Studio 54

Ah, the good old days of disco and New York’s Studio 54. Co-founders Ian Schrager and Steve Rubell bought and renovated an old CBS studio (called then Studio 52) on 54th Street. Studio 54 opened in April 1977 and was an instant success. Why? This was a place where gay people felt safe to be themselves. Gays, lesbians, drag queens, cross dressers, anything goes. And you could not get admitted unless you were famous. We see a lot of photos with Andy Warhol, Liza Minnelli, Elizabeth Taylor, Mick Jagger, Truman Capote, and even Margaret Trudeau. It was THE place to be. The documentary is interested as much with the lives and friendship of the owners than with the Studio. Schrager met Rubell in college and they became lifelong friends. The fact that Rubell was gay was not a problem with Schrager, and it gave them an idea for a new concept for a disco club: diversity. But there was also drugs and liquor sold without a licence. Schrager and Rubell were investigated by the IRS, they pleaded guilty to tax evasion and spent 13 months in prison. The life of Studio 54 was short. In February 1980 it was over. And soon it would be over for disco too. Later Schrager and Rubell had other business opportunities. And then Steve Rubell died of AIDS in 1989. Ian Schrager still remembers his good friend. Ah, those good old days of disco.

Rémi-Serge Gratton

Studio 54

 

Directed by:
Matt Tyrnauer

99 min.

Rated 14A

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The cakemaker (האופה מברלין)

The cakemaker starts with a seduction scene between German pastry chef Thomas (Tim Kalkhof) and one of his client at the Berlin café where Thomas works. The client is Oren (Roy Miller), an Israeli businessman. The seduction happens in front of a big slice of Black Forest cake. Few words are softly spoken, a few furtive glances. We don’t need more, we get it, they’ll have sex. That minimalist approach is present throughout the film. It’s a delicate film, accompanied by a delicate score for solo piano by Dominique Charpentier. Although he has a wife and a young son in Jerusalem, Oren comes back to be with Thomas every time he visits Berlin. And when he goes back to his family, Oren brings some cookies or cake to them. Then on one of his trip back, Oren is accidentally killed. naturally Thomas is devastated by the news, but he makes the crazy decision to travel to Jerusalem, and visits the café run by Oren’s widow, Anat (Sarah Adler). First he gets to know Anat, then she hires him as a waiter/barista. One thing leading to another, he then starts baking for the café, and they fall in love and have sex. She still doesn’t know that Thomas was her late husband’s gay lover. If Moti (Zohar Strauss), her Orthodox brother-in-law, voices his disapproval of this German baker, it’s because the café may lose the kosher certification. One thing is clear, when Anat finds out, the cookie dough is gonna hit the fan. This is a most assured debut feature from writer/director Ofir Raul Graizer, who knows a thing or two about restraint and knows exactly what pace he should to give every scenes. The three leading actors are emotionally invested into those characters and their stories. Tim Kalkhof is particularly effective and has to play with very little dialogue. Male sexual fluidity is a new phenomenon in cinema. Films like the artistically acclaimed Call me by your name and others, are an interesting fresh look at the lives of LGBTQ people. A really lovely film.

Rémi-Serge Gratton

 

The cakemaker (האופה מברלין)

 

Directed by:
Ofir Raul Graizer

Screenplay by:
Ofir Raul Graizer

Starring:
Tim Kalkhof
Sarah Adler
Zohar Strauss
Roy Miller

104 min.

In English, Hebrew and German with English subtitles.

