saying, “Joaquin, I’m sorry you couldn’t be here tonight.”
This from a guy who had been nominated for an Oscar as Best Actor for his portrayal of Johnny Cash in “Walk the Line.” You’d think he could have convincingly played the part of a guest on a TV talk show.
Goes to prove the dichotomy between actors and the roles they play. We see them on-screen as articulate characters, but in real life they have no script to follow.
Despite his awkward personal persona, Joaquin is arguably one of our finest young actors. Remember him in “Gladiator,” “Hotel Rwanda,” and “We Own the Night.”
He gives a subtle – albeit downer – performance in “Two Lovers,” the drama that’s still playing at the Tropic Cinema.
“Two Lovers” introduces us to a depressed young man (Phoenix) who lives with his parents and works in their Brighton Beach dry cleaning business. Mom and Dad would like to see him marry a nice Jewish girl (Vinessa Shaw), but he has an eye for the pretty blonde shiksa (Gwyneth Paltrow) who lives in the apartment across the way. As it turns out, being embroiled in a dead-end affair with a married man, the girl of his dreams is more screwed up than he is … if that’s possible.
Written and directed by James Gray (“Little Odessa”), this is a bleak drama with a predictable ending. Even so, it’s an acerbic character study that’s worth the 110 minutes of your attention.
Isabella Rosellini plays the all-seeing Jewish mother who worries about her son. Moni Moshonov is the father who would like to merge dry cleaning concerns through a convenient marriage.
Joaquin Phoenix lets you see inside his psyche, like an Amazing Transparent Man. But in the end, there’s not much inside the Jewish dry cleaner who longs for what he cannot have.
He and Gwyneth Paltrow play well against each other. But the characters’ self-defeating actions make me want to call them “Two Losers” rather than “Two Lovers.”
srhoades@aol.com
[from Solares Hill]
Great Buck Howard (Rhoades)
“Great Buck Howard” Pulls Cinematic Rabbit Out of Hat
Reviewed by Shirrel Rhoades
I took up magic in the third grade. It was fun to mystify my friends. Not so hard when you had a $39.95 kit comprised of trick playing cards, a two-headed quarter, cups and disappearing ball, and connecting metal rings.
By high school I had mastered the rudiments of hypnotism. Nobody was able to beat the female bus driver at arm wrestling, until I used hypnotic techniques to freeze her hand to the table.
The power of suggestion.
You’ll see a stage hypnotist at work in “The Great Buck Howard,” the John Malkovich comedy that’s playing at the Tropic Cinema.
Buck Howard (Malkovich in a bad hairpiece) is a washed-up mentalist, no longer invited on the Tonight Show. But he goes from small town gig to small town gig bragging about his 61 past appearances back when Johnny Carson was host. Each new venue is greeted with pseudo-enthusiasm (“I love this town!”) that belies the rut of his professional life.
But what if …
This magical comeback comedy is seen through the eyes of a law-school dropout (Colin Hanks – yes, Tom’s son). Looking for an entry into show business, the boy signs on as personal assistant to this belligerent has-been magician.
The boy’s father (Tom Hanks in a bit of stunt casting) isn’t happy with his son’s new career.
However, with the help of a plucky publicist (Emily Blunt), plus a stroke of luck, ol’ Buck lands back in the limelight. Delivering a few lessons in life along the way.
Malkovich’s character is loosely based on the Amazing Kreskin, the popular ’70s performer. Turns out, writer-director Sean McGinly worked briefly as the road manager for Kreskin.
George Joseph Kresge, Jr. says he was inspired to become a mentalist by reading Mandrake the Magician comic strips as a kid. Known for his mental powers, Kreskin allowed audiences to hide his paycheck after each performance. He’s only failed to find it nine times in his entire career.
Not looking for a big paycheck, Tom Hanks produced “The Great Buck Howard” as a nice acting platform for his son.
Conan O’Brien, Jon Stewart, Martha Stewart, along with Regis Philbin and Kelly Rippa, make appearances as themselves. Even magician David Blaine shows up for a little legerdemain.
But it’s Malkovich’s over-the-top performance that renders this movie charming. An oddball actor, he’s like acquiring a taste for anchovies. Strange things go on inside his head. As you’ll discover in “The Great Buck Howard.”
Abracadabra, you’re inside John Malkovich.
srhoades@aol.com
[from Solares Hill]
Reviewed by Shirrel Rhoades
I took up magic in the third grade. It was fun to mystify my friends. Not so hard when you had a $39.95 kit comprised of trick playing cards, a two-headed quarter, cups and disappearing ball, and connecting metal rings.
By high school I had mastered the rudiments of hypnotism. Nobody was able to beat the female bus driver at arm wrestling, until I used hypnotic techniques to freeze her hand to the table.
The power of suggestion.
You’ll see a stage hypnotist at work in “The Great Buck Howard,” the John Malkovich comedy that’s playing at the Tropic Cinema.
Buck Howard (Malkovich in a bad hairpiece) is a washed-up mentalist, no longer invited on the Tonight Show. But he goes from small town gig to small town gig bragging about his 61 past appearances back when Johnny Carson was host. Each new venue is greeted with pseudo-enthusiasm (“I love this town!”) that belies the rut of his professional life.
But what if …
This magical comeback comedy is seen through the eyes of a law-school dropout (Colin Hanks – yes, Tom’s son). Looking for an entry into show business, the boy signs on as personal assistant to this belligerent has-been magician.
The boy’s father (Tom Hanks in a bit of stunt casting) isn’t happy with his son’s new career.
However, with the help of a plucky publicist (Emily Blunt), plus a stroke of luck, ol’ Buck lands back in the limelight. Delivering a few lessons in life along the way.
Malkovich’s character is loosely based on the Amazing Kreskin, the popular ’70s performer. Turns out, writer-director Sean McGinly worked briefly as the road manager for Kreskin.
George Joseph Kresge, Jr. says he was inspired to become a mentalist by reading Mandrake the Magician comic strips as a kid. Known for his mental powers, Kreskin allowed audiences to hide his paycheck after each performance. He’s only failed to find it nine times in his entire career.
Not looking for a big paycheck, Tom Hanks produced “The Great Buck Howard” as a nice acting platform for his son.
Conan O’Brien, Jon Stewart, Martha Stewart, along with Regis Philbin and Kelly Rippa, make appearances as themselves. Even magician David Blaine shows up for a little legerdemain.
But it’s Malkovich’s over-the-top performance that renders this movie charming. An oddball actor, he’s like acquiring a taste for anchovies. Strange things go on inside his head. As you’ll discover in “The Great Buck Howard.”
Abracadabra, you’re inside John Malkovich.
srhoades@aol.com
[from Solares Hill]
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