The happy prince

The happy prince is an Oscar Wilde biopic about the last years of his life. After spending a few years of hard labour in British prisons for homosexuality, Oscar Wilde goes to Paris where he can live without fear under the name of Sebastian Melmoth. Although Wilde (Rupert Everett) is physically weaker as a result of his time in prison where he had to endure a lot, he also retains a bloated ego. He is shown going to a French tavern, standing on tables to sing with great panache. And there’s the young male prostitute who seems to be in awe of him. At home in England, his wife, Constance (Emily Watson), won’t allow him to see his sons unless he stops seeing his lover young Lord Alfred “Bosie” Douglas (Colin Morgan). But in Paris Wilde can’t wait to be reunited with Bosie. He gets a lot of support from his ex-lover Robbie Ross (Edwin Thomas) or friends like Reggie Turner (Colin Firth). This great cast also includes Tom Wilkinson in a small if-you-blink-you’ll-miss-it cameo. As Oscar Wilde becomes weaker he starts having weird visions. In one stunning moment, a stoic Queen Victoria is staring at Wilde on his deathbed. Except for a few flashback snippets, most of the film shows Wilde at the end of life. On top of playing Rupert Everett playing Oscar Wilde, he also wrote the screenplay and directed the film. The film is all over the place and needed a bit more focus, but it’s excusable as Wilde had a big over the top persona. And Everett plays a complex, multifaceted character. One moment joyous, then depressed and depressing, jumping on tables to quietly singing a love song to some boy (it’s surely Bosie) or later self-pitying. The production values are excellent. What’s not to like?

Rémi-Serge Gratton

 

The happy prince

 

Directed by:
Rupert Everett

Screenplay by:
Rupert Everett

Starring:
Rupert Everett
Edwin Thomas
Colin Morgan
Colin Firth
Benjamin Voisin
Emily Watson
Tom Wilkinson
Béatrice Dalle
Anna Chancellor

105 min.

Lizzie

Lizzie Borden took an axe
And gave her mother forty whacks.
When she saw what she had done,
She gave her father forty-one.

Skipping-rope rhyme of uncertain origin

On the morning of August 4, 1892, Andrew Borden (Jamey Sheriden) and his second wife Abby (Fiona Shaw) were found dead. They were axed in two separate rooms of their house in Fall river, Massachusetts, and it seems, at two separate times. Around the house but outside, according to their testimonies, were Andrew’s youngest daughter, Lizzie (Chloë Sevigny), and the maid Bridget Sullivan (Kristen Stewart). Later on, Lizzie Borden was arrested and accused. There was a trial, but she was found not guilty. These are the facts and part of the Lizzie Borden legend. In the 125 years since the murders there has been many theories on who killed the Bordens, or, if it was Lizzie, how she did it and why. In the film’s opening scene Lizzie finds her father dead, then we flashback 6 month before the murder. Every theories are explored: Lizzie and her elder sister Emma (Kim Dickens) had a terrible relationship with their father and hated Abby, their stepmother, the rumor that Lizzie was epileptic, another rumor was that she was a lesbian and that she and Bridget were lovers, uncle John Morse (a particularly snake-like Denis O’Hare), who was visiting the Bordens at the time, was considered a suspect by police, and other facts that were made up for the sake the film, as some real facts are conveniently tossed aside. All those things are piled up and hammered with very little subtlety as Lizzie becomes a “whowilldoit” rather than a “whodoneit”. There is enough here for several Lizzie Borden movies. We understand that Lizzie, an adult of 32 years old, was rather repressed by her parents as was the custom in 1892. Understandably Lizzie Borden rebelled against that repression. Too bad that such talented actresses like Sevigny (one of the producers) and Stewart don’t have a better screenplay to work with.

You should know… Despite what the rhyme says, Abby Borden was hit by the axe 19 times and Andrew 11 times.

Good read… In his 1984 novel Lizzie, Evan Hunter (AKA Ed McBain) mixes fiction and facts by taking the real court transcripts and Lizzie’s trip to Europe, of which we know next to nothing about, and inventing what happened there.

Rémi-Serge Gratton

 

Lizzie

 

Directed by:
Craig William Macneill

Screenplay by:
Bryce Kass

Starring:
Chloë Sevigny
Kristen Stewart
Kim Dickens
Fiona Shaw
Jamey Sheriden
Denis O’Hare

105 min.

Colette

Gabrielle Colette (1873 – 1954) was one of the most important female writer. Wash Westmoreland’s exquisite Colette smartly sticks to the facts. She was born in the small country village of Saint-Sauveur-en-Puisaye, Burgundy. Gabrielle’s father was a war hero who lost one of his leg in battle. At the time she marries Henry Gauthier-Villars (Dominic West) the family is so poor that they can’t give him a dowry. Fourteen years older, Gauthier-Villars was a publisher/author. In truth, published under the pseudonym of “Willy”, his novels were mostly all ghostwritten. This enterprise is not a great success until he asks Gabrielle (Keira Knightley) to write. She writes Claudine à l’école (Claudine in school) was loosely based on her own life as a schoolgirl. It is published in 1900 under Willy’s name and becomes very popular but creates a scandal because of the lesbian themes which further boosts its popularity. It is so popular that Willy locks Gabrielle in her room until she writes a follow-up: Claudine à Paris (Claudine in Paris). Again Willy takes all the credits and squander all the money gambling or on other women. When Colette tells her husband that she’s attracted to women, Willy does not seemed concerned in the least. She doesn’t know that one of her female lover is also Willy’s lover. Over the years Colette gained more independence, became an actress, fell in love with female-to-male cross-dresser Mathilde de Morny (Denise Gough) and divorced Willy. Wash Westmoreland has a great production team (costumes, sets, score, cinematography…). It is beautiful. And Keira Knightley as strong female icon Colette has never looked better and nuanced. Bravo! Colette is much fun to watch.

Rémi-Serge Gratton

Colette

 

Directed by:
Wash Westmoreland

Screenplay by:
Richard Glatzer
Wash Westmoreland
Rebecca Lenkiewicz

Starring:
Keira Knightley
Dominic West
Denise Gough
Eleanor Tomlinson
Fiona Shaw

111 min.

Rated 14A

Juliet, Naked

Duncan claims to be Tucker Crowe’s No. 1 fan. He has set up a website about Crowe, with lengthy pretentious discussions analyzing every guitar plucks on Crowe’s only vinyl called “Juliet”, recorded thirty years ago. There are also many speculations on what happened to Tucker Crowe since then. Duncan Thomson (Chris O’Dowd) is British and lives in England with his girlfriend Annie Platt (Rose Byrne). For years Annie has silently endured Duncan’s obsession about Crowe. She keeps it in until one day she mistakenly opens a package addressed to Duncan. It’s a new demo CD from Crowe, another mainly acoustic affair called “Juliet, Naked”. She automatically knows that Duncan will be angry, not because she opened the package, but because it was from Crowe. Then she decides to listen to it. Duncan is livid. He calms down once he listens to it and falls in love with the new album. But Annie hates it. After reading Duncan’s piece on the new CD on his Crowe website, she decides to post her own dislike of “Juliet, Naked”, ripping apart Duncan ‘s corny article. Duncan is angry and he starts looking elsewhere for support. He finds it in the arm of another woman. As a result of her post, Annie receives an email supporting her views from a man who claims to be Tucker Crowe. Annie believes it is Crowe, and without telling Duncan she starts corresponding with him.. Tucker Crowe (Ethan Hawke) lives in the US with his ex-wife. Actually he lives in the shed behind the house so he can be near to his young son Jackson (Azhy Robertson). His life is kind of mess. Besides Jackson, Crowe has several children from other relations, some he almost never sees, others he has never met. Through emails, Annie and Tucker develop a friendship where they share everything. When Duncan tells Annie he has been cheating on her, she kicks him out. When Lizzie (Ayoola Smart), one of Tucker’s daughter is about to give birth, he plans to come to England to be near her. Perfect moment for Annie and Tucker to finally meet. But upon arriving in England, Tucker suddenly feels sick. From the first scene with Chris O’Dowd perfect (during the whole film really) at parodying Duncan’s fan website. Juliet, Naked is an excellent romantic comedy. It takes a very funny look at fandom (with Duncan it should be called “fandoom”). Snappy dialogues delivered by a near perfect cast (Hawke and Byrne have very good chemistry, and young Azhy Robertson is a great find). A really charming film.

Rémi-Serge Gratton

Juliet, Naked

 

Directed by:
Jesse Peretz

Screenplay by:
Evgenia Peretz
Jim Taylor
Tamara Jenkins
Based on the novel by Nick Hornby

Starring:
Rose Byrne
Ethan Hawke
Chris O’Dowd
Azhy Robertson
Ayoola Smart
Lily Brazier

105 min.

Rated 14A

McQueen

Most of us know next to nothing about British fashion designer Alexander McQueen. But after seeing Ian Bonhôte and Peter Ettedgui’s documentary we now perceive McQueen as a brilliant conceptual artist, and not simply as a fashion icon. His runway shows were so dark and controversial. He titled his graduation collection Jack the ripper stalks his victims. The clothes had been sewn with bright red threads, lines of blood was running through the fabric. A later collection called Highland rape had models wearing ripped clothes, their hairs dishevelled. In the film we discover that as a child, Lee (as family and close friend called him. His full name was Lee Alexander McQueen.) was sexually abused by his brother-in-law, his sister Janet’s husband. Janet, who is interviewed in the film, confirms that. Other family members, close friends, lovers, boyfriends and collaborators talk about the darkness he carried with him throughout his life. Later, when he went to Paris to work for Givenchy, he was a bit more conventional. A bit! If you can call a double amputee model walking down the catwalk on carved wooden legs “conventional”. In one spectacular moment a model wearing a strapless white dress is standing on a rotating section of the catwalk and, while she is rotating, the dress is being sprayed by two robotic paint guns. VOSS, his 2001 catwalk, was insane. It was set in a padded room with mirrors, the models were acting as if they were crazy, pieces from the clothes were falling on the floor. A glass room was in the middle of the runway. Inside, it was revealed later, (when the glass walls came crashing down and breaking on the floor) there was a naked obese woman on a chaise longue wearing only a gas mask. One reviewer called it “the best pieces of fashion theatre I have ever witnessed.” “Fashion theatre” is I think a fitting description for what McQueen was doing. But McQueen was a troubled man. Troubled by too much drugs, the failure of his love life and the suicide of his mentor, Isabella Blow. What is clear in McQueen is that he was a genius and that, at 40 in 2010, he died too soon. We are grateful, through this documentary, to get a peek into his artistry and his brilliant mind.

Rémi-Serge Gratton

McQueen

 

Directed by:
Ian Bonhôte
Peter Ettedgui

Screenplay by:
Peter Ettedgui

111 min.

Rated 14A

Don’t worry, he won’t get far on foot

Gus Van Sant’s new film is a biopic of paraplegic, alcoholic, politically incorrect cartoonist John Callahan (Joaquin Phoenix). At 21, after a day of drinking with his new buddy Dexter (Jack Black), Callahan’s life is changed forever by an auto accident. The cruel irony is that Dexter (real name? don’t know), who was driving Callahan’s car and fell asleep at the wheel, comes out of the accident without a scratch. At the hospital Callahan has a hard time facing the news that he won’t walk again. The only thing that calms him is physiotherapist Annu. Rooney Mara is Annu, and the way Gus Van Sant films her (in close-up, surrounded by sunshine and pastel colors) she looks more like a dreamy angel than a physiotherapist. Once out of the hospital and in a wheelchair, Callahan resumes his drinking and his whining. Most of the time he’s in a state of self-pity because his mother gave him up for adoption, and he drinks. A lot. That’s until he goes to an AA meeting at age 27 and stops drinking. His sponsor is Donnie, a gay, AA’s 12 steps guru. With a beard, hippie-like long blond hair and having lost some weight, Jonah Hill gives the best and most surprising performance of his career. After sobering up, Callahan starts his career as a cartoonist. Some of his cartoons were called racist by some while others found them funny. He also made fun at the physically disabled, and sometimes himself, as can attest the title of this film (also the title of Callahan’s book). It’s not an entirely satisfying movie experience. The screenplay and Van Sant’s direction makes it impossible to follow. It is confusing because it goes back and forth in time. Is it before he joined AA or did he relapse? A scene where he is sober is followed by one where he is drunk without any clue for the audience. It’s a shame. But you can still enjoy the superior performances from Joaquin Phoenix, Jonah Hill, Rooney Mara and Jack Black. You could not find better casting.

Rémi-Serge Gratton

 

Don’t worry, he won’t get far on foot

 

Directed by:
Gus Van Sant

Screenplay by:
John Callahan
Gus Van Sant
Jack Gibson
William Andrew Eatman
Based on Callahan’s memoir

Starring:
Joaquin Phoenix
Jonah Hill
Rooney Mara
Jack Black

114 min.

Rated 14A

The gospel according to André

André Leon Talley (AKA as ALT) is the in-your-face, larger-than-life gay African-American fashion journalist and former editor-at-large of Vogue. Kate Novack’s camera follows Talley for several months. He’s a big man who now mostly wears classy and colorful capes and caftans. Although he was born in Washington, D. C., Talley was raised by his grandmother, Binnie Francis Davis, in North Carolina in the Jim Crow South during the segregation era. After working at Andy Warhol’s Factory in New York in 1974, André started volunteering at Metropolitan museum of art for Diana Vreeland, than worked at Vogue in various functions from 1983 to 2013. With photos, film archives and interviews from his collaborators (among them Anna Wintour from Vogue) The gospel according to André gives us a mildly interesting portrait of what made André a fashion icon. But there’s another dramatic arch that takes over the film. The gospel according to André was shot during the 2016 American election. All I will tell you is that there is devastation the morning after the election. For that and for André Leon Talley, some may want to see it.

Rémi-Serge Gratton

The gospel according to André

 

Directed by:
Kate Novack

94 min.

Rated Parental Guidance

Hearts beat loud

The great chemistry between Nick Offerman and Kiersey Clemons is one of the main reason to go see Hearts beat loud. Offerman and Clemons play father and daughter Frank and Sam Fisher. As Frank is just about to close his Brooklyn vinyl record store after 17 years, Sam is leaving to college to study medicine. So Dad wants to jam with his daughter a few times before she leaves. Frank plays the guitar and Sam is on some sort of keyboards/samplers. When Frank ask Sam what they should call their band, Sam swiftly answers “We are not a band.”. So the name of the band becomes We are not a band. Sam has several things on her mind. Beside wanting to become a doctor, she’s in love with Rose (Sasha Lane). (Sam’s lesbianism is refreshingly not an issue for anyone in Hearts beat loud.) But Sam was born into music. Frank and Sam’s mom, who died in a bicycle accident, were in a band together, and Marianne, Frank’s mother and Sam’s grandmother (Blythe Danner, who unfortunately only has a few scenes) was a singer in her younger years. So “Music runs in the family” (as the tagline for the film says). Sam is interested enough with music that she writes songs, including a love song for Rose. It’s called Hearts beat loud, and Frank is so enthusiastic about the song that he puts it on Spotify where it becomes a hit. He is already planning for a world tour. Sam will have none of it, she loves singing with her Dad, but she’s leaving for college. Offerman and Clemons are so effective at recreating the love between fathers/mothers and daughters/sons. Their little arguments where Frank is trying to say something to make Sam laugh, but Sam, like all teenagers, never find her Dad funny. It all rings true. Toni Collette plays Leslie, Frank’s vinyl store landlady and possible love interest. And Ted Danson is Dave, Frank’s best friend who also owns a bar (Yes, Danson behind a bar again). But the film belongs to Kiersey Clemons, who, beside being a talented actress, has such a powerful singing voice. Hearts beat loud’s songs were all composed by Keegan DeWitt, including the inspired title song. In my favorite scene, Frank and Sam are recording Hearts beat loud. The arrangement is simple at first with only a few instruments, as more instruments are added, the song builds up layers upon layers. This seems an apt description for this film. It may seem at first a simple, charming film, but it becomes more complex and compelling. Still, it is charming.

Rémi-Serge Gratton

 

Hearts beat loud

 

Directed by:
Brett Haley

Screenplay by:
Brett Haley
Marc Basch

Starring:
Nick Offerman
Kiersey Clemons
Toni Collette
Ted Danson
Sasha Lane
Blythe Danner

97 min.

Rated Parental Guidance